Thursday, October 27, 2011

Finding a Style in Photoshop: DIGITAL PAINTING OR PHOTOMANIPULATION?

A decision or a hybrid of both? It's been a difficult journey the past couple of weeks. I must say, some of the darkest days of my life, personally and on this journey to become a professional.

Finding inspiration is one of the most difficult challenges faced sometimes. Which is why sometimes I feel deviating to help craft others visions works well against doing personal work all the time. At the end of this post, I may or may not have figured out all of the things that inspire me to keep on going on with this or why. Such is life, I guess.

Lately, I've been trying to find my style and sense of capabilities in Photoshop by attempting to digitally paint one of my drawings. I've been exploring techniques to assist me in creating faster workflow, experimenting with features unique to the program, as well as utilizing this training I've already been taught either through school or own my own time with ImagineFX and online tutorials. I've also been trying to keep documented what I did and how long it took me to do so... so I can remember my process for the next attempt.

I have always been a faithful fan of Photoshop in the line up of the millions of others out there. I really admire the podcasts that artists have been putting out there displaying the process of creating a piece of art-- the video themselves are authentic in their creativity.

Sometimes I photo-Chop and blend together images I find online to create something. At those times I focus on color, tone, placement, and balance. However, I can never say I've handpainted from scratch. I've always wanted to be loose with brushes, colors, blending, but was afraid that I wouldn't be able to find my style, afraid I'd mess up with my lighting and use of colors, and also that my final rendering might look flat.

I've always considered that a photoshop artist should be equipped to know both, so I stepped over my fear because it was something I had to overcome anyways to become a better and more versatile artist. So I've wrestling through working with limited reference to the subject I'm painting (at least in regards to the same lighting conditions I imagined out of a colorless pencil sketch). And mostly concentrating now on working with the way the "texture" looks on these subjects from different photographs. The lighting I'm having to feel out-- is naturally the most crucial part to avoid making the image look flat.

Yeah, so it's been a frustrating artistic journey, but I'm resilient and I'm relentless. And I will continue to build up the anticipation by not sharing the sketch I decided to pick.

I'm watching and reading as many tutorials as I can. My goal is to complement my traditional skills and style with my digital skills and ultimately to rediscover that style to become a better computer artist.

Until then:
Today I came across two great podcasts of two great digital artists at work:

One, by my shouted out favorite, BOBBY CHUI



The other, my newest discovery, VIET-MY BUI


One day perhaps I will create video demos like these, too. And hopefully they will inspire others as these inspire me.

Tuesday, October 18, 2011

MY FIRST DIGITAL SCULPT.



Today I finished Chapter Five. When is enough detail enough? Well, I'll learn eventually. I'm better under pressure, otherwise I tend to lose myself in the fine details.

My test of quick modeling was my first real "modeling" job. I had a week long deadline and was to complete four background character statues according to their accompanying stylesheets. My longest took my 36 hours, my quickest was 9.

That's when I got the confidence to be able to tell myself that I could be a modeler. My biggest challenge was make choices and sticking with them. It still is one of my biggest frustrations.

This model-- Well Zbrush is damn near evil with the amounts of detail you can try to attain. And I love detail.



This model at it's lowest division is 96 polys, at it's higgest-- 6,291,456.
I still don't know if that's good or bad.



As I mentioned, I'd like to customize this skull seeing as it's almost Halloween and I'm tempted. I was looking into it, but now that the skull was modeled as one piece, I'm not quite sure how to split the geometry up into two without taking it into Maya or Max... So I'm not sure if it's worth the R+D right now against the urgency of moving onto the remaining chapters. There's learning Dynamesh and a whole lot more plugins to tear into after getting through this book.

Here's where my attention deficit creeps in.
Note to Self: I'm sure eventually I'll learn how to do what I'd like to do if I just keep the peripherals on.

Monday, October 17, 2011

In the Meantime.... An Excerpt.

With continued efforts working through Chapter 5 of Eric Keller's "Introducing Zbrush", and nothing fully completed to show for it as of yet, I've decided to post an excerpt from one of my books. A couple people have wondered when my writing will surface on my site. By a couple, I mean an exact couple-- as in two. So, to honor the requests of my two inquiries: Here is a sample of my latest novel. It has held at approximately 220 pages since 2002 and has now reached 243 over the years.

I promise to finish it one day. Even if it remains forever unpublished and its just for me. Even if it years from now. I have to promise that to myself, and as this is public, I lend that promise echoing off to whoever reads this blog.

It's one of my favorite works in progress.
Here is a two-three pages sample. Enjoy!


"His sheets smelt like puke. Every breath he took, he could taste it in his mouth. He felt in on his pillow as he moved his hands about it to grope his discomfort. He couldn’t pick his head up to move his pillow to the floor, and couldn’t turn from the smell.

The room was dark, the moonlight too meek to creep itself inside.

Tad had been lying there since he had woken up on Saturday night until the morning, watching the sunrise light his room, his curtains too far away to draw and his music too far of a stretch to play. He had fallen asleep only from his hunger, he had not eaten since he had been in bed, and woke again to the darkness of Sunday to lie. His thoughts were worn out and wasted, and there was enough time laying there to evaluate his entire life, to weigh the choices that he made with the consequences that he endured, many of them that tipped the scale on him, crushed him underneath, and left him overrun with repent.

A glass of water was sitting on his dresser across the room. It had been sitting there since Saturday afternoon, and still held a few sips. Most of it had evaporated over the course of time. Tad was so dehydrated that his lips were chapped and felt foreign to his body, and his mouth couldn’t build any mucous to wash up a better taste on his tongue. He hadn’t exercised his jaw that to lick his lips or swallow hurt. The glass of water was so obsessing, that it did not seem so impossible.

He slid his hand across the bed and gripped a bedpost, pulling himself closer toward the wall. His back was nothing more than a board that kept his body together, and was of no advantage to him, as he used his arms to get him moving and his head to slide himself up the wall to sit. The pressure on his ribs and backbone coiled him, and he gasped the pain back and cringed, as his lungs couldn’t take in the air. He was afraid to move, and didn’t move until he adjusted.

Tad traced his course along the wall, poised himself, the long way. It took almost a minute for him to baby-step over, each step small enough to keep from pulling the strain farther up his back. He wasn’t as thirsty as before, more determined, because it was too late to stop, his head down, eyes closed, concentrated on suppressing the pain, at least as he moved. He tried to view it as therapy, needing to do it, in order to strengthen himself again, and the more he laid in bed, the weaker he would become. He needed to drink the water, and when he finally had, he wished it were bottomless, and drank it so fast that it made him pant.

He could hear nothing except his heart beating, and took slow deep breaths.
His stomach had feasted on itself, and water invaded it like it had washed over a rested vampire, blessed on the way down and garlicky hot as it rushed back up. He hung over his dresser and turned toward the garbage in one movement, spattered the water back out in the same manner that it had entered. Tad gagged air, forced up his sickness over and over again with nothing, and wrapped an arm around his stomach, compressed and empty.

The sweat was hot seeping from his pores, and he needed to cool down. He fell back on the wall, fearful about leaving his bedroom. Tad didn’t even want to turn on the light, afraid to see what he felt. He left his room quiet, not able to stand the smell of himself, with a change of clothes, and headed toward the bathroom.
The hallway was dark.

An entourage of boisterous voices and following laughter were clear from downstairs, some familiar and others unrecognizable, all obscene and unsheltered at once.

The door to the bathroom subdued the sound, and suddenly everything seemed too peaceful. There was something besides showering that had driven Tad inside. It was the nicest most restored room of the house, even the black tiles shined with untouched luster. There were no windows, and the color of the bathroom, mostly blacks and plums, made it dark inside, the dim lights overhead the bathroom sink, only added to produce enough light to see.

There was one mirror in the bathroom, the medicine cabinet, above the sink. He couldn’t see it from the doorway and avoided as he undressed. He took his time and was gentle. Everything was aching, and he couldn’t even bend down to pick up his own clothes to put in the hamper.

He needed to brush his teeth. They were thick and soft with layers of residue. The toothbrush was in the cabinet, and the mirror was unavoidable.

His face looked better than he had imagined. It usually worked like that with Viller, a deep cut that trimmed the middle of his nose and the depression his under left eye, sacked red, with a small vessel burst inside. It wasn’t swollen enough to not be able to see only to blur his vision the few times he blinked. He wished he were blind, blinking had only delayed the sight that stared back at him. It would take a day before bruise turned and the cuts to scar over, and a few days for them to go away.

Tad reached to open the cabinet, and saw another blotch on the back of his arm. His back was covered with large dark patches that spread into one another like a disease, the welts tender, lifted the smoothness of his skin. He couldn’t twist his neck to see them all, as they ran down his back and in places on the backs of his legs.

He couldn’t remember much of the night, though had a reminder every time he moved. It was his punishment. Tad turned away from the mirror with a bottle of painkillers in his hand.

He didn’t need to pour as many tablets into his mouth, as he had, maybe one or two. The bottle had a hundred white, round pills. Maybe he could forget entirely. He didn’t need to feel anything for he felt enough, even if he couldn’t remember.
A mouthful of pills filled his mouth. He gagged at their taste.

He was being stupid, and irrational, and didn’t want to be hospitalized, again, even if he did want to die. It wasn’t easy, as he wished. The only thing easy was the concept, all he needed to do was swallow and then let himself die, and instead he gagged. Most of them went into the toilet bowl, a few ingested, too far back to choke up.

It would have worked faster if he had snorted it.

An hour later, after showering, he couldn’t manage to properly put his change of clothes on without concentrating. It was no longer that he felt injured, because he didn’t feel anything at all, his body didn’t even feel like it had bones in it anymore. His reach for the door handle seemed to take long hours, and he became confused which way he had to turn it to open.

Downstairs, the voices were still loud, now distorted and slow, and the change of atmosphere made his ears ring. He held his head, and grabbed hold of the railing, blind in the dark, as he made lethargic steps to the first floor. When he got there, he didn’t know why he was there. He didn’t even know he was in his own house.

He needed food. That was why he was down there. Two steps away from him was the kitchen, he didn’t think he was going to make it, and had the impulse to just lie down on the floor. He was suddenly really tired, his body felt too weak to carry him. He was breathing so shallowly, he thought he had forgotten to breathe and sucked in some extra air. He couldn’t keep his balance, too sluggish to hold onto the wall, and trudged over to the refrigerator.

There was beer that filled most of two shelves, containers of leftovers that looked like mush, and dried up pizza on paper plates, and a carton of eggs. The only thing in the refrigerator that looked edible was the tray of uncooked meat, and Tad knew that it wasn’t his to eat, even if he had the skill to cook. He closed the refrigerator, and opened the freezer. Nothing would have been simpler than ice cream.

It was freezer burn vanilla ice cream, solid as a rock as he dug in the spoon. He almost passed out in the working, and put it in the microwave with a bowl ready to pour it in. He sat down at the kitchen table, looked at it, and felt like throwing up.

His brother was sitting there with his arm around a lady in her late twenties named Angel, a pretty blonde with overdone dark makeup, too much skin, and barely any clothing. She seemed humored at his aggravation, as Tad took no note of him.
The spoon in Tad’s hand shook and his thumb began to twitch.

“What’s the matter with you?”

He heard his a voice echoing in his mind, too deep and measured to be anything human. Tad was nodding off, though he couldn’t have been tired. He spoon felt limp in his hand, as he lost control of its reflexes, the spasms trembling up his arm.
“Hey!” Viller grabbed his wrist.

“Is he alright?” Angel asked, standing nervously. Her voice light and pitched high with a heavy New York accent. “What’s a matter with him?”

Tad followed the hand up to the face.

His pupils were pinpoints under his hat, and his face bloodless. It was obvious if he was thinking anything, and could have passed for the dead. There was barely any pulse on his wrist.

“What are you on?” Viller growled low.

“He’s scaring me, Viller.” Angel crept next to him, and set her hands on his shoulders with a massage and kissed at his neck.

“I’m fine.” Tad’s speech was slurred, barely comprehendible. He began to eat his ice cream. “I’m hungry.”

“What did you take?” Viller pushed Angel off of him, and rose.

“My back hurt.” Tad felt nauseous, and ate slower. “I took some Tylenol.”

“You throw up again, we’re going to have problems. You understand me?” Angel rapped her arms of Viller, and nestled herself up against him, her hands drifted up his shirt. “You better clean you’re mess up.” When her turned his attention back to the lady, he trapped her up against the wall wild with a kiss.

Tad couldn’t finish the whole bowl. His stomach had shrunk to the size of a prune, and he found he couldn’t even force it down. He didn’t want to get sick, so he left it there, and decided he needed to find someplace to lie down before it happened. He got to his feet to fast, and tried to catch his self on the chair before he fell. He took the chair down with him. He needed to sleep, at least close his eyes.

Viller hauled him to his feet. “You little shit! How much did you take? What the hell did you take? Mother—” He dragged Tad back up the stairs and threw him to the floor in his room, crouching down close. “Go ahead, kill yourself. You think I care? I want to see you kill yourself. I don’t want to see you get up again.”

Tad spent the night on the floor, and days getting over the effects."


I hope that you enjoyed the excerpt. If you'd like to read some more samples of my work, please feel free to send my an email through my website @ www.lisamarie.biz. I have a contact form under my INFO section.

As far as completion of chapter 5, I will most likely have something to post by the end of the my workday. The hiccups in my schedule with the airlines sometimes keeps my inconsistent sometimes, but my job is my job. If I have time, I'm even hoping to add additional touches onto the finalized project to make it my own. I guess if it should take me longer than planned, that would be why.

I might at well try to make it portfolio worthy while I have the downtime.

So, please keep patient with me, keep that bookmark active and thanks again for taking the time to read. I appreciate it very much.

Thursday, October 06, 2011

Forging Onward at Full Speed.

I feel more comfortable now.

My biggest gripes:
I don't know if it's because I'm reading a book that semi-outdated or because it's something that I'm doing wrong, but...

-There is no longer a noise material in the material palette. And, at that, not many materials to choose from.
-The fibers display oddly under the BEST quality render setting vs. preview settings
-Switching between sculpting on models vs. painting materials on a tool seems uncooperative (with some materials).

I'm sure it is just my hardships at being a novice and, eventually, as I progress deeper into this book, that I will figure out these inconsistencies that I'm having.

As far as undo, there is a way to undo changes (Preferences > Memory > Tool Undo), HOWEVER, you cannot undo a transformation, which has driven me absolutely bonkers in trying to complete this chapter.

However, sprinkled in the basic ideas of 2D illustrations of Zbrush.
I can say that I have learned what for, how, and why I need to be able to switch back and forth between 2D and 3D modes, and I can fully grasp the benefit of both methods, as separate elements and within unison of each other.

Now conquered, the 2D/3D confusion has always made me skeptical of Zbrush.
So, here it is. Chapter 4 of "Introducing Zbrush" by Eric Keller.



Tomorrow it is on to Chapter 5. And hopefully some drawing.
Forging onward at full speed... That's how I do it.

Wednesday, October 05, 2011

"The Eulogy of You and Me"

I WAS ON YOUR SIDE, but still let you ride alone. ELSE I SHOULD WEIGH YOU DOWN.

I WISH I WAS PERFECT, but I make mistakes. NOR CAN I TAKE THEM BACK.

I AM A LOVER, and always will be. IF THERE CAN BE SO MANY SIDES TO THE MEANING.

YOU ARE A WARRIOR, with tears of sweat only. THERE IS NO OTHER SIDES TO THE MEANING.

I TRY TO GET THAT I DO GET IT, and you are gone anyway. I TRY TO UNDERSTAND THAT I DO UNDERSTAND, and you are gone anyway.

For me, Right now, your distraction is ammunition that is fueling my ambition.
To you, Right now, my distraction is your ammunition that is destroying your ambition.

I SEE THE MEMORY MORE VIVID THAN WHAT TENDS TO BE FORGOTTEN, as I wish that you saw what I wish I could fail at seeing. ONLY TO HELP US MOVE FORWARD, instead of continuing to look back. As I do. And as I've done so many times before.

I wish we were perfect, I was perfect, you were perfect, for you and for me.
YOU DON'T UNDERSTAND, if you could understand. I WISH YOU COULD. I wish that it could be.

FOR FAREWELL TO OUR YEARS KNOWN, as someone close and dear. YOU AND I ARE STILL IN PURSUIT OF HAPPINESS WITHOUT EACH OTHER.

My Love. My emotions. Real and raw, open and trusting. Will ALWAYS be there.

Tuesday, October 04, 2011

I Always Do It By the Book.

So, I have been filling up my day in Zbrush, slowly flipping through the pages of Chapter 3 of Introduction to Zbrush, by Eric Keller. And I have to say, as he sort of implied, as well, do the exercises (the chores, really). If I can work with 3D tools in Draw mode to duplicate a model, which has been a difficult, enraging and an overall slowwww process, I will know how to navigate better and what to expect from each tool under each tab in experimenting with my own work later on.

This, however, has involves a lot of saved versions and opening/closing of the program, backtracking to old files, googling, walking away, temptations of distraction, nailbiting, and a series of flipflopping between both good/evil thoughts.

But this is how I do it. Always by the book. I've always been studious that way, and if I don't have a teacher, I like to have a strategic trail of learning, like crumbs that lead to a huge (yummy) piece of cake. I do better with a set curriculum.

So, being I don't have enough to post here while hurdling over roadblocks and potholes with my running shoes and pajamas on, here are a few images that I completed from my going through my last book page by page.

The Book "Vue 7 From the Ground Up" by Ami and Vladimir Chopine. Eon is currently on version 9.5 to date for their Xstream addition, which allows inter-navigation between its programs and other 3D applications such as Maya.

It is primarily built for environment modeling. And it does this well, with its advanced terrain editor that is very similar to Zbrush is its handling of dense geometry and data management, its unique material editor vast with options, and its useful (but technical) function editor.

I really like the program. And was inspired to try to learn it after seeing the 2nd Pirates of the Caribbean, Dead Man's Chest and doing my geeksearch.

I was near to complete the entire book, but a project came on, and then other interests plowed me down... plus I was starting to hear of other solutions for the same effects that would mimic Vue's results. So, I unfaithfully deterred. Shame on me. Sigh.

I still like it, though, and can definitely say I can navigate it on a junior level. But technicalities--- there's that need for a TD, again. Google just isn't enough sometimes.

And the render settings, having not gotten to that chapter, at some points became rather complicated. Some say that the render features are lacking, but I have yet to really dive into the rendering chapters to make judgement for myself.

Again, the program has a LOT of potential. And I know I will revisiting it one day.

So here's a breakdown of examples on my topic of the studying with a page-to-page technique: (Mind you, crazy amounts of Patience and Time is required)


CHAPTER 3+4:
Terrain and WaterScape.
I combined these two chapters here. The subject speaks for itself. Two very important features. But the chapter 4 was really only aimed for creating water for still images.



CHAPTER 5:
New Beginnings Tutorial.
The focus of the chapter was focusing on plants and how to create and adjust them in the plant editor.



CHAPTER 6:
Little Flying Machine Tutorial.
Learning about objects was no fun. I didn't like modeling in Vue at all. Working with booleans was really tempermental--but all in all allowed a small sense of being able to build objects.



CHAPTER 8:
Cookies and Milk Tutorial.
This chapter was a breakdown of the power of the material editor.



CHAPTER 9:
Library Courtyard at Dawn Tutorial.
The Function Editor and dealing with filters. Another tedious area in Vue, but it was great training to fight through. This was by far the most difficult chapter, because I wanted to get beyond plugging in numbers and truly understand the nodes I was connecting and how they were influencing each other.



CHAPTER 10:
Populating Your World Tutorial.
Dealing with building or adjusting ecosystems.



CHAPTER 12:
Cloud Precipice Tutorial.
The cloud system is more advanced in 9.5 I read in 3D World, but the atmosphere editor was quite handleable when it was in version 8. I believe this around where I stopped, because there is supposed to be another cloud layer in this image.



I know there are other images from other chapters, but they are probably lost among lost drives. The chapters I didn't get the chance to get to include planets, wind, cameras, integration, animation, rendering, and python. The latter end (last two) of which I cringe to but may need to reference and understand in order to fully grasp the program's capabilities.

Back to Zbrush, and page by page, I finished Chapter 3 today and am into Chapter 4! A small accomplishment, but worthy enough. It suggests skipping onward to chapter 5 or 6 if interested in digital sculpting, but I'm kind of glad that I didn't, because I'm learning how to model with zspheres. I hear a lot of people talking about this feature as of late.

I am actually having a lot of fun with this feature. Modeling with Zbrush zspheres has been very interesting thus far. It allows the user mobilities to work in pieces of the mesh (and enables UNDO's). The fans are accurate when saying Zbrush is famed for it's fluid approach to sculpting organic objects. For building them? I think Pixologic is onto something that makes it a frontlining piece of software for the crazed industry.

Monday, October 03, 2011

TAKING NOTES.

I try never to underestimate this. The mind plays these crazy tricks on you sometimes. One remembers up until they have to remember something else, and then after they've learned that something else, they get distracted into learning about that something else as well that other piece of information that accompanies that. As so on and so forth.

Information overload? All the time.

.....Yeah. I just try to take quicky notes. And organize them so that I can have a fast reference. Just in case of memory overload. Computers AND human beings suffer from this both with age and overzealous applications.

I was considering posting some quick notes, but I'm still organizing them so that they are presentable and as to-the-point as possible for the frustrated novice. Zbrush is understandable, but intense to say the least.

And to push my promise into tomorrow, I'm still fighting through deforming pre-built meshes and trying to move these pieces into place to create a one whole distinct spaceship model. Tomorrow I present my masterpiece and reveal the long way I have to go with learning, proudly and humbly.

My Biggest Tip:

-What the flop?! Why can't you just delete?!
*Gotta delete the layer, because you can't under a transformation. SO MAKE LAYERS to separate what's already complete to avoid messing up the rest of your work.
*CNTL+N will clear the entire layer. (This is the closest thing to deleting that I found so far)

As far as my mentors... It's difficult to narrow it down, because I see so much good work out there. It's overwhelming, really.

There are a couple that I don't even have to research to shout out. Three awesome individuals of which I got to attend college with, Mashru Mishu, Han-Chin Lee, and Thomas Chun, and one of which I gratefully had the privilege of having as my instructor, Danny Williams. These guys are the biggest mentors. As they are great at what they do!

I've once again revisited Zbrush Central and am excited to be back and hopefully to become an active member of the group. In closing, I believe that you can never take too many notes and that you can never have too many mentors.