Friday, 24 April 2015

Guardians Of The Galaxy portraits

Portraits from the 'Guardians Of The Galaxy' Marvel movie.

The process went something like this... I took screenshots from the film to use as reference. Each image starts as a quick sketch in Photoshop. It's not necessary for this to be perfect as I can usually recover the image at the painting stage. Next stage is to create 4 layers (in this case - background, body, face and hair) and lock the pixels. I can then begin painting with a soft brush to establish the main colours before using a hard brush to paint more detail. Colour picking is not allowed! Each portrait takes about 1.5 hrs to 2 hrs.

Sunday, 19 April 2015

Reel 2015

Just in case images aren't enough, here's my demo reel. I tried to show how some of the images were constructed with animated clay renders and the layering on of various Photoshop passes.

Soundtrack has been licensed from Premium Beats - 'A Thin Line' by Lost Harmonies.


3ds Max, Mudbox and Photoshop for the above image. Photoshop digital paintings/drawings below:

Instrumental music

I love composing instrumental music in my spare time. Here are three tracks that have been completed in the last year.

Equipment: Fender Telecaster Richie Kotzen Signature guitar into some pedals (Xotic RC Booster) (Xotic SP Compressor). Also used the guitar amp simulation software 'Scuffham Guitar Amps' which is ace. Recorded into Cubase Elements.

Thursday, 16 April 2015

Tower haze

Tower Haze is a 3D environment created with 3ds Max, Mudbox and Photoshop. Whilst the majority of modelling is not particularly complex the texturing and lighting proved to be difficult to manage. As this scene was rendered with mental ray I felt comfortable using the Arch & Design materials. Whilst it is essential to have a bump map for the stone textures it's often not necessary to have a reflection map for stone as the reflection is so diffused. I also used a mental ray Mist material to create atmospheric perspective.

Lighting - I always start with complete darkness and very slowly add in lights. This scene has about 110 lights, you can't get away with just plonking in a sun light and pressing render. It's very important to use light/darkness to draw the eye around the image and whilst this is a slow process the result is usually better. I always render low resolution images to see the progression.

Atmospheric lights were used to create the 'godrays'. This was added into the image in Photoshop, blending mode set to 'screen'.

Texturing - Each object was carefully UV unwrapped for texturing in Photoshop. Couple of 'diffuse' examples below. Whilst I used displacement map for the mountains and some foreground objects I had to use bump maps to obtain extra detail on the background pieces.

Final render resolution was 6k wide. I split the model up into 2 passes, foreground and background and saved the outputs as 16-bit PNG files with alpha enabled so I could add in a sky image in Photoshop. 

And finally, here's a clay render (showing displacement) and the 3ds Max viewport image.

Friday, 10 April 2015

John Tenniel study

John Tenniel, the illustrator for Lewis Carrol's Alice In Wonderland books. Just a couple of studies using a Pilot Hi-tec C pen & a Moleskine sketchbook.