Announcement of Winners for the Middle East Talents Awards 2017

Middle East Talents Awards 2017 wraps the fourth edition. META, founded and sponsored by Pixelhunters, supported by Chaos Group, Adobe Systems MENA, and Fox Renderfarm is proud to announce the winners.

We were very happy to receive a large number of submissions from inside and outside the Middle East region. META team was impressed by the quality, creativity and educational value of each digital artwork. Middle East Talents Awards 2017 is different from the previous editions with its goal to promote a NEW EMPOWERED EDUCATION. This year competition was seeking the best 3 submissions with the highest educational value. Congratulations to all our winners and a heartfelt thank you to all the participants for sharing their amazing artworks with us at META 2017.

The full list of winners is below:


Contest Category: Interiors

Artist: Mohsen Hashemi, Iran.

Submission: The Second Chance Interior



1 x 1-year V-Ray License, secured by Chaos Group
1 x 1-year VR Scans license, secured by Chaos Group
1 x 1-year subscription to the VR Scans Library, secured by Chaos Group
$700 FREE rendering credits, secured by Fox Renderfarm
$300 Credit voucher against purchase of Books or Software, secured by Pixelhunters

*Due to USA policies, Adobe cannot award licenses within Iran. The ADOBE ONE YEAR Free Creative Cloud Membership will go the third place winner. 



Contest Category: Exteriors

Artist: Hossein Yadollahpour, Iran.

Submission: Nasu Tepee 



1 x 6-month V-Ray License, secured by Chaos Group
1 x 6-month VR Scans license, secured by Chaos Group
1 x 6-month subscription to the VR Scans Library, secured by Chaos Group
$500 FREE rendering credits, secured by Fox Renderfarm
$200 Credit voucher against purchase of Books or Software, secured by Pixelhunters



Contest Category: Exteriors

Artist: Cihan Özkan, Turkey

Submission: Old Street



1 x 6-month V-Ray License, secured by Chaos Group
$300 FREE rendering credits, secured by Fox Renderfarm
$100 Credit voucher against purchase of Books or Software, secured by Pixelhunters



ADOBE ONE YEAR Free Creative Cloud Membership, secured by Adobe Systems MENA will go to our third place winner:

Artist: Cihan Özkan, Turkey

Submission: Old Street


Congratulations once again! Thank you for joining us. Let us continue to give and receive knowledge. Will look forward to see more creative and educational digital artworks on the next edition.

The Making of “Stone Bridge” by Zernan Suarez

This META 2017 entry is a structure that spans and provides a passage over a road, railway, river, or some other obstacle. This digital artwork called “Stone Bridge” ( was created by Zernan Suarez “zdesign” from the Philippines. Read the educational tutorial on this blog:

“E p i c – During middle ages, the bridge connecting the way for the two villages are important especially transporting product or exchanging goods and services without using the money, and in that case, there is no complete communication system if there is no bridge. That’s why some skilled workers or town’s masons managed to build it proving themselves to be skillful engineers in that time by laying foundations for this beautiful arched bridge where the river flows all over a year … This is the story behind of all those things happens in my simple scenario.”

“How do I start…”


“At first make a simple blocking of shapes, shapes that guide to make detail and accessories.”




“Completing scenario by adding connecting roads, a river with flowing water and dramatic multi-level land surface. In this scene I render with “material override” and “ambient occlusion-AO”, uncheck the water material “can be overridden” in options under v-ray asset editor – just to show only water not to be override. V-ray override material is a great way of previewing and check your lighting intensity.”

Grass and trees proxy

Grass and trees proxy









Projecting sun shadow based on the scene

“Try this feature – Turn on the sun: The Shadows feature enables you to see how the sun changes the way a building looks on different days throughout the year, and at different times of the day. To use this feature, in the tray area, open the Shadows panel and select the Use Sun for Shading checkbox, as shown in the following figure.”



Flowing water – 3.4 Vray material

“I know that some of us know about Vray material on how to use it and adjust it in Vray material editor… and In this case I need to jump on to my process, and focus on water by adding green tint to look fresh by adjusting fog color – just follow RGB color R:252 G:254 B:254 and multiplier 0.40 – Hint : less value of multiplier-less green tint effect.”


Sun setting / Environment illumination

“From default setting, I adjust only with red marks, quality to “high”, BG and GI to 10, “size multiplier” to 3 (for a less sharp edge of drop shadow) and render output “image width/height to 300 x 169, check “material override”. 

Importing proxy and make fur command

Importing proxy and make fur command

“Hint: On final render, I always render small render output, why? save parsing time.”

“After finish renders with small output, save the “IR-irradience map” and “LC-light cache” under “Disk Caching” and reload it again by pressing “from file” under “Disk Caching” for final rendering. From here you can now raise up all in high adjustment. From render output 300×169 make it 3000×1690 and uncheck “material override”. 




“It shows the green tint effect on water here.”


ADJUSTED FINAL RENDER (photoshop post process)


Render night scene using HDRI / EXR


“Everything is the same just (uncheck or disable the sunlight) and render output “image width/height to 300 x 169, check “material override”. 


“First of all – thanks to Peter Guthrie’s HDRI”

1. “Just reload HDRI / EXR to the environment”

2. “Since I want the sun location not in front of my camera, change UVW horizontal rotation to 180 to place sun location on my back.”


“Again, after finish renders with small output, save the “IR-irradience map” and “LC-light cache” under “Disk Caching” and reload it again by pressing “from file” under “Disk Caching” for final rendering. From here you can now raise up all in high adjustment. From render output 300×169 make it 3000×1690 and uncheck “material override”.


Compare the Difference of natural SUN light and HDRI Illumination.”



ADJUSTED FINAL RENDER (photoshop post process)  


We thanked you once again for sharing your educational tutorial for your entry piece. META team is happy to see the growing number of digital artists like you who wants to be involved in this community. Always continue to grow and evolve as a digital artist. Keep shining!

The Making of “Robotic Elephant” by Rosana Marar

Happy to share another digital artwork of Rosana Marar. This is her 3D character META 2017 entry named “Robotic Elephant” ( Here’s the educational tutorial for her piece:

“Hello, Middle East talents awards!”

“Before I talk about what inspired me to do this model, I just want to give a quick introduction about myself for those who want to know more about me. I got my bachelor degree in computer graphics and animation. Animation has always been a passion of mine since I was a little girl. I worked as a 3D animator in a company here in Jordan for quite some time then I shifted my work field into academia and teaching animation. I got my master’s degree in computer science, and now I’m teaching in one of the leading universities in this major, Princess Sumaya University.”

“For one of my student’s projects, I decided to give them a close design to what I modeled. So I wanted to model the Robotic Elephant in order excite them to do it.”

“The Robotic elephant is a mix between a design for BlueRadical and another unknown 3D artist.”

Step 1: Modeling

“I started modeling the legs using a cylinder primitive and used the extrude tool to do the details of each part.”









“Most of the parts I modeled them by creating a cube,  added some loops to them and started shaping it up in order to get the desired output. For the upper leg, I used the lattice deformer to give it more volume (You can get the same result by moving the vertexes around)”



“As for the wires I created an EP curve and extruded the upper part of a cylinder to get that result.”

4 5













































Step 2: Texturing and Shading

“After unfolding the model, I assigned a material to the parts and changed the attributes of each material in order to get a more realistic result.”

Step 3: Light and Render

“As for the lighting of the scene, I used the dome light as a key light and added two area lights for the fill and Rim lights. And I used Arnold Renderer to render this shot.”






Final Render:



META 2017 team would like to thank you for participating in the competition. This educational tutorial will be another helpful tool for the digital artist community. Always believe in your talent and skills. We believe that a great digital artist is a person who knows how to inspire and motivate others. Enjoy the beauty of life and arts. Wishing you all the best!

The Making of “Sacred Tree” by Mahdi Sharif

Mahdi Sharif is a student from Iran. His entry in Middle East Talents Awards 2017 is called “Sacred Tree” ( Creating an ancient temple with an old tree in the moonlight was the main idea of this project. Let us read the tutorial from the digital artist himself:


“As a personal project, I was looking for something that allows me to learn new software and techniques. Also, I always wanted to create a mysterious place something like an old abandoned temple.”


“I usually start with some quick sketches, in this case, I also used some basic modeling to find the perfect composition. Another important step is gathering references and I usually keep doing that as I move forward.”

“For modeling, I used 3ds Max. Most of the scene modeled completely in 3ds Max but in some cases like columns and floor, I used ZBrush to add more detail. I also used RayFire plug-in to simulate damages and broken stones.”




Working in ZBrush

“One of the most important elements in this work is the tree and for modeling that I used SpeedTree. It’s a really powerful and easy to use software for creating vegetation. For the ivy, I used the 3s max plug-in Ivy from Guruware.”


Working on the tree in SpeedTree

Final model

Final model


“Moonlight was the kind of light that I had in my mind and for simulating that I used a V-Ray sun with a dark blue color. For torches, I used V-Ray sphere light. I added fire flames later in Photoshop and finally, I used some V-Ray plane light for lighting the tree.”




“I had to create multi-layer materials for creating different layers like dust, moss, and dirt to doing that I decided to use V-Ray blend material.”


Some material nodes












Rendering and Compositing:

“I rendered my scene with V-Ray and for postproduction I used Photoshop.”

The render scene before post-processing

The render scene before post-processing

“I brought my photos to Photoshop and composited different render elements together, color correct them then added light rays, fog, blur and some little light sparkles around the tree and finally a little color correction for the final touches.”

Finale image after post-production

Finale image after post-production

Being a digital artist is not that easy but having a whole lot of practice and experience will definitely be a helpful way to improve in this industry. We would like to thank you for joining the competition and sharing your educational tutorial to the digital artist community. Just keep focus and work hard on your personal work because that will help your skills to develop. Good luck to you!

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.