Gothic Church Interior Creation Tutorial

Gothic Church
Interior Creation Tutorial eBook
Chapter 01 page 03 - 28
Modelling the Interior
Sculpting a Gargoyle in ZBrush
Texturing
Lighting & Rendering
Post-Production in Photoshop
You can find these free

items in the resources folder
that accompanies this pdf.
- Free Gargoyle Model

- 51 FREE Total Textures
- Render Passes
- 75min of Downloadable movies
Chapter 1
Modelling the Interior
This tutorial will outline some of the prominent

approaches to building the church interior.
We will cover some of the key methods and
modifiers responsible for creating the scene and
core geometry.
Chapter 1: Modelling the Interior
Gothic Church Interior Creation
Fig 01
Created In:
3ds Max
Chapter 1
In this first part of the tutorial well take care of
all the modelling tasks, and well end up having
all the geometric elements ready for texturing in
the next part.
Lets start by creating a new arc shape (Fig.01).
Set Creation Method to Center-End-End, then
click and drag to create the arc itself.
Fig 02
Switch to the Spline sub-object mode, select the

spline that composes the arc, enable the Copy
option and click on the Mirror vertical button
(Fig.02).
Enable the 3D Snap icon (make sure that its set
Fig 03
to Vertex) and use it to move one half exactly

next to the other, as shown in Fig.03. Make sure
that the top vertices are perfectly overlapped.
Once youre done, disable the 3D Snap.
www.3dcreativemag.com
Page 4
Chapter 1
Gothic Church Interior Creation Chapter 1: Modelling the Interior

Fig 04
Select both the vertices and then Fuse and

Weld them; in this way the two splines will
become one, and well have our Gothic art
prototype (Fig.04).
Fig 05
Fig 06
Go to the Hierarchy tab and centre the pivot to

the arc object (Fig.05).
Use the Extrude modifier (which can be found in

the Modifiers List) to create a mesh from the arc
spline (Fig.06).
Page 5
Chapter 1

Once again, align the pivot to the centre of the
Fig 07
mesh (Fig.07).
Convert the extrude mesh to Editable Poly.

Enable the Angle Snap, create a copy of the
Fig 08
arc mesh and rotate it by exactly 90 degrees

(Fig.08). The two meshes must be perfectly
overlapping in their centres.
Select one of the meshes and apply a Pro

Boolean operator (you can find it in the Create
Fig 09
> Compound Objects menu). Click on the

Start Picking button and select the second
mesh. Make sure that Operation is set to Union
(Fig.09).
Page 6
Chapter 1

Fig 10
Once the meshes are put together by the

boolean operation, its time to clean up some
unnecessary vertices all over the junctions.
Select the vertices marked by red circles in
Fig.10 and then click on the Remove button to
delete them.
Fig 11
Repeat this last operation all over the mesh,

anywhere you see vertices in the middle of
polygons. You should end up with a cleaned
mesh before you can continue. Now select all
the polygons, set the Auto Smooth value to 30
and click on the Auto Smooth button (Fig.11).
This will give the mesh a more precise shading.
Fig 12
Select all the edges marked in red in Fig.12 and

use the Create Shape From Selection tool to
extract a spline from the selection.
Page 7
Chapter 1

Now create a new star shape, like the one in
Fig 13
Fig.13.
Make it an Editable Spline, select all the external

vertices and make them Smooth (right click on
Fig 14
them and choose Smooth) (Fig.14).
Select the spline you extracted earlier from

the arc mesh and create a new Loft using the
Fig 15
star as the shape (Fig.15). If needed, you can

scale the shape sub-object for the loft to set the
correct size of the mesh.
Page 8
Chapter 1

Fig 16
With the Angle Snap still enabled, duplicate and

rotate the loft mesh three more times, until you
fill all the arcs, as shown in Fig.16.
Fig 17
Now create a new Cylinder mesh, scale it down

to fit it in the arcs centre and detail it using the
Inset and Extrude operators (Fig.17).
Fig 18
Use the same technique as before to extract

the north arc spline, and then create a new Loft
object using the star shape (Fig.18).
Page 9
Chapter 1

Select and duplicate the arc mesh five times
Fig 19
(Fig.19).
Duplicate all the inner arcs (except for the north

arch loft) and use the Align tool (Ctrl + A) to
Fig 20
perfectly align everything in place (Fig.20).
Dont forget to align the central cylinders,

too (Fig.21). Select the north arc spline you
Fig 21
extracted earlier and create a copy of it.
Page 10
Chapter 1

Fig 22
Use the Extrude modifier on one of the spline

copies to extend the northern arc outside
(Fig.22).
Fig 23
Select the other copy of the spline, connect

the two bottom vertices and convert the spline
to Editable Poly, to create a cap for the arc
(Fig.23).
Fig 24
Page 11
Duplicate and rotate this new mesh for all the

other side arcs (Fig.24).
Chapter 1

Repeat the operation to fill the arcs on the other
Fig 25
side (Fig.25).
Create a copy of the arc mesh and place it

down, as shown in Fig.26.
Use the Align tool to position it exactly as shown

in Fig.27. It must be aligned to the upper arc.
Fig 26
Fig 27
Page 12
Chapter 1

Fig 28
Select half of the arc contour and extrude the

edges outwards (Fig.28).
Fig 29
Delete half of the arc (the one you did not

extruded), duplicate the extruded side and
mirror it. Use the 3D Snap to put the two halves
together again, and weld the vertices in the
middle (Fig.29).
Fig 30
Page 13
Duplicate this new mesh for every other upper

arc (Fig.30).
Chapter 1

Now duplicate and position all the outer arcs, as
Fig 31
shown in Fig.31.
Repeat these steps for the other side as well

(Fig.32).
Select the northern arc loft you created earlier

(Fig.33).
Fig 32
Fig 33
Page 14
Chapter 1

Fig 34
Duplicate, rotate and position it for all the other

flat walls weve just created. Make sure that you
do it for both sides of the church (Fig.34).
Fig 35
Fig 36
Duplicate and position the closing arc for the

side part (Fig.35).
Create an inner arc (you can obtain it by

duplicating the closing arc, and scaling it down
as seen in Fig.36) and extrude it.
Page 15
Chapter 1

Use the ProBoolean tool to subtract this arc
Fig 37
from the bigger one (Fig.37).
Select the lower edge and extrude it down

(Fig.38). This edge should be extruded all the
Fig 38
way down to the floor of the church.
Duplicate this new mesh for all the other arcs on

the left side of the church. Use the Align tool and
Fig 39
the 3D Snap to perfectly align the new meshes

to the arcs (Fig.39).
Page 16
Chapter 1

Fig 40
Repeat these steps for the right side, too, then

create a closing arc for the back side of the
church (Fig.40).
Fig 41
Now lets take care of the pillars. As you can

see in Fig.41, the pillar was obtained using
the same techniques weve seen before. The
top part is just a box with a good amount of
subdivisions; then the Taper modifier was used
to give the mesh that shape. The middle part
was made with the extrusion of a shape. The
bottom mesh was created using a spline and the
Lathe modifier.
Fig 42
Page 17
Duplicate the pillar and position the new copies,

as shown in Fig.42.
Chapter 1

Create some more pillars and position them just
Fig 43
below the top arcs (Fig.43).
Duplicate the pillars for the other side of the

church (Fig.44).
Create some more pillars for the back side

(Fig.45).
Fig 44
Fig 45
Page 18
Chapter 1

Fig 46
Duplicate one of the top objects from the pillar.

Select and delete the polygons, as shown in
Fig.46, so you have just one quarter of the
entire mesh.
Fig 47
Fig 48
Do the same with the middle part of the pillar

(Fig.47).
Put the two meshes together and scale them

down. Position this new pillar, as shown in
Fig.48. Make sure to perfectly fill the gap.
Page 19
Chapter 1

Duplicate and mirror the new pillar and position
Fig 49
it on the other side of the arc, filling the other

gap as well. (Fig.49).
Where two arcs meet, we need to put together

two pillars (Fig.50).
Keep duplicating and positioning the pillars in

the top part of the church (Fig.51).
Fig 50
Fig 51
Page 20
Chapter 1

Fig 52
Duplicate and extrude the northern arc. We

need it to create the main window (Fig.52).
Fig 53
Fig 54
Page 21
Use the ProBoolean tool just like earlier, to

create the window (Fig.53).
Extrude the bottom edge all the way down to the

floor (Fig.54).
Chapter 1

Create some cuts in the mesh just like the ones
Fig 55
marked in red in Fig.55.
Duplicate/Scale some more arcs, extruding

them just like before (Fig.56).
Once again, use the ProBoolean tool to create

the three minor windows below the big one.
Fig 56
Fig 57
(Fig.57).
Page 22
Chapter 1

Fig 58
Extrude the edges marked in red in Fig.58 all

the way down to the floor. This will create the
side walls.
Fig 59
Fig 60
Create two more closing arcs to close the walls

on the left and right of the northern wall (Fig.59).
Place a new pillar on the left side of the northern

wall, and use it as a reference to create a new
cut in the mesh. Select the resulting polygon
(Fig.60).
Page 23
Chapter 1

Create an extrusion like the one in Fig.61.
Duplicate another small pillar and position it

above the big one (Fig.62).
Select and delete half of the northern arc

(Fig.63), then mirror the remaining half and weld
Fig 61
Fig 62
Fig 63
the vertices in the middle.
Page 24
Chapter 1

Fig 64
Duplicate the two pillars on the other side

(Fig.64).
Fig 65
Create a new plane for the altar. Cut it like

shown in Fig.65 and extrude the central edge
six times. Well use this mesh to create the stair
steps.
Fig 66
Page 25
Extrude the steps as you can see in Fig.66.
Chapter 1

Create a big planar mesh for the floor (Fig.67).
Now we can concentrate on the altar part.

Select the mesh you created earlier and hide
Fig 67
Fig 68
everything else (Fig.68).
In Fig.69 you can see the complete altar mesh.

Its really simple: most of all, its composed by
Fig 69
box meshes of various sizes.
Page 26
Chapter 1

Fig 70
The circular friezes were obtained as usual with

ProBoolean, subtracting an extruded shape from
a box. Then the resulting mesh was cut and
some inner extrusions were created (Fig.70).
Fig 71
The meshes marked in red in Fig.71 were made

by simple splines with a thickness (you can set it
in the Rendering tab of the Edit Spline modifier).
Then they were converted to Editable Polygons.
Fig 72
The same goes for the windows: they were

subtracted from the box with a ProBoolean
operation, and then the frame was created by
renderable splines converted to Editable Polys
(Fig.72).
Page 27
Chapter 1

Half of the altar was created, then duplicated
Fig 73
and mirrored for the other side (Fig.73).
Once the altar is done, we can import the

gargoyle mesh into the scene (Fig.74).
Fig 74
Scale it down if needed (in case the scene size

is different) and position it as shown in Fig.75,
exactly over the second pillar on the right side of
the church.
Fig 75
In the next part of the tutorial well create the

texture set for this scene.
Gothic Church
Interior Creation
Luciano Iurino
For more from this artist visit:
http://www.pmstudios.it
Or contact:
iuri@pmstudios.it
Page 28
Chapter 1
Chapter 2
Sculpting a Gargoyle in ZBrush

Will focus on the creation of the gargoyle
which will be mounted on one of the columns.
This tutorial will orientate around ZBrush and
its powerful sculpting tools and show how
a detailed model can evolve from simple
ZSpheres.
Chapter 2: Sculpting a Gargoyle in ZBrush
Created In:
ZBrush
Introduction
For my portion of this multi-artist effort, I was
called upon to produce a tutorial that explained
how to create a high quality gargoyle that
would grace the side of one of the columns in
the architectural scene. When I first looked at
the concept art provided by Richard Tilbury, I
was instantly excited because of the style and
emotion he wanted to convey with the sculpture
and overall scene. I recognised right away that
this was going to be a big anatomy exercise
and it was going to further my knowledge of
musculature and inherent forms. The legs and
with and not have to worry about creating it in
topology so that it subdivides more cleanly. I
feet especially would prove to take a bit more
3ds Max. So start by selecting ZSphere in
tried adding some eyes and a mouth at this
research and caution because of the pose. I
the Tools rollout, turn on X-axis symmetry, and
point, but I wasnt satisfied with the results so
really wanted to keep this sculpture entirely in
start drawing the ZSphere on the canvas. Then
lets just carve that in later on instead, and
ZBrush so I could keep it free-flowing and to
simply click and drag on more ZSpheres to add
maybe do some retopologization too.
hone my own production pipeline.
more topology and extrude appendages. By

using move, rotate, and scale, we can move
Once youre happy with the ZSphere layout,
To make things easier, I decided to separate the
these new ZSpheres around and flush out the
click on Make Adaptive Skin and it will crank
project into several phases. Lets get started!
design very quickly. To add more, go back to
out another ZTool in the Tools rollout (Fig.01).
ZSpheres
Free movie 01 download here
the draw mode. To check the skin thats being

created, hit the A key and get a quick preview
Rough Blocking
of where the sculpt is going.
Using ZSpheres allows us to quickly mock up
So after quickly laying in the basic joints (dont
With the new ZTool, subdivide it a few times
the form of the whole body and to give every
forget about those clavicles!), add some extra
and then go back down to the lowest level of
part of the sculpture some topology to work
ZSphere joints in between to give it enough
subdivision and start the rough blocking phase.
page 30
Chapter 2
Gothic Church Interior Creation Chapter 2: Sculpting a Gargoyle in ZBrush

In this phase, the design, form, and silhouette
are the only priorities. Using mainly the Move
and Clay brushes, push and pull the major lines
and flow of the sculpt as you further define the
model to match the art. To make the work flow
more easily, clean up the polygroups on the
model so you can isolate the main parts of the
model. This way you can get under those arms,
or focus only on the face for a moment. Its also
great for creating quick masks of a certain part
of the body.
So as you block out the forms, keep adjusting
the lines of action so the pose fits right and feels
weighted correctly. The pose is rather unique
so it might take some fudging to get it right. Its
important to spend plenty of time on this part of
the project because if its wrong then we end
up having to try and fix it later, when were just
trying to detail things out.
Once all of the major areas of his body have
good enough blocking, its time to move onto the
next phase (Fig.02).
Primary Blocking
In this session, work an iteration up and start
laying in more structural elements, like facial
(created by Damien Canderle). Remember to
bone structure and head forms. Start laying in
spend a good amount of time rotating the model
the large muscles with the clay brush and cut
and checking the draft of the forms to make sure
in other features with the Dam standard brush
nothing feels flat (Fig.03)
Upper Body
Blocking
Continue to lay in more primary forms for
the upper body muscles. I would suggest
exaggerating the transitions and lines of the
muscle at first and then toning them down
later on in the process. Give the hands some
attention as well and start to block in the
individual fingers and thumbs, and cut in palm
muscles and tendons. Hands can be quite
difficult so we will spend a good amount of time
refining then later on in the project.
Extrude the arms, chest, shoulders, back, and
abs using the Clay and Inflate brushes. Its
page 31
Chapter 2
always a good idea to have a couple of anatomy

books open at this point, so you can use them
as references. Decent images of bodybuilders
can also help you to understand how some of
these muscles flex without too much fat in
the way. Theyre also great for vein placement
which well cover later on too (Fig.04).

Lower Body
Blocking
Now hammer out the flow in the legs and feet

so that all the compressed muscle and mass
works well together. Next start to identify where
the bony marks (called condyles) of the knee
are located and start to attach the muscles and
tendons in a more defined way to those bones.
Separate out where the quads on the top part
of the thighs go and indicate their relation with
watchful to me, so thats what I am going for in
Give the ears some folds in the surrounding
some cuts with the Dam standard brush. Then
this part of the process. So lets start by nudging
skin and add some muscles and striations in
clean all of that up with some Clay brush strokes
the eye sockets, nose, mouth, and ears around
the jaw-line to give him a strong and powerful
and smoothing. Even though you cant see the
until were happy with their location. Use the
look. Use the Dam standard brush to add ribbed
hamstring area, its still important to give it a
Dam standard brush to cut out the lips, nose,
inflations to the ears. Add eyebrow hairs with
bit of work so that the part that bulges outward
ears, and cheeks. The eyeballs are bulged out
the HairBrush_Two brush (created by Fatmir
relates properly to the calf muscles (Fig.05).
with the Magnify brush. Then go over the top
Gjevukaj) and continue adding small details
and bottom parts of the bulge with the Claytubes
along the forehead and temple areas (Fig.06).
Head Refining
or Clay brushes to layer the eyelids on.

At this point, try to give everything on the face
Upper Body
Refining:
This is usually my favourite part of any project:
and head a once-over and then go back and
defining the facial characteristics of the subject.
continue layering on more detail as you go
It really gives your character its identity, as
along. This way you dont get too attached
At this point in the sculpt, start to add more
well as the emotion thats to be conveyed. This
to any one feature or spend too much time
cuts in the skin to indicate muscle flow. Using
gargoyle happens to look a bit solemn and
detailing something that may change later.
primarily Clay and Dam standard brushes, go
page 32
Chapter 2
along the neck muscles and trapezius to pop
skin overlaps. Of course, remember to keep
Further define the gargoyles bony knee marks
them out a bit more. Then cut some striations
checking your anatomy references to see where
and check the flow of the tendons and muscles
into the clavicles and chest. Refine the abs and
insertions and overlaps take place (Fig.07 -
connected to them. Do some additional muscle
clean up the obliques and serratus muscles.
Fig.09).
cutting and add more skin overlaps. The femur
Add some armpit folds and tension to where his

arms are clinched.
To give a better skin look and break up the
Lower Body
Refining:
muscle lines, its a good idea to use Claytubes
should have a bit of a curve to it, so check

that both that and the tibia bone have this
characteristic swoop. Finally, separate the feet
via polygroups so that we can work on them
separately.
that go perpendicular to those lines and
The same practice that weve just applied to
connect the muscles with a few strokes. It
the upper body, also applies to the lower body.
Feet Refining:
gives a subtle hint of stretched skin going
Keep referring to your references here so that
over the muscles. Its also time to focus on the
everything looks more or less believable. Since
arms a bit more by breaking out all the major
everything is compressed and tense in different
Since we havent given a whole lot of attention
muscles and connecting them with some more
places, add more skin folds where appropriate.
to the feet so far, we need to start by refining
page 33
Chapter 2
the ankle bone and muscle relations right off

the bat. Its important to finish off the pose of
the feet so that we can work on the details
expeditiously. So get those references ready!
To pose correctly, its important to have a rough
idea of where each of the toes are, so start by
laying those in, working in somewhat broad
strokes. Then you can start to refine the toes a
bit further.
At this point youll probably find that youre
starting to fight topology and stretchy faces
that you want to try to flatten and work around.
In the end, because youll need clean low res
geometry for the next part of this tutorial, its
probably a good idea to retopologize the feet
that attach to the toes. Then work on the heel
hunk of mass in front of us to work with, start to
later on. So for now, just focus on getting the
a bit and cut in some folds on the skin over the
mold out the basic form of the whole fist.
sculpt working as best you can and then well
Achilles tendon (Fig.10).
look at cleaning up the retopo later on.

Continue by cutting in between toes and adding
Using the Dam standard brush and Clay brush,
Hands Refining:
rough in the fingers and thumb - paying close
attention to where the thumb should lie across

the index and middle fingers. Then stroke in the
toenails. For the toenails, mask off the skin

areas surrounding the nails and then use the
Again, separate out the hands as another
tendons on the top of the hand, as well as the
Move brush to pull them out a bit. After this
polygroup so that we can quickly isolate them
meaty masses in the palm that bulge and flex
effort, pop out the tendons on top of the feet
while we work. Since we basically have a big
in this fist position. The tricky part is getting the

folds of the skin to look right since theres a lot
of action going on, especially between the index
and thumb, as well as the pinky. This is when
its good to use the Inflate brush.
After cutting in the folds with the Dam standard,
just puff out the skin a bit with the Inflate until
you have the desired bulge effect. Also, pay
attention to where you should be seeing bone
against skin versus where you see bulgy skin
folds and meaty masses. There should be a
lot of tension in the knuckles and the tendons.
The area where the fingers smush together
and press up against the palm should have the
appropriate indication of pressure and energy.
Give the knuckles some wrinkle cuts across
the joints and also sculpt in the thumbnail using
the same technique we used on the toes. Then
take a little bit of time to go over the whole
hand and tweak areas and put in more small
page 34
Chapter 2

details like wrinkle cuts. At this point, I suggest
you keep checking your work against anatomy
reference, as well as your own left hand
(Fig.11).
Head Detailing:
Time to add some more details to the head!
Lets add things like crows feet wrinkles next to
the eye, folds across the nose, small muscular
bulges around the mouth, eye bags, forehead
wrinkles, brow definition, and so on.
We havent spent a lot of time on the horn area
yet, so lay in a mask around the horn (holding
the ctrl key), invert it (ctrl key on the canvas),
and then begin to inflate the skin surrounding
the horn. Inverting the mask again, lay in some
cuts on the horn using the Dam standard brush.
Its important to do all this with symmetry turned
off, to give your sculpt a more random look.
Do a bit more cleaning up on this area and then
work on getting the horn design to transition into
the rest of the head by laying in more lateral
wrinkles that circumscribe the horn. Then its a
matter of cruising around the rest of the head
and finding areas that need fine wrinkles and
design clarification. This is when your sculpt can
really come alive so I encourage you to spend a
good amount of time honing the head. However,
try to stay away from noodling or overworking
your piece because it can tend to start to
This is the phase of the sculpting process
degrade your models design and make it look
that can be a lot of fun if you take your time.
noisy (Fig.12).
Identify areas that need more clarification or
Final Detailing:
design indication and work those out. Add more

wrinkles, folds, fine lines, subtle underlying
forms, etc. and make sure you have enough
skin overlaps and surface randomness. Since
page 35
Chapter 2
the major form is pretty much done by this point,

its a good idea to hop around the whole model
and avoid overworking any specific areas. Just
keep rotating the model to find spots that seem
plain or too defined - which is something that
can be easy to do with muscular sculpts such
as these.
Adding Veins:
For veins its back to the bodybuilder references.
Start a new layer in ZBrush and use the
StandardTwo brush (also created by Fatmir
Gjevukaj). It can also help to use the lazymouse
feature to keep the strokes smooth. Pen
pressure is also important when youre doing
vein work.
Smooth out some parts of the veins, as they
dont completely protrude all over the surface.
Since this character is pretty ripped musclewise, youll probably end up with lots of veins,
but I think that works well. Dont forget about the
forehead, temples, ears, or the neck, which is
where youll find some really good vein action
going on.
At the end of the vein process, tone down the
layer to about 0.75 (down from the default of
1.0) to trim back the effect. You can also go
Now Im not going to go into all the details of the
ahead and add pupils to the eyes during this
retopo process, but it should definitely help to
session to give them a little more pop.
save some time by adding more base polygons

and giving you a better flow to the toes, eyes,
Final:
mouth, and nose.
After all the sculpting, its now time to do a

retopologization of the mesh for the feet and
Once the retopo and projection processes are
some for the face. Its probably best not to
complete, finish the sculpt by cleaning up the
subdivide the mesh again, because this might
new mesh a bit in those same areas and you
lead to a slow mesh, a lagging response and
can call it done!
millions of polygons!
page 36
Chapter 2
I hope youve enjoyed this tutorial! All in

all, this was a great experience for me as it
allowed me to create such a cool character,
as well as test my knowledge of anatomy. I
found new ways to push myself and tried new
techniques for sculpting in general (Fig.13 Fig.16).
Note from the Editor:

Jesse Sandifer has kindly provided 13
movies to accompany this tutorial, which you
can download individually from the links at
the beginning of each modelling stage, or
as a group by clicking on the free movies
icon at the end of this tutorial. So for a real
insight into Jesses working practice, click to
download now and enjoy! Please note that
the movies have been supplied as .wmv files
of up to 40MB each, so please be aware of
their sizes when downloading the files. And of
course: enjoy!
Jesse Sandifer
http://www.jessesandifer.com
Or contact:
jessesandifer@gmail.com
Chapter 3
Texturing
This part will detail the texturing phase of the

series and deal with mapping and unwrapping
key areas of geometry alongside the gargoyle.
Gothic Church Interior Creation Chapter 3: Texturing
Created In:
3ds Max
Chapter 3
In this part of the tutorial well cover unwrapping
and texturing techniques, and as usual well use
3ds Max for the 3D stuff and Photoshop for
the texture creation. Well also use the 3DTotal
textures collections as a starting point to create
the textures for our scene.
Lets start with the columns. Select one of them

and hide everything else. Since the columns
Fig.01
body will be occluded by other objects in its top

and bottom parts, we can just select and delete
the polygons marked in red in Fig.01. This
will help us to gain more space for UVs, thus
resulting in a more detailed texture.
Page 39
Chapter 3
Chapter 3: Texturing

Fig.02
Apply an Unwrap modifier to the column, select

all of its faces and use a Cylindrical projection,
as shown in Fig.02. Make sure to adjust the
UVs to make them fill the texture square.
Fig.03
Now we can export the UVs template to

Photoshop. Use the Tools / Render UVW
Template in the texture editor; set the size
to 1024 by 1024 and click on the Render UV
Template button. Save the resulting picture in
any format and give it a meaningful name (for
example, Uvs_Column) (Fig.03).
Fig.04
Open the picture you just saved in Photoshop,

double-click on the Background layer and
rename it UVs (Fig.04).
Page 40
Chapter 3

Create another layer and name it Color. Put it
Fig.05
just below the UVs layer, as shown in Fig.05.
Go up to the UVs layer and change its blending

mode to Multiply. Also, set its Opacity down to
Fig.06
about 50% (Fig.06).
Search through the 3DTotal texture collections

to find a good texture for the column. Try to find
Fig.07
a nice stone texture, and import it in the Color

layer (Fig.07).
Page 41
Chapter 3

Fig.08
Use the Rectangular Marquee Tool to select the

area shown in Fig.08.
Fig.09
Pick another texture from the collection; this

time search for a nice overlay texture. We just
need it to create some dirt in the selection we
made. With the marquee selection still active,
use the Shift + Ctrl + V shortcut to paste the new
texture in a layer mask. Once youve finished
adjusting the size, blending mode and opacity
for this layer mask, you can right-click on it
and make it a simple layer, calling it Overlay
(Fig.09).
Fig.10
Put in some more horizontal overlay lines; use

the UVs as a reference to simulate the dirt effect
in the indentations on the column body (Fig.10).
Page 42
Chapter 3

Import some more overlay textures over the
Fig.11
Color layer; this time well make some dirt on the

top and bottom parts of the column (Fig.11).
Try to play around with blending modes and

opacity values until you get the amount of dirt
Fig.12
you desire. Make sure that the overlay textures

are always nicely integrated over the Color
layer. If you notice some problematic spots, just
blur them out (Fig.12).
Repeat the process for the bottom part (Fig.13).
Fig.13
Page 43
Chapter 3

Fig.14
Now hide the UVs layer and save the color

texture for the column. Go back to 3ds Max and
assign this new texture to the diffuse slot of a
new material. Finally, assign this material to the
column (Fig.14).
Fig.15
Now lets create the bump map for the column.

Pick the bump version of the texture you chose
for the column (Fig.15).
Fig.16
Add some dark horizontal lines where the

column has its indentations (you can use the
UVs template as a reference) (Fig.16).
Page 44
Chapter 3

Assign the bump texture to the Bump slot in
Fig.17
the 3ds Max material editor, and do a quick test

render (Fig.17) to choose the right amount of
bump.
Repeat the process for the specular map; use

the template to decide where the specularity
Fig.18
should go (Fig.18).
Assign the specular texture to the Specular

Level slot in the material editor, and do another
Fig.19
quick render to see how its going (Fig.19).
Page 45
Chapter 3

Fig.20
Now lets take care of the columns base. Delete

the polygons which wont be visible at all (in this
case, the one at the base of the cylinder), to
save some room for the texture space (Fig.20).
Fig.21
Assign an Unwrap modifier to the object, open

the texture editor and select everything but
the top circular polygon. Assign a Cylindrical
projection to the selected faces (Fig.21).
Fig.22
Select the top circular polygon and assign a

Planar projection. Arrange the two chunks in the
texture space, as shown in Fig.22.
Page 46
Chapter 3

As usual, use the UVs template saved from
Fig.23
the texture editor to create the texture itself.

Create dark areas where the object is occluded
(by other objects or by its own indentations)
(Fig.23).
Create a specular and a bump map just as we

saw earlier (Fig.24).
Lets go on with the columns top. This object

needs to be split into different UV chunks, as
Fig.24
Fig.25
shown in Fig.25. Try to dedicate more UV space

to bigger pieces, or pieces which are more
visible or particularly important.
Page 47
Chapter 3

Fig.26
In Fig26 you can see the final columns top

texture.
Fig.27
Fig.28
Now the ceiling arcs. Select one of them and

hide everything else (Fig.27).
Select one half of an arc and apply a Planar

projection to it. Then adjust its size and position
to make it perfectly fit the texture space (Fig.28).
Keep unwrapping all the other halves (you can
try and use the Copy/Paste UV features in the
texture editor to speed up the process).
Page 48
Chapter 3

Choose a texture from the 3DTotal collection
Fig.29
and try to reduce spots which are too evident.

We need a nice, uniform texture (Fig.29).
Use the UVs template to darken out occluded

areas and to add some dirt here and there.
Fig.30
Finally assign the texture to the Diffuse slot of a

new material, and assign it to the arc (Fig.30).
For the smaller arcs, we can use one of the

Loft features to achieve a good mapping in a
Fig.31
totally automatic way. Make sure that Apply

Mapping and Normalize are enabled. You can
use a procedural checker texture to see how the
mapping is behaving on the object (Fig.31).
Page 49
Chapter 3

Fig.32
In Fig.32 you can see the texture that was

created for the smaller arcs. Its a tileable
texture, which combined with the auto-mapping
feature of the Loft object will allow you to texture
your object in a matter of seconds.
Fig.33
Changing the Length Repeat value in the

Mapping rollout of the Loft object, you can set
the amount of repetitions for the tiles (Fig.33).
Fig.34
Now lets create the texture for the central

cylinders that can be found on every ceiling
arcs crossing point. As usual, pick a texture
from the collection and mark out dark and
occluded areas. Use the UV template as a
reference (Fig.34).
Page 50
Chapter 3

Select one of the walls and hide everything
Fig.35
else. Just apply a Planar projection to the bigger

surface of the wall, as shown in Fig.35.
Mark some dark areas around the window and

all around the walls perimeter, where it will be
Fig.36
occluded by arcs and columns. Save the texture

and assign it to the diffuse slot of the walls
material (Fig.36).
Add some more dirt on the top and bottom areas

of the wall texture. You can see the final texture
Fig.37
in Fig.37.
Page 51
Chapter 3

Fig.38
Select the altar base and hide everything else.

Select and delete polygons that wont be visible
at all (Fig.38).
Fig.39
Divide the UVs into chunks, just like in Fig.39.

Export the UVs template into Photoshop and
create the texture for the altar base.
Fig.40
In Fig40 you can see the final texture applied

to the altars base. Also, take some time to
duplicate and substitute the textured objects
with the original ones without textures (columns,
columns tops and bases, bigger arcs, smaller
arcs, walls).
Page 52
Chapter 3

Select half of the altars front wall and delete it
Fig.41
(keep the sun shape intact, do not delete half

of it). Divide its UVs into chunks in the texture
editor, export the UVs template and create the
texture in Photoshop (Fig.41).
Once its done, mirror/duplicate the half of

the altar and attach the two halves together.
Fig.42
Make sure to weld all the vertices in the middle

(Fig.42).
Select the back altar wall and hide everything

else. Select the inner border of the window and
Fig.43
use the Create Shape from Selection tool to

extract a spline for the contour. Then just right
click in the viewport on this spline and convert
it to Editable Poly. The spline will turn into a flat
polygon, which well use as a window (Fig.43).
Page 53
Chapter 3

Fig.44
Repeat the process for the three lower windows,

and then create a texture for them. You can
create one from scratch, or maybe you can
just search on Google for a nice stained glass
picture (Fig.44).
Fig.45
Fig.46
Now select the gargoyle mesh, and hide all the

rest (Fig.45).
Well use Pelt Mapping to create the UV

template for the gargoyle. In Fig.46 you can see
where the pelt seams were put on the gargoyle
mesh. Try to divide the whole object into
significant chunks (ears, head, chest, upper leg,
lower leg, etc.).
Page 54
Chapter 3

Then select the chunks one by one (in Fig.47
Fig.47
you can see the chest chunk selected) and

unwrap them with the Pelt Mapping tool.
Once you have pelt-mapped all the chunks, try

to arrange them in a nice way. Use the Packing
Fig.48
UVs tool in the texture editor if needed (Fig.48).
Export the UVs template in Photoshop and

choose a nice stone texture from the 3DTotal
Fig.49
collection. Darken out the occluded areas as

usual (Fig.49)
Page 55
Chapter 3

Fig.50
In Fig.50 you can see the final texture applied to

the gargoyle mesh.
Fig.51
Now lets create the normal map for the

gargoyle. Import the high-resolution mesh, and
make sure that it perfectly overlaps the lowresolution one (Fig.51).
Fig.52
Select the low-resolution mesh and open the

Render to Texture dialogue. Set the output
for the normal map, then enable Projection
Mapping and click on the Pick button to start
a picking session. Select the high-resolution
mesh. You can leave all the other parameters
as they are (Fig.52).
Page 56
Chapter 3

A new Projection modifier will be applied to the
Fig.53
low-res mesh. Make sure that you are using the

Existing Channel (1, in this case), since we dont
want to use another UV set for the normal. Click
on the Add button and add a Normal Map from
the rollout that opens. Choose the filename
and type for the normal texture and set its size
to 2048x2048. Finally, hit the Render button
and wait for the normal map to be generated
(Fig.53).
You can see the final normal map generated to

the Projection Mapping in Fig.54.
Select the gargoyle material in the material

editor and assign a new Normal Bump map in
Fig.54
Fig.55
the Bump slot. In the Normal Bump parameters,

assign the normal map you just generated
(Fig.55).
Page 57
Chapter 3

Fig.56
Choose the right amount of bump for the Bump

slot and do a quick render test (Fig.56).
Fig 57
The scene still lacks one more thing: a nice floor

texture (Fig.57).
Choose a nice texture from the 3D Total

collection and assign it to the floor. Make sure
that its perfectly tileable, and also create
specular and bump maps for it (Fig.58).
Fig 58

Next time well see how to improve our shaders
and set the lights and rendering options with
Mental Ray.
Gothic Church
Interior Creation
Luciano Iurino
Or contact:
iuri@pmstudios.it
Page 58
Chapter 3
Chapter 4
Lighting & Rendering
Lighting and rendering will be the focus in this

tutorial. Light rigs and a variety of render passes
will be explained in readiness for part 5; the post
production.
Chapter 4: Lighting & Rendering Gothic Church Interior Creation
Created In:
3ds Max
Chapter 4
In this forth part of the tutorial well set up the
scene for the final rendering. Well end up
having different passes for compositing. First of
all, lets take care of the light rig.
Create a Sphere mesh surrounding the whole

scene. Delete the lower half of the sphere and
Fig.01
select all the remaining polygons (Fig.01).
Flip the polygon selection using the Flip
Fig.02
command in the Editable Poly panel (Fig.02).
Page 60
Chapter 4
Gothic Church Interior Creation Chapter 4: Lighting & Rendering

Fig.03
Now create an Omni light and position it above

the candles, as shown in Fig.03.
Fig.04
Fig.05
Assign a pale orange (almost white) colour to

the Omni light (Fig.04).
Enable RayTraced Shadows for the Omni

light, set its Multiplier to 0.6 and also enable
Far Attenuation Use and Show, setting its
parameters to about 0.7 and 4.3 (Fig.05).
Page 61
Chapter 4

Now for the most important light in the scene.
Fig.06
Create a new mr Area Spot light and position

it exactly as shown in Fig.06. This light will
illuminate the gargoyle statue and will largely
contribute to the overall look and mood of
the final rendering, so try to be precise while
positioning it and setting its parameters. You
can just copy the values for the lights body and
target positions from Fig06.
Make sure that Raytraced Shadows is enabled
Fig.07
for the spot light, and set its colour to a pale

yellowish shade. Set the Multiplier value to
about 1.2 and the Far Attenuation Start / End to
respectively 10 / 20. Also, make sure to set the
Hotspot and Falloff values to about 50 and 100
(Fig.07).
Now duplicate the spot light and position it to
Fig.08
make the light pass through the other window.

You can copy the lights parameters from
Fig.08.
Page 62
Chapter 4

Fig.09
Keep duplicating the spot lights and positioning

them for each window (Fig.09).
Fig.10
The last spot light is quite important, too, since it

must light the altar zone of the church. Copy the
position and the parameters from Fig.10.
Fig.11
Go back to the first spot light (the one near the

gargoyle area) and make sure to set the Area
parameters as shown in Fig.11. You can use
the same values for all the other spot lights,
its just up to you and the final look youre after
(Fig.11).
Page 63
Chapter 4

Now that the lights are done, we can create
Fig.12
a new Mental Ray shader for the floor to add

some realism. Mental Ray will just render any
standard 3ds Max shader, but if youre looking
for some advanced effects, you need to use
Mental Ray proprietary shaders. In Fig.12 you
can see the shader used for the floor. Create
a new Arch & Design type shader, assign the
same texture you were using for the standard
shader (colour, specular and diffuse) and then
set the shaders parameters just as in Fig.12.
This will create glossy reflections for the floor.
You can do the same with any other material in
the scene (for example, the columns), but keep
in mind that glossy reflections are heavy for
rendering times.
Now lets take care of the Indirect Illumination
Fig.13
setup. Open the Rendering tab (F10) and

enable Final Gather in the Indirect Illumination
tab. Set the preset to High and increase the
Multiplier value to 10 and the Diffuse Bounces to
5 (Fig.13) .
Switch to the Renderer tab and set the

Antialiasing values as shown in Fig.14. Dont
Fig.14
forget to set the rendering picture size in the

Common tab to any size you want.
Page 64
Chapter 4

Fig.15
Now since the rendering will take a while to

complete (the Indirect Illumination and AA
parameters were set quite high in quality) we
can also any other passes that we need, so that
all the rendering tasks will be at once. Go to the
Render Elements tab and add a Specular pass
to the list. Click on the icon with the three dots
and set a file name for this pass (Fig.15) .
Fig.16
Repeat the last step, but this time add a Z

Depth pass. Set the file name for this pass too
(Fig.16).
Fig.17
Page 65
In Fig.17 you can see the final colour pass.
Chapter 4

Fig.18 shows the Specular pass.
Fig.19 shows the Z Depth pass. Now we have

the three major passes done.
We need a couple more passes for compositing.

Lets move on with the Ambient Occlusion pass.
Fig.18
Fig.19
Fig.20
Create a new Mental Ray shader and assign

a Ambient/Reflective Occlusion shader to the
Surface slot. Assign this material to every object
in the scene: Select All (ctrl + A) and assign the
material to the selection. Set the AO shaders
parameters as in Fig.20.
Page 66
Chapter 4

Fig.21
Fig.22
Here you can see the final AO pass (Fig.21).
The last render pass we need is the Volume

one. Go to the Environment section and assign
a new Volume Light effect. Pick the first spot
light as a source and copy the parameters for
the volume effect from Fig.22. Dont forget
to change the shadow type from RayTraced
to Shadow Map, and set the Shadow Map
parameters to 2048 for the Size and 8 for the
Sample Range.
Fig.23
The final Volume pass can be seen in Fig.23.
Gothic Church
Interior Creation
Chapter 4: Lighting & Rendering
Luciano Iurino
Or contact:
iuri@pmstudios.it
Page 67
Chapter 4
Chapter 5
Post-Production in Photoshop
This the final part of the series will show how
the various render passes are composited in
Photoshop to create a final render. An account
of some of Photoshops tools will show how
versatile this approach can be and show the
value of multiple passes for post production.
Gothic Church Interior Creation Chapter 5: Post-Production in Photoshop
Created In:
Photoshop
Introduction
Rendering into render passes makes it possible
to modify tones, colours and certain effects in
the rendered image using Photoshop. Usually
the most basic passes rendered for an image
are as follows (note that the names might be a
little different in certain software programs):
Final Render or Final Colour: This pass
is the render containing all the final effects,
lighting, etc., which we will use as a
reference for putting all the passes together
Colour or Diffuse Colour Shading: This
contains the colours of the materials in the
scene, and the shadows (it can be unshadowed, though), but it contains no other
effects. The diffuse colour pass can be Direct
or Indirect, or Total or Un-shadowed; the
Diffuse Shading Direct contains the diffuse
amount and the raytraced shadows of direct
lights as well as the diffuse colours in the
scene. Diffuse Shading Indirect besides
the colours contains indirect lighting and its
diffuse shadows, and the luminous material
lighting, too (in case of Global Illumination).
Diffuse Shading Total contains direct and
indirect lighting and their shadows
Specular or Specular Shading: This
contains the specular effects of the materials
in the scene caused by the lighting
Ambient Occlusion: This contains the
ambient occlusion effect; it displays the
areas hidden to the ambient light shaded; It
shades the more obscure parts of the models
Other available passes can be utilised too, in
in the scene. Using this pass gives the
order to achieve finer effects (e.g. Fog render
details more depth
pass, Global Illumination render pass, Specular

Colour render pass, and so on).
Object Glow: This contains the glow effects

in the scene
Monitor Calibration
Before starting the work, its strongly
ZDepth or Depth: This contains the depth
recommended that you calibrate your monitor,
map of the scene measured from the
if you havent already, so well be able to work
camera; we use this pass in Photoshop to
at a default setting that eliminates possible
create a lens depth of field effect, amongst
colour or tone distortions caused by the monitor
other things
being too bright or dark. You can calibrate your

CRT monitor using Adobe Gamma Monitor
Volumetric: This contains the volumetric
Calibration Utilities (its automatically installed
lighting effects
along with Adobe Photoshop). LCD monitors
Page 69
Chapter 5
Chapter 5: Post-Production in Photoshop Gothic Church Interior Creation

Fig.01
can be calibrated using their own calibrator or, if

thats unavailable, by setting them to the factory
defaults.
Other colour space dependant settings can
be found in Photoshop under the Edit/Colour
Setting menu option (Fig.01). Usually the
default setting is ideal for a standard monitor
(Settings/Monitor Colour), but if the final image
is created for a given technological display, e.g.
European Standard CMYK offset printing, then
its recommended to select the most suitable
option (e.g.: Settings/Europe Prepress Defaults)
so that the visuals will be as similar to the final
image as possible.
Fig.02
We will now try to put the given render passes

from the 3ds Max artist together so that the
finished image resembles the concept design as
closely as possible (Fig.02).
Fig.03
Existing Passes
We have the following passes:
Colour pass (Fig.03)
Page 70
Chapter 5

Ambient Occlusion pass (Fig.04)
Specular Pass (Fig.05)
Volumetric Pass (Fig.06)
Fig.04
Fig.05
Fig.06
Page 71
Chapter 5

Fig.07
Fig.08
ZDepth (Fig.07)
Step 1: Putting all the

Pass Layers together in
a Document
First we need to put the render passes together
in this order, and with these Layer Blending
settings (to set the Blending Mode, choose an
option from the scroll down menu on the Layers
palette) (Fig.08):
Colour pass (Normal blending)
Ambient Occlusion pass (Multiply blending)
Specular pass (Screen blending)
Volumetric pass (Linear Dodge blending)
Fig.09
Fig.09 shows the Colour pass with the Ambient

Occlusion pass.
Page 72
Chapter 5

Fig.10
Occlusion and Specular passes.

Occlusion, Specular and Volumetric passes.
Step 2: Fine-Tuning
Fig.11
Fig.12
With this picture at the default settings, the

volumetric light beams coming in from the
windows are far too strong; too cotton-like. This
strength can be turned down by adjusting the
opacity of the layer containing the Volumetric
pass (the Opacity slider can be found on the
Layers palette). Fig.12 shows the opacity of the
Volumetric layer set to 62%.
Page 73
Chapter 5

Fig.13
The tones are weak in the dark parts now. This

can be corrected by setting the Blending Mode
of the Ambient Occlusion layer to Soft Light from
Multiply (choose Soft Light from the scroll down
menu on the Layers palette). Fig.13 shows the
layer blending mode of the Ambient Occlusion
layer set to Soft Light.
Now the different tones are visible in the dark
areas, but the bright areas have become too
bright; for example the bright tones of the
gargoyle are burned. These parts can be
corrected with a simple trick. Simply duplicate
the Ambient Occlusion layer; set its Blending
Mode to Multiply and the opacity to 50%. Fig.14
shows the image with the Ambient Occlusion
Fig.14
layer duplicated and set to Multiply.

Changing the order of the layers changes the
strength and the product of the layers with
different blending modes, which we can use to
change the effect of the image. For example,
changing the order of the Volumetric and the
Specular passes causes the Specular effect to
become less intense on the dark values, so it
fits the image better.
Step 3: Adjusting
Colour and Depth of
Field
After making corrections to ensure the tonal
values show on both the dark and light parts of
Fig.15
the image, we can now use a Colour Balance

adjustment layer to set the colours of the image
to those of the original concept art. By applying
colder colours to the parts farther from the
camera, the feeling of depth can be increased.
These tasks can be done using the ZDepth pass
as a mask. First, create a new Colour Balance
adjustment layer (on the Layers palette, go
to the Create a new fill or adjustment layer
icon), and then set the value of Midtones Colour
Levels to -10 Cyan and 10 Blue (Fig.15). Select
and copy (Ctrl + A, Ctrl + C) the opened ZDepth
pass. Select the Colour Balance adjustment
layer, turn on the Colour Balance mask on the
Page 74
Chapter 5

Channels palette, and paste the copied ZDepth
Fig.16
pass (Ctrl + V). This way, the effect of the

Colour Balance adjustment layer appears on the
image masked out with the ZDepth pass. But
now the Colour Balance adjustment layer affects
the parts closer to the camera, so we simply
invert the mask (Ctrl + I).
Fig.16 shows the inverted ZDepth map used
as a mask for the Colour Balance adjustment
layer. The red colour is the colour of the layer
mask overlay, which appears when the visibility
of the mask is turned on. The Colour Balance
adjustment layer affects the image on these
parts. Fig.17 shows the image with the final
colour setup.
The atmospheric effect can be further
Fig.17
strengthened with an additional depth of field

effect, also using the ZDepth pass. First, merge
all the configured passes into one layer, then
create a mask for it (Layers palette > click on
the Add layer mask icon), and copy the ZDepth
pass into it. The blur effect can be achieved
using the Photoshop Lens Blur filter (Filter >
Blur > Lens Blur).
The dialogue for the Lens Blur filter contains a
preview window, where a preview can be seen
with the current settings, and a settings panel.
The Preview section can be found on this panel,
where the preview can be turned on and off, or
switched to Faster or More Accurate (Fig.18).
Fig.18
Select the ZDepth map (Layer Mask) from the

Source scroll-down menu of the Depth Map
section; the filter will generate the Lens Blur
based on this map. The focal distance can be
adjusted either by using the Blur Focal Distance
slider or by clicking the part on the preview
image onto which we want to focus. In this
case, this is the gargoyle. The Iris Shape can
be adjusted under the Iris section; use Square
shape with Iris Radius with the value of 7, and
Blade Curvature and Rotation both with the
value of 0.
Page 75
Chapter 5
The Brightness and Threshold of the specular
Putting the layers into sets makes them
scene rendered in multiple passes can be
highlights of the image can be adjusted under
easy to duplicate, so you can always leave a
adjusted more easily and finely than in the
the Specular Highlights section. In this case set
backup copy of the arranged layers in the
rendering software itself. The more passes
Brightness to 7, giving the stained glass window
file. This can be useful if you merge a copied
available, the more finely the certain effects can
a glowing feel.
set for using lens effects
be adjusted; however, its enough to use only

those passes which are sufficient for fine-tuning
The noise the blur effect has can be set up
A layer or layer set can be easily duplicated
under the Noise options in the Specular
by grabbing it on the Layers palette and
Highlights section; leave these at their default
dragging it down onto the Create new layer
values for this task. After using the effect, delete
icon on the bottom of the palette
the effects in the scene.

Originally designed & modelled by:
Richard Tilbury
the mask.
A new layer set can be created by clicking
In this example, the composition of the image
the Create new set icon, which can be
was suitable for a depth of field effect, but this is
found on the bottom of the palette. You can
not always the case. Sometimes using depth of
then simply drag the layers into it. Another
field makes the scene look like a model (Fig.19).
option is linking the layers belonging to one
Tips for Handling

Layers
The mask of a masked layer can be easily
Interior Creation
Chapter 5: Final Chapter PostProduction in Photoshop
set with the currently selected layer to it, and

then selecting Layer Set from Linked on the
Zoltan Korcsok
Layer palette
switched on and off. Just left-click on the
Conclusion
mask while holding down the Shift key
The examples show clearly that effects in a
Gothic Church
Page 76
http://trurl.cgsociety.org/
Or contact:
zoltankorcsok@gmail.com
Chapter 5
: volume 4
Features 50 of the finest digital

2d and 3d artists working in the
indusrty today, from the likes of:
Loc e338 Zimmermann | James Paick
Craig Sellars | Jelmer Boskma
Maciej Kuciara | Daarken| Marek Denko
Kekai Kotaki | Andrew Hickinbottom
Marek Oko
Buy the book to see just how

they create their incredible
imagery!
Hardback - 21.6cm x 27.9cm in size
288 Full Colour Premium Paper Pages
ISBN: 978-0-240-52171-8
Digital Art Masters is getting

better and better at showcasing
some of todays best digital
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the processes of achieving
great pictures provides a good
opportunity to learn from these
artists, and keeps you challenged
in your own Art.
Raphael Lacoste | www.raphael-lacoste.com/
for more products in our range visit http://www.3dtotal.com/shop
Introduction:
Michel Rogers famous Joan of Arc

tutorial re-written for Maya by Taylor
Kingston, Cinema 4D by Giuseppe
Guglielmucci & Nikki Bartucci,
Lightwave by Vojislav Milanovich and
Softimage by Luciano Iurino and
3DCreative Magazine.com.
If there has been one single tutorial
that has educated and inspired more
budding 3d artists than anything else,
this complete step by step project by
Michels must be it. The community
is in debt to him.
These 120 plus page, Downloadable PDFs are

designed for ease of use to help beginners and
intermediate level of artist alike in the creation
of a female character. The tutorial takes you
through the process of modelling, texturing and
mapping to finally adding bones.
Image by Michel Roger
Chapter 1: Modeling of the Body

- Body
Chapter 2: Modeling of the Head
- Head, Ear & Assembly
Chapter 3: Modeling of the Accessories
- The Sword & Armour Legs
- Armour Bust, Hair & Glove
- Accessories & UVW Mapping
Chapter 6: UVW Mapping
- Sword, Clothing, Armour & Body
Chapter 7: Texturing & Hair
- Eyes, Skin & Hair
Chapter 8: Bones & Skinning
- Bases, Hierarchy & Skinning
Downloadable Tutorial EBook
Introduction:
The original character of the Swordmaster

was created by Seong-wha Jeong and we
had 3DTotals in-house 3d artist Richard
Tilbury, re-create the character in 3dsmax
as well as create the textures in Photoshop,
in our new precise, step-by-step tutorial for
highly polished, low polygon game character
with detailed texturing for real-time rendering. We have also converted the tutorials into
Cinema 4D, Maya, Lightwave and Softimage
platforms. Even if you are not a user of one of
them, the principles should be easily followed
in nearly all other 3D applications.
The Swordmaster tutorials is spread over 8
Chapters which outline, in detail, the process
for creating the Swordmaster below are the
details.
image by Seong-wha Jeong
Chapter 1: Modelling the Head

Chapter 2: Modelling the Torso
Chapter 3: Modelling the Arms & Legs
Chapter 4: Modelling the Clothing & Hair
Chapter 5: Modelling the Armour
Chapter 6: Mapping & Unwrapping
Chapter 7: Texturing the Skin & Body
Chapter 8: Texturing the Armour & Clothing

Gothic Church Interior Creation Tutorial

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Gothic Church Interior Creation Tutorial

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Gothic Church

Interior Creation Tutorial eBook

You can find these free

- Free Gargoyle Model

This tutorial will outline some of the prominent

Chapter 1: Modelling the Interior