The Making of “Robocat” by Rakan Khamash

Here’s another entry from Rakan Khamash, a 3D Generalist and Art Director from Jordan. We are happy to see several submissions of him in this edition of META. Rakan created another 3D character named “Robocat” which he created after seeing the amazing 2D concept by CreatureBox. Here’s the link to his META 2017 submission: http://metalentsawards.com/en/contest/view/3538.

Let’s find out the process of making Robocat from concept to final render here:

Step 1: Modeling

“I started with a character concept by CreatureBox (they are one of my all-time favorite artists). I start by creating simple blockouts of the different shapes and parts in MODO. I continued to add the components but I didn’t focus too much on the details, which came later; it was much more important to get the proportions correct and closely follow the concept. I kept symmetry turned on as I find it easier to model with it on and then break symmetry once I had finished the modeling and get to the posing stage. With the bulk of the character modeled I moved on to adding the little details such as the grill in his nose and his spine. The next bit of modeling was a lot of fun because the concept sketch only has the front view; this meant I could give my imagination free reign to design the back of the bot. I added parts and details that fit with the look and feel of the original concept but also added my own little touch.”

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Blocking out simple shapes

 

 

 

 

 

 

 

 

 

 

 

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Building up the model

 

 

 

 

 

 

 

 

 

 

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The model is ready for the next step

 

 

 

 

 

 

 

 

 

Step 2: Look development and color

“With all the modeling done I moved on to posing Robocat and connecting the free floating parts to the body. I decided it would be much easier to model these parts once I had finished posing the main parts such as the arms. I also started testing different lighting option to find the mood for the final image.

As the concept is in black and white I was able to use my imagination to shade and color the character. I tried different colors but found that yellow really made the character pop, so I went with yellow and orange shades. I also made a base for him to stand on.”

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Robocat is posed and ready to go

 

 

 

 

 

 

 

 

 

 

 

Step 3: Finalizing details and pose

“For this step, I finished all the little details and refined the pose. I added some back pipes and also remodeled the base so that it matches the overall look of the model and original concept. I often go back and forth adding and deleting details on my models, I do this because I’m never 100% sure about which angle the final image will be taken from so I like to make sure that the model is finished and detailed from all angles.”

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Step 4: Light setup

“Lighting setup is an important part of any piece of work. To light this scene I placed two area lights on the bot’s left and right, one directional light on shining from the left side to highlight a focus point on the eye, and finally, one spotlight with volumetric from the back to give him a soft rim light with a few light rays. This helps to add some depth and separate between the background and foreground.”

Lighting the model

Lighting the model

 

 

 

 

 

 

 

 

 

 

 

 

 

Step 5: Setting up shaders and materials

“For this step I added materials and shading to the model. I did most of the parts with procedural texturing, I didn’t bother with UVs. MODO is really great for this type of texturing. To make the dirt and scratches I used an AO map and set it on the edges with a darker color, this is a cheap hack but works fine in most cases.”

Modo

Modo

 

 

 

 

 

 

 

 

Step 6: Raw render

“The final raw looks a bit washed out, which is fine for this stage because I try to get 60 to 70% of what I need for the raw render and then do some post work and tweak things. I did a few render passes (Color, AO, Material ID, and Shading Incidence). The depth was rendered in MODO with 1024 AA samples to get a clean result. This is one of my favorite steps to get stuck in to, I did the final color grade and added some extra punch to the image, as well as sharpen it a little bit and focused the light around the model.”

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Raw Render ready for post work

 

 

 

 

 

 

 

 

 

 

 

 

 

Model after render pass

Model after render pass

 

 

 

 

 

 

 

 

 

 

 

 

 

Step 7: Adding the last details

“Looking at the results of the previous step everything looks great but is there more that I could add? I realized that Robocat looked too clean for a robot so I decided to add some dirt and scratches here and there on the model to add some realism; although not too much as I didn’t want to overdo it. With the dirt added I was happy with the finished result. Thank you for reading this making of and I hope it has been useful to you.”

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Middle East Talents Awards team is grateful once again to witness another submission from you. Creating 3D characters can be a challenging task but more important is that we continue to learn and enjoy the creation process. Wish you all the best in the competition and your career.

The Making of “Forgotten” by Benyamin Hajforoosh

Benyamin Hajforoosh is a 3D Artist from Karaj, Iran. His main skills are 3D animation, 3D modeling and visual effects. His entry in META 2017 is the piece named “Forgotten” which you can find here: http://metalentsawards.com/en/contest/view/3488.

Forgotten is an individual project. The main software are 3d studio Max 2017 and Vray 3.5. All models have made by 3D max and, sculpting by Zbrush, texturing by Substance Painter and retopo by Topogun. I used “Forest pack”, “Rayfire” and “GrowIvy” plugins duration this project. In addition, composite step was created with aftereffect and sounding by Adobe audition and edited with adobe premier the end.  I appreciate my Dear friend (Hamid Reza Afshar) who has helped me with his professional counseling in this project.

Let’s find out the making by reading the educational tutorial here:

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Start modeling with blueprint

Start modeling with blueprint

Modeling pose02

Modeling pose02

Modeling pose03

Modeling pose03

Modeling pose04

Modeling pose04

Modeling pose05

Modeling pose05

Modeling pose06

Modeling pose06

Sculpting in Zbrush

Sculpting in Zbrush

Sculpting in Zbrush

Sculpting in Zbrush

Texturing in SubstancePainte

Texturing in SubstancePainter

Texturing in SubstancePainter

Texturing in SubstancePainter

Export All of textures to the 3Ds MAX

Export All of textures to the 3Ds MAX

Export All of textures to the 3Ds MAX

Export All of textures to the 3Ds MAX

Material Editor

Material Editor

Scene 1

Scene 1

 

We are happy for your participation in Middle East Talents Awards 2017. Keep learning as you create more amazing digital creations. The scenes in this entry are beautiful. This tutorial will be a helpful guide especially for the young digital artist out there. Will look forward to witness more digital artworks from you.

 

 

 

The Making of “Lumberfrog” 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.

For Ali Fakhreddine, the most important thing that brings happiness and satisfaction in life is creativity. He has chosen digital art as a profession because he truly believes that it is a great domain in which a person can freely express himself and also at the same time having fun too.

Happy to share the META 2017 video entry called “Lumberfrog” from Ali Fakhreddine. Lumberfrog is a cool frog that works as lumberjack. He used his powerful jump to cut trees from top to bottom. Here’s the link: http://metalentsawards.com/en/contest/view/3430.

Read the tutorial below for the “Lumberfrog” entry:

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.

Lumberfrog came from a spontaneous idea I had about a half man half frog character that uses his jumping abilities to help him cut down trees. His leaps are powerful in such a way that he chops the trees from top to bottom!”

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 back light. I also use a V-ray Dome light with an HDRI image as a fill light.”

Animation:

“The animation is divided into two sections.

First, the animation of the walk in the beginning in which I used the straight-ahead method and second the animation of the jumping and chopping in which I used the pose to pose method.

There are various sites online that talk in depth about these two methods of character animation.

Studying human anatomy and having a strong understanding on body mechanics is essential for producing an appealing and believable animation.

After animating the body I created some blend shapes for the face in order to allow my character to smile and blink.

Facial expressions add a lot of life and spirit to any character.”

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.”

Middle East Talents Awards is happy to witness your creativity. Through this platform, digital artist across the world gets an opportunity to showcase their talents and skills. We also believe that collaboration is always good for any artist. META team would like to thank you for participating in META 2017. Apart from being a competition, META is also a platform to express creativity and meet other people with great skills. Keep exploring as more exciting opportunities comes to you.

The Making of “Dance Animation WIP” by Rosana Marar

Rosana Marar is a 3D animator and an animation teacher working at Princess Sumaya University based in Jordan for technology.

Here is her META 3D character video entry where she is responsible for animation (http://metalentsawards.com/en/contest/view/3447). Let’s find out more about her animation piece through this tutorial:

“This Animation piece that I animated took about 3 weeks to finish. My process of animating each piece might differ a bit, but the main steps that I follow are the same.”

“First of all, in order to produce a good animation you have to use a good reference, if it’s a dialog scene then I have to film myself acting it because after all animating is acting. As for this animation, I used a video dance reference that is choreographed by Alexander Chung. And the rig is done by Truong Cg Artist.”

“I exported the video with images that has an extension of (.tga). Then I assigned the first picture of that image sequence as a texture on a simple created plane on Autodesk Maya, and I enabled the image sequence option.”

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“I always prefer to create a character set for my rigged character to make the process of keyframing easier for me. Some animators might skip this step; it really depends on your workflow and what you like to use.”

“I started blocking out my scene by putting the graph editor on stepped mode. I analyzed my reference and took the extreme poses from it. I kept posing extreme poses for the rest of the scene. After that, I took another pass on the animation to pose the breakdown positions of the character.”

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“The blocking phase has to have the important motion of the animation. If you missed an important pose it’ll be harder for you to add it in the splining phase.

The splining phase is the phase where I start applying the 12 principles of animation which are essential to produce a well-crafted animation. Furthermore, the phase starts by converting the curves in the graph editor to auto tangents. With each pass I do for the animation in the splining phase, I focus on a certain principle with taking into consideration adjusting the in-betweens of my animation (The more you control your poses the better, so I always make sure to restrict Autodesk Maya from controlling my in-betweens). For example, I adjust the Arcs for each part of the body across my animation. Then I worry about adjusting my overlaps and exaggerating the poses….etc. That way the process of animating will be more organized. Moreover, in this phase, I start adjusting my curves from the graph editor to make the motion smoother and modifying my previously blocked poses.

When it comes to animating, our work as animators are not just imitating the reference that we’re using, but pushing and exaggerating our poses to make the character look alive.”

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“The last phase of animating is the polishing phase, where I focus on the little details of my animation, such as the fingers and small overlaps and additional follow through.

Nevertheless, after finalizing my animation, I felt that the scene required camera movements to add some extra feel to it. Simply I created a new camera in Autodesk Maya and started keyframing it according to the animation.  My job as an animator is done after these phases.
In addition to being a 3D animator, I know how to do most of the things in the animation pipeline (Modeling, Texturing, Rigging, Lighting, Rendering).
After I was done with the dance animation, I chose to add a simple textured environment in order not to take the attention or the focus from the animation itself. And as for the lighting of the scene, I followed the three-point lighting method; where there has to be a key light, fill light and a rim light. And I changed their attributes to match the desired result.”

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Middle East Talents Awards would like to thank you for participating in the competition. We are happy that through this platform, we are discovering the talents and creativity of digital artists. Always show your latest piece to the community as it will boost your portfolio. We are excited to see more of your digital artworks. It is important to always broaden our imagination by getting inspiration outside our field.

The Making of “Foggy Love” by Amir Varasteh

Amir Varasteh is a freelance 3D artist based in Iran. We are happy to share this autumn exterior named “Foggy Love” by Amir Varasteh which he submitted in Middle East Talents Awards 2017 (http://metalentsawards.com/en/contest/view/3380). In this tutorial, he presented the making of this project that he recently accomplished.

Modeling

“The land were made with plan, I converted it into Editable poly.”

modeling

 

“Road Surface, I used Line, then converted in to Editable poly and with FFD modifier made it a little steep. Now the scene is ready for using Terrain Confomer script. You can download this script from here: https://www.scriptspot.com/3ds-max/scripts/terrain-conformer.

 

modeling1

 

“Then I changed it to Edit Poly and by using the Vertex Paint modifier the surface of the path was separated from the rest.”

modeling2

 

“As can be seen in the following screenshot, to distribute the grass and shrubs on the land I used Multiscatter plugin.”

 

modeling3

 

Materials

“The materials used for making the land are shown below.”

materials1

 

“The Sky and the water materials.”

materials2

 

Render Setup

render setup

 

“The elements for postproduction.”

render setup1

 

“The characters were added by Adobe Photoshop.”

 

render setup2

 

Postproduction

“Finally, the selected elements and the blending mode were used to achieve a better result. The job was finished with some adjustments such as: curves, colorbalance, hue/saturation.”

post production

 

We thank you for your contribution to Middle East Talents Awards 2017. Indeed, this tutorial is helpful and useful to digital artists today especially the young artists in this digital arts industry. Keep creating beautiful artworks as it adds beauty and creativity in our world. Be an inspiration and don’t stop learning as you develop your skills. Your realistic digital artwork is truly an inspiration. Remember that an artist can always express himself without any limitations by creating a wonderful piece of art.

The Making of “Arabian Warrior” by Ehab Talat

Ehab Talat is a self-learning 3D character artist from Egypt. His profession is making game characters and he is very skilled in making high poly character sculpting, low poly character modeling and texturing for games.

His 3D character entry in META 2017 was named “Arabian Warrior” (http://metalentsawards.com/en/contest/view/3508). This is an Arabian medieval character based on the conquest of mythodea air tribe costumes. This is the final game ready model.

Let us find out more information about his digital artwork by reading the tutorial from Ehab Talat himself:

Step 1: “In my first process, I used 3ds max for creating my base mesh. First, I started creating my body reference keeping in mind two important factors body proportions and anatomy. Then I started creating clothes, armor, weapons and accessories with just focusing on the silhouette of my models.”

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Step 2: “The sculpting process is the most fun step, using goz to port all objects over to zbrush for adding details. I prefer to start with the big objects first like clothes and armor for example so I could have a glimpse on the overall design. I used basic and custom made brushes and alpha maps for adding details.”

 

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CharacterStrip_result

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Step 3: “I used 3d Coat for retopology and uvs, I might also use uv headus if needed.”

 

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Step 4: “Generating necessary maps for texturing process using xnormal and zbrush, I also create an ID map for material separation which used by quixel suite for texturing process. Finally, I use marmoset toolbag for rendering.”

 

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result

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Middle East Talents Awards would like to thank you for sharing your creativity and skills. We appreciate your contribution in the competition. The step-by-step tutorial will be a helpful tool to the digital artist community, especially to the beginners. META team encourages you to never stop learning as you explore and create more beautiful digital artworks. Aim high! We wish you all the best in the competition and the path you’re taking.

 

 

 

 

 

The Making of “Red” by Rakan Khamash

Rakan Khamash is a 3D Generalist and Art Director from Jordan. He pretty much likes everything related to art, photography, 2D and 3D.

We are happy to share one of the META 3D character entries named “Red” designed by Rakan (http://metalentsawards.com/en/contest/view/3366). Below is a tutorial that will explain the process how he created “Red” and he provides some helpful few tips as well.

Rakan decided to go with a creature concept created by Creature Box because it has very unique shape and cute feel.

Read the tutorial from Rakan himself:

Blocking

“I like to start in ZBrush with a sphere and sculpt my way up, I do use a mouse (don’t hate me!). In the first hour of sculpting, I try to get most of the shape but not worrying much about the quality. Then I begin refining each part, I do like to keep some anatomy even if the concept doesn’t have any or it isn’t showing. I stick to ZBrush for modeling most of the objects unless it is hardsurface and there is no need to sculpt it or worry about retopology. I use MODO as my primary application for modeling, rendering, shading, and texturing. I usually have ZBrush on screen and the reference on the other. These are the steps I follow for sculpting objects:

Step 1: DynaMesh sphere

Step 2: Sculpt/Move/Edit

Step 3: DynaMesh

Repeat!”

 

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From sphere to basic shape sculpt

 

 

 

 

 

 

 

 

 

Muscle and parts refinement

“Using the Move, ClayBuildup, and DamStandard brushes I do more work on the body and start to build some muscle form and body structure. At this stage I don’t worry too much about tiny details, I concentrate on the big forms because it will get cleaned up later on. I only use DynaMesh, and if I needed more geometry I divide the mesh 1-3 times maximum.”

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Model progression

 

 

 

 

 

 

 

 

 

ZRemesher

“Once I’m sure the shape of the body is exactly what I want it is time to use ZRemesher and get a nice clean mesh. I want to be able to project the details back and finalize the mesh, and at this stage, I get my PolyGroups set, so I can just hide the parts I’m not working on.”

ZRemesher

ZRemesher

 

 

 

 

 

 

 

 

 

Detailing

“Then it is time to start detailing the skin and adding some randomness to the parts; I also want to show more of the muscles and bone structure. I try to stay at the current level as much as I can, only dividing the mesh to a higher level if I’m sure I can’t get the details at the current level. For this one you can see I used only 4 levels! I do exactly the same steps to create the shell and the extra bits such as the eyeball and nails.”

Detailing

Detailing

 

 

 

 

 

 

 

 

Shell

Shell

 

 

 

 

 

 

 

 

Extra models

Extra models

 

 

 

 

 

 

 

 

 

 

Pose

“Using Transpose Master I gave the model a simple pose, this gives the character a lot of life and it looks quite a bit more interesting than a standard T pose with 100% symmetry. I also added the little cute fly and something for him to stand on.”

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Posing

 

 

 

 

 

 

 

 

 

Bake and Modo

“Baked (AO, Normal, Displacement) maps using ZBrush and Normal; then took the clean mesh to MODO and applied shading to each part, assigned the maps, and edited the materials.”

Bake and Modo

Bake and Modo

 

 

 

 

 

 

 

 

Photoshop Magic

“Now that I’ve rendered my final image and done some passes it is time to edit the image in Photoshop. This is to enhance it because I think that sometimes it might need a bit of a paint over to add details or fix some problems. I always know what I’ll be doing in 3D, and what I’ll be adding later on in 2D. Not every detail should be done in 3D, especially if it is a still image and not an animation. Just have fun with it!”

Bake and Modo

Bake and Modo

 

 

 

 

 

 

 

 

 

 

After Effects Magic

“Most people stop here, but not me. I always like to take my final image to After Effects and play with color adjustments and tuning the final contrast. But be careful at this stage you don’t want to BURN your image with a lot of effects. For me this stage is my signature stage, where I get to set my tones and contrast levels etc… Thank you and I hope you have enjoyed reading about my process.”

After effects

After effects

 

 

 

 

 

 

 

 

 

 

 

 

 

META team would like to thank Rakan Khamash for his contribution in Middle East Talents Awards 2017. Your talent is amazing. Keep creating beautiful digital arts and you will go far. Wishing you all the best in your career and in the competition.

Umair Khatri – Winner in META 2015 Innovation Video

Umair Khatri from Pakistan is our META winner for Innovation video category. He study Bachelor in Commerce and study 2 years and 6 months Diploma from Arena Multimedia and got a 3 year job in Sharp Image, a production house in Pakistan. Umair is an expert 3D Artist and currently working as Senior 3D Animator at Dunya News. His overall experience in CG field focus on animation, motion graphics and art direction.

The challenges in making any digital art is always part of a 3D artist career. What’s more exciting to the 3D artist are their focus – to shine and give life to their creations. Our team is totally proud that Middle East Talents Awards becomes part of your career path, that’s why we are looking forward to discover more of your talents and creativity through this platform.

Take a look on our short interview with Umair Khatri as he talks about his winning video piece “Tag Heuer Formula 1”:

  1. What is your inspiration to make the winning piece?

“I got inspiration from artists around the world.”

  1. What are the challenges and experiences you faced during the making of your artwork?

“The most difficult thing is to make a good concept art and implement it. In my piece, I discover and experiment with new tools to accomplish those artworks.”

  1. Of all the digital arts you created, which one are you most proud of apart from your winning piece in META and why?

“I created a Ramzan Ident for (Dunya Television Network, Pakistan).”  https://www.behance.net/gallery/38174913/Rooh-e-Ramzan-2016-By-Dunya-News

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  1. What is your goal?

“I want to be a VFX artist in future.”

  1. Please share a short message to the young artists who want to pursue their dreams in digital arts.

“Always keep hard working and be sincere with your work.”

Middle East Talents Awards and Pixelhunters team are proud to see your works in META. We strongly believe in talents of each digital artists. The fascinating art and visuals we see in games, videos and animated films are all possible because of our digital and 3D artists across the world. Congratulations again and keep creating arts!

Mrityunjay Bhardwaj – Winner in META 2015 Innovation Still

Our winner for META Innovation still  category is Mrityunjay Bhardwaj from India. He is a CG artist for 4 years and he loves what he do.

Middle East Talents Awards proves that there are so many digital artist looking and waited for an opportunity to showcase their works. Certainly, CG and digital art world is huge and we are happy that META digital artist community is growing more every year. With META, our team have witnessed different styles and creativity – from modeling, texturing, animating, rendering and more.

Take a look on the winning art piece “The Tranquility of Human Nature” by Mrityunjay Bhardwaj. Here’s our short interview with him:

  1. What is your inspiration to make the winning piece?

My main inspiration was you guys – the Human and the Mask for the surroundings and the true composition of humanity remaining in our heart.”

“The winning piece is an innovative approach to represent the humanity into a grass ball and its relation with its surrounding. Description, I am really obsessed with society and people – how we act, how we behave and I want to express my observation through ART. I observed that sometimes people are happy and full and dense like this tree but deep inside or in their true reflection they are empty or not dense enough as u can see in the reflection of the tree over the glassball. 2nd thing that I’ve noticed is that when we closely observe ourselves like the society and people nowadays, we become greedy and more ruthless and that composition is represented by these 2 dragons sitting in yin and yang position. The 1st dragon which is covered with grass represent the true happiness, joy in ourselves and the second is a stone dragon which comprises the hardness, ruthlessness or sadness inside the human being. That’s why it occupies the 70 of the glass ball while the heart and the green one occupies only 30 in our heart.”

  1. What are the challenges and experiences you faced during the making of your artwork?

“Apart from some technical difficulties, the most difficult part is to find a way to strongly express my observations through pixels which includes finding the correct form/structures and choosing the correct color pallet to convey the emotion and that feeling so that the viewer get to know the aesthetics of my observations clearly.”

  1. Of all the digital arts you created, which one are you most proud of apart from your winning piece in META and why?

“One of my favorites are “The last selfie”. This artwork is the clear representation of the pressure of marks among the students. Here’s the link: http://metalentsawards.com/en/contest/view/2627.

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Another one is “The morning light”, an archviz with a sublime mood (it is an experiment of my archviz skills and mood/color). Here’s the link: http://metalentsawards.com/en/contest/view/2626.”

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  1. What is your goal?

“As an artists, we have the power to depict anything through our art and as an artist. I want to show the world what is really happening in ourselves and to our surroundings through my artworks.”

  1. Please share a short message to the young artists who want to pursue their dreams in digital arts.

“Don’t let your age describe about yourself. Never let yourself feel that you are too young for this and that. And in context of digital art, never stop learning. There are always new things to learn. Do experiments. Make your own style and show the world who you are. All the best for your endeavors.”

Middle East Talents Awards and Pixelhunters team are proud of your work. With your young age, we have seen your talents and we believe that you will do more great works in the future. Our team will look forward to see more inspiring works from you. Congratulations!

Andrew Dous – Winner in META 2015 Motivational Video

Andrew Dous, our winner for META Motivational video category was born and raised in a family of doctors and engineers, yet he decided to pursue a career in design. His Egyptian roots have influenced his design as he combine cultural heritage with modern design. He grow up in Dubai which also helped him to develop a dynamic, versatile style that is constantly evolving.

Middle East Talents Awards team is happy to know each of the winners. Knowing their strengths, skills and specialization inspires our team as well as the digital artist community. We strongly believe that creating digital art will come out stunning especially when an artist put love and passion to the work.

Let’s get to know Andrew Dous and his winning motivational video “Adam” through our short interview with him:

  1. What is your inspiration to make the winning piece?

“This piece was my senior project in my university. We were given the theme “Dubai Creek” and asked to create a project that would relate. I started my research and focused on that the creek served as a network that connected Dubai to the rest of the world. Later I focused on the concept of a network, knowing that a network is a group of interconnected people or things; meaning that a group of people are a network that is a small part of a larger network and so on, until the whole network of humanity is formed. But for a network to properly function, each of its elements has to be individually unique or else the network will have a glitch or malfunction. This concept applies to all types of networks including the network of humanity.

But unfortunately here in the region we are raised in a way that teaches us not to become individually unique, a way that makes us clones, living and dying in a useless loop without figuring out our worth and real meaning and message in life.

I have decided to tackle this issue with a short abstract video that takes you through a journey into one’s soul with abstract representations that would appeal to the viewer, in order to inspire the viewer to take an actual stand and figure out what his/her heartbeat is actually worth.”

  1. What are the challenges and experiences you faced during the making of your artwork?

“My main challenge was to finish the design of the whole piece in a very short period of time, “around 5 weeks of design.” In addition, creating several abstract metaphors that linked the narration with the visuals was very challenging especially that this type of abstract representation isn’t very common in the region.”

  1. Of all the digital arts you created, which one are you most proud of apart from your winning piece in META and why?

“Honestly I am satisfied with most of my works, but in specific I am very proud of my short film Doppelganger (https://youtu.be/Hk0YmQaAV4w). Creating such a film in almost a week was a very tough challenge. This job would be usually done by a team of 15, but in my case the team was only 3, an actor, a script writer who also helped me with production, and myself who did the pre-production, production with my friend, and all aspects of post-production and visual effects on my own. You can find my complete portfolio on www.andrewdous.com.”

  1. What is your goal?

“I have always believed in the importance of design. My goal is to change the world into a better place using my skillset in design. To summarize, I would say: Dream. Achieve. Change. Inspire.”

  1. Please share a short message to the young artists who want to pursue their dreams in digital arts.

“Everything seems hard to be done at first, but with dedication, hard work, and sleepless nights, you could easily remove the “un” from “unachievable.”

Middle East Talents Awards and Pixelhunters team are proud to see your work. Knowing your inspiration behind the beautiful video you shared with our team gives us deeper insight about your dedication in art. Keep your passion as you draw more experience in your career. We wish you all the best! Once again, congratulations.