Roman Pritulyak, known on TurboSquid as NRG_3D, creates sleek and shiny interiors that would be right at home in any sci-fi movie. This month, our new featured model is Roman’s sci-fi weapon and hangar. We had a chance to chat with him about his experience in 3D and how he manages to channel his concentration when it’s time to create something new.
How long have you been a 3D artist, and how did you get your start?
I made my first 3D model about fifteen years ago, just for fun, and started modeling professionally about five years ago. My mother worked in advertising, and one day she brought me to an agency where I saw all the magic happen. I was fourteen years old and I was very impressed by what I saw. So, instead of playing PC games, I started playing with 3D graphics.
What do you think is your biggest priority when making 3D models?
I think it’s paying pedantic attention to details. My goal is to capture and recreate every particular detail of an imaginary object, or of the reference, if it is a real world object. And of course clean topology is very important.
You seem to have a talent for making photo real objects. Do you have any advice for other modelers who want to achieve the same level of realism?
Thank you, but I think my skills still have room to grow. The main suggestion I have is to pay more attention to the details. That’s really important. If the model has the same proportions, dimensions, chamfers, and angles as the original, it will look like the original.
Your sci-fi interiors are great, too. What inspires you to make them?
I’ve made 3D models of real objects for a long time, but I always wanted to create something fictional, unrelated to the real world. And one day, I just decided to do it.
The first thing I did was turn off the Internet; no news, no social networks, no messages. It did a lot for my concentration and I started to draw some sketches— and that was pretty fast, unlike creating the models themselves. I usually spend a couple of weeks for each interior, sometimes removing everything and starting at the beginning again. Some of the interior details are inspired by sci-fi movies like Star Wars, Aliens, and so on.
When I read about in 2011, my first thought was: ‘Oh no, extra work to do.’ But when my first model passed the certification and I saw the difference between the pre- and post-CheckMate versions of it, I saw that it was exactly what my model lacked. CheckMate specifications and the TurboSquid team’s suggestions lead me to what customers really needed in terms of of quality, topology and organization. And I’m grateful for that.
How long have you been with TurboSquid? Would you or have you recommended TurboSquid to others?
I have been with TurboSquid since 2011 and since then, at least four of my friends and colleagues have created accounts to sell their 3D models. Even those who have just started and aren’t making a lot of sales yet are happy to realize that their work is appreciated by someone, somewhere.
Thanks, Roman! We definitely appreciate your work too. Be sure to keep up with the work of Roman Pritulyak at NRG3D.com, where you can follow him via Tumblr!
Want to see your CheckMate Pro Certified Model featured on the TurboSquid Home Page? Anything is possible if you just SUBMIT YOUR MODEL!
Feature Graph is a system that we are using to categorize every asset on TurboSquid. This new system not only provides a better search result for assets, but Feature Graph creates better listings and product placement. No longer are you subject to a small set of categories that may or may not accurately describe your model — Feature Graph has over 13,000 categories.
Improved Publishing & Search Results
Let’s start with the asset “apple.” As a homonym, this can be taken in multiple ways: is it an Apple iPhone or an apple that is a fruit? The old ways of searching for “apple” would have resulted in products of both types – iPhones and fruits. This distinction can now be made thanks to Feature Graph. If you want to search for apple, simply select the fruit from the drop-down menu, based on your intent. Once you have made your selection, you will only see apples of the fruit variety in the the search results– nothing else.
Another example of the benefit of Feature Graph can be demonstrated by a search for “hot dog.” This instance proves that the keywords used to describe some products can actually harm the visibility of an asset. When an artist uses “hot” and “dog” as a keyword that describes an asset, the old system would display the keyword search for “dog.” This is clearly the wrong result, as the asset is not an animal. Feature Graph does not rely on keywords to determine what an asset is, so it properly identifies a “hot dog” as food and places it into the correct category. The outcome is a search results page that no longer includes hot dogs in the mix when a customer or artist searches for “dog.”
There is also a hierarchy tree set up for all assets. Let’s use “clownfish” as an example; if a customer were to type in animal, sea creature, fish, coral fish, anemone fish, fishes, tropical fish, arcanthurus, amphiprioninae, clown fish, or clownfish, they would see this asset in those lists:
This helps your product’s visibility and reduces the amount of spam and incorrectly-keyworded assets from showing up in those categories.
As many of our artists have experienced, CheckMate enforces a strict pricing policy, put into place partially to prevent undercutting. Feature Graph gives the CheckMate Inspectors a way to more accurately determine the average selling price of all assets of the same type of model. This information will provide the information needed to help TurboSquid to fend off undercutting, especially as we continue to view each model submitted against comparable assets.
Help Us Improve Feature Graph
While the number of categories continues to expand, there will likely come a time when a specific category does not have representation with an asset. This is bound to happen as we strive to categorize all of the objects in the world. We are currently developing a tool for artists to add brands to Feature Graph that aren’t yet listed This is where you, our artists, come in: help us to better categorize your assets. Simply email us at firstname.lastname@example.org with the product ID or URL, as well as suggestions for the specific category or brand name that you feel best represents the model. With your help, along with our own research, we can categorize every asset on TurboSquid, making it a place that allows your assets easy visibility and ultimate profitability.
Our 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.
Have you always been an artist? What attracted you to 3D?
I think I was always interested in the arts, probably from the time I was born. I’ve always tried to embrace the many things that interest me. I am fascinated by the combination of art and culture in the world, which helped to inform my love of drawing and my traditional art background. In the Middle Ages, they painted with oil and carved marble sculptures… Nowadays, computer graphics are the new, exciting tool with which we express our imagination. Making 3D graphics is like creating a new world.
What do you think is your biggest priority when making 3D models? Do you have any advice for other modelers?
I’m a character artist, primarily. My biggest priority is to work with passion and fill up my characters with soul. It’s work, but I also really enjoy playing with the models. And I can’t rest until I’ve perfectly expressed the personality of the character I’ve created.
As artists, I think our own expressions and emotions show in our work very much. Developing mentally plays a big part in developing artistically, because our personalities imprint on whatever we put back into the world. I think software knowledge isn’t enough to make successful work, because over the years, those methods always change. But someone who has good vision and can draw well has the biggest advantage. It’s also important to be observant and have a strong understanding of shapes, forms, proportions, and details.
It looks as though perfecting your male model is an ongoing process. What else is on the horizon for you as a 3D artist?
I have always been inspired by the human body and anatomy. I think it’s brilliant, trying to capture a character’s personality. That’s the most important and most difficult thing for a character artist. So, yes— building [the male model] is an ongoing process for me, because I get better and better from all the work I’ve put into it.
My plan is to keep going and make more perfect, more realistic, and more artistic characters.
What has been your experience with CheckMate? Do you have any opinions on CheckMate Pro v2?
I think CheckMate is a very good idea, because I’m a perfectionist and I always like clean models and a clear workflow. When I work as a CG Supervisor, I can also see things from the customer’s point of view and how it’s very important to purchase clean work that’s aesthetically pleasing and technically detailed.
I think CheckMate v2 has a more precise workflow, and I like it.
How long have you been with TurboSquid? Would you or have you recommended TurboSquid to others?
I’ve been a TurboSquid artist since 2011. I liked the site and believed that if I uploaded my work, it would be successful. Before TurboSquid, I had previous experience on AAA games like Heroes of Might and Magic V; The Witcher; Silent Hill: Origins; Rise of the Argonauts; F.E.A.R.; Extraction Point; and Overlord II. This gave me the chance to get very good at making 3d models!
I would highly recommend TurboSquid to other artists. I think having a TurboSquid catalog is as good as having a 3D portfolio.
It was an honor to do this interview and to work with TurboSquid.
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
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.
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.
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.