The Making of “House Gepo” by Wittaya

We are happy to share the META 2017 exterior entry “House Gepo” ( created by Wittaya from Thailand. Wittaya is a professional 3D architecture visualizer. This personal project was made for educational and experimental purposes concerning the architectural visualizations. He likes observing the nature, and here is an attempting of utilizing what he found from a recent trip outside of the city. His aim is to present the beauty of nature along with architecture.

Concept & References/Inspiration

|”I always love to see the manifestation of buildings revealed in nature. Searching for the inspiration and references on the Internet took me months. I was looking for the ideal one in which I want to put into use for doing the visualization of it. My eyes eventually land on House Gepo by Open Y Office (, which is the kind that matches with my initial thoughts and imaginations in my mind for months.”


Basic Scene Setup

“Here are gamma and unit setups.”



“The modeling is quite easy thanks to the modern style of the building, which focuses on using nice materials and simple geometries. I used only editable poly.”
























“The most important thing regarding to the ground here is the imperfection of level. I separated the ground into 3 areas and then I used Msmooth and paint deform to make the ground a bit more realistic.”


The plants

“The plants I used are from various companies – R&D cube models, Evermotion, Vizpark, HQ plants.”












“I used Object paint and Multiscatter to make the plantation there are 10 different cameras on the scene. So plantation is quite important to create realistic tree shades.”



Trees, Bushes

“I used Object paint to plant trees and shrubs by randomize the rotation and scale to lessen the repetition.”




“Grass on Part one…”














“Various grass models have been assigned to this scene.”


“Grass on the second part…”


“Gravel on the three…”


“The final image of grass after using multiscatter.”




Concrete texture


Wood texture










Ground texture


“All of concrete, wood and ground textures I used are from CGTexture I modified some of them in Photoshop.”



“To make the plantation looks realistic I adjust the texture by using color correction.”


“Lighting is also important it can make the images more interesting.”

“I used Vray dome and Vray direct light in this scene.”





“Vray sun had also been set but I then found that Vray sun is a little hard to control. So in this project, I tried Direct light which turned out very impressive to me.”

“I can just move the sun to make different shades.”


“Here is my Vray setting…”



Post Production

“For postproduction, I only adjusted contrast and color balance to make the images look nearly to be photorealistic…”


Final Images

House Gepo1

House Gepo2

House Gepo3

House Gepo4

House Gepo5

House Gepo6

House Gepo7

House Gepo8

House Gepo9

House Gepo10

“Thanks for reading. I hope this “Making Of” could help you.”

Middle East Talents Awards team would like to thank you for sharing your educational tutorial to this creative artwork. Design and create more beautiful digital artworks. Always be aware of digital trends as it will help you to boost in this industry. We believe that every digital artist has unique talent so don’t give up and keep working. Wishing you all the best!

The Making of “Hide and Seek” by Artner Jürgen

Artner Jürgen is a self-teaching 2D/3D artist based in Linz, Austria. For the past 7 years, he worked with 3Ds Max and Mental Ray. He switched at the end of 2013 to 2D and digital painting and tried to combined Max and Photoshop at the moment. He likes overpainting, bashing and rendering his own 3D images. Here is the link to his META 2017 entry: Let us go through the education tutorial below:

“Hi, here’s a quick tutorial on my mecha.”

“I always start with some quick sketches on tiny sheets, post it or newspaper. I’m a technical mechanic so it’s easy for me to get some inspirations. When the idea gets some nice shapes in my brain I start with the modeling process in max.”











“First of all, I do the legs to get a feeling for the size of the model. By cars, I always begin with the tires.”

“Also important for my workflow is the biped skeleton in max. I use 174cm as size so most of them don’t lose the scale.”






















“After the legs, I try to find the shape for the cabin…”









The final one….



“After adding some details, I often add more details.”



and more details…



“Just to find out that’s not the image I got in my head.”


“So back to start and create something new. I used the mecha from my old image and started a technique.”

“I never understood the UV mapping in max so I learned photoshop and started to paint a lot.”



“And so the mecha got the color seen in my image.”

“And that’s how my image is done nowadays…. clay render and color it like a painting. And use all the other stuff…”

bashing the scene



“And painting over… or paint it new like some of the parts you see in the scene”





“Fire….??? maybe or some dirt and wires???”



“At least I tried a lot of setups and ideas.”









“The background and some parts of the foreground.”





















Detailed shots



“And after a month of painting, tweaking, color tryouts, color shading and all the stuff I got all parts together and finished my entry.”



“I hope you like my first tutorial I’ve ever done.”

META team would like to thank you for participating in META 2017. Every edition of META shows that growing number of digital artists were spread across the globe. Always look for opportunities to tell your story and share your digital artwork with others. Be inspired as you create more beautiful digital pieces.


The Making of “Nuremberg Bathroom” by Mohammadreza Mohseni

“Hello to you all! I am Mohammadreza Mohseni, co-founder of newly founded Vivid Visual Studio in Iran and I am a certified architect with a Masters in Architecture. Additionally, I have over 10 years experience in architectural visualization and architectural photography, and I hope you enjoy reading this making-of article.”

“For this commercial project, I used Corona Renderer (which I have followed and used since Alpha 3) to learn about the changes and features in the latest version of Corona Renderer.”

“It was an absolute pleasure to write this article because I really enjoyed doing this project. Clients’ behavior and their interaction with artists is the axiom that can make the job pleasant and can lead an artist to create extraordinary artwork (besides the technical and artistic capability of the artist). In this project, the client did not limit me and she was open to my recommendations about the design, colors, harmony, materials selection and lighting design in the process.”

Here are the links to his META 2017 entry, Nuremberg Bathroom. See Mohammadreza Mohseni’s portfolio here:

Modus Operandi (method of procedure)

“In order to get some believable renders of a small space, there is no choice except to focus on richness in the details. As you may have heard, there is a famous quote that says “the devil is in the detail.” It is a hard and time-consuming process to create plenty of details in every aspect of the project, such as lighting, materials, and modeling. So, before we begin the walk-through, please keep in mind that adding lots of detail was my first priority.”

“Here we go, on to the workflow!”


“For this project, the client sent me a 2D-CAD file, plus some reference photos to act as inspiration. You can see the references below (the inspiration photos are from the mobile app)”














“I used Subdivision Surface Modeling for the hard surfaces objects – that is, almost everything in this scene! A few models are from and Evermotion.

To control the resolution of the models in each camera shot, based on how much detail I needed for that particular shot, I changed the OpenSubdiv Render Iterations parameter using values between 2 (for objects that were further away) and 4 (for objects that were seen in close up). You can see below how the Render Iterations affects the smoothness of the model.”










“In order to control the Render Iterations efficiently, I wrote a simple script to quickly change this setting for all objects in the scene, or for the objects which were currently selected. You can find this script below for you to use.”

Control OpenSubdiv Render Iterations Script

“Run the MAXScript Listener (F11) and then copy and paste the script that I wrote, replacing X at the end of the script with the number you want for the Render Iterations parameter.”

Note: be aware changing the resolution of a model will affect render times.

To run on all objects in the scene:

for i in objects where ((finditem (for m in i.modifiers collect classOf m) OpenSubdiv) != 0) do (for m in i.modifiers where (classOf m == OpenSubdiv) do (m.useRenderIterations = true; m.renderIterations = X))

And to run on only currently selected objects:

for i in getcurrentselection() where ((finditem (for m in i.modifiers collect classOf m) OpenSubdiv) != 0) do (for m in i.modifiers where (classOf m == OpenSubdiv) do (m.useRenderIterations = true; m.renderIterations = X ))

“Below, you can see wireframes of several of the camera angles. I adjusted the amount of subdivision based on how much detail I needed in any given shot.”













Camera & Compositions

“I used the golden ratio as a guideline to compose my camera shots. You can see it below, overlaid on the renders.”













“Finding the right camera settings is really easy if you have a background in photography (like me), and it will take a less than a minute to set your camera exposure triangle for your lighting scenario.

Even if you don’t have experience with photography, it is not a big hassle – you can use one of my scripts called “DSLR Exposure (EV-LV Method)” to help you set your camera. The script supports the Corona Camera Modifier, as well as other camera types, and you can download it here.”











Note: if your priority is DOF, use AV mode; if your priority is Motion Blur, use TV mode.


“Remember the “Modus Operandi” part of this making of? Well, now we will begin focusing on the details, aiming to keep it simple but realistic. One of the ways to make your lighting realistic is by using a high resolution HDRI – it will help you create realistic, natural lighting, with detailed variation, with ease.

You can, of course, use other methods, such as using a Corona Sky (which is awesome) and get a pretty damn good result, but I usually go for the HDRI approach. In this project, I used the Peter Guthrie 0902 HDRI loaded into a Corona Bitmap, in conjunction with a Color Correction map to change the colors a little bit. You can see the settings below.”







Note: be aware that using a Color Correction map will increase the render time.

Then just drop that Color Correction node into the Corona Scene Environment:








“After setting up the environmental lighting, it’s time to set up the artificial lighting. Because I went for a desaturated atmosphere but I did not want my materials to look pale (especially because the colors of the materials have a kind of gray tone in general), I decided to create a chromatic contrast in my lighting by using the complementary color of the environmental lighting, and to saturate it quite a lot to make it more attractive to my client’s eyes.”















“All the artificial lights have the same setup, just with variations in intensity. You can see their positions in the pictures above, and below you can see the light settings I used.”
































Note: The diffuse light boxes have a frosted glass in front of them (even those below the console, or those below the edge of the tub) to help make the lights look more realistic.

“For the switches and sockets lights, I have used a Corona Light Material with a very basic setup.”














“After setting up our lighting, it is time to begin the real fun part – material creation!”

Note: Do not ever use any pre-created materials or a converted material right out of the box; modify it if you want to create something awesome!


“I have used the Complex Fresnel plugin (by Siger Studio – it’s free) to create a more realistic shader.  To use the Complex Fresnel shader, disable the Corona Fresnel by setting the Fresnel IOR to 999 in the Corona Material.”

“For the Glossiness, I have used a composite of several maps. You can see the set up in the picture below. If you do not want heavy scratches, it is really easy to modify it, just play with the opacity of the scratch map layers in the properties of the Composite map node, and you will be able to get the result you are looking for.”











Clear Glass:

This was really easy and simple! See the material setting in the picture below:













Frosted Glass:

This was also really easy and simple. See the material setting in the picture below:














“Using this setup will give you a realistic result, but it does come with a price – it will be slower during rendering, especially because I have used this kind of glass in front of my diffuse lights to get a more realistic result. Be aware of what you are looking for, whether it is detailed, or render time – if you want to detail it may sometimes have a price.”

Note: if you want a tint of color on glass edges, you need to model the glass correctly and with full detail. You won’t get a nice result using a simple plane and a glass material!

Post Production

There was not much needed at this stage, you can see the raw renders in the image below:














“I did a little bit of tone mapping and adjusted the exposure by +1, or in some images by as much as +2 stops if needed. Then I added glare and bloom using ArionFX – Corona has its own lens effects and they are awesome, but after some testing, I liked the result of ArionFX for this particular set of images.”

“Then I introduced more contrast to the images, and added sharpness using the Unsharp Mask filter – and the final images are ready! A pretty straightforward and simple procedure. You can see the layers in Photoshop below.”













And you can see the post-production steps in the image below:













“And that completes the project! Here are some of the final renders.”









“You can see the complete set of images over at Behance.”

“Thank you for reading, and I hope you found some good tips here, and that you find the scripts useful!”


Vivid Visual Studio:

Thank you for sharing your talents with Middle East Talents Awards 2017. This educational tutorial is informative which will truly help the digital artist community. We believe that every digital artist has the passion to inspire and motivate others. Keep the artistic spirit within yourself as you showcase your talents to the world. META team is excited to see more of your amazing digital piece. Good luck!

The Making of “Luxury Reception” by Yasmin Alaa El Din Ebrahim

“Yasmin Alaa El Din Ebrahim is an Architect and Interior Designer. She has architecture bachelor’s degree from Faculty of Engineering at Helwan University on 2016. Interior design for her is a case, each space has its own soul expresses owner and function of the place design. In general, it could quote from anything around us – the nature or our surrounding, things or the movement of the body, the shape of the molecule, a plant or anything you can imagine, you can get an idea and translate it for other things as seen by every mind. Here’s the link to my META 2017 entry:”

Read the tutorial below prepared by Yasmin Alaa El Din Ebrahim herself:


My vision was to create the most exquisite interiors, I considered every detail to ensure the experience of understanding to art and life.”

“There is an effortless marriage of design and functionality that ensures signature perfection and delivers a unique living experience.”

Source pictures: 




































“I used Revit to make modeling for walls. Flooring and ceiling then I used 3D MAX to make some edit poly.”




















“I’ve used V-Ray Plane, V Ray mesh, IES, and V –Ray sphere for the lighting of this project.”






























“I used Blend tools to create materials, v- ray material and multi-sub object material.”
















Final Render:


final render1

final render2



final render3


final render4

final render5

Thank you for sharing your skills and talents in Middle East Talents Awards 2017. This educational tutorial will definitely be helpful to digital artist community especially the young artists nowadays. Continue learning and always put your best foot forward. META team is excited to see more of your creative masterpiece.

The Making of “Hope” by Monika Mishra

“Hi everyone. I am Monika from India. I am a director of Art institute deals with different kind of projects including painting, mural, graphic designing and much more. Also working as a freelance 2d artist. I like to paint on Canvas but for this piece I chose Photoshop.”

Here is the link for the 2D character META entry “Hope” created by Monika Mishra: Let us go through the educational tutorial here:


“For me, the right title may provide insight about the artist’s inspiration and intention. I always wanted to do something related to “hope”. Nowadays it is very hard to find hope in the fast pace world. I wanted to portray Hope as human or someone people can relate to.” 

1. “For this piece, I drew the rough sketch on paper and kept refining the idea until I got what I wanted. I usually do the rough sketch and overlay another paper and make the rough sketch to a clean-lined one.”



2. “After that, I scanned it and did a few tweaks to the sketch in Photoshop. Once I was happy, I started to play with the colors. (For me Different colors can create a different mood for artwork. Mood means the feeling we get when we look at a work of art. We can create the mood by selecting warm or cool colors that remind us of emotions that we want in our artwork. Before starting to color, the tone of the color should be decided. Color tells about a work of art. For me, bright colors represent happiness. So I used a bright shade as the tone of the artwork.”



3. “Once the base color is chosen, I kept adding more color details. I used layers to mix and match. Since I wanted to keep the background in shades of nature, I selected those natural shades. For this piece, I had to find a way to keep the leaves and the branches fit with the character so that it’s a soothing blend of colors. I prefer to think that the subject and its surroundings are equally valuable and that they support one another. A background describes the story you are telling.  It gives the subject its roots; its sense of time and place, history, and meaning. Each background is its own evocative world.  We should relish our backgrounds, knowing that they are places our subjects cannot exist without.”



4. “I kept refining the image with different layers till I got the desired look. I always work with the layers in Photoshop to attain that perfect look by changing the modes to see the result.”



Middle East Talents Awards is happy to witness another beautiful and inspiring digital artwork from you. Your artworks look natural and vivid that will surely catch not only attention but also touches the hearts. Will be happy to see more of your creative works. Remember that realism is the oxygen of digital arts.


The Making of “Nasu Tepee” by Hossein Yadollahpour

Hossein Yadollahpour is a CG artist and architect from Iran. He was introduced to the CG world in 2001 when he was reading a tutorial book which was related to the version 2.5 of 3Ds Max and then he got fascinated by CG world. Hossein’s overall experience includes architectural visualization, environment design, character design and VFX.

In this educational tutorial, he will share the making of his META 2017 entry “Nasu Tepee” ( This is a personal work where he tried to make a 3D scene of Nasu Tepee. The recreation of this piece was started when he found some photos of this beautiful building on the internet. Here is the reference:

Watch the video here to see the experiences he gained during the making of “Nasu Tepee” project:

See the work in progress shots here:










Middle East Talents Awards team was delighted to see the progress behind your creative piece. With the continuous advancement of technology, digital arts industry will always move and change. It might be hard to master but more importantly is to keep developing skills and have continuous learning. Wishing you all the best. We are excited to see more of your beautiful digital artworks.

The Making of “The Raw Material Home Store” By Rozita Hosseini

Here’s another entry from Rozita Hosseini, a META 2017 interior entry called “The Raw Material Home Store” ( “My main inspiration was Paulina Arcklin photos. Furthermore, I’ve used other references to make the final result more detailed.”

Source pictures:



























Modeling :

“I used Edit poly and Turbosmooth as main modifiers for modeling of these objects that you can see in the picture.”



































“I used Edit poly, Noise, and Turbosmooth as main modifiers for modeling of the objects that you can see in the picture.”



























“I’ve also used Z-brush deformation tools to create an old wooden table, plaster wall, and Candles.”


















“I’ve used an HDRI and a V-Ray Plane for the lighting of this project.”











“I used Blend tools to create materials. Most of the textures were downloaded from and additionally I’ve used Adobe Photoshop to make some corrections on textures or create some textures basically in a way that I needed.”































View ports





Renders without post-production with different lighting tests.




























“I’ve done the post-production with Adobe Photoshop and Magic Bullet, Nik Correction plugins.”


Final results:





We are happy to see your contribution to Middle East Talents Awards 2017. Keep learning especially the new techniques and trends that will help us in this digital world. Will look forward to see more of your creative artworks. Vibe the art!

The Making of “Lemons” by Rosana Marar

“Hello, Middle East Talents Awards it’s me again, Rosana Marar.”

“My main passion and interest is 3D animation. Nevertheless, I love to do some render shots and creating 3D models from time to time. I’m a huge fan of Autodesk Maya so I’m pretty comfortable with using almost 90% of its tools, so like I mentioned in the previous tutorial I know how to do everything in the animation pipeline.”

Let us go through the educational tutorial for the META 2017 entry “Lemons” ( here:

Step 1: Modeling

“The modeling part for this still rendered 3D image was simple and straightforward. First of all, I modeled the lemons starting with a simple cube primitive. Then I added loops to it and started forming the shape of the Lemon. I did the same thing for the leaves; in addition, I used bending tools to acquire the desired result.”





Step 2: Texturing and Shading

“Everyone who is working in the animation field is pretty familiar with this step. Basically, it’s where you have to virtually convert the 3D models into a 2D form in order for them to match the assigned textures. I chose appropriate Renderman materials and changed their attribute according to the required output. Furthermore, I added bump/ normal maps to each model to give extra details and make it look more realistic.”




Step 3: Light and Render

“As for the lighting of the scene, I placed one “key” area light on the left of the lemons that have a yellowish color and another “ambient/fill” area light on the top left corner to brighten up the scene. Also, I added “Rim” light to make the lemons look separated from the background of the scene.”

“The rendering engine that I used is Pixar’s Renderman.”




Final Render:



Middle East Talents Awards team would like to thank you once again for sharing your skills and talents. Your digital artworks are interesting and it is important to always stand out from the crowd. Always be inspire and strive to push to create something original. We wish you all the best in your career and the competition.

The Making of “Batgirl” by Shady Ahmed El-Laithy

Shady Ahmed El-Laithy is a 3D character and 3D light artist from Cairo, Egypt. He worked in several 3D animation TV projects and won several CG awards. He was also featured in 3D Artist Magazine and some of his works were nominated in Expose 10 to be published. Currently, he works as an Art Director and 3D Team Leader.

His entry in Middle East Talents Awards 2017 is the 3D character named “Batgirl” ( Let us find out more about his digital artwork through his educational tutorial here:

“I am a big fan of DC World, so I wondered what if bat girl exists in dark medieval era so I start working on this project.”


“First, I block bat girl body using primitive shapes.”



Sculpting and refining

“I used a dynamesh technique to blend all the shapes together in Zbrush and the start to refine my model.”


“I used Maya to retopo my model and imported again into Zbrush to start detailing the body.”

Building armor

“I sketched the body armor using Zbrush build brushes and then retopo it again using Maya quad draw.”





“I used Zbrush transpose master to pose my character.”




“I started painting the armor using substance painter to give it the hard surface look.”



Lighting my scene

“I built studio light to using 3 point light and sky dome.”































FX for Batgirl

“I used Maya Xgen for the hair and interactive grooming for the short hair.”




“It was my first time to use Arnold 5 in shading, it was an easy and fun way to give life to Batgirl.”



Render final image

“I used Photoshop to refine the final output.”

keyshot clay render


Middle East Talents Awards team is happy to see the tutorial behind your digital artwork “Batgirl”. Creating 3D character might not be easy but it is important to push ourselves in each new shot as we constantly learn. In digital arts world, there are always new things to learn that will help us to utilize our skills better. Keep creating digital arts as we are excited to witness more of your talents and skills.

The Making of “The Tragic End of November” By Rozita Hosseini

Rozita Hosseini is a graduate in Master of Architecture at the University of Tehran. She worked in architecture, furniture, interior design and architectural visualization for more than 6 years. She is an expert on Autocad, Autocad 3DsMax, Chaos Group, Vray, Pixologic Brush, Adobe Photoshop and Marvelous Designer.

Her META 2017 entry is “The Tragic End of November” ( Let us go through the educational tutorial of this piece.

“My main inspiration was Julien Coquentin’s photos. Furthermore, I’ve used other references to make the final result more detailed.”


Source pictures:




























“I used Debris maker for blocks, moreover, I used a plane with Noise and Meshsmooth for the mortar between blocks.”


















“I’ve used wire fence script to model the fence in addition to FFD BOX.”

“I’ve also used gw_Ivy plugin to model plants on the fence.”










“The road is a long plane which has ffd box modifier to control the slope of the asphalt more over paint deformity to create some holes and deformities on the asphalt.”










“I’ve also used Z-brush deformation tools to create bricks and concrete walls.”


















“I used Mass Fx RBody to make piles of dead leaves. I created 3 piles of Leaves and scattered them on the road by advanced painter furthermore I scattered many things on the road like grass, rubbish, single leaves, branches and gravels as you see in the picture.”


















“I’ve also used Marvelous Designer to model the full garbage bag on the road.”












“I’ve just used an HDRI for the lighting of this project.”











“I used Blend tools to create materials. Most of the textures were downloaded from and additionally I’ve used Adobe Photoshop to make some corrections on textures or create some textures basically in a way that I needed.”































View ports
























Renders without post-production.



























“I’ve done the post-production with Adobe Photoshop and Magic Bullet, Nik Correction plugins.”

Final results:





We are happy to see the work in progress behind your digital artwork. This educational tutorial will really help to understand the details of your creative piece as well as to the young digital artists. Keep creating digital arts as you envision more ideas and bring it into life.