TurboSquid 3D Modeling Blog

3D Modeling

Artist Spotlight: roman3dd

Wednesday, April 8th, 2015 by

blog-mini-roman3ddTurboSquid is battle ready with our new Featured Image by TS Artist roman3dd! As a husband and wife team, Roman and Alina Makarenko have both contributed stylish new models to the TurboSquid catalog. As CheckMate Pro artists, they have made a number of fans in the TS Offices (our VP of Product Development has even used their adorable cartoon sheep as a desktop background). We got a chance to chat with Roman and Alina about their work in this Featured Artist Interview!

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How long have you been an artist?

[Roman Makarenko]: I’ve been passionate about drawing since I was a kid— I was always drawing and inventing something. I went on to study at the Faculty of Architecture, where I met and studied with Alina, my future wife. At the institute, we almost stopped drawing altogether, because we thought it wasn’t a serious enough hobby. Then, after so many long years of routine work as architects- which we didn’t quite like anyway- we knew we had to make an important decision. In 2012, we went in a different direction and studied to become 3D artists.

How did you get your start as a 3D modeler?

We actually did basic 3D modeling at the institute, but it was only for buildings and interiors.

Do you have advice for other 3D modelers? What is your main focus when working on a model?

I think the important thing is that the work is interesting to you. If you do what you want to do, when you want to do it, then the work will always be a pleasure. Always hunt for new tools and ways to help speed up your modeling and improve the quality.

We noticed you do a lot of really great sci-fi and steampunk work. What are your biggest influences as an artist?

[RM]: I really like those genres because they’re so atmospheric and mysterious. I love science fiction movies— watching them is like being inspired by the works of great artists. After I watch them, I always want to create something special.

What is the most challenging thing about doing a detailed image, like the one we’re featuring on the home page?

[RM]: I worked on this during a turning point in my life, when I decided to leave architecture. I had a lot of difficulties with this project at first, because of the huge number of characters that I wanted to develop, and then coming up with an image and a story. I thought a battle scene would be the most exciting.

Work-wise, illumination was probably the most difficult for me, because I couldn’t decide on  the light, the rendering, or how many light sources to create. There are so many details that could have been easily lost [with the wrong lighting].

Alina, your work is very detailed too, and our CheckMate Inspectors are BIG fans of both your kittens and your cartoon sheep. As a character modeler, what influences you?

[Alina Makarenko]: Thank you! I’m very pleased that you like my work. I was very inspired by other CG artists for movies and video games. I like discussing and exchanging ideas with my husband, and just walking around outside helps to create great work too.

Can you tell us what sorts of models you’re working on now? And since you do painting, pyrography, and 3D modeling, what else would you like to try?

[AM]: Right now, I’m working on a cartoon girl, and I have ideas for lots of other characters… there are a lot of things I want to try. In the near future, I plan to work on some 2D digital art and sculpting. I want to be able to quickly capture a clear image of the characters I’ve been working on.

What has been your experience with CheckMate?

[RM]: The first time was difficult, it was a real challenge. I corrected my model so many times, even though to me, it seemed like there was nothing to fix. CheckMate disciplined my work. I began to pay more attention to the topology.

How long have you been with TurboSquid? Would you or have you recommended TurboSquid to others?

I started with TurboSquid not so long ago, in 2013. And yes, I definitely recommend TurboSquid to others— many artists that I know already work with TurboSquid.

Thanks for the interview, we’re very pleased to be noticed!

And thank you for chatting with us! We’re looking forward to seeing what else you both create in the future. 

Want to see your CheckMate Pro Certified Model featured on the TurboSquid Home Page? We’re looking for cool, dynamic shots like roman3dd’s to put in the spotlight. What are you waiting for? SUBMIT YOUR MODEL!  

Artist Spotlight: Triduza

Wednesday, January 21st, 2015 by

Parrots by TriduzaTurboSquid takes flight with a new featured image! TS Artist Triduza is actually a team of two artists who share duties behind the scenes: Alex, who creates the models, unwrap UVs, and rigging; and Anne, who paints the models’ vivid textures. We interviewed Alex about what inspires the pair, and about the friendly, competitive spirit that drives them to greater heights.

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Artist Spotlight: Andor Kollar

Wednesday, July 16th, 2014 by

blog_preview_Andor-KollarOur new featured image is one great looking male model in every sense of the word.  Its creator, Andor Kollar, is an accomplished CG Supervisor and character artist who believes that his roots in traditional drawing have served him well in making great 3D models.  We were honored to have him answer our Featured Artist Interview, where Andor reflected on what it takes to create expressive art.

 

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TurboTips: V-Ray Blend Material, Part 3

Tuesday, June 24th, 2014 by

The following is part of our in-depth guide to the regular V-Ray Blend Material.  It will cover the theory behind many of the features of this material, and will also provide specific examples of settings, as well as tricks to use.  While the images used are from 3ds Max, the same concepts and settings can be used for V-Ray for Maya. The information covered here will be generally useful for V-Ray for C4D, but the blend material acts quite differently in C4D.

Examples & Common Issues with V-Ray Blend Material

 

 

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TurboTips: V-Ray Blend Material, Part 2

Tuesday, June 17th, 2014 by

Last week, we gave you a little overview of the V-Ray Blend Material.  This week, we have an important question:

When should I use Blend over other types of materials?

1. When there are layered materials, where the base and coat can be seen clearly as different materials.

In the example below, you can see that the wood has a completely different reflection/highlight pattern than the glossy lacquer layer on top.

2. When an object has radically different surface properties in large areas.

In this example photo, it’s easier to create two different shaders for galvanized metal and rust and blend them together, instead of trying to do it all in one material.

3. When the object needs a specific shading effect that is not possible with a simple material.

A good example would be worn and/or slightly dirty metal that has glossy and blurred reflections at the same time.

4. When the shader needs to be easily and quickly modified.

Let’s say you have a rusty, painted metal material with three different types of surfaces: metal, paint, and rust. Theoretically, it would be possible to build elaborate mix maps and custom-painted textures to create all these effects in a single material… but imagine if you need to change the rust pattern. “Oh, yeah, the material looks great, just make it a bit less rusty!” What a nightmare! You would have to go through all the maps and adjust them, one by one, to make this “small” change.

Now imagine that you have 3-layered blend instead (Metal, Paint and Rust layers). Everything is controlled by two simple b&w masks that can be adjusted quickly and easily. This saves a lot of time and is far less frustrating.

 

Next week: we give you some examples and common issues with the V-Ray Blend Material.

This series of tutorials was made with our friends at Viscorbel.

If there are any topics you’d like to see in a future edition of  TurboTips, let us know in the comments below, or Tweet your question to @TurboSquid with hashtag #TurboTips.

TurboTips: V-Ray Blend Material, Part 1

Monday, June 9th, 2014 by

The following is an in-depth guide to the regular V-Ray Blend Material.  It will cover the theory behind many of the features of this material, and will also provide specific examples of settings, as well as tricks to use.  While the images used are from 3ds Max, the same concepts and settings can be used for V-Ray for Maya. The information covered here will be generally useful for V-Ray for C4D, but the blend material acts quite differently in C4D.

Introduction

The V-Ray Blend Material could be best described as a utility material. It does not have any shading options, so it combines multiple other shaders in different ways.

 

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