Tuesday, October 19, 2010

Psdtuts+ Updates - Captivating the Cinema – How Art Influences Film

Psdtuts+ Updates - Captivating the Cinema – How Art Influences Film

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Captivating the Cinema – How Art Influences Film

Posted: 19 Oct 2010 05:00 AM PDT

The movies have always been one of the great escapes for humanity. A source of entertainment, stress relief, and most importantly of all, art. Every person appreciates different qualities of a movie in different ways, these days people are increasingly appreciating visual effects and movie based art.

The purpose of this article will be to touch on the masterminds behind the visual effects in movies. Its impossible to get everyone, so I’ve selected a mixture of well known artists and more obscure artists in the move industry. Because some of these artists have worked on tons of movies, I’m going to be discussing the outstanding contributions of each artist to one film that they helped to become a visual masterpiece.

Michael Kutsche – Alice In Wonderland (Concept Art/ Character Illustration)

Michael Kutsche’s bio describes him as "an award-winning German artist based in Los Angeles, California. He is aself taught artist who works both in traditional and digital media. His work is best described as an astoundingly lifelike depiction of parallel realities, populated by odd characters reminiscent of movies, comics but also Flemish Renaissance Painting."

One thing is for sure, his artistic vision is immense and his technical ability is mind-blowing. Michael worked with Tim Burton and Sony Imageworks to do character illustrations for the movie alice in wonderland. He created the character concept art for all of the main characters within the movie, real and animated. The level of detail within these character illustrations is so incredible that the final look of the characters within the actual movie is only slightly different. This was Michael’s first big movie industry job to, which makes it even more impressive.

Dylan Cole – Lord Of the Rings, The Return Of The King (Digital Matte Painting)

Dylan Cole has become somewhat of a legend amongst CG networks and in the movie art industry. His work has headlined films as such Avatar, I robot, Alice And Wonderland, and Superman. One of his most standout films is definitely Lord Of The Rings, the most impressive thing is that he had only been working professionally for 1 year until he got the job to matte paint for Lord Of The Rings. Anything Dylan Cole does has an unbelievable level of technical realism.

Cole stated in an interview with CG-node that he spent 8 months off and on working on his Mordor painting, which in terms of technical skill is one of his most impressive works to date. The scale, perspective, atmosphere, and lighting are all so realistic you actually feel as if you are in Mordor. Coles consistent attention to realistic detail in unrealistic scenes makes him one of the best in the industry.

Yanick " Dusso" Dusseault- Star Wars Episode III: Revenge Of the Sith (Digital Matte Painting)

Dusso is one of the most experienced matte painters in the industry, having been a VFX artist for over 10 years. His work hasn’t received the same sort of public attention that Dylan Cole’s has, but it is still equally if not more impressive. His work in the third episode of star wars is truly incredible. For the movie, Dusso created a myriad of illustrations (over 100) to be used for VFX revisualization and production. In addition to his movie work Dusso has also done his fair share of production work for T.V spots.

Shown below are some of Dussos paintings for Star wars, which includes one of his cycloramas. A cyclorama is a horizontally based matte painting that supports multiple camera angles and is created to allow seamless 360 degree coverage. The painting shown below was created at over 25,000 pixels in width.

Feng Zhu – Transformers The Movie (Concept Art)

Feng Zhu is not your typical movie artist. If I had to pick one reason to really justify that claim, its that he has his own design school. Feng has been working in the field of VFX for over 11 years and has created a huge name for himself. He was one of the first artists to begin teaching at the Gnomon School Of Visual Effects. Feng has worked with some of the best directors in the world, such as James Cameron, Michael Bay, and Steven Spielberg.

The teaching Feng did at the Gnomon institute was received so well that it inspired him to start up his own specialized design school in Singapore, called the Feng Zhu School Of Design. The school has become an Asian landmark for visual effects artists, mainly because it is so rare to find this sort of specialized education offered in the region that it is.

Michael Bay noticed Feng Zhu when he was teaching at Gnomon, and hired him to work on the Transformers movie. Below are some of the illustrations that Feng Zhu and Michael Bay completed for the initial Transformers movie.

Scott Patton- Avatar (3D character Design/Concept Art)

Scott Patton is relatively new to the field of concept art, but his work doesn’t show it at all. Patton has only been the field for 5 years, and has already worked on some truly astounding projects. Patton initially started as a make up-effects artist in 1990, but painted and sculpted on the side. Patton stayed in this field of the industry for some time until he began to notice how much shorter production schedules were becoming. This eventually led him to stumble upon Zbrush in 2005, and into the field of concept art.

After sending out his resume to a few places, Patton received his first job, to work on Jim Cameron’s Avatar. Patton’s studio was tasked with creating the Na’Vi people, Viper Wolf and Banshee head. The 3D work Patton did on the Na’Vi people is something on an entirely different level than anyone would have expected for his first concept job. Shown Below are some of character designs and a screenshot of a finalized scene with Jake and Neytiri.

Noboru Yoshida – Ponyo (Art Direction)

I don’t think this would be a proper article without mentioning at least one Animated film, so I’ve chosen Noboru Yoshida of Ponyo. One could also argue that Hayao Miyazaki deserves the feature more but he was the director/screenwriter for this film. Ponyo was a film that artistically surpassed all of the previous Miyazaki-Yoshida collaboration movies. (Howls Moving Castle, Princess Mononoke, etc.)

The film features crisp animation with incredibly rich and detailed visuals. If you haven’t seen Ponyo yet and are an artist its worth seeing simply for its visual success as a animated movie. There wasn’t a lot of backstory about Yoshida’s process and work as an art director for Ponyo or info on him in general, but he’s won several art direction awards along his career, one of those was for Ponyo. Yoshida has also worked closely with Miyazaki on his other films, so its safe to say he played an important role in the art aspect of Ponyo and should be commended for the artistic quality the film showed.

Breaking Into The Field

Reading and seeing all of this may be a little overwhelming at first, but don’t underestimate yourself! One thing that all of the aforementioned artists share in common is that that all started as small fish, and worked their way up the food chain. If theres anything you should take from this article, its that a lot of hard work and a little bit of luck always leads to great things. One great tip that I have learned across the years is to always reach out and try and get in touch with artists that inspire you. Don’t be afraid just because they are successful, as mentioned before, everyone has to start off somewhere. If your looking to jump start your move into the industry, I would recommend checking out the educational videos at the The Gnomon Workshop and getting an account set up at CG Society

Some CGI software worth mentioning would also include: Maya, 3DSMax, Cinema 4D & Cinema 4D Bodypaint, Zbrush, Vue, and Mental Ray

Conclusion

In this article we briefly touched upon some of the top VFX artists within this massive industry. If anything you just read peaked your interest and you are a digital artist, I urge you to dig deeper into the field, and definitely check out CGsociety/Gnomon. Although it is a tough industry to get/stay in, I don’t think any VFX movie artists will be complaining about their jobs any time soon.

Create a Cute Twitter Bird Icon in Photoshop

Posted: 18 Oct 2010 06:00 AM PDT

Today, we will demonstrate how to create a cute Twitter bird icon in Photoshop. Let’s get started!

Step 1

In a new PSD file of 800×600 pixels, 72 dpi, RGB color and white background, we will draw a circular shape layer, color #0099FF. By pressing Shift you can create a perfect circle no matter in which direction you drag your mouse.

Step 2

By pressing Alt + Shift we will duplicate this shape down to create the head and body of the character. Both vectors will remain inside one unique layer.

Step 3

We will change the proportions of the duplicated circle. The object’s controls will appear when you press Cmd/Ctrl + T.

Step 4

With the Direct Selection Tool arrow we will take the upper curve of the circle to the edges of the other one to create opposite curves that will softly link head and body.

Step 5

We will create some shape layers to later add layer styles. For the eyes, we will create a vertical oval that will be duplicated as we did previously.

Step 6

When we are finished with the eyes, we will create some hair for the character using two similar vectors of different sizes to gain depth.

Step 7

Now it’s the turn of the tail feathers. We will draw a rectangular vector with a rounded corners shape layer, setting a 30 pixels radius. With the Direct Selection Tool we will select the 3 upper anchor points and by pressing Cmd/Ctrl + T the direction points will appear. In the upper menu, we will click the link proportions tool and with a horizontal click + drag over the letter “W” (width) we will reduce these anchor points 60% from its original size.

Step 8

We will duplicate, reduce and turn 4 copies of this anchor point to create the feathers group for the tail of our bird.

Step 9

We will reduce the height of this group of vectors by selecting all of them and pressing Cmd/Ctrl + T.

Step 10

Now we will create the bird’s beak with a small horizontal oval that we will edit in a simple way.

Step 11

By selecting the upper and bottom anchor points and taking them some pixels up we will create a sadness expression.

Step 12

We will use again the rectangles with rounded corners in 30 pixels to create the fingers (3) on the character’s feet that we will later duplicate to get the pair.

Step 13

With the Pen Tool we will draw a tree branch. Using click + drag you will be able to create anchor points with curves control points that you will later adjust with the Path selection arrow.

Step 14

Duplicate this vector and we will enlarge it a 20% following the same steps used in the modification of the upper menu.

Step 15

Adjust the base of the branch to increase its thickness while it approaches the tree trunk. Then we will unify both lines with the Pen Tool to get one solid vector.

Step 16

Now we will create the fingers on both hands of the bird. Starting from a circle you can modify the vector and create anchor points with independent direction points, pressing the Alt key while you try to change the controls in a curve. In this way the anchor point you can see in this edition it’s now a corner and not a curve, and it has two independent controls for you to move them as you wish.

Step 17

We will draw 3 fingers for each hand. They will be placed in a praying position and then the fingers will be seen intertwined.

Step 18

Once we’ve created the fingers of one hand, we will duplicate them by dragging with Alt + Shift pressed and then we will go to Path > Flip Horizontal to flip the duplicated hand.

Step 19

With the Pen Tool we will create the arms of the character.

Step 20

Now a tear will fall on the bird’s left cheek, in 3 steps. We will draw a circle, we will select the upper anchor point and we drag it up. With the Convert Point tool we will make a click to convert it into a corner.

Step 21

We will finally start to add some layer styles. By hiding the hair and arms layers to visualize better what we will do on the body, we will add an Inner Shadow to our vector by unclicking the Use Global Light option and taking the angle direction of the effect to -90 degrees to get a shadow in the inferior area of the character.

Step 22

We will make the hair or head feathers layer visible again. Now that its Inner Shadow has a darker tone on its edge, we will make double click on the color of the shape of the hair’s layer. When we open the color editor we can extract the exact tone of the head’s edge so these hairs can be perfectly integrated with the rest of the body.

Step 23

Now it’s the turn of the spherical volume of the eyes. We will use a Radial Gradient, unclicking the Align with Layer option so the gradient won’t be limited to the shape’s edges. We will reduce its size a 50% so the change from one color to the other won’t be so soft.

Step 24

Inside the gradient editor (make a double click on it) we will place the white color on a third part of the starting point so our gradient can be even more precise and sharp.

Step 25

Now we will use an Inner Shadow but just to light, providing a inferior reflection on the eyes, coming from the general light of the scene.

Step 26

We will apply an inner glow on the eyes edge with the values shown on this image.

Step 27

We will create a bevel around the eyes, using Stroke, and Bevel and Emboss. We will first use a stroke of the same color of the character, #0099FF.

Step 28

Now we will use the bevel and extrusion to get some shadow on the upper area (as the light does not impact there) and to have a clearer bottom area to give a 3D effect on this bevel.

Step 29

Some Outer Glow around the eyes bevel will make this edge have a plastic appearance glow.

Step 30

Finally a soft Drop Shadow to go together with the opposite curve of the body of the bird to get some shadow there where the neck folds in.

Step 31

In the eyes iris we will include the pupils using layer styles. We will use a black Inner Glow and Multiply blend, checking the Source Center option for the glow to start from the center of the figure and not from the edges as it’s usually used. We will take the Choke to 100 and the glow to 10 and we will get two black circles perfectly sharp.

Step 32

Now we will use a Linear Gradient to create volume inside the iris. Anytime you’d like to add an acrylic glow it will be always better if the gradient makes darker the upper area.

Step 33

Here we will use the Inner Shadow style to light the inferior edge of the iris by using a different contour quality than the one that appears by default, unclicking also the global angle of the light.

Step 34

A Drop Shadow is used here to light a bevel around the irises to create an insertion effect on the eyes.

Step 35

Now the acrylic glows for the eyes: this typical effect gives the lubricated appearance. With 2 horizontal ovals we will edit its inferior anchor points to create this photo studio reflection on the eyes.

Step 36

We will take the shape layer transparency to zero and we will add a Gradient Overlay with these values. Remember you can move the position of the gradient using click + drag on the layer when you are editing this gradient.

Step 37

Now we will add an upper glow that will reinforce the light source appearance on a highly reflective surface.

Step 38

We will now take care of the projected shadows on the hairs of the head. Selecting both shapes in the Layers section, we will go the Paths section where we will see our vectors selected there too. We will convert these vectors into selection by using the options menu below the floating window.

Step 39

With this selection that will be used as a mask, we will now softly paint a shadow on the new layer. Make sure to set the tool just like you see it here in the upper menu. With some clicks we will get a delicate shadow of the object.

Step 40

With the eraser and the values you see here, we will erase the paint excess. We will repeat all the steps to paint the second lock of hair.

Step 41

Now we will work on the bird’s beak. First we will add a projected shadow towards down.

Step 42

Then we will use an inverted Inner Shadow to create a shadow on the inferior area of the beak.

Step 43

An Inner Glow to surround the beak with a light reflection on its perimeter.

Step 44

With two new circular shape layers and a 30% transparency we will add a Drop Shadow but to light. With these values you will be able to create an inferior bevel that will simulate a hole in the beak’s surface.

Step 45

Now we will work on the tear. Apply a radial Gradient Overlay to create a relief area on its center.

Step 46

An Inner Shadow to light, unclicking the global light and taking the values to the extreme for this effect to be very sharp, as if it was an acrylic glow.

Step 47

Finally, a projected shadow towards down will separate the tear from the background.

Step 48

We will work on the bird’s feet. With an inverted Inner Shadow we will create the areas where the light that comes from above at 90 degrees.

Step 49

Add an Inner Glow but to get it darker allows us to give a more 3D aspect to these vectors.

Step 50

Let’s work now on the tail feathers. A gradient will allow us to create a shadow underneath the branch and above the feathers.

Step 51

Finally, a 3 pixels stroke to make a bevel on the feathers, using a darker tone than the character’s body.

Step 52

We will add some relief to the tree branch. With Bevel and Emboss and these values we get the cylindrical aspect of the object.

Step 53

An Inner Shadow but to light the inferior area of the branch to reinforce the shadowed area with a reflection coming from the general light.

Step 54

We will continue with the arms and the Bevel and Emboss effect with the values shown here.

Step 55

Don’t forget to check the Layer Mask Hides Effect option that will allow us to hide part of the arms with a hand painted mask.

Step 56

We will now create a selection around the arms and will convert it into a mask.

Step 57

Let’s paint the mask. With black color, the mask hides the contact area between the arm and the body, helping both objects to integrate better.

Step 58

Now we will create the shadow for these arms but it won’t be automatic – using layer styles- because we also need to hide some areas from the shadows. By selecting the arms Shapes we will convert them into selection in the Path section.

Step 59

We will paint black the selection we’ve obtained and then pressing Cmd/Ctrl + T and clicking on the Wrap Tool icon on the upper menu, we will distort this shadow for it not to be identical to the arms’ shape.

Step 60

Now we will make the shadow softer with a Gaussian Blur of 2 pixels.

Step 61

We will mask this shadow and with the Brush tool we will paint the mask black. Then we will hide a layer again with the idea of integrating those shadows to the character’s body.

Step 62

The fists also require the same layer style job and masking. Let’s start with a projected shadow.

Step 63

With Bevel and Emboss we will give the 3D shape to these vectors.

Step 64

We will reinforce the inferior shadow of the fists with an inverted Inner Shadow.

Step 65

A bit of Inner Glow will give a touch of light to the upper area of the hands.

Step 66

Every finger we’ve drawn before will be converted into selection and we will paint fingers in different layers.

Step 67

With the shape layer converted into selection, we will paint on a new layer the shadow area of the little finger and the palm of the hand. Use a small point Brush and a soft flow of 10% giving just some touches in the key areas but avoiding the excess.

Step 68

We will contract the selection 1 pixel to erase the excess.

Step 69

Let’s paint the mask. With black color, the mask hides the contact area between the arm and the body, helping both objects to integrate better.

Step 70

We will repeat the same steps to paint and erase each finger, always using different layers. When we are finished, we will keep on erasing the excess to make the fingers look intertwined. Once you are finished, select all the layers and link them with Cmd/Ctrl + E. Then you can decrease the intensity of these shadows by increasing the layer transparency.

Step 71

We just have some reflection and light details to add to the bird’s body. We will select its shape layer and we will convert it into selection as we’ve learnt in the previous steps.

Step 72

Let’s contract the selection about 5 or 6 pixels.

Step 73

Then we will make this selection softer about 2 or 3 pixels.

Step 74

With this selection reduced and softened, we will create a new layer and using Blend Overlay we will paint the sides of the character and its front in the area above the eyes.

Step 75

Now we will keep contracting the selection to erase the excess considering the side reflections should look like a thin line, as what the eye is looking at is a reflection over the object’s sides: as it is a reflective surface, it cuts the gradient formed by this light source.

Step 76

We will now erase the paint excess. By pressing Cmd/Ctrl + H you can hide the selection to see better the area you are working on.

Conclusion

Using any background and a Call To Action headline, our Twitter icon is now complete!
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