FANTASY & SCI-FI ARTIST IN-DEPTH INTERVIEWS
3DArtDirect.com HANNES JANETZKO
- IAN GRAINGER : CHARACTER LED JANI PELTOLA
IMAGERY WITH POSER AND CINEMA 4D - NEW WORLD DIGITAL ART TERRAGEN 2 CONTEST WINNERS ISSUE 30 June 2013
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3D Art DIRECT
FANTASY & SCI-FI ARTIST IN-DEPTH INTERVIEWS
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Front Cover Artwork : “The 2Tracker” by Ian Grainger
CONTENTS 3D Art Live Events Live webinar based conferences for 3D Digital Artists
Interview : Ian Grainger Poser and Cinema 4D : “I love the 3D aspect of my creative process, to be able to change camera angles, lighting, textures etc., in an instance, to come up with a completely new picture from the same basic ingredients and to suddenly discover you’ve got something better than what you initially set out to achieve.”
Terragen 3 Announced
New World Digital Art Contest Winners NWDA 2013 Contest “Roadside” Winners with Terragen 2
Interview : Hannes Janetzko “That was the moment when I knew that the name of the image would be “I want to believe” referring to Fox Mulder’s poster in the Xfiles series. “
Interview : Jani Peltola “I've always been interested in creating something with my own hands and I think nowadays Terragen fills that desire nicely, because you can just sit down after hard day’s work and start creating something from the scratch”
Interview : Pierre Chartier “I like most of the incredible stability and flexibility of the software as you can't get it crash easily even by inputting insane values. Everything works very smoothly and even with default values you can get amazing works done.”
Masterclass Webinars : Saturday 6th –7th July 2013 at 20:00 BST (15:00 EDT and 12:00 PDT)
Presented by Ray Phelps from Dark Edge Design “Learning how to rig in Poser is definitely worth learning. But learning how to adapt, problem solve and rig "anything" in Poser is really something to look into. Instead of limiting yourself to only rigging certain projects, why not expand your knowledge and confidence to rig anything that comes across your way? In my 5 years as a content creator the one thing that by far stands out the most, is that each and every project is different and unique...thus requiring me to adapt and customize my rigging abilities to make each and every product work correctly. Let me take you along as I create a project from start to finish. You will watch me as I come across the very same issues that anyone would come across, then you'll see as I recognize those issues, problem solve and come up with rigging solutions.”
Poser Rigging® Masterclass Session 1 : Introductory Session - Saturday July 6th 20:00 BST (London) Duration – 45 Minutes
MAT Sphere Zones
Session 2 : Conforming Clothing – Saturday July 6th 21:00 BST (London) Duration – Up to 2 hours Bonus : Free Double Shoulder Holsters Model
Export From Poser
Modeling In 3dCoat
Auto Group Editor
Rigging In Poser
Joining CR2 and PP2 Files Together
Zbrush Morph Creation
Session 3 : Mechanical Rigging – Sunday July 7th at 20:00 BST (London) Duration – Up to 2 hours Bonus : Free model – Hogz Vehicle
Hierarchies and Planning
Importing the Model
Pistons and Shocks
Dependent Parameters with Morph Targets
Importing Full Body Morphs
Editing FBM Dials
Paul Bussey Editor & Conference Director firstname.lastname@example.org 5
Ian Grainger is primarily a hobbyist 3D artist living in the UK midlands. His embrace of the digital arts coincided with his discovery of the internet in 1999. Being a long time sci-fi and fantasy fan it was natural that his tastes started there. Influenced by the Lord of the Rings trilogy and the fantastic visuals of Peter Jackson, he looked for a way to create his own. With some background in traditional mediums, Grainger spent some time painting miniatures, but that ended nearly the same time he brought home his first PC. Not long after he found Poser and Bryce and began learning them together has his gateway to digital art. He joined the Renderosity community and found many like minded artists and inspiration to grow his skill level. Ultimately he settled into the Deviant Art community and for the last seven years has developed a sizable gallery of sci-fi and fantasy art. Today, he uses primarily Poser and Cinema4D for putting together his renders. Over the years his art has been recognized by Expose10 and earned Daily Deviations at Deviant Art. In addition to his hobby work, he was commissioned to do a book cover, Frankenstein Vigilante - The Steampunk Series. Book One: The Incorruptibles, as well as a playmat for Wizards of the Coast: Grand Prix at Anaheim. He is in talks with a game producer to do card artwork for a sci-fi RPG.
At 3D Art Direct we get treated to a wide array of artists using a diverse collection of software to create some really incredible work. Most of the artists we’ve uncovered along the way either are, or have been, hobbyists. They do it for the love of the art and the inspiration carved from a movie, a book, a feeling, or any number of places where a concept evolves and the end result is the spectacular. On occasion we run across artists who wear an understated humility about their work. They are hobbyists only by the accepted definition – doing it and not getting paid to do it. But the comparison stops there. One look at their work and you see professionalism in every corner of the render; the lighting, the composition, the concept and execution all say, “Here’s an artist that knows what they are doing!” Moving from one breathtaking piece to the next you wonder how someone that talented is not getting paid, and paid well, for their work.
3DA:Let’s get a bit of your art background. In your bio you mentioned working in some traditional mediums. Did you always have an interest in art? IG: To be honest not really. I’ve always been interested in science fiction, and later fantasy and sub genres like steampunk, and though I’ve read a lot over the years the visual aspects have always been appealing—movies and television, but I never felt particularly artistic. My drawing skills are minimal. I tried photography for a while, but I’ve never been able to get consistently good images…With the advent of digital art I can control composition and lighting far more easily than with a camera. 3DA: You mentioned “Painting miniatures.” Tell us about that.
IG: I began looking for a way to possibly explore doing something creative in the fantasy field. This was Ian Grainger is that kind of artist. With slightly more in the early days of the internet, and not everyone than a decade of experience in the digital art world, had a computer at home. I wandered into a Games his work leaps off the page and every aspect of his Workshop one day and marveled at the quality of the work screams talent. painted figures they had on display, so gave it a go. I did this for a few years and got pretty good at it, but We are honored to share his story and his art with our there was always something missing, and I think in readers. retrospect that something was the ability to tell a story with my art. It's funny but I tried going back to it a few years ago and discovered I’d forgotten nearly 3DA: Welcome to 3D Art Direct and your willingness everything about painting. The results were abysmal. to share your work with our readers. 3DA: Somewhere along the way you got your first PC IG: It’s my pleasure, and may I say an honor to be and started using Poser and Bryce. I know it’s hard asked, and thank you so much for such a wonderful enough just learning how to operate a computer. You introduction. added to that learning some very tricky software at the same time. What was that like? 7
SNARL IG: About 14 years ago I got a job in a new UK internet bank (Prior to that I had been a chef, so it was a complete leap into the unknown) and I quickly learned my way around a computer as part of the work. Consequently I got a computer at home and was soon surfing the web and discovering for the first time all this fantastic art being displayed there. I think Renderosity was one of the first sites I found and began investigating these names Poser and Bryce. I downloaded some trial versions and began studying every tutorial I could find, then took a gamble and invested in the software proper. I spent quite a bit of time in front of that first computer, and I love learning new things and developing new skills, so it was a joy. I was properly hooked. Then I began taking my renders into Photoshop and that’s when it really got magical. I love the 3D aspect of my creative process, to be able to change camera angles, lighting, textures etc., in an instance, to come up with a completely new picture from the same basic ingredients and to suddenly discover you’ve got something better than what you initially set out to achieve. The 3D environment is continually evolving as you work in it. But post work is also an essential part of my process which I’ve developed over the years. 3DA: What was the most difficult part of learning to work in the 3D environment?
IG: Probably the actual rendering. I never really got to grips with Poser’s renderer, which is why I used Bryce in the early days—it allowed me to set up more complex scenes. I know the Poser renderer is much better these days, and produces fantastic results, but a few years ago I invested in Cinema4D, and with the Advanced Render module attached it’s an incredible difference in ease of use and speed (I’ve never been particularly patient and I smile now at the length of some of the renders I used to have with Bryce, literally days sometimes, only to find a glaring error in some aspect of the image—the good old days). 3DA: Like you, many artists point to the Lord of the Rings as the genesis of their art direction. I see very little of that influence in your work. A good portion of your images have more of a sci-fi/futuristic edge. What were your influences there? IG: I love the Rings trilogy, the sheer amount of passion that went into creating that universe is clear in every frame. I looked at the concept art that was made available, and the art of John Howe that was used in making the films—beautiful stuff, and very inspiring. But I have to say that I’m first and foremost a sci-fi fan, so probably Star Wars and the Trek universe have always been in my mind, although I prefer my futures darker and grittier, such as Blade Runner or Alien, Outland and Silent Running. I’ve
ANGEL OF DEATH
Iâ€™m irst and foremost a sci- i fan, so probably Star Wars and the Trek universe have always been in my mind, although I prefer my futures darker and grittier, such as Blade Runner or Alien, Outland and Silent Running.
INTERVIEW: Ian Grainger THE TRACKER
never read much Cyberpunk (Grand space opera is probably more my thing), but I like the harsher edge that sort of sci-fi has. I don’t play many computer games (No time!!), but I do love looking at the visuals and the fantastic concepts that are created for modern gaming. In recent years I’ve also developed a habit of scouring the net for hours looking at online art, studying the way the professionals tell a story with light and composition, which is when I discovered Deviantart.
eye is Morning Coffee. There’s a lot going on here between the foreground character, the working background and the deep background. I guess what strikes me here is the balance of depth. Great work! Talk about your inspiration and how this unfolded from blank canvas.
IG: I've seen many images of characters looking out at a futuristic landscape, and there was one featured in Expose10 that caught my eye by Ward Lindhout. Sometimes when I'm stuck for inspiration I'll look to 3DA: You started out in Poser & Bryce and ultimately someone else's art and have a go at creating a similar settled into Cinema 4D for your go-to editing environ- scene in my own style, as a learning exercise. I've ment. If the good folks at Maxon came to you and had a go at matte painting before and thought I'd use asked you what they could add to Cinema 4D to help those skills to create the background, and the car was you, what would that be? Think of it as an “Ian” already in my runtime so it all fell into place quite button. neatly. I just loved the simple story this was telling, taking a coffee break out on some distant industrial IG: I thought long and hard on this question and colony, watching the cargo ships fly in. I tend to there’s really nothing I can think of that is not great break my images down into layers, with fore, mid and already. I wish it wasn’t getting so expensive to keep backgrounds as separate elements (often as separate up with each new upgrade (especially with Photoshop renders), and build the depth up in Photoshop. C4D is and Poser continually upgrading all the time as well), great for being able to mask out individual parts to and although I know the modeling ability of the work on later. software is superb I wish it was a little easier sometimes as I get very frustrated with my lack of 3DA: The Battle of Lannick Keep is an extraordinary ability on that front. medieval battle scene with a lot of characters in the pose. This takes an incredible amount of skill and 3DA: I want to jump in right away and start discusspatience to pull off to this degree. I gather from ing some of your work. One that keeps catching my SEARCH AND DESTROY
reading the comments in your gallery this image was very well received by your fans. I get the idea that you are also pleased with the results. Describe for us how this one came about and how you put it together.
are wearing the same armor. It was just a matter of setting up enough posed characters (about 20 or so in total). I set up the basic foreground scene, then split the image into multiple renders (eight or nine in the end I think). I used some of the same soldiers in the IG: Again this was heavily influenced by another background, but just changed the angles a little. You artist, in this case Todd Lockwood. I was challenging wouldn't see them clearly once the foreground, haze myself to see if I could do an image with a lot of and smoke were in place, but it gave the feel of a characters, and with so much going on, try and keep multitude in the thick of battle. The keep and arrows the viewers concentration on the main character in were separate renders again, and some of the the middle. It actually wasn't too difficult to do once banners in the background are painted. All the blood, I'd figured out how to tackle it, as most of the soldiers dirt and grime were done in post. 12
INTERVIEW: Ian Grainger
I just loved the simple story this was telling, taking a coffee break out on some distant industrial colony, watching the cargo ships ly in.
3DA: Being more of a sci-fi guy myself Iâ€™m more of a fan of images like Above the Clouds of Dellos and Altair. In both images you use a variety of alien images. Talk about the vision behind both of these. IG: Altair was all about the light, with the sun breaking over the horizon casting deep shadows over an otherworldly paradise, with two very different characters quietly talking, obviously at ease with other despite their differences. Again I used matte painting techniques for the background, incorporating some simple dome models I rendered in C4D. The 'balcony' is another very simple model, though I
played around with the textures quite a bit to get the interesting shadows on the floor. I loved the way the characters were framed by the planet. The Dellos image was more the reverse, being darker in tone. I wanted to give the impression that the central character may be a prisoner or slave on the run, hence the collar around her neck and her apprehensive posture, and set the scene in a very space opera like setting, with big floating cities and a multitude of alien races. 3DA: You did a Steampunk book cover - Frankenstein Vigilante - The Steampunk Series. Book One - The Incorruptibles. (Available at Amazon.com) You even 13
INTERVIEW: Ian Grainger THE BATTLE OF LANNICK KEEP
ABOVE THE CLOUDS OF DELLOS
… they wanted to avoid the old cliché d monster look. This guy had to be boyishly handsome.
got front cover credit, congrats. How did this commis- own. The expression from both characters speaks sion come about? volumes. Tell us how you came up with this one. IG: The authors Chris Trengove and Peter Lawrence saw my work on Deviantart and approached me there about doing a cover. Needless to say I jumped at the opportunity, it's something I've always wanted to do. They wanted one of the main characters in the scene with a monstrous prosthetic arm and steam powered pack on his back, and though the name Frankenstein is in the title they wanted to avoid the old clichéd monster look. This guy had to be boyishly handsome. They also wanted a couple of sexy girls (If you read the book you'll understand why). The rest was left to me, so I took the idea of the city the story is set in (The Smoke), and added some steampunk elements (The costumes, the airship, the Victorian iron work of the steps etc.). The airship I'd built a couple of years before for another project. It was one of those times I got down to some serious modeling. I changed it around a bit and added some new stuff, but I was glad I finally got to use it in something constructive. Hopefully there will be sequels on the horizon that I will also be involved in, and possibly a 'World Of...' book of concepts and illustrations, which sounds very exciting to be part of, but it's early days yet. 3DA: Tin Man is a great image that bleeds emotion. The juxtaposition of the soft female to the metal man is a common theme in sci-fi genre, but you really pulled off a winner with this one and made it your
IG: I'm not sure where the idea for this came from, it just popped into my head one day. I wanted to convey the idea that these were friends, living a bit down and out but looking out for each other. I hope it comes across that this is a street wise kid who's best friend is a robot. When the model appeared in the Daz marketplace I just knew it had limitless possibilities, and I've used him in a number of projects. 3DA: I’m a bit surprised you don’t do more space images like Texas Rose. You’ve grabbed the essence of space and expanse here with the far background starfield and the rear view looking at the engines as the perfect perspective. How did this one go together? IG: Over the last few years I've concentrated on character led images, but I must admit I'm a little surprised too that I never tackled an image like this before. It's a recent piece and was the starting point to a possible graphic novel that I've since put to one side (I may come back to it at some point). The background is painted, or utilizes some of the incredible stock images on DA. The ship itself is a mishmash of models I've assembled over the years, plus a bit of modeling of my own. I think the key to good space art is getting the lighting right, and the engine glow gave a good focus to lead you into the picture. I used the ship again in a piece called 'The Chase', which came out pretty well. ALICE AND THE OLD ONE
INTERVIEW: Ian Grainger 3DA: Your Tin Man character shows up again in Incident on 57th Street. Again, your fans loved this one offering up a ton of kudos. I love the simplicity of the image, the robot against the street scene. I can envision this playing out in the not too distant future. It looks like this one even won a contest at Runtime DNA. Congrats. Give us your vision of the story here. IG: This was actually done for one of the great monthly challenges at RDNA. The idea was to do a portrait, but use a landscape format. The Masters twist was to use a 2.39:1 format. Being a cinematic format it seemed to me to try a do an image that might come from a movie. The robot was already in my mind, so I quickly came up with an idea. I knew I wanted a street scene, but to make it look convincing it was going to need to be populated, which would require a bit more work. I think the visuals of Blade Runner were predominant here, certainly a cyberpunk feel. The title comes from a Bruce Springsteen song, which is a romanticized epic of street life in 70's New York and really seemed to fit.
honest I'm not as happy with this one as I'd hoped, but the one really pleasing factor was the cable car. I had this idea from the start, and not being a great modeler I scoured the net for a suitable model I may be able to useâ€”they're out there but damn they're expensive. In the end I had to bite the bullet and model it myself. It's essentially a series of modified cubes with some pretty basic texturing, but it really worked. I googled images of trams and took a lot of inspiration from 'The Day the Wires Came Down' by ornicar on Deviantart. I'm going to use it again in something else when time permits. Another element I'm happy with was the city, so kudos to Stonemason at Daz for that. His stuff is inspiring and always a pleasure to work with. 3DA: You did some work on Wizards of the Coast: Grand Prix at Anaheim. For our readers that may not know what this is, briefly tell us about it and what part you played in it.
IG: Wizards of the Coast produce a series of card based RPG's and use a lot of very talented artists to produce their artwork (You'll see a lot of stuff on DA, for WOTC and other similar companies). Not being a 3DA: The last image I am going to quiz you about is gamer myself I'm not overly familiar with the workThe Lights of Broadway. This is a Steampunk kind of ings of the game, but occasionally they have tournaimage with a strong theme. You said you actually ments all over the world and produce specific items, modeled the Cable Car in C4D. Tell us about that such as playmats for each occasion. I was approached experience. The proof of the work is in the appearance at DA by the organizer of the Grand Prix after he saw and this one is fantastic. one of my images, and asked if I could change it IG: Another RDNA challenge, to use aeronautical around a bit so that it would fit in with the theme of elements in a 20's steam/diesel-punk fashion. To be TEXAS ROSE
THE LIGHTS OF BROADWAY the tournament (add werewolves). Needless to say I was happy to do it, and it was the first time I worked with art direction from someone else (I had to change things a few times until he was completely happy)...a pleasurable but slightly frustrating process, but I learned a lot and wouldn't repeat the same mistakes. I have a complimentary placemat on my desk now...it came out really well. 3DA: Whatâ€™s your work process like? Are you an obsessive planner or do you start drawing and see where that takes you?
I still do things the old fashioned way. This also allows me to use the Magnet tool in C4D to get clothes to fit correctly, which is a fantastic utility. I use Interposer again to quickly bring in the correct textures.I know there are probably more efficient ways of doing this but it's always worked for me. 3DA: What do you find to be your biggest challenge today?
IG: As mentioned before, probably learning to properly model and texture. You can only go so far with Poser and the great content available, especially IG: I've never been very good a pre-visualizing an considering the constant expense. I have a great image as my drawing skills are poor to middling, I modeling program and I think it's about time I learned tend to think about it for days, trying to picture it in how to use it. Ironically I also invested in ZBrush my head. I'll look at images on the net or in some of some years ago and have never fully explored that, the numerous digital art books that I've got looking and the beauty is their upgrades are free. I always for visual cues to point me in the right direction. find that it's the time factor that holds me back. Sometimes I'll set up a scene in C4D, using Interposer Learning a new program from scratch keeps me from to bring in props, set up lighting and do a few test producing art, and having a full time job keeps me renders, then open up Poser and create characters to away from the computer most of an average week. fit. Other times the characters come first. I still export 3DA: Where do you see yourself artistically in five characters dressed and posed directly from Poser to years? Cinema as obj's. Interposer, as good as it is tends to slow things down a lot and has a habit of crashing, so IG: Ideally I would love to be earning some money. I 20
Sometimes when I'm stuck for inspiration I'll look to someone else's art and have a go at creating a similar scene in my own style, as a learning exercise.
INTERVIEW: Ian Grainger THE NEST
doubt I'll ever have to give up the day job completely, but if I could supplement my income from my art it would be great. I also want to break out of my creative bubble a little. Sometimes I can be a bit lazy and wont approach a piece because of the amount of effort it would require. It's a bad habit and one I want to break.
on the internet. Renderosity and Daz have great forums and tutorial sections. They were invaluable to me in the beginning. If you're really serious try investing in a few books. I find that it can be easier to read from a printed page than jiggle between screens on your computer.
Study other artists, and don't be afraid to copy a little. It's a great way to learn, just credit where credit is due, and try and put your own spin on it. I look at a lot of great 3Dand 2D digital artists to see how they IG: I invested in a new system a couple of years back use light, composition, textures, how they create (My old one just couldn't cope anymore). It was a depth and tell a story. People like Michael Komarck, custom build ordered on the internet and was Todd Lockwood, Dylan Cole, Andree Wallin, Stephan instantly a thousand times more powerful. Five hour Martiniere, Dave Seeley to name but a few. renders suddenly took 20 minutes, with everything thrown in like AO and SSS. I started rendering at 3DA: Thank you for sharing your work with us and we much larger resolutions and creating very large and look forward to seeing more of your work in the complex scenes. It made a hell of a difference. I have future. an A4 Wacom Intuos3 tablet that I love and wouldn't IG: Thank you for the opportunity, it's been a real be without. I could probably do with investing in a pleasure. new and larger monitor, or perhaps trying a two monitor setup, which is what I'm saving for at the moment, and I could always do with more RAM. 3DA: Whatâ€™s your hardware setup these days? Any future upgrade plans?
3DA: What three tips would you offer a budding 3D artist today? IG: Well, the thing I enjoyed the most at the start was learning something new. Don't be afraid to just play around with the software, familiarize yourself with it by trying different things. Poser, Bryce, Vue, they're all very intuitive and quite easy to grasp the fundamentals of relatively quickly...
Use tutorials. If you're stuck there is bound to be help THE CHASE
INTERVIEW: Ian Grainger DRAGONBANE
THE DARK RISES
Sometimes I can be a bit lazy and wont approach a piece because of the amount of effort it would require. It's a bad habit and one I want to break.
I’ve always been interested in science iction, and later fantasy and sub genres like steampunk, and though I’ve read a lot over the years the visual aspects have always been appealing—movies and television, but I never felt particularly artistic. Editors note: Thankfully, feelings aren’t facts.
3DA: We are happy to have with us today NWDA’s ‘Roadside’ Challenge’s 1st place winner Hannes Janetzko! Hannes congratulations on your win. This was an extremely tough challenge in regards to the competition, there were many exceptional entries making this a very close call for judges. How did you feel when you found out that you won 1st Place? HJ: Thank you. I was really blown away. There were so many fantastic images that I couldn't believe it, when I saw the final ranking. 3DA: With a theme like “Roadside”, the artist really has a lot of freedom as to where to go creatively. What was your inspiration for I Want to believe? HJ: To be honest I had none in the first place. I'm a Terragen user since it was released, but I had never built a road. So the “Roadside” theme made me a bit nervous. For a moment I was really tempted to withdraw my participation. Fortunately Frank Basinski, an NWDA member, provided us with some tips on how to create roads in TG. I played around with some of his files and once I had an idea what all those nodes were doing I was able to create at least a very basic image with a simple road. But at this time I still didn’t know what kind of image this was going to be in the end. 3DA: When we interviewed Osyhan Greene, 30
NWDA Roadside Challenge 2013 1st Place— I Want to Believe!
Planetside’s Business manager, in Issue 24, he referred to Terragen v2 as an “Open-ended tool-box type program”. Looking at I want to Believe it seems you took advantage of a lot of these tools. Walk us through some of the techniques used to create this image starting with the roads surface. How was this created?
Hannes Janetzko spends his working hours as a male nurse in a neurological clinic in a small town in Germany but spends much of his free time building 3D Art using Terragen. With a long history of influence from movie special effects, Janetzko found a natural transition into digital art.
HJ: The road surface itself is quite simple. I used a dark grey colour with a small power fractal as displacement and plugged in a reflective shader with very blurry specular highlights to create these soft shiny tarmac reflections you can see when the sun is low. For the road marks I created several instances of the nodes that I used to create the road's basic curvature, masked them by other node instances with different width settings and broke
He has been retained by a German VFX company on occasion to create TG scenery for commercials. He points to the opportunity as a fantastic learning experience. He is a father to four adult children leaving him plenty of time to pursue his favorite off duty endeavors not involving Terragen—reading books, watching movies, cooking and being in the outdoors.
INTERVIEW: Hannes Janetzko them up with other power fractals to give them a 3DA: The model of the young boy is a 3d scan grungier look. of a real person correct? How much work was put in to treating the mesh; because it looks I didn't use global illumination for this image. incredibly real even close up? There is a fill light setup to fake environmental light. I love to use it. It's fast and in my opinion plants look a bit more naturally lit. However there is of course no light bouncing from other surfaces and sometimes you get nasty shadows in areas the sun doesn't directly illuminate. But in this case it worked perfectly.
HJ: Yes, it's a free model from 3dscanstore.com. It's a very detailed laser scan. But it comes without textures or texture coordinates. So I had to pick the guy to pieces in 3dmax to map and texture each body part differently. After I had done this I wanted even more detail and created 3DA: Apart from the road there is a lot of subtle a particle system to create body and head hair. I details going on in this render, which we believe then exported the whole model as an obj and really gave you the edge in the voting process. I imported it into Terragen. see road side stones, bottles, cans signs and 3DA: The real focus of this image is its dramatic transparent posters. Just a lot of attention to de- sky you have created, complete with cumulus tails. What exactly went into making this clouds, helicopters, a brooding alien ship; all foreground come to life? topped off with some impressive lighting effects. HJ: At some point I had the road and some hero Tell us about its construction, were there any objects in the scene. The guy who was staring at challenges or hurdles that needed to overcome to achieve? an empty sky at that time was already there, plus some plants and the poles. I was quite happy with what I had so far, but everything looked too clean. I really love images with a lot of small details, even if they are barely visible, so I knew I had to litter the scene. Creating 3d models of things like cans, bottles and cigarette ends was great fun to do, and if someone at this time would have said that my self-made models really look like garbage, it would have been a compliment of the highest order. However placing those small objects onto the road so that they neither float nor intersect with the surface was really tedious. Then I had to find out what the guy was staring at. Since I'm a great science fiction fan, it didn't take long to decide that there should be something strange and disturbing in the air. I had the model of a huge UFO I once built for another Terragen scene, which I placed In the scene. This gave me the idea of adding some Area 51/alien abduction stuff. That was the moment when I knew that the name of the image would be “I want to believe” referring to Fox Mulder’s poster in the X-files series. Then I soiled the road a bit more until it looked dirty enough.
HJ: Creating an interesting and natural looking cloudscape is a mixture of experience and luck. I created a lot of skies in Terragen since it’s been released, so I think I know what I have to do to build some nice clouds, but hitting the “seed” button of the cloud’s density shader with identical settings can produce completely different results. That’s what I did until it looked OK to me. Additionally I played with the internal scattering parameters to give them a slightly translucent look. The lighting effect below the UFO is quite simple. It's a localized cloud layer with the appropriate dimensions and density settings, which is illuminated by a strong blue light source. 3DA: Many 3d artists rely on forum interaction to overcome some of the obstacles that today’s complex 3d applications present. Are you actively involved with the forums? HJ: I think, each member is somehow actively involved by sharing his tips and tricks. I really appreciate that. Even during the competition everyone was helping each other. This is what makes this forum one of the best I know. 3DA: You mentioned in your bio that you were
first introduced to Terragen Classic years ago when you received a free copy from a computer magazine. What was it about this application that interested you and who were some of the artists that inspired you early on? HJ: Oh boy, that was a long time ago! At this time I didn't yet have much experience with computers. I bought the magazine to learn more about them and found Terragen Classic (I think it was version 0.6X) on the CD. There was a thumbnail of a rendered landscape in the magazine which aroused my interest. I installed the program and was instantly fascinated by the results. At that moment I became a TG addict. One guy who really inspired me was Luc Bianco. As far as I remember he was also using Classic Terragen these days and he created some outstanding images. 3DA: Back then Terragen was all about Landscapes and procedural treatments. Planetside really took that base concept and has taken it to another level with all of its displacement functions and new tools with Version 2, Coast is a fine example of a Classic Landscape image treated with some of these tools. What advice would you give a new user that would like to create an image like this?
HJ: I really like panoramic wide angle shots, but in this case I zoomed in a lot which pulls the rockface in the background towards the camera and makes it look even larger. Play with the field of view and you can drastically change the whole impression of an image. Take your time to carefully texture you surface. You don’t necessarily need lots of different surface layers. For Coast I used only three of them. Give them a bit more variety in colour by using power fractals as colour function and distribute them depending on slope and altitude. 3DA: More examples of these improvements are shown nicely in Mesa. This image has impressive surface mats, strata displacements as well as some desert plants. What got the ball rolling with this image? HJ: Sometimes I want to render just a simple desert image, especially after I spent days or even weeks on creating vast scenes with loads of objects, cloud layers and other things that take ages to render. Just a nice terrain with a few surface layers, nothing else. Unfortunately this has never worked for me. Most of the time I can’t stop adding things until it’s a vast scene with loads of objects, cloud layers and other things that take ages to render… 33
INTERVIEW: Hannes Janetzko MESA
At least there are no clouds in my Mesa image. I had a basic terrain and added the strata which was warped and broken up by some other power fractals. But a big part of the displacement was created by accident. I tried to add some gravel by adding a fake stones shader and set the stone scale far too high, which produced some interesting structures. I then added some more fake stones shaders with smaller scales to get the gravel I initially wanted.
textures and alpha maps to each group you get an incredible amount of detail. These meshes were quite dense because of their high polycount. I wanted to see how Terragen could handle those huge models. So I imported them and I was surprised how well this worked. In TG I tried different lighting settings and atmospheric stuff like clouds. For the Futurama image I decided to build the domes as a contrast to the square shaped buildings.
3DA: As we see with all great 3d artists is the 3DA: You mentioned earlier that you use 3d Max ability to find the sweet spot with camera as well, in images like Futurama and Greeble placements, a fine example of that is your render where you are using both TG and 3dMax do you My Name is Jeffery Jacob Abrams. This is just a create the environment than design the model? masterful Sci-Fi piece. Were you happy with the What was your work flow like while creating final result? these images? HJ: Yes, I was quite happy with it. After I had HJ: Initially I created these greeble objects just for fun and not with the idea of building stuff for Terragen. Both images use similar structures. In 3ds Max I created a plane and used several instances of the Greeble modifier, a free plugin which creates little box shaped structures on quad faces of an object. It's possible to use as many different materials as you want for the greebled parts, that all have different material IDs. So if you assign materials with different
finished the planet surface I thought this could be a nice background for a Sci-Fi scene. So I purchased the model of a space station, retextured it completely, added the greebled rings and some lights. Of course the lens flare, which was responsible for the name of the image, is postwork. 3DA: Most of your images are packed with great content, excellent surfacing as well as those creative camera placements like 1000 Birds and 34
Adventure . One render that has just as much as an impact but is quite minimal in comparison is BOOM. Minimal surfacing / populations with the straight on camera placement puts the mushroom cloud center stage. How was this monster created?
HJ: First of all I searched the internet for reference images of nuclear explosions. I used several different localized cloud layers for each component of the mushroom cloud. One large flat one for the basis, some tall ones with a smaller diameter stacked on top of each 35
other for the “tower”-segment and a big one for the center part of the mushroom.
or others. Is it easy to set up animations with Terragen’s module?
The ring was created by using a huge localized cloud layer with lower density settings, masked by a distance shader driven by a camera in the center of the layer to cut out the middle of the ring. I duplicated the ring and made the second one slightly bigger, but fuzzier.
HJ: Almost every parameter can be animated, and the animation module has been improved in one of the last updates. There are curve editors now to manipulate the keyframes. Nevertheless animating in TG is still a bit tricky if you want more than moving a camera from A to B with two keyframes.
3DA: Along with still imagery you are building quite the collection of animations on your Vimeo page .Water & wave animations seem to be your favorites. It’s very impressive that such an inexpensive program like TG can animate water so well, Water animations are usually reserved for much higher ticketed softwares like Real Flow
Talking about animating water in TG: this is really tough! Of course you can easily animate the displacement of the water surface, but when it comes to naturally moving foam patterns it's getting complicated. I'm not very happy with my own attempts in TG. I think convincing ocean
water with foam is one of the most challenging things to achieve in CG.
creating realistic looking Terragen environments and finding the right POVs.
3DA: It’s safe to say being able to use your favorite 3d software in a commercial environment is every artists dream. I understand that you have been fortunate enough to do so, what projects have you worked on and what was your scope within them?
Funny fact: the guy who hired me, showed the commercial with the arctic environment to some people working for a major VFX company in the United States. They were impressed that a small company had such a big budget that they could shoot some footage in Antarctica…
HJ: One guy of the German VFX company “Unexpected” saw some of my TG works and asked me, if I wanted to create some TG scenery for some commercials they wanted to produce for a Turkish company named Vestel. They wanted to have an arctic environment for the first commercial. So I did some test renders, they liked them and used these as lighting reference for studio shootings of real actors. It took quite some time until everything was set up correctly. After everything was shot and rendered, they combined the real footage and the rendered TG sequences seamlessly. It was great fun to do something like this and to see the final result edited professionally.
3DA: Lastly; what are some tips that you would give some of our readers that are just starting out with 3d software?
The second commercial for the same company took place in the desert. Basically it was the same job like in the previous one for me:
HJ: First of all: don't give up. The learning curve is steep most of the time, but it’s worth it. Read or watch as much tutorials as you can. If you want to create natural phenomena in 3D, always look for reference images. The more the better. Try to replicate the look of real imagery as closely as possible. Watch your favourite VFX movie's Making Ofs. They can be very inspiring. 3DA: Hannes it’s been great to speak to you about your work we look forward to seeing more of it, best of luck to you in your future endeavors!
3DA: The second place image in the NWDA Roadside challenge is a great piece of work titled, Countryside Road, by Finnish artist, Jani Peltola. Congratulations on a great image and the second place nod, and thank you for sharing a bit more of your great Terragen art with our readers. JP: Thank you, this is a great honor. 3DA: We don’t get many construction worker/ artists around 3D Art Direct. I have a high level of confidence you might be our first. Did you always have an interest in art or did this rise out of your Terragen discovery? JP: I've always been interested in creating something with my own hands and I think nowadays Terragen fills that desire nicely, because you can just sit down after hard day’s work and start creating something from the scratch. While learning using Terragen more fluently I've tried to focus also on the artistic point of view on my works and tried to learn that side too. So yes, my interest in art has mostly risen out with Terragen. 3DA: So you started using Terragen mainly as a support to role-playing games. What were your early challenges of learning Terragen?
JP: Getting over the overwhelming amount of options. At first it was very difficult to try to concentrate only on the necessary parts of the options. You just don't have to touch every slider and button to get the image done. The UI took also quite a lot time to learn. And then of course the whole node network took long time to understand right. In the beginning it was almost impossible to get wanted features on the terrain and most of the scenes were just bunch of random settings without any deeper knowledge of what was happening and why. Many excellent tutorials however helped and gave good overview of the work flow. 3DA: Let’s take a look at the image that got you here – Countryside Road. This is an amazing piece of work. I like the perspective of the dirt road barrier between the forest and the grassland. With the mountains in the background this scene could be any number of places around the world. Tell us about your vision for this one and how you put it together for the NWDA contest. JP: Thank you. To be honest I had no vision at
NWDA Roadside Challenge 2013 2nd Placeâ€” Countr yside Road all in the beginning. I was quite terrified by the contest theme, because I had never done road in Terragen before. Second challenge was time. I was so busy at work at the time the contest started that I even considered not to participate. Luckily I did. So, I had to start from the very beginning, the road itself and how to mask it out from the landscape. After I got the first road shape done, I finally had at least some idea of what my contest entry could look like. I decided to make a very familiar looking scene with a field on the other side and forest on the other. Next I started adding more masks for the ditch, tracks, populations, etc. The background was rather empty so I added also some mountains there. All the main features were quite quickly done and roughly placed. I didn't even try other seeds for the road curves, but the road is in place where it settled with first try.
and lot of testing, but it paid off. I got great suggestions and critiques at my WIP topic in Terragen forums and that really gave me will to start finishing my entry. The tweaking took a lot of time. Minor changes and test renders over and over again. But it really was worth it, for I learned so many new things to take into consideration. I was very happy that many people commented they knew similar looking place somewhere. In the end the frustration for the lack of good inspiration, I had in the beginning, was gone and this work turned out to be one of my favorite projects. It also has one of the most complicated node setups I have done.
3DA: When I look at your work the word that comes to mind is serenity. There is a peace and calmness, comfortable like a soft chair by the fireplace and dog at your side. Itâ€™s a rare talent to find art in stillness but you seem to capture Next stage was to add some vegetation. I wasn't nicely. Is this a reflection of your personality? very happy with the result and took quite long Tell us how you find this inspiration. break before I continued with the scene again. The break did its job and I finally had very clear JP: I think this comes subconsciously and is vision of how I wanted the vegetation and scene related to my work, which often is just the opposite i.e. busy and noisy. After spending look like. Finding proper plant models took time 39
INTERVIEW: Jani Peltola
BLUE MOMENT 40
whole day wearing ear protectors, silence and calmness is very welcome. 3DA: You work in Terragen 2 these days. What do you like the most and the least about the software? JP: I like most of the incredible stability and flexibility of the software as you can't get it crash easily even by inputting insane values. Everything works very smoothly and even with default values you can get amazing works done. Least I like the very steep learning curve. After rather many years of using Terragen, there are still lot of values and nodes I have no clear idea of what they do or how to use them properly. 3DA: Tell us about your Lake image. You’ve really nailed the simple design techniques that can make or break an image – lighting and shadow, composition, depth and color range all work really nicely in this piece. JP: This is an image where Terragen showed its greatness as my intention was just to test the new localized cloud feature and I just threw in some mountains and hills and water and quickly populated it. Without any clear vision I also decided to test some lighting settings and lowered sun and added some red sky decay. So, not much planning, just some nodes, objects and rendering. Sometimes more or less lucky guesses give you a wow, when final render is finished. This has been one of my favorite images, because of the mood it has. 3DA: Some of your work could be passed off as photographs. Blue Moment is a great example of photorealistic quality. I normally would not be drawn to an image like this because of so much sky, but in this case, that expanse of sky is what gives the piece its power. Think back to when you put this one together. What was the inspiration and the process? How’d it come together? JP: I had a very clear vision and inspiration for this one. It was early morning at late winter when I was driving at work and sun was rising and everything had that bluish tint. During day sun had already warmed enough and melted snow, which during night froze again and got icy
and reflective surface, which glimmered in bluish dawn. I really wanted to capture that blue moment and landscape and I think I couldn't get any closer. The result really looked like a photo from somewhere on my way to work. The process itself was rather simple as there is only gentle hills covered with snow and few populations of leafless trees. The tricky part was to get the lighting right and that took some more tweaking. 3DA: Rakka Lake has that same wide-sky feature, but again it just works. It’s a great balance to the lake side terrain. This honestly looks much like I place I used to go fishing as a child. How much of your environment, experience and personality comes out in your art? JP: This one again had a clear vision as I wanted to create landscape from northern Finland and main focus was ”rakka”, which is Finnish word for the rocky ground that is formed by thermal and mechanical erosion and common in arctic climates. I think environment affects quite a lot to my art as most of my works base on something I have seen. I also like places where you can feel yourself small beside nature. I think that's one reason why I often make images with wide-sky. 3DA: Describe your working process for us. How do you get from a blank screen to a final render? JP: I always start with large main features of the terrain, whether it be low hills or high mountains or anything else in between. After I'm happy with that, the next stage depends on what my goal is. If planned scene has a lot of vegetation, I often start populating it and leave other minor surfacing and coloring later, when I see what is actually seen below plants. If the scene has only minor vegetation or no vegetation at all, I start surfacing it. After populations, colors and minor features are in place, it’s time for atmospheric settings and lighting. I make low quality test renders after almost every little change to see how my changes affected. When the scene develops I start making higher quality crop renders before high quality full size render, which is often overnight render. Depending on the 41
definitely a place where to start looking for help and advice. The Terragen community is something unique I have never met elsewhere. There are so many great and helpful people that all questions will be answered.
scene, finishing a work takes few hours to few weeks. 3DA: Where do you see your art in five years? JP: I hopefully find time and inspiration to continue working with Terragen constantly and keep on learning new techniques and producing new scenes. There are still lot to learn.
3DA: I look forward to seeing more of your work in the future. Thank you for your time and for sharing your awesome work with our readers.
3DA: What tips would you offer a Terragen newcomer?
JP: Thank you very much, this has been very inspiring.
JP: Don't get frustrated. Itâ€™s not so difficult as it seems to be at first. There are a lot of great tutorials, which give a good first push of work flow and how to do things. There isn't need to know purpose of every slider and node. Knowledge comes by time. Planetside forums is RAKKA LAKE
INTERVIEW: Jani Peltola
Jani Peltola lives and works in HĂ¤meenlinna, Finland. Soon after finishing schools and military service he founded a construction corporation with his brother and father. He began using Terragen several yeas ago, moving into TG2 in 2010 and continues using it almost exclusively.
This makes the second, 2nd place Peltola has taken in an NWDA contest. His work, Ancient Valley, was the runner-up in NWDAâ€™s last contest.
Pierre Chartier, born 1957 in StJérome and for several years lived in Montréal. Is a relatively new artist on the 3D digital Art scene. He graduated in 1984 with a Baccalauréat in communication from the Université du Québec à Montréal (UQAM). For the next dozen years, Chartier worked as the Director of Photography for television programs, along the way earning honorable mentions for Best Director of Photography at the Gémeaux Awards in 1989, and five years later winning the Gémeaux trophy as the Best Director. In 1996, Chartier left the television world to dedicate himself to music. Specializing in exotic wind instruments such as the Améridien Flute and Aeolian Harp makes this artist a musician of rare talent who has influenced and taught countless other musicians of like musical tastes. www.myspace.com/pierrechartier His digital art journey started in 2008 with ArtMartic Voyager and after he began using Terragen 2. As a hobbyist and photographer, he is attracted to the ability to render photorealistic images in a software environment.
3DA: We would like to welcome Pierre Chartier (aka Jo Kariboo) – NWDA’s Roadside Challenge 3rd Place winner! Pierre, great to have you with us. Congratulations on making it in the top three! The entries in this challenge were impressive to say the least. What was your reaction on your 3rd place win? PC: First, I would like to thank 3D ART Direct for this interview. Personally I was surprised to win a prize and excited at the same time. I found this to be a very exciting competition. The competition arrived at a great time. I had plenty of free time during this period which allowed me to experiment with different images with the same Roadside theme. I want to thank all those who gave the constructive criticism that pushed me to the edge enhancing my images. I am very pleased with the prizes I received from Xfrog, Jan Walter Schliep "Silva 3D", and "The Tarmac Road" from Frank Basinki of the NWDA group. 3DA: Did the concept of the stone road of Vieux Chemin come to you right away? If not what were some of your early ideas on your entry? PC: The idea did not come to me immediately. I first worked from a file of DandelO’s asphalted road, but I was not satisfied with my light and the first test. So I started another concept. I started "vieux chemins" without being certain that it would qualify as a road because the majority of
His third place finish in the NWDA Roadside contest solidifies in place among a strong group of up and coming artists. 44
images submitted by other competitors included paved roads. I had never dealt in the past with Terragen with a road of any kind, but with the technical knowledge I have I could end up having an acceptable result. It was then that I began to imagine a deserted road that was covered by cyclists and stones as it is in many countries.
distribution defining their distribution at the beginning of the mountains suggesting it would have been cut by grazing animals or for agriculture. The setting of haze and the orientation of the sun adds a distance effect in the image. 3DA: Along with the get light, the cumulus clouds in the distance adds great depth. Is controlling clouds something that is easy to do in Terragen?
3DA: Your population distributions are extremely natural looking. Terragen offers many ways to do this, PC: Yes, now it's very easy to position the clouds with walk us through your work flow on this part of the Terragen. Before it was possible to work with a disimage. tance shader for a control, but since the ability to PC: I know it is possible to work with masks with locate and radius for clouds it is much easier to place Terragen but it's a bit beyond my technical the clouds at specific locations in the image. Everyknowledge. Here in "vieux chemin" I mainly used the thing is a matter of taste. I often work with no clouds, "paint shader." The paint shader distributes populaonly a variant of the blue sky and the degree of haze. tions easily with good accuracy. Plants in foreground Here in "vieux chemins" I thought the clouds brought controlled by paint shader behave the same as the a depth to the picture and were graphically interesting road but in inverse shader as large boulders dotting in the composition. the fields. I used three different populations of shrubs 3DA: The overall composition of this render really of Ulco Glimmerveen, two populations of shrubs, Mr. sets it apart from some of the other entries. This, like Lampost a populations, shrub of aymenk 2003 and 4 all of your work, is very well composed. Does this populations of dandelo trees. Some trees without come naturally to you? leaves it positioned in single. Cyclists are Terrade, ruins by Ogre and many other free 3d buildings were PC: Well yes and no. In this picture I had a particularly large enough to fill space. I had to delve into my downloaded from different site. www.terragen.org memories to imagine a plausible distribution of vege3DA: There are some fine details both in the foretation in an area that could have the â€˜Lookâ€? of a ground as well as the distance. The models that you countryside landscape of Quebec. Although this was used are particularly well placed and lit. Tell our the original concept, Quebec does not absolutely look readers a bit about this.. like this image but very similar. Some of my images PC: Yes some shrubs were placed individually on the are for me a construction game that sometimes takes road ways and in the fields. In the background several a long time to achieve. But others against, such as of dandelo trees were affixed again with a paint the series "cherry bloom rock" are completely devoid shader to delineate cultivable land. The trees on the of plants and 3d objects and therefore are easier to mountains in the background have a shader complete. I'm forever looking for some balance in the
NWDA Roadside Challenge 2013 3rd Placeâ€” Vieux Chemin
INTERVIEW: Pierre Chartier ROCHER DE LA POULE
composition of my work. I often look at landscape photographs on the web despite them not really giving be inspiration for my work with Terragen. I absolutely love browsing through landscape photographs. I find great pleasure in watching nature al across this great planet of ours. 3DA: Let’s talk a bit about some of your other renders. Rocher de la Poule shows off some impressive terrain displacements. How were these achieved? PC: I started "Le rocher de la poule" with the TGD file from Andy Welder "the origin of “SchuhmacherLevy ". This is an inverted crater located on a fractal terrain. I did multiple test sand I kept some versions like "le rocher de la poule" which seemed to me interesting. To make images with Terragen 2 is better to be patient. Sometimes I do get lucky, but often I must make many adjustments and testing "random settings" inclusively to get a few things plausible. The colors and the atmosphere gives the impression that this rock could exist somewhere on the planet. This is what I like with Terragen 2, it's the impression that the image could be a photograph of a real place. 3DA: Terragen is known for creating photorealistic images. Mont Vertigo is about as real looking as you can get in today’s 3D apps. How did you pull this one off? 46
LAC VERT 2
PC: I often use several height fields generated by TG2 in my renders. In "up 1" I used among other things a fractal terrain and an alpine fractal terrain with a distance shader. For Mont Vertigo I used 2 fractal terrains one being an alpine terrain with a distance shader. All of the terrains have modification of the default values. I was inspired by a photograph. I worked to recreate the light and refreshing atmosphere. I also used a gray layer with effect intersect undelaying surfaces for added contours to the rocky walls and additional altitude. On vegetation I used
xfrog trees, Jan Walter Schliep and dandelo, shrubs are from Ulco Glimmerveen. Several trees in the foreground were placed individually. I promise to do more images like this that I find particularly refreshing and fun to watch. 3DA: Finding good camera placement is critical in a render. Some fine examples are present in Lac Vert 1 and Lac Vert 2. Tell us a bit about these two renders? PC: Here again the image have two terrains. A fractal terrain plus an alpine terrain with a distance shader. I made many versions of this LAC VERT 1 image with different focal camera location and light. In these two examples mentioned the camera captures a foreground and then show us the back of the landscape where we can distinguish the mountain in the background. In both cases the camera is 77 (wide angle). I especially like the serine that emerges from the whole series of "lac vert" renders. Regarding the positioning of the camera I like to set up several cameras with varying settings. This was certainly case in the "lac vert" renders with short focal length 47
INTERVIEW: Pierre Chartier
UP 1 or long focal length as in "up 1."
3DA: Since picking up Terragen 6 years ago you have been quite driven in creating and interacting in Planetside’s Terragen Forums as well as Rendus3D. What can we expect from Jo Kariboo in the next few years?
3DA: I imagine being a Canadian resident plays a large part in your inspirations to create these intriguing Landscapes. What are some of the most inspiring regions to you personally and why? PC: Yes, Canada has wonderful scenery, "Lake Louise", the great north, the Gaspésie, The Minganie, etc... Honestly, I am fascinated by all the scenery in the world. I love the great outdoors and especially those with contrasts. I have similar passion for landscapes with snowy mountains. Iceland country have a full of fabulous scenery. I would like to pass one day succeed with Terragen to capture some impressions of the Iceland. 3DA: Generally speaking what are some tips you would give a new artist starting off in 3d digital arts?
PC: It is true that until recently I was pretty active on these sites. Currently I have commitments that prevent me from doing as much 3d work as I would like. Probably in October I will have more time and could become active again on these sites. It is obvious that I cannot wait to use my winning plant packs from XFrogs and Silva3d. I will probably continue in the same direction with Terragen. From what I've seen on the web as far as 3d software is concerned Terragen is one that suits me the most. 3DA: Pierre, thank you so much for sitting down with us, we look forward to all your future endeavors.
PC: I think the wisest thing is to try the free versions offered by most companies before buying. Regarding TG2 there are several tutorials on the site including a great beginners tutorial by Issue 4’s John Robertson aka Schmeerlapp called Mcduff http:// www.planetside.co.uk/forums/index.php/ topic,7733.0.html and of course Martin Huismans website http://www.cgscenery.com/blog/page/2/ . Several files are available on the Planetside forum section as well http://www.planetside.co.uk/forums/ index.php/board file sharing, as well Ashundar aka http://www.terragen.org/index.php
PC: Thank you very much 3DA: for having me for this interview and I would also like to thank NWDA for the initiative of the contest, all the sponsors 3D Art direct, Xfrogs, Jan Walter Schliep from "Silva 3D" and Frank Basinki from NWDA.
LAC VERT 3
www.3dartdirect.com/pierrechartier CHERRY BLOSSOM ROCK
M Y N AME
J EFFERY J ACOB A BRAMS : H ANNES J ANETZKO
3D Art Direct : Be Inspired By Digital Art 50