vertheim.com
  • Modelling
    • Links >
      • Modelling Hair & Fur
      • Paint Deformation
      • Painting with Objects
    • Types of Modelling >
      • Hard Edge Modelling
      • Poly Modelling >
        • VTMs >
          • Basic Geometry >
            • How to stop geometry using kites
            • Example of where to use kites
            • Poles
            • Extruding for Animation
            • Simple Muscle Definition
          • How to Start a Human Torso
          • Hands
          • Blocking Out a Hand
          • Modelling Hellboy's Head .vtm >
            • Simple breakdown in PDF format
          • Facial Geometry
          • Advanced Body Geometry
          • Cloth Modifier >
            • Making a simple tablecloth
            • Making a Cushion
            • Cloth Help files
          • Modelling Wire mesh
        • Images for Modelling Characters
      • Patch Modelling >
        • VTM
      • Spline Modelling >
        • VTMs >
          • Working with Splines
          • How to build a spline car >
            • Part 1
            • Part 2
            • Part 3
            • Part 4
            • Part 5
            • Part 6
        • Spline Car Images for VTM
      • Map Modelling >
        • Using Maps to Model (displace) >
          • VTM
      • NURBS
      • MakeHuman
    • Architectural Stuff >
      • Five AutoCAD Tips That Make a Big Difference
      • AEC Extended
      • Windows
      • Doors
      • Walls
    • Tools >
      • Realigning Pivots
      • Containers, Xrefs & Proxies >
        • Containers
      • The Array Command
      • Graphite Modelling Ribbon >
        • Read Me!
        • VTMs >
          • Painting Objects
          • Freeform Tools
          • Conform Tools
      • Optimising & Analysing
      • Solving Ngons
      • Populate Tool
      • Perspective Match
    • Speeding Up Production with a Custom UI in 3ds Max
    • Speed up your Workflow in 3DS Max!
    • Why are Ngons & Triangles so Bad?
    • Modeling with Quads or Triangles - What Should I Use?
    • Subdivision / Open Subdiv
    • Different File Formats. Which one?
    • Useful Geometry Images - How & Why
    • Retopology
    • Retopology workflow in 3ds Max - the how and why
    • Hard Edge modelling vs Organic Modelling
    • 10 Anatomy Tips for 3D Modelling
  • Photoshop
    • Links
    • Day to Night
    • The RAW Format >
      • RAW Images
      • ACR Camera Raw Filter Photoshop Clarity
      • Editing RAW Images
      • How to Read a Histogram
    • Pixelflakes.com
    • Animating in Photoshop (Video)
    • Animating in Photoshop (Keyframe)
    • Photographic Retouching and Manipulation
    • Young to Old - The Aging Process
    • Turn Anything into Fire
    • From Destructive to Constructive
    • CS4 VTMs >
      • 3D Cross Section
      • 3D Layers 1
      • 3D Layers 2
      • A Better Impression
      • Adding Depth
      • Ageing Process
      • Animation
      • Beards & Stubble
      • Blending Options
      • Boxing Clever
      • Cartoon Distortion
      • Change of Skin
      • Change of Skin 2
      • Clone Tool
      • Combining Body Parts
      • Complex Shadows
      • Content Aware 1
      • Content Aware 2
      • Custom Brush Design
      • Day for Night
      • Digging Graves
      • Drawing Ribbons
      • Easy Multiple Adjustments
      • Explosions
      • Flyaway Hair
      • Folds & Wrinkles
      • Free Transform
      • Hard Light Shading
      • Image Warp
      • Layer Masks
      • Lock & Load
      • Magical realism
      • Making it Rain
      • Metal with Curves
      • Moving Eyes
      • Multiple Shadows
      • Multiple Strokes
      • Opening Doors
      • People & Cars
      • Perspective Crop
      • Perspective Drawing
      • Portrait Restoration
      • Refine Edges
      • Replace Colour
      • Reverse Ageing
      • RGB & CMYK
      • Rust & Grime
      • Selection Basics
      • Selective Hue - Saturation
      • Silver into Gold
      • Turning Heads
      • Vanishing Point
      • Visible Light
      • Watercolour
      • Window Light
    • Basic CC Training by Digital Tutors
    • CS6 Keyboard Shortcuts
    • Upscaling Images in PS CC
    • Ivy Generator
    • Mr Bean
    • Normal Maps >
      • Nvidia Plugins
    • Brushes >
      • How to load Brush files
      • Brush Tool .vtm
      • Custom Brushes (no images)
      • Custom Brushes (with images) >
        • Destroyed Heraldry
        • Abstract Splatter
        • Destroyed Elements
        • Hand drawn Floral
        • Hand drawn Heraldic Designs
    • Colour Correcting & Matching using Curves
    • How to Use Layer Masks in Photoshop
    • Creat Ice Effect
    • Make a fantasy composite landscape
    • Discover Layer Masks in Photoshop CS6
    • 10 Tips on becoming a Hotshot Character Artist
    • Matte Painting >
      • Direct Links
      • 3 Great Matte Tutorials
      • CGMA Competition
      • Nathalie Mathé
      • 3D Artist - Matte Painting
      • Build a Matte Image using VUE
      • The Matte Paintings of the Star Wars Trilogy
    • Painting Direct on a 3D Model >
      • CS5 & Earlier >
        • Level: Beginner >
          • VTM
        • Level: Advanced >
          • VTMs >
            • Part 1
            • Part 2
            • Part 3
      • CS6 >
        • VTM
      • CC >
        • VTM
    • Creating 3D Objects in CS6
    • 3D - What's new in CS6 .pdf
    • Day to Night >
      • for Animation / Film using After Effects
      • for Stills using Photoshop
    • Using Perspective and Vanishing Point to make realistic composites
    • Using Perspective or Vanishing Point Filter >
      • VTM
      • Image used
    • Creating a 360 degree Photo
    • Techniques for Creating Realistic Eyes for Another Level of Believability
    • Blending Modes Explained
    • Tools >
      • Actions
      • Blur Tools in CS6
      • Edit / Transforms
      • 2D Displacement Maps >
        • VTM
        • Images for VTM
      • Liquify
      • Pen Tool Basics
  • Lighting
    • Links
    • An In-Depth look at Lighting
    • Volumetrics >
      • Direct Link
      • VTM
    • Ambient Occlusion >
      • VTM
      • Tutorial on Simple Nspace & AO
    • Shadows >
      • Types of Shadow - Help files & Other .vtms
      • Direct Links to books & sites
      • VTM
    • Caustics >
      • A Brief look at Caustics.pdf
      • VTM
      • Caustics Generator
    • Glow & Glare >
      • VTM
    • I.E.S. Lighting Files >
      • VTM >
        • What to do with an IES file
      • IES Viewer
      • IES Generator
      • IES Files >
        • Read Me First
        • Downlighting
        • Emergency
        • Fluorescent
        • Industrial HID
        • Rough Service
        • Track Lighting
    • MR Exposure Controls >
      • VTM
    • Stage Lighting
    • 24 things you should know about lighting
    • How to get better at Lighting
  • Substances
    • Substance Materials >
      • VTM's
    • Substance Designer >
      • Designer VTM's by Allegorithmic
      • Substance Designer Insanity Awards 2018
    • Substance Source >
      • Source Link Page
      • Mark Foreman's Medieval World
    • Substance Painter 2018 >
      • VTM's >
        • Introduction
        • 01 - Creating and setting up a project
        • 02 - Baking maps used in the texturing process
        • 03 - Creating the base paint material
        • 04 - Finishing the painted material and creating rust
        • 05 - Finishing the rust material
        • 06 - Applying Smart Materials and Layer Instancing
        • 07 - Using the brush system
        • 08 - Using Paint Effects, Projection and Cloning tools
        • 09 - Using Anchors
        • 10 - Masking materials with ID maps and Polygon Fill Tool
        • 11 - Creating the dirt and glass materials
        • 12 - Rendering a portfolio image and exporting maps
        • Project files
  • Textures
    • Links
    • How to Create a Material Library in Max 2015
    • Library >
      • Textures >
        • Computer Generated
        • Seamless / Tileable >
          • Bark
          • Brick
          • Fabric
          • Grass
          • Metal
          • Road
          • Rust
          • Stone
          • Wall
          • Wood
        • Sticky Tape
        • Foliage
        • Circuit Board
        • Paper >
          • Paper
          • Old Books
        • Grunge
        • Metal >
          • Assorted
          • Rust
        • Vectors
        • Wood
        • Water
        • Cement >
          • Cement
          • Stained Concrete
        • Fabrics
        • Peeling Paint
        • Odds & Ends
        • Trees & Foliage >
          • Maps
          • Bump
      • Images >
        • Free Images
        • Skulls
        • Assorted Photo Scenes
        • Lightning
        • Wraparound & Widescreen Images
        • Assorted Matte Paintings
        • Pirate's Galleon
        • Rocks & Stone
        • 140 Trees & Bushes
      • Blueprints >
        • Links
        • Vehicles
        • Aircraft
        • Buildings
        • Marvel Characters >
          • Male
          • Female
          • Other...
      • Map Sets >
        • Alien Wall
        • Stone Carved Wall
        • Lumpy Sharp-edged Wall
        • Mossy Castle Wall
        • Carved Rosewood Panelling
        • Distressed Concrete Blocks
        • Muddy Wagon Tracks
        • Art Deco Doors
        • Lava Cracks
      • Assorted .psd Texture Files
    • Render to Texture (Baking) >
      • Direct Link
      • VTM
    • Viewport Canvas >
      • Links
      • Paint Models directly in 3ds Max
      • Read Me >
        • Introduction and Custom Brushes
        • PSD Workflow and Using Render to Texture
        • Viewport Canvas and Render Surface Map
        • Matte Painting and Viewport Canvas
    • Road Texture Generator
    • Applying Textures >
      • UVW Unwrap >
        • VTMs >
          • Unwrapping in Max 2017
          • Great Link
          • Drinks Carton
          • Hand
          • Pelt & Peel
          • External VTM,s Parts 1 - 10
          • Peel
        • VTM Images >
          • Carton
          • Hand
        • VTM .psd Files >
          • Carton
          • Hand
        • Max file for the Hand
      • Camera Mapping >
        • VTMs >
          • Part 1
          • Part 2
          • Part 3
        • Images For Camera Mapping Exercise
        • Images for you to practice with
    • Shaders >
      • Autodesk help on Shaders
      • Submerge
    • Creating Textures >
      • Composite Materials (NOT multi-sub)
      • Ivy Generator
      • Tips for Creating Perfect Normal Maps Every Time
      • Normal Maps >
        • Tutorials
        • Projection Mapping
        • The Atomic Thrust Bucket >
          • VTM
      • 3D Displacement Maps >
        • VTM
      • Tileable Textures >
        • VTMs >
          • Part 1
          • Part 2
        • Mix Maps
      • Mix Maps & Vertex Painting
      • Hair & Fur >
        • Direct Link
        • VTM
      • Sub Surface Scattering >
        • What is it?
        • Epic Tutorial
        • VTM
      • Procedural Maps >
        • VTM
    • Plug-ins >
      • Advanced Procedural maps
    • The Problem with Hair... >
      • Modelling Hair
      • Making Hair with Planes
      • Using Hair & Fur
    • PTEX
  • Animation
    • Alan Becker - Stick man Master
    • Adobe Character Animator
    • Links
    • Animation Terminology
    • Animating Cameras for Architectural Visualisation
    • Emphasizing Animation Timing to Convey Weight and Force
    • Animation Body Mechanics - Understanding Exaggeration
    • Fire Effects using Particles
    • Animation for Games
    • Character Studies? Yes, Please!
    • Particles >
      • Sparks
      • Pouring Beer
    • Rigging >
      • Cat Rig Setup
      • Skinning
      • Skin Morph
      • Skin Wrap
      • Facial Rig
    • Roboball - Read Me >
      • Part 1 - Animation
      • Part 2 - Shading
      • Part 3 - Shading
      • Part 4 - Compositing
    • How to make objects disappear using procedural maps
    • Artist Guide to Motion Graphics >
      • Read Me First >
        • Part 1 >
          • Introduction and project overview
          • Initial project concept and storyboards
          • Adding lights to the scene in 3ds Max
        • Part 2 >
          • Using mental ray materials
          • Using 3ds Max particles to create sparks
          • Getting acquainted with State Sets in 3ds Max
        • Part 3 >
          • Using State Sets to create custom render passes
          • Separating scene elements using State Sets
          • Using Render Elements in 3ds Max
        • Part 4 >
          • Creating 3D elements that can be transferred to After Effects
          • Using the 3ds Max Compositor View
          • Installing the Autodesk Compositor Link plugin for After Effects
          • Overview of Media Sync workflow between 3ds Max and After Effects
          • Using Helper Objects to quickly place 3D layers
          • Using 3D Nulls to drive 2D effects like lens flares
        • Part 5 >
          • Baking an expression to fix motion blurred camera animation
          • Creating glows and changes with the Object ID pass
          • Overview of the compositing techniques use in the final render
          • How to install MAXScripts and add them to the interface
          • Creating custom attributes and transforming selected objects
          • Controlling many objects simply with MAXScript and expressions
    • Principles of Animation >
      • Digital Tutors' 12 Principles
      • 12 principles
      • Staging
      • Exaggeration
      • The 12 Principles Simplified
    • How to Link Sub-Objects to helpers
    • Rigging (3D Artist)
    • Pushing Your Rigs to the Limit - Using Exaggeration for More Appealing Animation
  • Rendering
    • Links
    • 5 Rendering Tips for Animators When Adding the Final Touches to Your Demo Reel
    • Basic Render Elements
    • Produce Expert Renders
    • Quicksilver >
      • Direct Link
    • Mental Ray >
      • Final Gather vs. Global Illumination
      • Global Illumination & Final Gather >
        • For Still Images >
          • VTM
        • For Animation >
          • VTM
      • Proxy Objects >
        • Xrefs
        • Containers >
          • VTMs
        • XRef vs Containers
        • MR Proxies >
          • VTM
    • V-Ray >
      • The BIG V-Ray Book
    • Corona >
      • Sub Surface Scattering with Corona MTL
    • Tools >
      • Level of Detail Utility
    • Simple Render Passes
  • 3ds Max for Beginners
  • Maya
    • Introduction to MAYA 2019
    • Basic
  • Mudbox
    • Tips for Beginners
    • Sculpting VTMs
    • Sculpting Films
    • Materials & Textures
    • Mudbox & Photoshop
    • Map Extraction
    • Retopology
    • Modelling using Displacement Maps
    • Creating hard surface stamps for Mudbox
    • Creating Vector Displacement Stamps
    • Using Vector Maps
    • Lighting
    • Using the Pose Tools
    • Ptex VTM
    • PTex - Mudbox to Max
    • Rendering Ptex with Mudbox, Maya & MR
    • The Jason Welsh Boxset >
      • Retopology Phase
      • Hard Surface Brushes
      • Creating Stamp from an Alpha
      • Image to Stamp without height information)
      • Texture to stencil
      • Sculpting with Stencils
      • Uniform Subdivision
      • UV Phase
      • Mapping Phase
      • Combining Normal Maps
      • Specular Map Option
      • Painting Option
      • Post Processing Texture Phase)
      • Post Processing Preview Cleanup and Repair Phase)
  • PBR Materials
  • Epic Games
    • Creating Materials in UE4
    • Hotkeys, Naming conventions etc.
    • Unreal Studio >
      • Preparing Models and Datasmith
      • Lightmass and Beyond
      • Steamroller
      • Unwrapping for Arch Vis
    • Unreal Engine >
      • Doors
      • Changing cameras
      • Complete Lighting Workflow
      • Beginners Guide
      • Big VTM for beginners
      • Must see! Speed Level Design
  • Post Production
    • After Effects Tutorials by Surfaced Studio >
      • Beginner >
        • How to Create Cool VFX
        • Compositions & Pre-Composing
        • Introduction to Masking
        • Adjustment Layers
        • Track Mattes
        • Parenting
        • Null Objects
        • 3D
      • Intermediate >
        • Muzzle Flash
        • How to Morph / Warp an Object
        • Advanced Morphing
        • Realistic Bullet Effects
        • How to get Hit by a Car
        • Motion Tracking
        • Explosions
        • How to Curve a Bullet
        • Bullet Hit Destruction
        • Make a Shooting Look Real
        • Common Green Screen Mistakes
        • How to Clone Yourself
      • Advanced >
        • How to Move a Camera Through a Wall or Floor
        • VFX - Dissolve into Crows (Short & Breakdown)
        • VFX - Dissolve into Crows Tutorial
        • How to Blow Up a Motorbike
        • Compositing Fireworks
        • Breaking Through a Roof
    • Dramatic Lighting in After Effects
    • Post Production in After Effects
    • After Effects, 3ds Max - Motion tracking, match moving & camera tracking
    • Mass FX, 3ds Max - Ball and Chain Complex Rigid Body Constraint
    • Links
  • Photography
    • Concepts & Terminology
    • Camera Equipment & Accessories
    • Editing & Post Processing
    • Colour Management & Printing
    • Understanding the F Stop
  • Photogrammetry
    • Photogrammetry
    • Create 3D Models & Textures From Photos
  • Photorealism Explained
  • 3D Scanning
    • Fuel 3D / Scanify
    • 3rd party stitching >
      • Autodesk Meshmixer
      • Meshlab
  • Games
    • Character, Controls, Camera: The 3Cs of Game Development
    • 10 Things Professional Game Artists Wish They Knew When They First Started
    • Animation for Games
    • Vehicle Game Asset
  • Film
    • Hollywood VFX
    • Practical Effects and Digital Effects
    • Reel FX Helps Write The Book of Life
    • Behind the Scenes of X-Men: Days of Future Past
    • Gravity
    • 'Atlantis' Rope Bridge scene by Vine Studios
    • The Evolution of VFX in Movies: The 60s Till Now
  • Work
    • How to become a Successful Freelance Artist
    • If Every 3D Job Requires "Job Experience" How Will I Ever Break into the Industry?
    • Build a Professional Showreel
    • Create Your Best Showreel
    • Five Tips for Critiquing Your Own Work
    • Demo Reel and Portfolio Tips from Game Industry Professionals
    • Escape Studios Careers Guide 2016
  • Drawing, Sketching etc
    • 10 Tips on becoming a Hotshot Character Artist
    • Planning your Drawing
    • How to Draw a Human Head
    • Drawing a Human Head at Different angles
    • Drawing Mouths and Lips
    • Mouth Expressions
    • Gesture Drawing
    • Dramatic Facial Expressions
    • Drawing Eyes
    • Drawing Hands
    • Drawing Emotion
    • Female Body Construction
    • Foreshortening
    • Drawing Anatomy >
      • Drawing Anatomy Pt 1
      • Drawing Anatomy Pt 2
    • How to Find Natural Rhythm Lines
    • Perspective
    • The Character design Process
    • Poses
    • Western vs Anime
    • How to Create Realistic Textures >
      • How to Create Realistic Textures Pt 1
      • How to Create Realistic Textures Pt 2
    • How to Create Realistic Textures Pt 3
  • What's new in Max 2019
  • Odds & Ends
    • Cinemagraphs
    • Trees
    • RSS Feeds >
      • Technology Magazines
      • 3D Artists
      • 3D Printing
      • Science Fiction
      • Tech Radar
      • ScriptSpot.com
    • Graphic Design >
      • Understanding Design Jargon: Design Principles
    • External Links >
      • Luciano Sgarbi
    • How to set up a Project Folder
    • Sound >
      • Intro to Prosound
      • Free WMA-MP3 Converter
      • Royalty Free Music
      • Sounds >
        • Links
        • Alarms
        • Animals
        • Computers
        • Email
        • Sound Effects
        • Voices
        • Gunfire
        • Short Tunes
    • Scripts >
      • 3D Stereoscopy
      • Brickerizer
      • Camera Switcher
      • Clay Render
      • Resource Collector
      • Deformed Edges
      • Rockmaker
      • BookScatter
      • Material Creator / Randomisor
      • Quick Ambient Occlusion
      • Fracture
      • Links
    • Scanned Stuff >
      • Produce Expert Renders
      • The Future of VFX
      • Rigging (3D Artist)
      • Build a Matte Image
      • 3D Artist - Matte Painting
      • Atmospheric Arch-Viz Renders
      • 50 ZBrush Secrets
      • Animation for Games
      • Wooden Arch Viz Interiors
      • Dramatic Lighting in After Effects
      • 50 Tips for better characters
      • The Art of Arch Vis
      • 50 Hot Topology Tips
      • Post Production in After Effects
      • Create Your Best Showreel
      • Get a Job in the Games Industry
      • Create 3D Games Assets
      • Digital Doubles
      • 3D Printing
      • Essential CG Projects
      • Vehicle Game Asset
      • Turbo - The Art of Dreamworks
      • Facial Animation
      • CG Worlds
      • 3ds Max 2014
      • Gravity
      • Art of Sci-Fi
      • Rigging in Max
    • 3DS Models >
      • Previews
  • Video Encoding
  • Glossary
    • Modelling
    • Materials
    • Maps
    • Lighting
    • Animation
    • Modifiers
    • Rendering
    • Scripts
    • Shadows
  • VR & AR
  • Modelling
    • Links >
      • Modelling Hair & Fur
      • Paint Deformation
      • Painting with Objects
    • Types of Modelling >
      • Hard Edge Modelling
      • Poly Modelling >
        • VTMs >
          • Basic Geometry >
            • How to stop geometry using kites
            • Example of where to use kites
            • Poles
            • Extruding for Animation
            • Simple Muscle Definition
          • How to Start a Human Torso
          • Hands
          • Blocking Out a Hand
          • Modelling Hellboy's Head .vtm >
            • Simple breakdown in PDF format
          • Facial Geometry
          • Advanced Body Geometry
          • Cloth Modifier >
            • Making a simple tablecloth
            • Making a Cushion
            • Cloth Help files
          • Modelling Wire mesh
        • Images for Modelling Characters
      • Patch Modelling >
        • VTM
      • Spline Modelling >
        • VTMs >
          • Working with Splines
          • How to build a spline car >
            • Part 1
            • Part 2
            • Part 3
            • Part 4
            • Part 5
            • Part 6
        • Spline Car Images for VTM
      • Map Modelling >
        • Using Maps to Model (displace) >
          • VTM
      • NURBS
      • MakeHuman
    • Architectural Stuff >
      • Five AutoCAD Tips That Make a Big Difference
      • AEC Extended
      • Windows
      • Doors
      • Walls
    • Tools >
      • Realigning Pivots
      • Containers, Xrefs & Proxies >
        • Containers
      • The Array Command
      • Graphite Modelling Ribbon >
        • Read Me!
        • VTMs >
          • Painting Objects
          • Freeform Tools
          • Conform Tools
      • Optimising & Analysing
      • Solving Ngons
      • Populate Tool
      • Perspective Match
    • Speeding Up Production with a Custom UI in 3ds Max
    • Speed up your Workflow in 3DS Max!
    • Why are Ngons & Triangles so Bad?
    • Modeling with Quads or Triangles - What Should I Use?
    • Subdivision / Open Subdiv
    • Different File Formats. Which one?
    • Useful Geometry Images - How & Why
    • Retopology
    • Retopology workflow in 3ds Max - the how and why
    • Hard Edge modelling vs Organic Modelling
    • 10 Anatomy Tips for 3D Modelling
  • Photoshop
    • Links
    • Day to Night
    • The RAW Format >
      • RAW Images
      • ACR Camera Raw Filter Photoshop Clarity
      • Editing RAW Images
      • How to Read a Histogram
    • Pixelflakes.com
    • Animating in Photoshop (Video)
    • Animating in Photoshop (Keyframe)
    • Photographic Retouching and Manipulation
    • Young to Old - The Aging Process
    • Turn Anything into Fire
    • From Destructive to Constructive
    • CS4 VTMs >
      • 3D Cross Section
      • 3D Layers 1
      • 3D Layers 2
      • A Better Impression
      • Adding Depth
      • Ageing Process
      • Animation
      • Beards & Stubble
      • Blending Options
      • Boxing Clever
      • Cartoon Distortion
      • Change of Skin
      • Change of Skin 2
      • Clone Tool
      • Combining Body Parts
      • Complex Shadows
      • Content Aware 1
      • Content Aware 2
      • Custom Brush Design
      • Day for Night
      • Digging Graves
      • Drawing Ribbons
      • Easy Multiple Adjustments
      • Explosions
      • Flyaway Hair
      • Folds & Wrinkles
      • Free Transform
      • Hard Light Shading
      • Image Warp
      • Layer Masks
      • Lock & Load
      • Magical realism
      • Making it Rain
      • Metal with Curves
      • Moving Eyes
      • Multiple Shadows
      • Multiple Strokes
      • Opening Doors
      • People & Cars
      • Perspective Crop
      • Perspective Drawing
      • Portrait Restoration
      • Refine Edges
      • Replace Colour
      • Reverse Ageing
      • RGB & CMYK
      • Rust & Grime
      • Selection Basics
      • Selective Hue - Saturation
      • Silver into Gold
      • Turning Heads
      • Vanishing Point
      • Visible Light
      • Watercolour
      • Window Light
    • Basic CC Training by Digital Tutors
    • CS6 Keyboard Shortcuts
    • Upscaling Images in PS CC
    • Ivy Generator
    • Mr Bean
    • Normal Maps >
      • Nvidia Plugins
    • Brushes >
      • How to load Brush files
      • Brush Tool .vtm
      • Custom Brushes (no images)
      • Custom Brushes (with images) >
        • Destroyed Heraldry
        • Abstract Splatter
        • Destroyed Elements
        • Hand drawn Floral
        • Hand drawn Heraldic Designs
    • Colour Correcting & Matching using Curves
    • How to Use Layer Masks in Photoshop
    • Creat Ice Effect
    • Make a fantasy composite landscape
    • Discover Layer Masks in Photoshop CS6
    • 10 Tips on becoming a Hotshot Character Artist
    • Matte Painting >
      • Direct Links
      • 3 Great Matte Tutorials
      • CGMA Competition
      • Nathalie Mathé
      • 3D Artist - Matte Painting
      • Build a Matte Image using VUE
      • The Matte Paintings of the Star Wars Trilogy
    • Painting Direct on a 3D Model >
      • CS5 & Earlier >
        • Level: Beginner >
          • VTM
        • Level: Advanced >
          • VTMs >
            • Part 1
            • Part 2
            • Part 3
      • CS6 >
        • VTM
      • CC >
        • VTM
    • Creating 3D Objects in CS6
    • 3D - What's new in CS6 .pdf
    • Day to Night >
      • for Animation / Film using After Effects
      • for Stills using Photoshop
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vertheim.com

10 Tips for Becoming a Hotshot Character Concept Artist


courtesy of Digital Tutors
10 Tips for Becoming a Hotshot Character Concept Artist

So, you’d like to be the next hotshot character concept artist to work in either the film, television or game industries. There’s just one problem. You don’t even know how to begin the journey that would lead you to a career like that.

Whether you’re just starting out or maybe you have been drawing for several years, this article will provide you with insight into some areas you can focus on to draw better and eventually achieve the job you’ve been dreaming about.

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Master the Fundamentals

If you’re just starting out, fundamental areas of drawing and painting should be your focus. Think of it this way; you need to learn how to control your hand, teach it to do what you want with a drawing utensil before you can actually begin to improve. You wouldn’t tear apart your car to fix something unless you had done some research and learned how to put it back together, would you?

Early on, you should focus on learning how to draw line and form and use them as tools to create your characters. From here, you can begin to explore shapes and how they play a role in the characters you create. In the later stages of your fundamental education, you should primarily focus on anatomy. This extremely important fundamental art skill is something that even artists who have been drawing for years still struggle with.

Know Your Audience

The people that ultimately decide whether your character is successful or not won’t be the modeler who creates it in 3D or even the art director that approves it. It’ll be the audience who views your character in its final finished form. Because of this, a character designer must always think about what that audience finds appealing. Who are they? What are their likes and dislikes?

If your audience is the Saturday morning cartoon kids, then a simple, colorful and whimsical character may be the right way to go. If, on the other hand, you’re designing a character for the next big comic book movie targeting adults in their 20s and 30s, realism will probably be received in a much better light. Ultimately, your audience is who your character is for, and by putting yourself in their shoes from the very first day your design will be better for it.

Create Something Original

As a character designer, it’s your job to create a solution to the design problem you’re presented with in the form of a unique character concept. For some artists this is a tough task because this is where creativity comes in. With all of the different artwork they surround themselves with as inspiration, they often act like a sponge, soaking up all of the ideas they like and then wringing them out into their concept. This just doesn’t cut it when it comes to elevating yourself as a top notch character designer. You are the innovator, the generator of ideas.

Original ideas come in large part from the process of trying, failing and learning from our experiences. Remember to be bold in your designs. Try things you haven’t tried before. It’s only through pushing yourself to do things differently will you find new and original ideas to incorporate into your designs.

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Tell a Story

What is it visually about an interesting character that draws you in and makes you examine them closely, taking in all the wonderful detail? When you look at a character that has depth, you’ll find there are things about the character that tell a story. It could be the clothing they wear, the hairstyle they have or even something as subtle as a facial expression. These intentional, carefully placed details are meant to clue you in on who the character is and what their history might entail.

In a production environment, every character you create will have a story behind them. Your characters will be more successful if you take the time to familiarize yourself with this story and think about ways you can influence your design with it.

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Flesh It Out

There’s a definite difference between a character sketch and a character design. If you, as the artist, draw or paint a character once, it’s a character sketch; a single idea of what a character may look like in a single pose. Character design is so much more than a single version of a character. It’s a journey. At the onset of this journey, the correct path is rarely visible. Only after you’ve traveled through the design process can you look back on it and connect the dots along the path.

Even after the final look of a character for a design has been determined, often times there are a number of additional pieces of art that must be created. Obviously this will vary depending on the intent of the character, but you’ll be expected to produce things like wardrobe variations, character aging, various poses, facial expressions, not to mention any story driven changes that may affect your character.

If you’re aspiring to be an amazing character designer, start practicing this now. Explore a character until you are sick of looking at them. Take a break. Then come back and keep digging to find the best solutions for the character.

Love What You Do, Not What You Make

Yes, this sounds a little strange. Many artists who are new to character design or who may not have worked in a production environment fall in love with the work they create. This is understandable because a considerable amount of time can be spent getting a design just right. The reality is another person must love your work as much as you do for it to be approved and go to the next step in production. This is applicable whether you’re working for a studio or freelancing at home.

How can you avoid the crushing disappointment of a rejected design, especially since putting your heart into your work is so important as an artist? The solution is to love the process, beginning with the first step and ending with the last. This incredible journey is one where a character emerges from a blank piece of paper. It’s one that allows an incredible amount of creative freedom. The character produced at the end is simply a result of this journey. If that design is rejected or revisions are requested, it doesn’t detract from the journey and its value. It simply means that the journey isn’t finished or must begin again.

Seek Out Feedback

It’s really easy for artists of any type to lock themselves up inside a bubble and separate themselves from other creative individuals as they work. They’re not only preventing any possibility of receiving valuable input, but they’re also basically saying their answers are always the best ones. By seeking out feedback on the work we create, we can expect to get new points of view we may not have previously considered.

This is something, however, that must be done strategically. There are a number of different creative communities out there. It’s important to seek out feedback from artists who you respect and who can identify with the work you’re creating. The last thing you want to do is implement feedback from someone who isn’t qualified to give it.

Unleash Your Passion

Another quality of successful artists who create character concepts is they are never satisfied with the work they create. Inside of them burns a flame that makes them believe they can be even better tomorrow than they are today. This passion is what drives them. It’s the motivation behind every character they create.

You too can tap into this passion and apply it to your own work. This work doesn’t always have to be on a computer either. Draw anywhere and everywhere. If you want to get better at something like designing characters, make it a point to draw every day. To start out, challenge yourself for a month. After 30 days of creating a new character each and every day, you’ll be surprised at what you’ll have learned.

Don’t be afraid to do things differently. Mix it up a little. If you work primarily on the computer then switch it up and move to paper. Try acrylic, watercolor or oil paints. Break out of your box to find new ways to create characters.

Be Patient and Believe

The one thing you absolutely must keep in mind is that becoming a legendary anything doesn’t happen over night. There isn’t a button you can press to make you an amazing character concept artist. This is going to require a lot of time, practice, sleepless nights and passion on your part. There will be peaks and valleys along the way. There will be times when you feel like you’re stuck and not getting any better. There will be times you want to throw in the towel. It’s times like these when you must adopt the mindset that failure is not an option. Identify the problem, and harness the power of your own creativity to fix it and continue the journey.

Conclusion

If characters are your passion and becoming an amazing character concept artist is something you desire, don’t feel that it’s an unrealistic goal. Every artist out there had to start off somewhere. Here at Digital-Tutors, we have a variety of different illustration tutorials and digital painting tutorials to teach you the tools, techniques and software to set you on the right path. Just remember, this journey will require your passion and hard work as well!

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