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” (http://metalentsawards.com/en/contest/view/3820). “My main inspiration was Paulina Arcklin photos. Furthermore, I’ve used other references to make the final result more detailed.”

Source pictures:

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Modeling :

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

 

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

 

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

 

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Lighting

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

 

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Materials

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

 

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View ports

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Renders without post-production with different lighting tests.

 

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Post-production

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

 

Final results:

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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” (http://metalentsawards.com/en/contest/view/3806) 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.”

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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.”

 

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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.”

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Final Render:

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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” (http://metalentsawards.com/en/contest/view/3796). 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.”

Blocking

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

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Sculpting and refining

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

Retopology

“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.”

 

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Posing

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

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Painting

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

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Lighting my scene

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

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FX for Batgirl

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

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Shading

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

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Render final image

“I used Photoshop to refine the final output.”

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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” (http://metalentsawards.com/en/contest/view/3458). 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:

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Modeling:

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

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“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.”

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“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.”

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

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“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.”

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

 

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Lighting

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

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Materials

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

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View ports

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Renders without post-production.

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Post-production

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

Final results:

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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.

The Making of “Lazy Ox” by Ali Fakhreddine

Ali Fakhreddine is a 3D Artist and animator in Lebanon. He’s been working with Autodesk Maya for the last 8 years and did some training in Gnomon School of Visual Effects in Hollywood California after he graduated in Lebanon American University in 2005.

Ali strives to put his technical skills, knowledge and passion in order to transform client’s vision and ideas into solid and sensual animated visuals. Ali was also a professional basketball player for more than 15 years. He have played with Lebanese national team and have participated in two world championships. For Ali, basketball might not seem so relevant to design and animation but this game taught him to patience, determination, confidence and teamwork.

We are happy to share his META 2017 3D character video entry called ‘Lazy Ox”. Watch and see the piece he created in this link: http://metalentsawards.com/en/contest/view/3431.

Here’s the educational tutorial for “Lazy Ox” prepared by Ali Fakhreddine himself:

Concept:

“When designing a character, it is very important to continuously imagine the story of the character and the environment in which they are cast.

The idea behind Lazy Ox came from the realization that technology has facilitated our lives in such a way that we have become too lazy.

 Everything that we do has been facilitated by a machine in one way or another. Thus, I thought it would be fun to create an ox character that uses a hoverboard to help him do his job and plow the Earth.” 

Modeling:

“First of all, I start sketching out quick ideas with a pencil on a piece of paper (during this period I try out many ideas and proportions). I finally produce a final sketch that has a front and side view of my character.

These images will be my reference images that I import to Maya to help me with the modeling process.

There are many ways to model a character. My favorite method is box modeling. In this method, I start with basic shapes. For example, I start with a box for the head, a cylinder for the limbs and torso, a sphere for the eyes, etc.

 On these basic shapes, I use Maya’s tools such as the insert edge loop tool and the extrude tool to transform them to more complex and organic shapes that would form my character.”

Texturing:

“I export my character to Zbrush to do the texturing. I find painting and texturing in Zbrush more intuitive and inspiring. 

I divide my character (the more the divisions the higher the texture resolution) and start painting on it.

I also create a normal map in Zbrush. This normal map will create bump information on my character’s mesh such as creases, scars and wrinkles.”

Lighting:

“I use V-ray for the lighting.

The lighting is basic and simple. I used two V-ray Rectangular lights. One I use as a key light and the other I use as a backlight. I also use a V-ray Dome light with an HDRI image as a fill light.”

Animation:

“For the animation, I start first with animating the Hoverboard. The characters main controller is parented to the Hoverboard, so all the animation that is done on the hoverboard will be translated automatically to the character.

After that is done I start animating and overlapping the arms, head, and ears. While the character was changing direction I made sure to show weight through the shifting of the characters waist and the overlapping of the other body parts. I also created some simple blend shapes for the facial expressions and eye blinks.”

Compositing:

“After rendering a color pass and an ambient occlusion pass with V-ray in Maya. I import my image sequence to Aftereffects. In Aftereffects, I composite my passes and do some color correction. Finally, I add some motion blur.”

We are happy to see your digital artworks through Middle East Talents Awards platform. This is truly inspiring. Your passion with self-confidence and determination will bring you to a great career path. Wishing you all the best in your career. Keep pushing yourself every day because if you never give up, you’ll never lose.

The Making of “Tree House Story” by Koushik Routh

“My name is Koushik Routh. I am a CG Artist/Generalist based in India. I had the opportunity to work with multiple studios over the years and different countries. I try to spend my spare time to improve my skill set by doing various personal projects and to learn from other talented artists from around the world.”

“I would like to make a short tutorial explaining the thought process and procedure behind creating the personal artwork name “Tree House Story”. Here’s the link to his META 2017 entry: http://metalentsawards.com/en/contest/view/3584.”

Reference/ Concept:

“First and foremost gathering reference and concept art are very important to avoid any guesswork. We can make your own Concept Art but, in my case I was grateful Tysen Johnson allowed me to use his Concept art, which I saw on Artstation and immediately liked it so much as I always wanted to create an adventurous scene.”

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Tree House concept art by Tysen Johnson ( Visual Development/Story Artist @ Brazen Animation )

Gathered some reference from the internet:

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Study:

“After finalizing the environment concept art I started to study the design, color, texture of the individual elements of the environment very closely, in this case, a tree house interior. So, most of the elements were made by wooden structures and have a similar color tone all over except few elements.”

Story:

“I believe every artwork we create should have some storytelling behind. Either we include a character in the environment or not, we should have at least one Key element and secondary element to tell a story of the place and time/ history. As my artwork name suggest TreeHouse Story my main goal was to capture an unpleasant moment by using two different characters.”

Modeling / Creating assets:

“Modeling is the very first process of creating any asset for the artwork and in my case i have used Maya as my primary tool for modeling and Zbrush for sculpting and secondary dealing. Please have a look at the modeling/ sculpting progress provided below:”

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“As we can see, I have started the modeling phase with very basic shapes and minimal polygon and slowly start adding details as necessary. When modeling a complex environment it’s always best to keep in mind that how heavy the scene would become at the later stage in the pipeline, so optimization of assets, naming and grouping is important.”

Character sculpting with pose:

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Candles sculpt:

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Bed modeling progress

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Bed wooden ornaments detailing

 

Knife base model with topology:

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Snake sculpting and Scales detailing

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Texturing:

“After completing the Modeling, I start the UV layout and texturing process. I used Mari and Photoshop for texturing different maps as needed for the assets” (Color, Specular, Bump, Displacement, SSS, ISO/ Mask so on.)

Snake Color UV layout:

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Lighting / Look Dev:

“After completion of all the assets according to the concept art, I start the lighting and look development process. Lighting and Look dev is a very crucial stage as the final output and quality of the render depends on this stage heavily.

“I try to do individual assets look dev/ shading in neutral light-rig and then bring the asset in the main sot or if it’s a still image then I do the look dev in the master lighting file. In my case, as this was a single scene and these assets would not be used in any other artwork, keeping that in mind did the Look dev in the master light rig file. I have used Redshift GPU renderer for this project.”

Master_Lighting:

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Fur/ Grooming:

“I have used Xgen for fur and hair for the character cloth, skin and the Bedsheet. It gives an extra realism to the environment.”

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Compositing/ Color grading:

“Once I complete the whole scene with Look dev and Lighting finalization. I go ahead and export render passes for compositing.  In my case, I have not done much in post process other than color grading the adding some extra layers such as dust particles and bloom effect and overall color grading. Please find the final composited render provided below. The raw render from Redshift was pretty much close to the final.”

Final_Render:

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Middle East Talents Awards team would like to thank you for sharing your educational tutorial for your digital artwork “Tree House Story”. Your creation was beautiful and our team was happy to see the story and goal of this piece. Keep the passion for creating digital artworks and giving life to their ideas. Generate more ideas and meet new people that will help you to grow more in your skills.

 

The Making of “Nergal Underworld Hunter” by Kiarash Tamizkar

Kiarash Tamizkar is a 3D specialist from Iran. He is master of organic and hard surface modeling. At present, he is working for about 8 years as a 3D Artist. He was really glad to explain the workflow of “Nergal Underworld Hunter”. This is his second 3D character entry in META 2017. Here is the link: http://metalentsawards.com/en/contest/view/3605. Let us find out more through his educational tutorial here:

“Nergal comes from Babylonian mythologies. Underworld hunter, he can smell your fear and calling your death. I really designed so much different creatures and for every one of them, I create their own story.”

“As you know, I participated in this talent (META 2017) with two submissions (Nergal project) and another one (Atras robot project) so like before, I explained my workflow as I did in Atras project.”

“So for the first point of concepting, you should assign a story to your character. Who is he? Is he a bad guy or a good guy? In which environment or what situation he is living on? Is he a bloody killer and wild or what kind of attacking strategy he uses for his victims and so many questions like this defining who your character really is and how must he looks when you imagining him in your mind before you create him. All of this Specifications help you to gather different anatomies together and make a new creature that matches those aspects.”

“So I start to build a story about him and make him a mysterious, weird creature that looks weak, silent that live in darkness like shadows without any eyes or humanoid arms with 2 hands that for the first look seems to make him a good target for darkness hunters but it’s not true at all. He is really dangerous. He can see his victims in real darkness and smell their fear, he can feel them and run fast as possible as around them and when they distracted enough he will get close and open his abdomen and send out some poisons arms that make his victims Palsy then he will inject a poison Liquid into their body and after it he will suck all fresh flesh with that injected liquid. His skin is full of Deadly poisons and he smells like pepper.”

“So I start with Zsphere in Zbrush to forming the base mesh and turn it to mesh with adaptive skin and I always using move brush or snake brush for defining main body members volumes and dynamesh with low res for the first level of sculpting and clay build up brush and adding more and more res to dynamesh with respecting to adding big details to Tiny details. So after all this I will retopology my mesh and project old model details to the new one that is unwrap and divide enough to carry old model details and starting to adding more details to his body and after it poly painting and texturing and baking maps like normal maps displacement map and I also bake some additional map in substance painter, after it I send my model to substance painter and start to add more detail on his texture and bake some reflection map and roughness map and so on and after it all map and model imported into Keyshot for rendering and I used skin shader that have sss into it and rendered him also I have turntable animation in marmooset toolbag and for still render I send all its passes into Adobe Photoshop for final output and adding some effects and light and color corrections. I really tried to explain my workflow as briefly as possible so thank you, everyone, and have fun.”

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We thank you for sharing your digital artworks in Middle East Talents Awards 2017. Your creations are amazing and it will surely attract viewer’s eye. Keep learning and always step into your imagination as you design more beautiful pieces. Always remember that if your mind can conceive, you can bring it to life through digital artworks.

The Making of “My Tin Scrap Toy” by Zernan Suarez

 

Zernan Suarez is a 3D Artist from Philippines and currently working in Dubai, United Arab Emirates. For Zernan, art is part of his life and here at his personal touch in design, he strives to provide a concept with professional and personalized design solution. He understands that a home or business needs to be comfortable and attractive, and that these key ingredients must be reflected in each unique design style.

His entry in Middle East Talents Awards 2017 is “My Tin Scrap Toy” (http://metalentsawards.com/en/contest/view/3583). Let’s find out more about this digital artwork from his educational tutorial here:

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“I didn’t try any of the advanced technology toys like remote control cars… so I decided to make my own style of toy car made of scrap tin can, bottle cap, electrical plastic wire, tie wire, long bolt with nut and rubber, etc.”Ok, let’s start what I’ve got.”

REFERENCE

First, I began to collect the best possible reference | info, images, materials, etc. 

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MODELING

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“The most exciting part of the 3dmodel is to show it into pieces with detailed caption and some information. My basic tools and plugin that I use in modeling:  Follow me tools, Offset push and pull, Intersect and trim, Round corners and bevel edges, Artisan, and shape bender.”

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Exploded Parts . . .

OTHER ENTOURAGE

“Grass Vrmesh and free model from 3dwarehouse gallery.”

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“To add more drama you need to make something visible in the scenario…this is the main objective of visualization is to show the appearance of the object in the entire scene or atmosphere.”

TEXTURING MATERIAL – Mapping

“In this simple tutorial showing that the exploded material are on top of the exploded model projected on the center part, just 1 click on the paint dropper, then 2 and 3.”

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SKETCHUP SCENE LAYOUT

“Entire 3d model scene layout with texture and sun shadow setting.”

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LIGHTING TEST“I use always Clay render using override material for checking of sun lighting and drop shadow softness, and also after you can save the IR and LC to load and use it for final renderings.” (save parsing time)

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TEXTURING SAMPLE“I think this is the tricky part in all Vray Material by adding reflection, balancing parameters, add some filters in the material. In this simple tutorial, I want to show you how to separate some parts of non-reflective material using dirt map.”

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ENVIRONMENT SUN SETTING

“From default setting, I adjust only the sun size 1 to 5 to make shadow not too much sharp.”

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OTHER PARAMETERS

“From default setting, I adjust only DMC sampler, Output, IRR and LC.”

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RAW RENDER OUTPUT

“Final image resolution is 3000 × 1949 pixels. My computer is very slow and it took me about 9 hours to render the scenario.”

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POST PROCESSING

“Post processing was performed only in Photoshop with too much trial and error masking and layering.”

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“Here’s my collection of crop image to highlights the scene and add more drama.”

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“Here’s my individual layer | masking of different texture.”

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“Adjusted Brightness | Contrast | base on my preferences.”

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“My tin scrap toy ENTRY”

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We thank you once again for participating in Middle East Talents Awards. Your artistic skills are great especially when you create scenes with dramatic lighting that makes your piece more awesome. Keep the value and spirit within your artworks as it will inspire more digital artists. Indeed, this educational tutorial is valuable to the current and future generation.

The Making of “Atras” by Kiarash Tamizkar

Kiarash Tamizkar is a 3D specialist from Iran. He is master of organic and hard surface modeling. Currently, he is working for about 8 years as a 3D Artist. He also works in several fields in CG such as environment modeling, architecture, civil engineering build process animations, creature concept and modeler, vehicle and robotic characters and machines modeling.

His META 2017 3D character entry is “Atras” (http://metalentsawards.com/en/contest/view/3631), the future military robot. This is one of his favorite characters which he did recently. It is a very complicated character that took him one month to create. Atras consists of 466 subtools that he created all in Zbrush and 3D Max and he used them as mechanical parts in his body. This concept is from the Kiarash Tamizkar and he spent day and nights for this concept design.

He was really glad that he can explain the workflow about “Atras” modeling. Let’s find out more here:

“First of all, I started with my Atras concept design. Why Atras? Why this style? What was I looking for when I sculpted his basic volume in Zbrush? The answer is justice. I was looking for a character that could be brave and fearless and kind and also a cruel killer to fight against tyranny and injustice. I needed to show people something that is powerful and inexpugnable so it has to be a warrior and also in this modern world that is full of technologies a high tech robot can be my answer to all my quests. So I started to imagine him and sculpting a basic volume. You as an artist have to know everything about anatomy especially human anatomy and if you are a hard surface modeler you have to study about mechanical parts like robotic arms or machineries functions and try to design logic parts not make your model full of causeless parts.”

“So I start my main pose with Zsphere in Zbrush and then using adaptive skin to make it a mesh then with dynamesh at a low resolution try to sculpt body parts with respecting to human anatomy. In this step, I used several Zbrush abilities that are awesome like clip curve or trim curve brushes to clear my volume surface and turn it more hard surface looking or using dam standard brush or trim dynamic brush for edges and also using select lasso brush to give different polygroups to my model after all this. In next step, I start to pull out parts from the main volume. For this, I used masking and extract some parts and also using panel loops and then split some other parts then I started to create my own insert mesh brushes, so I started to create some mechanical part in Zbrush with (Zmodeler and shadow box) and some other parts in 3d max and then make them insert brush and used them to add detail to my model..”

“And finally optimizing model and exporting Atras to Keyshot for render and for color corrections and adding some effects to final render like sharpness I used Adobe Photoshop. So you can see my results here as images below.”

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We thank you for participating in Middle East Talents Awards 2017. Your contribution to the META community is great and useful. We are glad that you shared your masterpiece and will look forward to see more creations from you. Keep improving your artistic side and grab more inspiration as you explore the world of digital arts.

 

The Making of “Beloved Tree” by Nizar Abou Hamdan

META team would like to share the educational tutorial for the entry called “Beloved Tree” (http://metalentsawards.com/en/contest/view/3542) by Nizar Abou Hamdan. Let’s get to know more about him including the story behind his META 2017 piece:

“My name is Nizar Abou Hamdan, I studied computer graphics and animation in Notre Dame University in Lebanon.”

“I’m currently working as a 3d Projection Mapping Artist.”

“I’m seeking to become a concept artist by merging my 2D Illustration and my 3D modeling and animation skills.”

“Beloved Tree” is my first concept art Illustration, it was all done using Adobe Photoshop, painted with a small Wacom Intuos pro using basic Photoshop brushes without using any photo reference.”

“Why a Tree?”

“Simply because trees are beautiful , hard to make (which is a great way to challenge yourself), and can teach you a LOT in terms of adding details to your image, improving your lighting and shading skills, and also you get to know how to draw leaves which is one of the biggest challenges I faced during the drawing process.”

“How did I start?”

1) “First of all I started with drawing the Rule of Thirds lines (Black lines in the image below) to help me decide where to put the tree in the composition and to help me control the viewer’s attention efficiently.”

2) “For me the best way to start you composition is choosing a background gradient color, I chose here a light grey with an off white gradient background.”

3) “I started using 3 main colors which are positioned on the top left of the image below, the darkest color on the right is for the Foreground, the color on the left is for the Middleground and the color in the middle is for the Background.”

4) “I started drawing the tree roughly just to get a basic idea about its shape.”

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5) “I started then filling the tree with a dark color to make a contrast with the background and to direct the viewer‘s attention toward the tree.”

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6) “I added more details to the tree and started adding details to the rock also. Notice that the arrows in this image means the direction from where the light is hitting the tree.”

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7) “I added more details to the rock and added some grass using the basic Photoshop grass brush, also the tree leaves are done using basic leaves brush.”

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8) “I started defining and adding details to the mountains in the background.”

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9) “Finished detailing the background and added lights to all the elements to make it more alive.”

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10) “Redone the leaves to make it fit with the level of details of the overall image. I started with drawing one single leaf and then used it to make a small branch and then used this one to fill all the leaves area.”

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11) “Finally I added a warming filter to the image, added some vine in the foreground and fixed the lower part of the rock.”

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“One thing to keep in mind is to organize your layers from the beginning, in this case each element in this scene the grass, the tree, the rock and the three levels of mountains in terms of depth are on a separate layer.”

Middle East Talents Awards team is happy to see your beautiful digital artwork. We are glad to find out the story behind your creation with different expression of emotions. This kind of artwork can enlighten and inspire many people. Keep your passion as you craft and explore the nature of art. We are excited to see more of your creations.