Continuing his Tethered Islands series, Aaron Sims shares his techniques for building a creature in ZBrush.

In this three disc set, the entire production process of making the music video White Swan is revealed. Winner of “Best Music Video” at hdfest, White Swan is a unique collaboration between students from the Gnomon School of Visual Effects and director Sil van der Woerd. This set breaks down step-by-step the process for integrating live action footage with complex digital sets to create an imaginative world inspired by the music of singer Lolly Jane Blue.

Comic Book Illustration with Phil Noto: Pinups and Covers
In this DVD, Phil Noto shows you his illustration techniques for creating comic book covers and pinups. Using a completely digital workflow, you will see how he goes from a preliminary sketch to finished art.

Description: The ease of polygon texturing has improved to the point that polygon geometry is useful in all types of production. This includes the use of polygons in film, commercials and the traditional application in games. The previous reliance on NURBS modeling and texturing is shifting to full polygon or sub-divisional surfaces. Because of this shift, it is important to understand the techniques for controlling UV texture placement, so that seamless and undistorted texture can be created. This lecture discusses the basic controls and applications for Polygon UV coordinates.

Texture Mapping is the process of designing the surface appearance and qualities of a rendered object. It is through this process that objects are brought to life and made to appear natural.

This series introduces the essential techniques for creating digital sets and backgrounds, an area of ??visual effects growing in prominence. In this second disc of a series of three, visual effects designer Eric Hanson covers the global illumination revolution, reviewing lighting principles specific to digital sets. He then leads into direct lighting techniques for both exteriors and interiors. Finally, the lesson highlights digital set texturing, including Adobe Photoshop techniques, and how to weather surfaces with procedural shaders. Throughout the disc, Eric uses a sample scene of an urban environment to highlight all essential steps. This series is designed for all advancing intermediate Maya artists.

Description: Before texture mapping a polygon character, texture coordinates need to be defined. These coordinates, or UVs, control a map? S distribution across surfaces which, when used effectively, accept textures smoothly and free from distortion. In addition to texture smoothness, the manner in which a model? S UVs are presented creates benefits for the artist. These include readable 2D representations of the surface while painting, and the ability to paint seamlessly in 3D paint programs. Discussed in this lecture are the techniques for efficiently and effectively creating UV layouts for organic surfaces. Also discussed in this lecture is the use of multi-texturing, the application of two or more maps onto a model using unique UV layouts.

The process of telling stories through pictures is similar for both concept design and book illustration. In this video, film design veteran Christian Alzmann will take you through a step-by-step process for making a digital illustration. He will demonstrate his techniques for creating strong compositions, blocking in shapes with light and shadow, handling background elements and applying color. Throughout the lecture, Christian shares his thought processes as he reworks compositional elements, renders reflected light and strengthens the main characterÆs pose, showing you the benefits of painting digitally in Adobe Photoshop« and Corel Painter.

In this fourth DVD of a series, Terryl Whitlatch demonstrates how to create a monstrous villain, the Toad-Ogre, as well as other assorted creature characters suitable for film, animation and video games. This is a first-hand look at how creatures are designed in the entertainment industry, with a concise step-by-step analysis from the first rough sketches to the final designs and sculptural maquette. Not only does Terryl share her techniques and tools, including complete drawing and colorization demonstrations, but she also discusses in depth the vital interrelationship between the design of the creatures and the story and script. Terryl discusses what it's like to work with an art director and with other artists in a professional art department setting, and how the team functions together to create the best possible designs.

This series of tutorials is focused on and titled Structure and Anatomy of the Human Torso. In a continuation of his previous lectures on human anatomy, figure artist Charles Hu approaches these lectures in the same fashion, beginning with a discussion on the primary skeletal structures making up the torso – the neck, spine, rib cage, pelvis and shoulder..

In this human anatomy tutorial titled Anatomy of the Human Head, figure artist Charles Hu provides an anatomical breakdown of the human head. Beginning with general proportions, planes and structural landmarks, Charles then demonstrates how to apply these principles with a series of life drawing exercises. In these three exercises – from Front, Side and ѕ View, he shows how to approach the lay-ins using the general proportions discussed previously.

In this human anatomy tutorial series titled Skeletal Structure, Mechanics and Proportion, instructor Charles Hu will break down the human skeletal system in terms of how it relates to drawing a dynamic figure. Starting with basic proportion and structure, Charles breaks down the human skeleton into 9 primary structures: the head, shoulder, rib cage, spine, pelvis, arms, legs, hands and feet. He breaks down the primary landmarks and planes of each structure and identifies features on specific bones important to the mechanics and motion. Charles also discusses the skeletal mechanics of each structure to provide the mechanical understanding of the system in order to achieve more realistic and dynamic figure drawings..

Dynamics 01 - Particle Tool, Create Emitter
Dynamics 02 - Vertex, Point Curve Emission
Dynamics 03 - Surface Emissions
Dynamics 04 - Rigid Bodies
Dynamics 05 - Fields
Dynamics 06 - Goals
Dynamics 07 - Instancer

Working hard and working smart are not the same thing. In this DVD, Jeremy discusses how to make artists work more efficiently and make smarter decisions based on the final output and deadline. Knowing when and where to cut corners is a vital skill as most people over-build, over-think and over-work. There's no such thing as cheating when you're up against a deadline. Using 3DS Max and Photoshop, Jeremy covers such topics as layout strategies, planning, keeping your 3D models simple, working holistically, digital matte strategies, rendering passes, polishing your final image and more. This lecture is geared toward beginner to intermediate artists.

In this DVD, Scott Patton continues from 3D Character Design Volume 1 to show the processes he uses to create finished character designs for feature films. This DVD explores Patton's fast and efficient methods for creating a final color rendering using ZBrush« and Photoshop«. Patton shows how he squeezes the most from ZBrushÆs powerful renderer, side-stepping the often complex renderers of standard 3D packages. In creating both a wide and close-up shot of the character, he shares creative Photoshop tips and tricks to quickly get to a finished piece of concept art from the ZBrush renders, covering topics such as adding and refining skin texture, hair, eyes, shadows and scars. Patton also discusses how to quickly create backgrounds that enhance the character and overall composition.