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2DArtist Issue 009 Sep06
2DArtist Issue 009 Sep06
2DArtist Issue 009 Sep06
Benita Winckler
Daniela Uhlig
Artist
Articles Concept Art, Digital & Matte Painting Magazine
Issue009 September 2006 $4 / 3.25 / 2.25
Alien vs Predator
Inferno
Tutorials
Painting Female Face
Elements Digital
Painting Series
This month Skin
Making Ofs
Beast by Yu Cheng Hong
Mining Machine by Tom Mller
Galleries
10 of the best 2D digital artworks
influential
from two
science
figures in .
c ti o n m o vie history
fi
ception to
From con dator
ti o n : A li en vs. Pre
crea
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This issuesContents
INTERVIEW FreelanceArtist from Berlin 000
Benita Winckler
INTERVIEW FreelanceArtist from Berlin 000
Daniela Uhlig
ARTICLE Concept art from 2 influential movie legends 000
The Concept of Fear
ARTICLE Matte painting walk-through from Tiberius Viris 000
Inferno
GALLERIES 10 of the best images from around the world 000
Galleries
TUTORIAL Elements Digital Painting Series 000
Skin by Richard Tilbury
TUTORIAL Elements Digital Painting Series 000
Skin by Emrah Elmasli
TUTORIAL Digital Painting byAdonihs 000
Painting a Female Face
PROJECT OVERVIEW Project Overview by Yu Cheng Hong 000
Making Of Beast
PROJECT OVERVIEW Project Overview by Tom Mller 000
Making Of Mining Machine
ABOUT US About Us 000
Zoo Publishing
2DARTIST INTERVIEWS GALLERIES
www.2dartistmag.com Benita Winckler Raluca Iosifescu
EDITOR Daniela Uhlig Kuang Hong
Ben Barnes Waheed Nasir
ASSISTANT EDITOR TUTORIALS Tom Mller
Chris Perrins Richard Tilbury Svetlin Velinov
MARKETING Adonihs Pavel Mikhailenko
Lynette Clee Emrah Elmasli Seung Ho Henrik
CONTENT MANAGER Yu Cheng Hong Holmberg
Warin Pismoke Tom Mller Paul Wright
Tiberius Viris John Kearney
DESIGNERS
Matt Lewis
Alex Price
Editorial Welcome
To Issue 9! Were still going strong and have a
Interviews
Benita Winckler
Daniela Uhlig
Articles
Alien vs Predator
Inferno
Artist
Concept Art, Digital & Matte Painting Magazine
Issue009 September 2006 $4 / 3.25 / 2.25
Tutorials
Painting Female Face
lot of new stuff planned for you in the next few Elements Digital
Painting Series
This month Skin
months. We are going back to basics soon with Making Ofs
Beas by Yu Cheng Hong
Mining Machine by Tom Mller
some amazing tutorials & articles on traditional
Galleries
10 of the best 2D digital artworks
art skills. So, if you read 2DArtist every month,
staring in awe at the amazing artwork then stare
no longer! Now you too can learn how to create influential
from two
science
figures in
vie history.
stunning 2D images from scratch! fiction mo
ception to
From con dator
Alien vs. Pre
creation :
Artist Interviews
We talk to 2 Berlin based Female freelance
artists this month. No coincidence intended...
Benita Winckler, and Daniela Uhlig.
Tutorials
Focusing on Tutorials this month, Elements
Digital Painting series gets onto the
technicalities of painting Skin, Adonihs shows
us how to paint a female face, and Yu Cheng
Hong and Tom Mller show us the processes
of creating their images Beast and Mining
Machine respectively.
About us
Zoo Publishing is a new company comprising of
a small team here in the Midlands UK. 2DArtist
is our second magazine project following the
successful 3DCreative (www.3dcreativemag.
com). We are very grateful for the support of
the following CG sites which have help promote
and spread the word about our publications.
As well as ourselves, all digital artists owe
a lot to these communities for the incredible
amount of work they do for the CG Industry.
3DKingdom, 3DLinks, 3DTotal, 2DValley,
3DM3, CGUnderground, ChildPlayStudios, DAZ
3D, 3DExcellence, Epilogue.net, GFXArtist,
the3DStudio, CGDirectory, MattePainting.org,
Max-Realms and Mediaworks, we look forward
to lasting and successful partnership with these
CG community sites
http://www.du-artwork.de http://www.temujin.cz
libita@hotmail.de temujin@temujin.cz
http://web.my8d.net/digiflyart/ www.partycule.com
beziermix@yahoo. emrah@partycule.com
Benita Winckler
You can see more of this artists work at:
www.dunkelgold.de
and contact them via:
benita@dunkelgold.de
Interview by : Tom Greenway
Daniela Uhlig
You can see more of Danielas
work here:
http://www.du-artwork.de
Or, you can email her at:
libita@hotmail.de
Interview by : Warin Pismoke
made, the first film of the quadrilogy that makes picked up from a bar by Ridley Scott. He was as since the 1960s on the puppet series
use of digital effects, they were using 3D scans, big as Scott wanted the alien to be: at least two Thunderbirds, was charged with creating the
modelling and animation software, thousands of metres (6ft 7in) tall. In fact, he stood at well over small alien forms for the famous chest-
Aliens in CGI worlds and digital skeletal 7ft. It was Scotts intention to create a monster burster scene. The idea being that the creature
structures of the warrior Alien animated using that looked as if no human could be behind the is implanted into a living host organism and
hundreds of joints and many controls using mask. It was to be long and angular, with an once it has grown enough, comes tearing out of
Inverse Kinematics. These are not new impossible frame that only a few men would be the hosts body. The alien eggs were created by
technologies any more, but not many film able to fill. Badejo filled the role. The Italian Nick Allder. The supervisors of the special
Serieshave made it through such as technologic Carlo Rambaldi, winner of 3 Oscars for the effects Brian Johnson and Nick Allder worked
transformation and still come out looking like the remake of King Kong in 1976 directed by John together in the television series Space: 1999
original in so many ways. This is purely down to Guillemin , Alien and E.T. The Extra-terrestrial and were interested not in supervising the model
great and original design at the concept level. by Steven Spielberg, realized the mechanical photography, but also by the physical special
The Alien of 1979 was played by Masai Bolaji head, worn by Badejo like a helmet, with the effects realized on the set during shooting. Brian
Badejo, His role as the title character was second interior retractable mouth controlled by Johnson already had a strong two year
practically tailor-made to suit him. Badejo was a cables. The sculptor and modeller Roger experience in the industry, with the special
young African design student when he was Dicken, active in television and in the cinema photographic effects unit for 2001: A Space
J. Bower and Bill Pearson, using plastic forms To show the actors inside the Nostromo and Nostromo, were white plastic spheres on which
of EMA, Perspex sheets and an incredible Narcissus cockpits, it was necessary to build were projected slides so as to obtain an three-
quantity of tiny details coming from commercially some larger sections of the spaceships in 1/24 dimensional. The matte-painting of the egg
available model-kit boxes. During modelling they scale, big enough to contain small television- chamber was created by the artist Ray Caple,
used over two hundred kits of the Airfix Space screens on which the actors were shown. On who has created Matte Painting for other huge
Shuttle and German tanks from the famous the surface of the aliens planet, modellers and blockbuster films such as Superman (1978),
Japanese model firm Tamiya. The miniatures sculptors employed real Animal bones to mould Brazil (1985) and Batman (1989). Several
were suspended from the ceiling of the studio or the rocky formations around the alien derelict years after Alien, the producer and director
mounted on heavy supports of steel covered by spaceship, which was created from expanded James Cameron who in the past had been an
black velvet, invisible when the correct exposure polystyrene covered by EMA plastic tubes and art director, miniature creator and operator for
was obtained during model photography with plasticine so as to sculpt the external details. movies such as Battle Beyond the Stars (1980)
the camera itself on a little dolly to create the The planets of the stellar system toward of produced by Roger Corman and Escape from
spaceshi . The stars were added in afterwards. which the Mother computer deviates The New York (1997) by John Carpenter, succeed in
technical realisation and the photographic ability not only the full-body suit, worn by the gigantic
of Adrian Biddle. Kevin Peter Hall, but also the accessories
like the helmet, the ray gun mounted on the
The next year, in 1987, 20th Century Fox made shoulder and the medical kit. With the four
Predator directed by the talented John Mc tusks, the facial mechanism allowed the opening
Tiernan (Director of Die Hard, The Hunt for Red and closing of the mouth. Also, they created a
October, Mato Grosso, The 13th Warrior and fluorescent green blood, able to ooze from the
the unlucky remake of Rollerball). Predator predators wounds. As well as the excellence of
is the story of a U.S. Special Forces unit sent Stan Winston for the realisation of the creature
to a central American country to save both itself, the Predator success was also due to
the crew and the passengers of an helicopter the visual effects produced by the talented
shot-down by guerrillas. After the battle R/Greenberg Associates of New York as well as
against the revolutionary forces, the group Dream Quest Images, for the opening space-
of the major Dutch Schaeffer has to face shot with the Predator ship entering the Earth
a new and apparently invincible n Peter Hal atmosphere and for certain matte-paintings.
enemy: the Predator, a powerful extraterrestrial The Predator cloaking device developed by the
hunter equipped with hi-tech weaponry and R/Greenberg Associates consisted of ingenious
protected by a cloaking device capable of optical trickery, replacing the hunter silhouette
rendering himself almost completely invisible. with a bi-dimensional effect constituted by the
The Predators facial design, which seemed repetition of distorted background images in a
to be the amalgamation of an abyssal fish, a concentric manner, one inside the other. The
crustacean and an insect, was again a creation electrical sparks caused by the accidental
of Stan Winstons studio that also had to create contact of various Predator equipment with
from the U.S.M Auriga (United Systems Military), screen was supervision by Erik Henry and Joe
a big model in scale 1/1.000, 3 meters 65 Lewis, (developer of the system of visualisation
centimetres with approximately 10,000 to 15, EncodaCam used for I, robot). The Parisienne
000 optical fibres inside using halogen lamps digital effects facility Duboi, directed by Pitof
for the rocket engines. Two models in scale (director of the interesting Vidocq and of the
1/32 were photograph togetherto show the disastrous Catwoman, starring Halle Berry) a
shuttle Betty and the Aurigas docking bay. The long-time collaborator of the filmmaker Jean-
sophisticated motion-control equipment for the Pierre Jeunet. supplied 19 artists, based in Los
miniature photography in front of the green- Angeles to complete the matte-paintings and
compositing work for 133 shots, all done with the proprietary software
Dutruc installed Silicon Graphics workstations. The matte-paintings,
beautifully created by artist Jean-Marie Vives (who had worked with
Jeunet on Amelie and the fantastic City of the lost Children), were used to
extend both the miniature and full scale sets.
For year after Alien: Resurrection, rumours plagues the media regarding
the possibility that 20th Century Fox would produce a cross-over
movieof Alien and Predator, a kind of final battle, in which the two alien
races would be faced in a neutral territory. Dark Horse comics, and the
videogames of Fox had already represented the conflict several times
in Prague, served as visual references for texture maps and for lighting
the CGI counterpart, modelled by pieces through the Subdivision surface
with Subsurface scattering for the traslucency of the external skin. The
interior rig, important to animate the digital face-hugger, has been
recreated in startling complexity giving full control so that, various versions
of each shot can be provided to the director to match the live action shot
elsewhere. One of the most striking animations was when a face-hugger
leaps over a Predatorwhich in turn reacts, killing the alien parasite by
launching his blade weapon. For the face-hugger divided in two in mid-air
by the Predator, Cinesite utilized real elements, 2D particles effects and
3D geometry, for which physical references of the interior organs, meats
bought from the butcher and also vomit. Nevertheless, the iconic moment
of the Alien vs. Predator movie, beyond the CGI aliens, shall remain the
battle on the top of the pyramid that sees the two opposing races, just
a few Predators against 16,000 digital Aliens. For these shots, MPC
used the new crowd simulation software called ALICE, developed for
and technology movie at such a fanatical rate, Exploitation LLC and 20th Century Fox Film
that 30 year old concepts are still causing artists Corporation. Alien (1979) creature, miniatures
to break the boundaries of the technology and models photos courtesy and Copyright
which they use every day, and create yet more by Martin J. Bower, Alien resurrection models
stunning work to amaze and inspire us. and miniatures photos courtesy of New Deal
Studios. Original Alien design by H.R Giger.
Alien (1979) photos Copyright by 20th Century Predator (1987) photo Copyright by 20th
Fox Film Corporation, Aliens (1986) photos Century Fox Film Corporation.
Copyright by 20th Century Fox Film Corporation,
Alien 3 (1992) photos Copyright by 20th Pierfilippo Siena
Century Fox Film Corporation, Alien resurrection for Imago Edizioni, Italy
(1997) photos Copyright by 20th Century Fox http://www.imagonet.it
Film Corporation, Alien vs. Predator (2004) Published by agreement.
photos Copyright by TCF Hungary Film Right
More Advice:
Work on big sizes even if you dont plan to make
the image also available as a print. This will
allow you to easily fix small details. If the image
looks good on 100% then it will look good on
25% too. Force yourself to work at full resolution
and use smaller views only for guiding. If
something doesnt come out as you planned,
dont panic! (Hitchhikers Guide anyone?) Take together. Everything is painted - nothing
a deep breath, drink some water, walk around fancy. In fact, everything is a mess at this Step 2 (fig.04)
your room and try again. The fact is, the more point, but that is how its supposed to be. The Basically, what happened so far was focusing
frustrated you get the lesser the chances are to bridge is a remainder of my initial idea, but its on the main element of the scene (the volcano)
create something good. Even if youre working going to be dropped at a later stage. It was and I started to build it up together with the
against a deadline, dont push your physical supposed to become some creepy infernal surrounding area. I always like to work on areas
limits. Take frequent breaks and do something castle connectedwith mainland. The key point rather then spread my attention all around the
else during that time. here is to experiment with colours. Dont bother scene. Im not saying this is how you should do
with details. Worry about perspective and tones it, its only how I do it. I would normally start with
Step 1 (fig.02,03) instead. Colours were blocked in using a big the sky, since the entire scene depends on it,
Right, so here we are, where everything hard-edged brush. Smaller stripes on the cliff but for now what I have is enough. Apart from
begins with a silly sketch. As you can see, edge were painted using a mixture of chalky and the rock texture, everything is painted up to this
in the image on the right, Ive quickly spread hard-edged brushes. The sky was spread with a point. It was painful to figure out a good way
some tones in order to see how they blend customed round chalky brush. to paint cliffs, but after many try-outs, I finally
Step 3 (fig.05)
I went ahead building more of the volcano, since
its the dominant element in the scene. Again,
this step is completely painted. Painting smoke
and clouds can become frustrating but luckily, I
like to do it (I should write a tutorial soon about
painting clouds!). There are tonnes of ways
to do this, but Ive discovered a quickmethod.
Also, I thought to add some volcano bombs
as detailsfor more realism. You usually paint
smoke with a combination of hard-edged and
chalky brushes.
Step 4 (fig.06)
Finishing the basic look of the volcano and the
surrounding plateau. Please note that this step
took a lot of time since the volcano is entirely
painted. Theres about 3-4 hours difference
(with breaks) between this and the previous
step. After I was happy with it, I went on
replacing the bridge with a more appropriate
one, and added a depth element on the plateau.
I finally used photos for the texture in this step.
Phew. Anymore painting and I was risking
turning this into a digital painting rather, than a
matte.
Step 5 (fig.07)
I opened up a separate file to create the sky,
since the source file is starting to become big.
This took another 3-4 hours. (Ill have to write a
separate tutorial for clouds/smoke soon. There
isnt enough space to include a full one here.)
After this, I brought it to my scene and adjusted
the volcano to fit it. Then I refined some details
Step 6 (fig.08)
More details and refinement ,especially on the
vale textures. I built up the vale and painted the
foreground rock (right). After that, I did more
texturing, colour adjustments and finally I built
the end of the magma flow.
Step 7 (fig.09,10,11)
The final step is always the best one! ...
Details. I wanted to add so many more details;
ruins, impaled skeletons, etc., but the client said
the scene is already busy and that is how he
likes it, so maybe another time. Dragons were so
much fun to paint. I actually want to paint a full
detailed one sometime soon. There is no point
in painting paws or scales since no-one will see
them, not even in print. However, the dragon is
not just a shape who looks good only in 25%
view (as many painters like to do in order to gain
time). Its a pretty decent background dragon,
even in full view.
And thats it! I hope you found this small and
humble guide useful to some degree.
T H E P O W E R O F L AY E R S
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Featuring;
Raluca Iosifescu
Kuang Hong
Waheed Nasir
Tom Mller
Svetlin Velinov
Pavel Mikhailenko
Seung Ho Henrik Holmberg
Paul Wright
& John Kearney
Gladiator
Raluca Iosifescu
www.iramelanox.go.ro
iramelanox@gmail.com
Sunflowers
Waheed Nasir
http://www.waheednasir.com
wnasir2@hotmail.com
Soul
Dancer
Svetlin Velinov
www.velinov.com
svetlin@velinov.com
Somnio 005
Seung Ho Henrik Holmberg
henrik.holmberg@spray.se
http://henrikcgcommunity.com/
Source
Tomas Mller
http://www.temujin.cz
temujin@temujin.cz
Lisa
Paul Wright
paul@wrightair.co.uk
www.wrightair.co.uk
Bar Girl
John Kearney
JKNet@Blueyonder.co.uk
www.j-k.pwp.blueyonder.co.uk/
Subjects:
Richard Tilbury
contact them via:
ibex80@hotmail.com
Subjects:
Eye Tutorial
For the eye, I will give you a small lesson
on them. Since these are mostly covered by
eye-shadow and mascara, you have little to
work with, yet it should still pack a punch. We
firstly fill in her eye colour, like we did before.
Adonihs
More work from this artist can be found at :
http://adonihs.deviantart.com/
and contact them via: dmxdmlz@aol.com
Introduction
In this making of , I will share with you how
I painted my Beast concept. There are many
ways to achieve this, however, I will be showing
you my favourite method...
Harmonization
I added one more Colour mode layer and
chose a blue colour to fill the whole canvas.
With opacity at 15%, the purpose is to allow the
picture to be cooler and the same tone, but you
can use colour balance to do this as well.
e cake!
year old, and we lik
ive is one
>>3DCreat
Grzesiek Jonkajtys
>>On Directing his new Film The Ark by BAFTA award winning studio Platige Image
SwordMaster
>>Continuing complete character creation monthly tutorial for 3DSMax, Maya, Lightwave, C4D & XSI
Batman Begins
>>Behind the scenes of the Return of the dark Knight
Erick Miller
>>Author of Hyper Realistic Character Creation and industry Veteran
visit www.3dcreativemag.com
to download the free lite issue, the full issue, subscription
offers and to purchase back issues.
issue009 May 2006 $4 / 3.25 / 2.25 issue010 June 2006 $4 / 3.25 / 2.25 issue011 July 2006 $4 / 3.25 / 2.25
Sword theEndof
Master
>> Follow our new step by step tutorial to create
SwordMaster (this months cover image) from head to
armour, 8 months in a row! >>
Eve Online
Summer
In an abandoned city, before a tropical storm, we take a look at the animated short, Fin dete.
g an
>>CCP s Kari Gunnarsson talks to us about the urin
eat with
online gaming pheonomenon>> >>F rview Carlos an
Inte ctor and on
Digital Art Masters Dire danha article this
Sal th n of s
>>more exclusive content from this new and in depcreatio Studio
amazing digital art overview book>> the e Sky ted
Blu Anima
3rd ture
Fea
Adel Adili
Managing Director of Taharan, and about to start Leda Animation Studios, Adel finds
the time to talk to us
Erick Miller
>>on his career and new book
Fred Bastide
Szeflinski
Richard Minh Le
>> Self taught CG artist and monster obsessed!
Article >>3d artist at RushWright Associates, a landscape architecture office in Australia
Juan Siquier
Texturing Masterclass - Low poly character texturing part 1Richard Tilbury, Alpine
A443 - Part 2 of 3 by dEttorre Olivier-Thomas & Rigging for Moosah & Chub by The Science of Colour
>> 3d Modeler & Texture Painter Adam Scott >>Exclusive Tutorial written by featured artist Richard Minh Le
JTTVF'FCSVBSZb issue008 april 2006 $4 / 3.25 / 2.25 issue012 August 2006 $4 / 3.25 / 2.25
richard
(BMMFSJFT
>>More of the latest 3D inspiring art such as this cover image by Sebastian Schoellhammer
Rosenman >> Head of 3D at Redrover Animation Studios, Canada, & Director of the short film Plumber
>>Normal mapping expained! by expert artist Misja Baas of Gorilla in Holland
Interviews
Andrea Bertaccini
Dave Davidson
/FX4FDUJPO*NBHF.BLJOH0GT Joan of Arc Axis Animation
>>Deconstructing the Gallery images, and written by the artists. >>This month we complete the mammoth tutorial series
Colour correction
So here is the picture (fig.09), which has
everything sorted. But there is still something
missingm - it needs the contrast adjusting
slightly. We need do some colour-corrections
to unify separated components and adjust
the atmosphere intensity, which the picture
should irradiate. By using picture duplications,
colouration and various diffusions among colour
channels, we can get more credibility and final
look of the whole image.
Articles
Digital Matte Painting
Lemmings Concept art & Evolution
Tutorials
Lanscape tutorial by Adonihs
Clouds from above by Marek Hlavaty
Elements - Flesh Wounds by
Richard Tilbury & Benita Winckler
Plus
More!
Galleries
Partners
If you have a CG Community website, and
would be interested in reselling 3DCreative or
2DArtist magazine please contact
lynette@zoopublishing.com
Zoo Publishing
is a new Company, publishing download-
able online magazines. It is based in the West
Midlands in the UK. Zoo currently produces two
online downloadable magazines, 3dcreative and
2dartist. Zoos intention is to make each issue
as full of great articles, images, reviews, inter-
views, images and tutorials as possible. If you
would like more information on Zoo Publishing
or Its magazines, or you have a question for our
staff, please use the links below.
www.zoopublishing.com
www.3dcreativemag.com
www.2dartistmag.com
Editor > Ben Barnes
ben@zoopublishing.com
Assistant Editor > Chris Perrins
chris@zoopublishing.com
Marketing > Lynette Clee
lynette@zoopublishing.com
Content Manager > Warin Pismoke
warin@zoopublishing.com