Page 1


Interview with Peter Rex

3D Art

-Inspiration for 3D digital artists -The stories behind the pictures -Insightful galleries -Quick tips


Issue 2 1st August 2010 Free Mini Mag Edition

Posing…. The three artists we’ve interviewed for last month’s edition of 3D Art Direct’s premium magazine had one thing in common; they were blown away by the capabilities of 3D art, even with the early software tools they’d encountered. They could create an entire world and control everything in it, even before breakfast—and not many hobbies allow that. This month we concentrate on artwork that incorporates figures (human or otherwise) into a scene, that gives an image so much more impact. The lifelikeness of human figures in 3D graphics was a thorny issue in the beginning. A human figure doesn’t bode well for limited processing power and pixels—too many complex joints, curves and blemishes to deal with. However with the advent of Poser, the first kernel of it developed by Larry Weinberg in the late 80s, a digital manikin maker was suddenly available for the amateur artist. It added a great element of fun into imaging—especially with all the clothing and scene props you could integrate into a scene. I first came across Poser when version 5 came out of the stable. My very first renders with figures used Mojoworld to create the scene (see images from the planet Masella in this issue) and I was enthralled. Suddenly my digital worlds had life upon them for the first time. Images could now tell proper stories with digital actors. Even whole graphic novels could now be created to tell a story, and Jacob Charles Dietz, one of our artists interviewed in the July premium edition has done just that. A landmark in digital figure history was the introduction of the Victoria series of figures by Daz Studio, the rival software of Poser. Victoria won the hearts (and loins) of many artists and an even greater expanse of virtual clothing wardrobes appeared, ready to dress this digital doll. In 2009, Poser 8 was launched losing the legacy and clunky interface. It also featured (at last) a search facility for the 3D content. Smith-micro, the current owners of the software, also launched a ―Pro‖ edition of the software, with network rendering and direct links into professional 3D-modelling software. Really this was playing catch up with rival software Daz Studio, which now also offers a professional edition. Both Poser and Daz Studio offer ready-to-pose content, but Daz supplies two highly specified character and very popular models (one being Victoria). Poser now offers eight new fully textured humans of different ethnicities and body types….so the rivallry goes on—which is good for the end users. So our artist interview in this free edition shows off the images crafted by Peter Rex, showing some excellent examples of Poser figures. He gives some quick tips to those who are just starting out in 3D digital art. Be mesmerised by the digital human form.

Paul Bussey Editor

The content of this magazine is © 2010 3D Art Direct





The type of articles we consider for publication are:-


Go to


About the Artist : featuring what inspires your 3D digital art and a portfolio of your work.



Quick Tips : short tutorial including screenshots and instructions of a tip that has developed your ability as a 3D digital artist.

Click on the button “Sell and Publish Your Artwork”


Images With a Story : Provide a short narrative (less than 5000 words) with digital art illustrations.

Please email us at for rates.

ARTWORK Since we focus on artwork in the science fiction and fantasy genres, we welcome your artwork in these categories. If you have other types of images you would like to submit, we will certainly consider them for inclusion.

3D ART DIRECT POSTER STORE To sell your images in our poster store as an A2, A3+ or A4 print, it must be rendered with these pixel dimensions:-

TERMS AND CONDITIONS 1. The term "Artist" denotes the sole author of the digital artwork. "Sole author" includes the artist's rights to use commercially licensed models or other elements within the uploaded image. 2. The artist must also be the individual uploading the images to 3D Art Direct.




3. Uploaded art MUST NOT include any elements that are COPYRIGHTED material.

6960 x 4920

4920 x 3480

3480 x 2460

4. Models used in images must be licensed for commercial use. 5. We do not accept art that contains nudity or strong images of violence. 6. The artist will retain the full copyright of their work and retains the right to sell their artwork elsewhere.

The good news is that we will host your images as products for free (once approved by us) and there is no limit on the amount of images you can submit. There are certain terms and conditions, one of which is that the image MUST NOT include any elements that are COPYRIGHTED material. For each poster sold we pay you via PayPal these rates:A2






7. 3D Art Direct retains the right not to use the artist's work for use as a product if not deemed suitable for sale. 8. Artists will be informed by email within 48 hours of upload if their artwork will be used as a product. Products will be placed online on the 3D Art Direct store within 72 hours. 9. 3D Art Direct will only use uploaded images of the artist for the express purpose of 1) poster sales on the domain and 2) if given written permission by the artist, the promotion of their artwork in the 3D Art Direct online magazine. 10. Uploaded artwork by the artist will never be passed onto a 3rd party. 11. Artists are given an emailed monthly report of their sales on the 15th of each calendar month, showing sales in the previous calendar month. 13. The artist must have a PayPal account to receive funds from the sale of their artwork from the 3D Art Direct online store. 14. Payments are sent in the currency of Pounds Stirling via PayPal on the 15th of each calendar month.




Page 2

Feature Your Artwork

Page 3

Introduction to Poser ● The original digital human figure software

Page 5

Competition ● Win a copy of ―Create 3D Like a Superhero‖

Page 6

Peter Rex interview ● Inspirational Vue and Poser artist from France.

Page 7

PLANSURV Log 2 ● Serialised sci-fi illustrative mini story

Page 13

Masella ● Gallery of a Mojoworld fractal generated planet

Page 15

3D Art Direct Premium Magazine ● Subscribe Now and Save

Page 18



SMITH MICRO POSER 8 Poser is a popular 3D rendering and animation software optimised for depicting the human figure. It's relatively easy to use and allows beginners to create basic animations and images. There is a wide range of third party models available to import. Many of these third party models are created in Maya or 3DS Max, since Poser doesn't have the facility to create it's own figures. However, you can alter a base model figure to morph into something a little different. When purchased, a default library of human male and female forms, animals, robots and cartoon figures is included. Accessories such as preset facial expressions, figure stances, hair pieces, clothing and props add to the fun when designing a character and scene. The interface up until recently was a little out-dated compared to newer digital art software, but despite this it has a strong following and several digital art packages allow import of Poser figures. The latest version of Poser 8 and Poser Pro 2010 has had the interface updated. It was originally created by the artist and programmer Larry Weinberg and published by Fractal Designs. It started off for him as a hobby around 1989 and he was experimenting with producing a digital manikin to assist him in comic strip work. As it developed into a professional product, users increased to several hundred thousand. With alterations above and below the surface, Poser version 8 is a good improvement over previous releases. Smith Micro has taken the same approach in Poser 8 that Apple has taken with Snow Leopard: there are relatively few brand-new tools, but there's been lots of tuning up to make what's there easier for newcomers to get into. It's more pleasant for regular users and more capable of good-quality renders with less fiddling. In essence, some simple changes have made the work flow a smoother and easier experience. There's a bit of a downside for existing Poser owners, though. An upgrade to Poser 8, even for owners of the most recent release, costs $130 (£80) – more than half the cost of buying the package new. Poser Pro owners can get Poser 8 for the same price, although the changes in Poser 8 will be reflected in Poser Pro 2010. Poser is foundational in the digital arts universe and fulfils an important need to express the human form in 3d art. A dramatic effect is attained when including a Poser figure into a digital landscape.


COMPETITION WIN a copy of ―Create 3D like a Superhero‖ by Chipp Walters available from e-on’s website This 120 page book will walk you through creating photo realistic 3D scenes using Vue or the included Vue Pioneer SE software.

You'll get up to speed fast, creating landscapes and vistas in the beginning chapters, and then in later chapters you'll learn more advanced techniques, such as modeling in Vue and interior lighting setups. You won't want to miss the Scene Setup Magic chapters which contain the KEYS to creating successful and virtual photo renders, all explained clearly and in detail by Vue's own comic characters.

It has over 500 renders and illustrations printed on glossy paper with a rigid paper cover.

WIN A COPY OF THIS BOOK! Submit a rendered image to us based on the theme ―Superhero‖ by the 22nd of August 2010. Render the image to at least 1024 x 768 pixels. We’ll select the best image and send a copy of the book (worth $30) to the winner and publish the winning image in our next issue.



INTERVIEW WITH PETER REX Peter Rex grew up in rural Germany and now resides in France with a passion for 3D digital art. He has been impacted by art throughout his lifetime, with early influences from his father who was a talented painter and photographer. Peter took prompt advantage of digital art at the time of the Commodore 64 and the Amiga and has never looked back since. Now with more powerful hardware and software at his disposal we look at some of his work and what has inspired the imagery he has created. The New Messenger

3DAD: What led you into art? Was it the influence of your father who was a painter?

PR: I think it was my father and the father of my mother, I grew up with lots of art books, Monet, Toulouse-Lautrec and such at home. 3DAD: So you spent much of your youth and young adult years painting before being involved with the digital arts? PR: Painting and photography, especially the latter, and I still love taking photos. 3DAD: I imagine your neighbourhood and surrounding area provides quite amazing scenery for photography. What software package first took your notice for 3D digital art? Was it Bryce? 3DAD: No, it was way back in the Commodore 64 days, when I started doing "pixel art" with a joystick and later with the Amiga and "Deluxe Paint" and "Reflection", one of the first ray tracing programs. 3DAD : The Amiga I think caught the imagination of many for digital art and helped it become accessible relatively inexpensively. I remember the mask of Tutankhamen being quite a famous image that was done on the Amiga (perhaps it was Deluxe Paint) and it caused quite a was a good machine for it's time. PR: I stopped using my Amiga 2000 in 2000 and yes the mask was done in Deluxe Paint. 3DAD: After using the Amiga, what box and software did you start using then? [20:14:53] akhbour: A PC, I think it was a Pentium 3 at 1000 mhz, and the first software I used was Blender, by the time you could DL it on a 3.5 diskette!


INTERVIEW WITH PETER REX PR: A PC, I think it was a Pentium 3 at 1000 mhz, and the first software I used was Blender. At that time you could install it on a 3.5 diskette!

Secret Place

3DAD: After using the Amiga, what box and software did you start using then?

3DAD : Blender has come a long way since then and I didn't realise how long it had been in existence. Were you pleased at what you could do with Blender back then? Was it a lot of waiting around for things to render?! PR: That is relative, an average image at 800x600 pixels did take about 2 hours, but you cannot compare it to todays results. 3DAD: Your Cornucopia 3D gallery has a good mix of topics. Everything from sci-fi, childhood memories, fantasy to some quite poignant pieces such as ―Refuge‖ and ―The Runaway‖. Do you find it easy to work with such different ideas, or do you try to apply some discipline in being so varied? So you might think ―Well this week I’ll deal with a landscape. Next week I’ll try a new sci-fi piece.‖! Planetfall

PR: No, I never really think about the "theme", an image often starts on my way to work, I get a kind of "flash" and from there on I start creating. When I get home, the image is finished inside my head and I just assemble everything when I can lay my hands on my box. 3DAD : So thank goodness for commuting! Perhaps we all need that type of space to think of new ideas. You’re working on a graphic novel ―Planetfall‖. Tell me about that. The front cover looks intriguing! PR : Thanks, this story is still in its beginnings, the three main characters are finished, the story is in its first chapters, the big problem is the new planet, I am still testing the visuals, I want to be "almost" earth like but with that feeling of "strangeness" to capture the observer. And that is the point where it gets difficult. 3DAD: I like the fact that the character is half out of the frame and he's reaching or pointing at something. This tells a story straight away. PR : When I was a kid, I always dreamed to be one of the Pilgrim fathers who colonized America, I wanted that kind of feeling for the cover. 3DAD: does have that feeling to it, especially with the open plains behind the character. Are you using Vue's procedural terrains and new features (to create a whole planet of terrain) for the new planet you mentioned?




PR : No, I create the terrain for each image, I want to control where are hills and plains, rivers, seas or lakes. I will use the planet feature for some far off shots, but in general the "director" is me and when I say I need an hill exactly HERE, I will grow it here! 3DAD: Has the graphic novel been a goal of yours for some time? Do you read or collect them? Is this what inspired you for the idea of the format? PR: The idea is quite old, I've always been a "maniac" reader, at times I have four or five books I read at the same time, now I feel that I have the tools and (hopefully) the knowledge to tell this story. I still have a dozen or more stories to "paint" which I started when I was 12 years old, maybe one day I will be able to finish them. 3DAD: You received a distinction with ―The Refuge‖ as picture of the day in the Cornucopia 3D galleries which is a fantastic piece. What gave you the idea to create this scene? There’s a real story about this picture. I’m wondering whether this bear is a Toy Story type character or was it a bear just left there by a child? PR: On one hand, I am easily inspired by good 3D models and the Teddy Bear in my eyes is not a "bad guy", he reminds me off one of my teddy bears when I had four or five years. In this image I imagined a child of that age, running to hide his best friend from danger, war evidently, and well that was all what is left of this human being.

Rain City

3DAD: Thanks for sharing that. I think the possibilities for digital art to affect and start people to think about more important things is a powerful tool. "The Road to Nowhere" is also war themed. It has a nice strong female character in the foreground – is she a DAZ character? Is this going to part of your graphic novel? What led you to doing a piece on the effects of war in this way?



PR : Art in all its forms should be some kind of reflection (but that is just me). The Character is Stephanie 4 from DAZ, you know, I grew up in Germany after the 2nd World War, and there where the marks of bombs in the forest where we used to play, my father and mother have grown up during the bomb attacks on German cities. So I know at least a bit about the havocs a war can inflict on a landscape and the people. In a way it is a reflection about the way I grew up and the believe in peace. 3DAD : You’ve clearly enjoyed using Stonemason’s Urban Future? I've noticed it being used several times... PR : I am a real fan of Stonemasons, everybody knows that!

PR: Yes, they are inspired by both artists and sometimes these artists meet in the same image. I like the Gibson novels and I like the way Stonemason creates his models; When you look at both of them, they only use the minimum to create a story, yes Stonemason tells as well a story with his models.

Chiba City, MNinsei Quarter

3DAD: ...and William Gibson's novels!. ―Rain City‖ and ―Chiba City, Ninsei quarter‖ are nice, with these images being inspired by this author.



Into the Light

The Runaway


Morning “Just a memory of days long gone by, when I was a kid and my grandfather took me with him for some early morning fishing.� 3DAD: "Morning" looks fantastic and it obviously does reflect a good childhood memory? What did you use to create this piece? PR: I used Vue 8 Complete and a lot of memories. Vue is a fantastic tool to tell stories or to communicate feelings. I tend to use it more and more. 3DAD: What is you very favourite piece of art you have created? And what was the drive and inspiration behind it? PR Now that is a b**** of a question! I think the images I am most fond of are "Into the light" and "Sad troll", for the sole reason, I was able to communicate a feeling to the watcher. Technically they are certainly not my best, I have learned quite a bit since then, but on a emotional basis they are still valuable (or that is what I hope). "The runaway" comes next. 3DAD: I wanted to sneak that question in. I like your troll. Finally what advice would you give to those who are just starting out with 3D digital art? PR: Well, start reading a lot about photography, use your camera and apply everything you have learned to your 3D images. And never ever be satisfied with what you do! website




Sentinel Towers

New Ceres Gate is the one tiny centre of population that provides a respite from this barely habitable planet. Since my discovery of this world three seasons ago, a small trading and research post has been built in the habitable zone. It’s not much; a windowless set of buildings to protect against the week long sand storms that occur all too often nowadays. The largest structure on the outskirts of this ramshackle hamlet, is fashioned with several security and sensor towers. This is my research centre, where I will eventually crack the conundrum of the alien built sentinels. PLANSURV surprisingly have given me a good amount of resources in figuring out the origins of these sentinel towers. They should do since the whole League of planets has no recorded signs of intelligent alien life that has achieved anywhere near the level of attainments of humanity. I say surprisingly since PLANSURV is an expensive operation to begin with. With over four hundred settled planets to rediscover after the wars of the Breakdown, our work is not exactly short term. Even after rediscovering a world that has been cut off from the rest of humanity for over 200 years, the huge rebuilding of the broken societies that we encounter will take at least two or three generations to fix.

New Ceres Gate 13

PLANSURV—LOG 2 So far, I have discovered 7000 of the sentinels. Each is exactly the same in size, composition, weight and appearance. They are in a precise line along the planet’s equator, within the narrow band of the habitable zone and they are spaced out equally. Each of them has a power signature that we don’t recognise and the purpose of these silent towers is completely elusive. I have only one suggestion and it’s a long shot. New Ceres is a long way from other habitable planets. It’s 70 light years to the nearest system, so it’s resources to a humanoid species would be important. So important, that the notion of tryPLANSURV Explorer Ships ing to expand the habitable zone to make the planet a more comfortable fit for long term living would be attractive. Attractive that is, if you had the technology to do it. Yesterday, the power signature of one sentinel tower faded and winked out. This has just given myself the permission I need to take the risk of blasting into one of these things and figure out what makes it tick inside. We couldn’t risk taking out a tower that had an active power source, since blasting it would probably ignite the remaining fuel and leave no trace. We need a tower to break into, leaving it more or less intact. I’ve taken two PLANSURV explorer ships to reach this faulty sentinel. VESA is piloting the second ship, just in case of consequences to come! [New Ceres : Log 2 : Ship Day 335 : End of Transcript]











Interview with Chipp Walters, original pioneer of 3D art, introduces his new book :"Create 3D Like a Superhero".

Competition to win Chipp's book (worth $30).

Interview with Peter Rex, German born artist whose pictures tell amazing stories.

Interview with Juan Rodriguez: elves and goblins.

Short fictional sci-fi story based on 3D art

Review of the sexy Ynes model for Poser's Victoria 4.

Article on Ken Musgrave, pioneer of fractal based landscape art and Mojoworld.

Quick tips, tutotial and free downloadable resources.

Software covered in this issue: Vue, Poser and Mojoworld.



Issue 2 of 3D Art Direct  

The best 3D digital arts magazine that interviews digital artists in depth. Discover unique and inspiring artwork in the science fiction an...