DS CREATIVE
ISSUE 17 January 2016
The magazine for DAZ Studio users
Substance Painting We create amazing new textures for our content
Reality of IBL’s We use IBL’s in reality
DS CREATIVE • January 2016 •
Botbabe 8.5 R.P. Callahan • January 2016 • DS CREATIVE
CONTENTS
Issue 19
FEATURES 18 • Vendor Spotlight Our first featured vendor or is that vendors is the collection of content creation talent known as ARTCollaborations. 48 • Artist Spotlight This months artist spotlight comes from the tropical paradise island of Bali, it’s Galung Swa. 58 • Vendor Spotlight Our second vendor this month is the wonderfully creative Arki.
EDITOR Camilla Drakenborg camilla.dscreative.mag@gmail.com PRODUCTION DESIGNER Phil Thompson phil.dscreative.mag@gmail.com TECHNICAL EDITOR Totte Alm totte.dscreative.mag@gmail.com PROOF READER Jamie Somers
REGULARS 06 • DAZ Gallery We once again demonstrate that if you want great artwork then look no further than our DAZ gallery.
THE TEAM Matt Allgood Sanyel Jackson Samir Rouabhi Deleuze
32 • Competition Winners Winter was the theme but just who are the ten lucky winners in our seasonal mega competition. 55 • Fave Five Seliah Keller tells us her fave five items of content that she must have. 62 • Competition Time We turn away from the genre of Steampunk slightly and go a little bit more modern this month.
TUTORIALS 23 & 67 • Substance Totte takes us into Substance painter to show just what can be done to our textures. 40 • Lightsaber We light up the galaxy with our emissive lightsaber blades. 44 • Real world IBL’s Mark Kappe explains how he works with IBL’s within reality. 52 • GenX Part 3 Seliah brings us the final part of our wonderful GenX Tutorials.
All images are copyright of their respective owner, no images may be reproduced without express permission of either the original artist or DS Creative magazine DS CREATIVE • January 2016 •
w
Welcome to I s s u e 19
Issue 19 Brings DS Creative firmly into 2016, and if
2015 was anything to go by, then 2016 should bring us even more exciting developments, last year DAZ3D brought us NVIDIA Iray, The Genesis 3 figures and Paolo brought us Reality 4. I think that Iray was the game changer to have a physically biased render engine directly inside of DAZ Studio, really changed the workflow for many artists within the DAZ Studio community and once you started working with Iray and started to understand how to get good results, then there really was no turning back, I know one of my friends who was firmly in the reality camp has since jumped ship so to speak. So now as we look into the new year we can wonder just what lies ahead for the DAZ community within the next twelve months, I expect we will see more and more hdri sets and iray specific shader packs along with all the usual content releases, but it is within the core DAZ Studio program that the interest lies, Just what do the developers at DAZ have in store for us this coming year, and can they top last year, I really doubt that, but there are developments that I for one would love to see: Soft and rigid body physics for one, but I would really like a batch renderer for Iray, that would really simplify things, each month in DS Creative we ask the featured vendors what they would like to see added, so come on DAZ we keep telling you the things we would like to see. Now if there is one thing I really don’t want to see again in the new year it’s the same old comments about 3D artwork not being viewed as real art by comparison to more traditional mediums, If I had gotten a twenty pound note every time this age old tirade surfaced, then I would be able to order a batch of TITAN X’s, The simple fact of it is, using DAZ to make 3d artwork is art, plain and simple, 3D is art, Photography is art, painting and drawing is art, music is art, Sculpture is an art, Dance is art (although my dance is definitely not art), art can be so many things, what it shouldn’t be is judgmental. There even seems to be an offshoot of this within our own community, the so called “Pure render” should an image be thought of as a lesser quality image because it has been postworked, and are unpostworked “pure renders” any better, I think not, I think we should embrace the love of our craft regardless of how it was created.
Phil Thompson Production Designer
• January 2016 • DS CREATIVE
Legend of the Panda Monks Klaus Sauer
DS CREATIVE • January 2016 •
GALLERY
Vehicle Vixen Cliff George
An Alien Encounter Lucinda Atman USA UN-Named Jörg Kießling
Vehicle Vixen
• January 2016 • DS CREATIVE
An Alien Encounter
Un-Named DS CREATIVE • January 2016 •
GALLERY
My First Ride Kismet2012
Crimson Peek Bowski
UK
My First Ride • January 2016 • DS CREATIVE
Crimson Peek DS CREATIVE • January 2016 •
GALLERY
West Show Girl 2 LaMuserie France
Last Rental Car On The Lot Mark Kappe
Penny
Fantail451 New Zealand
West Show Girl 2 10 • January 2016 • DS CREATIVE
Last Rental Car On The Lot
Penny DS CREATIVE • January 2016 • 11
GALLERY
Amber Karisma
DEVIL BronzeDragon Ogma
Theresa Herlocker USA
Amber 12 • January 2016 • DS CREATIVE
DEVIL
Ogma
DS CREATIVE • January 2016 • 13
GALLERY
Blake Nightwind Seliah USA
Modern Beach Life Daniel Wright UK
Welcome
Charlie McDonald USA
Blake Nightwind
14 • January 2016 • DS CREATIVE
Modern Beach Life
Welcome DS CREATIVE • January 2016 • 15
GALLERY
The Game Ktoya Ukraine
SANTA 2015 Henry Polis USA
Mancam 2
ItiseyeMeeSzark UK
The Game 16 • January 2016 • DS CREATIVE
SANTA 2015
Mancam 2 DS CREATIVE • January 2016 • 17
VENDOR SPOTLIGHT
ARTCollaborations
What made you get into 3D modeling and how long have you been active in the craft?
Ann: I got into creating products somewhat on accident in 2004, (yes I’ve been around that LOOOOONG) let’s not discuss how old I feel every time I say that LOL. I started out rendering naked Vicky in a temple with a sword like everyone else, and then made some friends who introduced me to content creation which I really loved. Then when my husband had his car accident it became necessary to work from home to help him and from there, well here we are. Frank: I got into 3D out of necessity as well in 2004. I was in a car accident that laid me up for an extended amount of time. To keep me occupied Ann got me Rhino to play around with. I was laid up so I was lying on the couch with my keyboard on my stomach and my computer and monitor on a stool next to the couch. After a year of playing it became a full time job because I no longer can work outside the house. We then bought Silo and I started creating packs left and right. Neil: I first started out modding for some games and was then introduced to the Poser/DAZ3D world in 2004. I started helping Chohole convert her Poser freebies to DAZ Studio files as well as making a few freebies of my own. I then joined the Art Collab team originally just as a tester but slowly over time my role has developed until I do a lot of the DAZ Studio work on our products.
Where would say you draw your inspiration from?
Ann: From pretty much everywhere and everything. I incorporate my kids, friends, other family members, movies I love, and music I love, all into what I create. My sons’ eyes have been in character packs (well photos of their eyes), hubby’s chest and facial hair has made it into characters before, my eldest’s birthday cake pictures were in a set, inside jokes with dear friends have made it into sets, and the list goes on. With me, you kind of never can tell what will 18 • January 2016 • DS CREATIVE
inspire something or what will interest me though I do suffer from HORRIBLE Squirrel Syndrome. I get a little “over-inspired”, so one minute I’m doing this and then SQUIRREL! And now I’m doing something else. Actually what was I doing again? Oh yeah, answering the question lol. Frank: I draw my inspiration from movies and I have a remodeling and drafting background. For each big brokered project I gather over 100 reference pictures of various things and incorporate my take on each into all my models. Neil: A lot of the time it’s just out of necessity, I am trying to put together a render and I can’t find the prop or scene I want, so I get on to Frank and say we should make such an item and leave it up to him to work out if it is practical.
“In recent few years DAZ Studio has grown a lot, and I like the direction it is going in. ”
Which program(s) do you create your textures in?
Ann: For texturing I tend to use a combination of software. Photoshop being a big one I use often but I also use Corel Painter, Substance Painter, Mudbox, BodyPaint, ZBrush and even Sketchbook Pro. It really depends on what I need to do and which I think will get me there fastest (or sometimes which I feel like playing in LOL) Frank: Most of my texturing is done in Body Paint. I also use Mudbox, Photoshop and Bitmap2Material2. I’m currently trying to learn Substance Designer which is taking some time because we are so busy making packs and can’t afford the down time to learn properly. Ann will come over to my desk and walk me through some of the functions. I’m highly excided to learn it though because of the very powerful tools it has.
Typically how long does it take from initial idea to finished model?
Ann: It can really depend. On smaller sets that we’re really inspired by that may be more simplistic in nature, it may take only a couple weeks from start to finish but the bigger sets we do can take 6 months or longer to do (One set, The Dungeon Bundle, took us over 8 months) It depends on how large the set is really. Frank: For an average brokered pack, from idea phase to wrapping the pack up is normally around 6 months. One whole month is specifically for research. The other 5 months are for the other phases of the project. Neil: As I am only fully involved in a project in the final stages I don’t see the same time frame as Ann and Frank, while I see all the concept ideas and screen images while Frank is modeling the project. My input can be only a couple of days to a few weeks on the bigger packs at the very end of the project.
What is your favorite subject to model?
Ann: I love things that have to do with nature or fantasy more than anything; nature especially. I love flowers and trees and grass and greenery in general so I tend to go towards wanting to model those sorts of things. I also enjoy things that are more organic like clothing but at the moment I’m trying to get over my impatience and general anxiety over trying to do clothing LOL. One of these days I’ll probably be seen doing clothes more than anything (though I have been saying that for probably 5 years now so who knows). Frank: My favorite thing to model is anything dealing with medieval times. This is an area that is usually modeled by other PA’s so I don’t get to do it as much as I’d like, but there are plans to do more along the style of the Dungeon. Neil: I like medieval or fantasy styles models the same DS CREATIVE • January 2016 • 19
as Frank, but agree that as other PA’s also create packs of these styles we don’t get to do many of this type.
What one piece of advice would you give to someone, who is just starting out creating models for Daz Studio?
Ann: To do this as a job you have to consider what other will like but to survive creating content, you REALLY need to make what you LOVE. If everything you create is about what everyone else “wants” then any triumph tends to feel hollow and every defeat seems to sting that much more. Over the years I’ve discovered that when I really love the set I am doing, it just comes out better. It sells better. I feel better about it. When I try to conform to “everyone else” it ends generally in Greek Tragedy. Trying to strike a balance can be really hard, but especially when starting out (when sales may come slowly or sometimes not at all at first). If you hate what you are working on or you find yourself having to push to finish it then it’s just that much harder to do the next set and the next thing you know you are burnt out and miserable. Also of note, don’t give up! Keep trying, keeping learning, and keeping pushing yourself. Try things that are a bit new or uncomfortable. I know when we did The Loading Dock we both were very unsure of Sci-Fi. Could we do it, would we like it, would it turn out ok, etc and to date those sets are still some of my all time favorites and I thoroughly enjoyed working on them. Frank: As Ann already said, you have to watch the market and what’s being made. You need to find out what interest the customers and incorporate that into your ideas. Practice makes perfect. You can never take too much time on a pack. This is how you develop your skills. Speed will come with time. Read and watch as many videos as you can. Do your research and it will eventually pay off. Neil: First off you can never practice too much, and don’t expect to sell products right away your first few items should be freebies so that people can see what you can do. Apart from that I think Ann and Frank have it covered.
If you could add one new feature to daz studio, what would it be?
Ann: I think I’ll let Neil answer that one as his answer will probably be far better than mine. I will admit to being one who would love to see more documentation though in the forum of an actual manual. The program is very powerful and can do so much that it can be very easy to get confused as to what is where or what it can do. I miss not having a general layout of everything I can reference. Frank: The only feature I would like to see added to DAZ Studio is a slider for your renders like Poser has so you can view renders with the simple slider. It’s kind of a pain to have to go and open up the 2 images you 20 • January 2016 • DS CREATIVE
want to compare. I’m growing apart from Poser because I just love what DAZ has done with DAZ Studio and always pushing the bar and Poser is lacking in the development stage. There are very few new features added to Poser with each new release. Neil: I better not mention to Frank about render album which is built in to DAZ Studio which does just what he wants. I am still getting used to all the new features added with Iray I am not sure if we need any more yet.
What is the biggest challenge for you when creating a new product?
Ann: Confidence honestly is my biggest challenge. I tend to be a bit hard on myself and lack self esteem in a big way. I’m trying to work on that though. The second issue, my horrible ADH---SQUIRREL! Toddles off to go chase the squirrel... Frank: The biggest challenge for me is the lack of features in my current modeling application to do highly detailed work. We just purchased Modo and I’m looking forward to start using it to really fine tune my models. Neil: Lately the biggest challenge is the difference between the Iray and 3delight engines and trying to make comparable versions of our products.
Which 3 would you say are your personal favorites of your own products?
Ann: Character wise, I think my favorite was Jess for V4. Bundle wise, it’s impossible to choose because I am always in awe of my husband’s modeling but if I had
to pick it would probably be The Dungeon Bundle. As for the 3rd set, it would be a tossup between The Control Room (part of the series that went with the Loading Dock) and the Mad Chemistry Lab. Frank: My favorite packs would have to be The Dungeon Bundle, Mad Chemistry Lab Bundle and The Mad Lab. All three of these packs took a long time to design and execute. Neil: This is a difficult question as all our products are great. But there is going to be another vote for the “The Dungeon Bundle” as that product was our first big bundle and I use it a lot myself. My next choice will be for “Mad Chemistry Lab Bundle” because of the challenge that that one took to get everything to look right, it was surprising we were still sane after finishing that set. And finally “The Garbage Pile” this is one of those set that came about after I was looking for some junk to fill up a render and Frank just ran with it.
Which 3 vendors would you say are your personal favorites?
Ann: My favorite vendors are Stonemason, isn’t he on everyone’s list? I’ve been a total groupie since forever of his work; IgnisSerpentus, I love her use of color and all the details she models into her clothing and respect all the time and care she puts into making her sets, and lastly is probably a tie between 3 vendors LOL, Luthbel who makes amazingly detailed clothing and some very cool figures, 4Blueyes who also does amazing clothing, and 3Dream who does really incredible hair. I am also a huge fan of Valea and Swam for hair as well. (ACK ok as we can see, this question is impossible for me! Thank heavens you didn’t ask me to pick 1! LOL) Frank: My 3 favorite vendors are, Stonemason, Jack Tomalin and Faveral. All 3 are highly talented and true artists. I can only hope to fine tune my skills to be like them.
that people use our products. It makes my whole day, especially knowing people enjoyed them and seeing the amazing artwork work they are doing. Frank: It makes you feel like all your time was worth something. Neil: I really like seeing artwork made with our products, that is why they were created in the first place and it’s great to see what people do with them.
Can you give us a hint of what is to come?
Ann: All I will say is new things are coming from us in the future, what though, I’m not telling and you can’t make me! Frank: I am currently getting away from doing anymore freebies and I have several big projects on the schedule but we will leave it at that. Coming clean before the starting stage of a project is dangerous. Neil: It’s a secret, so much so I don’t even know, well maybe a little.
Where can we find your content to buy? Ann: All our content is sold on DAZ3D as we truly love working there with them: http://www.daz3d.com/artcollaborations and our DAZ Originals and freebie work is here: http://www.daz3d.com/artcollab. And we also have a Facebook page where we show sneak peeks of upcoming packs at https://www.facebook.com/ARTCollab/ Frank: What Ann said. LOL Neil: I believe Ann has it all covered.
Neil: I am another big Stonemason fan I think I have most of his sets. I am also a big fan of RawArt figures set and I have a lot of them in my collection. And for my third choice I think I would go with Valandar, I just love his amour sets.
How does it make you feel when you see the final artwork created with your products?
Ann: Honestly, that is my favorite part. I swear those using our products seem to be far more talented then I am and I love seeing all the fun, interesting, and creative ways DS CREATIVE • January 2016 • 21
ARTCollaborations
Patio Grill Presents
http://4eyes.code66.se/dsc/ART_PatioGrill.zip
22 • January 2016 • DS CREATIVE
SUBSTANCE PAINTER Create exciting new textures for your DAZ Studio content with Substance Painter We all have content where the model is still unique and useful, but the textures are really dated, some textures are in the sizes of 1024x1024 or even as low as 512x512. That was still big 10 or more years ago when the computers were sporting 128 MB RAM. Today, those pros seldom get used as the frankly look pretty ugly compared to what we find in the store today. Maybe you have items with a great looking textures, shiny and new, but you would like to change it, grunge it, make it look worn and torn but still looking great. Substance Painter is a program that really can be helpful in both of these cases. I’ve been playing with it for quite some time, and I fell in love at first click. In this tutorial we will guide you through the steps of creating and modifying textures for two different props. First a car, the PC Item Car Ranger, which is a pretty modern item, although missing Iray shaders, but it renders pretty good and have large nice texture maps. Second, we will dig out an old favourite, the Gazer, a very old Poser figure, a monster that is very similar to the old AD&D monster the Beholder. This is Car Ranger, Iray render, slight fix of materials with shaders and tweaks.
So, first we take a look at how the texture maps are played out. You can do that using the UV View in DAZ Studio. You select the UV View at the bottom of the View menu in the Viewport, where you select cameras or view through lights. Now select the Car Ranger and go to the Surfaces Tab. As we are going to change the car paint, we look for a Material zone that looks familiar, and Hull seems to be the one. You can see on the layout that the hull is nicely laid out on a complete UVmap. If you have no idea what UV is, Google it, it has nothing to do with Ultra Violet lights, this tutorial will be long enough without explaining that too.
Now it’s time to export the car as an .obj file, which is what Substance Painter and most 3D programs can read. You do that by selecting the car and go to the File menu and export, and select .Alias Wavefront obj as format and name the export car.obj. Now the export dialog is shown, and set it up like this, using the Hexagon export preset as starter. The settings will export the object as we like it for what we will do in this tutorial, there are many settings and they all have a purpose, trust me, but only if you know what they do. The export will create car.obj and car.ml, and a folder name Maps, which will hold all texture maps used by the object. This will come handy. If you want to paint over an existing texture, remember that is should be 1024x1024, 2048x2048 or 4096x4096. If the texture map has a different size, try to resize it to the largest closest of these. The reason is that you need the map to be one of these sizes used by Substance Painter if you want to paint on it and add details. The maps for the car are 4096x4096 so they are perfect.
Now start Substance Painter, you can download a demo here: https://www.allegorithmic.com/products/ substance-painter if you really want to try this yourself. A warning, this program is addictive as DAZ Studio, almost. In Substance Painter, create a new file, and the new file dialog is shown. Set the texture size to 4096x4096 and then select the mesh, the .obj.-file you just exported, and hit OK.
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The bake dialog has lots of settings and you can do lots of things here, but for what we are doing now as we do not have any high resolution normal maps exported from ZBrush or anything like that, we can just set the map size to 4096x4096 (or if you don’t need that precision, you can go to 2048x2048), and hit Bake textures. he baking process takes a while, and the bigger the maps the longer the time.
Substance Painter will now load and it might take a while for everything to lad properly. When it has loaded, look for the Hull in the list of Texture Sets, and select it, then click the Solo button, which hides all the other texture sets.
Now, time to do some real work. First, just drag the image that is the exported texture map for the hull, for the default Car Ranger it’s named PtcRn_HullG.jpg, to the Shelf box of Substance Painter, or you can do File>Import Image In Project and select that file. It will now end up in your shelf.
Now something that is important and that I now several people trying Substance Painter fail to do; and that causes a lot of unneeded disappointment and frustration, Bake Textures. Substance Painter bake different maps it uses like Ambient Occlusion, Curvature and other maps, that is used by several of the operations to generate textures and effects. If you forget this step, many of the materials or smart materials will just look ugly and dull.
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Substance Painter works very much like good old Photoshop when it comes to building the texture from Layers. You have list called Layers, and those layers are what will generate the texture. We will not dig very deep into that in this tutorial, just show some basics, but if you think like you think with Photoshop, things will be much easier. So, select the first Layer, right click and select Add fill.
A fill is something that will fill this layer. This layer, we want to fill with the original texture map, so we select the little Fill item under the Layer and then drag drop the PtcRn_HullG.jpg texture map from the Shelf to the map selector / button named Base Color. You can also click that button and select the texture map from the menu, but it can sometimes be difficult to find it. We set the metallic up a bit, lower the roughness and disable the height, by clicking the little button saying Height. This is the basic way of adding things as each layer have multiple channels, for the different maps that we will generate in the end. You can add more channels, for example; emissive if you want to add controlled light row directly in Substance Painter and generate a map for that.
When the Scratches Generator is loaded, you can adjust the values for it, as it is a script and not just a bitmap. Set the values something like this. This is just to avoid getting it totally scratchy.
If you look at the preview now, you see the car hull with the default texture, and f you are just reading this tutorial, you have to visualise if with your inner force. Now we add a new Layer, with the plus above the Layer List. If the layer did not end up on top, drag it there. You can drag the layers as you like them, and it is the classic painter’s algorithm, painting layers bottom to top, just like Photoshop. For this layer, we select it, and then right click and do Add Black mask. Then click in the new box to the right of the normal layer box, and right click and do Add fill. A mask is used to mask out the fill, so a black mask will not allow any of the fill to be drawn, but that is what we will change now. Click on the fill for the mask, by first selecting the mask by clicking in it, and then click on the Fill. Now, the setup looks a little different, not a lot of channels, just a grey Button. Click on the Greyscale button and locate a pattern called Scratches Generator.
Now add a Fill to the Layer box, the same way you did for the original texture map just some minutes ago. For that we do not need any maps, we set up the fill right off like this. You can make very nice basic colours by just setting up the fill, and then add more layers above it. As you see I lower the height a little, so the scratches go into the paint layer, and then I fill them with a metal colour.
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So, how does it look? Pretty OK for a first test, but they are too large and too few. Now you can adjust the sliders for the scratches and see directly in the preview how it looks. This is very useful when texturing.
Now we’re going to go wild, and really ruin the car. We will add some dirt to it, and use one of the really cool features of Substance Painter, the generators. First, create a new layer, and then create a Fill, with dull black colour with just a little height, which means no metallic and lots of roughness. Now add a black mask, but add a Generator, not a Fill to it. The Generator is in the same menu as fill. As you see in the Material config panel, the button now says generator. Select the Generator named MG Dirt. In the material config for MG Dirt, we set Use TriPlanar to on, and increase the Grunge Amount a little.
As you can see, the dirt uses the different masks to place itself in places that would be dark according to Ambient Occlusion and uses Curvature to not dirt so much on convex surfaces; this is very cool and very useful for texturing all kinds of grungy stuff. So, what can we do now? There are more to show, hang on. We have still just scratched the surface of what Substance Painter can do, pun intended. We disable the texture layer we created using the original texture map. You do that by clicking in the round checkbox to 26 • January 2016 • DS CREATIVE
the left. Now we go to the material browser. It has two tabs, materials and smart materials. We will dig into smart materials soon. In the list I think there is a material called Car Paint, I think its part of the default materials. Just drag that to the Layers list, and then drag it to the bottom of the list. The default colour is red, but I change the colour to yellow in the material settings for that material, under advanced settings.
Materials you see in Substance Painter are created with Substance Designer, another program. In Substance Designer you can define what inputs and settings that is available to the user to fiddle with. Some materials have very complex settings. We will not dig into Substance Designer at this time either, but maybe some other time. Now look at the car, it looks like a demolitions derby vehicle, or something found in a post apocalyptic world.
But look at the door, you can clearly see that there is a ugly break in how the flakes are worn, does look like the car has a door for another vehicle. But fear not, this can be fixed by a simple setting. In the Fill properties of the material (same box as the material settings for the car paint but at the top, there is a setting named projection, which by default is set to UV projection. Change that to Tri-Planar projection, and by magic, yes this is real cool magic, the map is now correctly mapped by how the UVs are laid out on the UV map.
Now, we can swap back to the Export tab, and first we uncheck all texture sets except the one we have been working with, Hull. We select jpeg as export file format, but I know Iray seems to like tiff but I haven’t experimented enough with that and render times and render memory usage to be able to fully recommend it. Now, just select the output directory, and hit Export. Exporting can also take a while, up to 30 seconds, at least on my machine when using 4k textures.
Look, now the wear looks completely natural, I think it’s time to save the project. After you saved it, it’s time to export the new texture maps. File -> Export textures… will bring up the Export Dialog. As we will export for DAZ Studio, and in this example we will export for Iray, we set the Config to PBR Metal/Rough. But, there is one thing we need to do that can break the normal maps if we don’t. Click on the Configuration tab, then click on the Preset PBR Metal/Rough (and not the one named PBR metal/Rough (Folders). Select the Output map named _Normal. Hold the mouse over the RGB box. Does it say “Normal Map Direct-X”, you need to Click on it, and the A one beside, clear the channels and drag in the Normal OpenGL instead, or the Normal Map will be inverted. Tricky beast that got me several times as this will reset at every update of Substance Painter.
Now, we open DS again and set the maps for the Hull surface. Fist happy the Uber Iray Shader if you haven’t so already. This is where the maps go: The metallic map goes to metallic, set the slider to 1.0 Base Color goes to Base Colour, use white or near white colour Roughness goes to Glossy Roughness, set the slider to 1.0 Height goes to Bump, set 1.0 Normal goes to Normal And now render So, this is the end of the first part of the using Substance Painter to make materials for DAZ Studio tutorial.
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Kimmo Kaunela
Carl Christian Gehl
Jon
Henrik Evensen
Unleashing the power of
Substance Painter and Karen Stanley
28 • January 2016 • DS CREATIVE
nas Ronnegard
d Substance Designer
Takes your textures to the next level View more aT: https://www.allegorithmic.com/gallery Jack Darton
Jean Marcel
DS CREATIVE • January 2016 • 29
images from the war room
Uss Constellation made numerous deployments to SouthEast Asia during the Vietnam war. The operational area off the coast of North Vietnam was given the name “Yankee Station”. Carriers covering South Vietnam operated from “Dixie Station”...
Rendered in DS 4.7 with post-work added in Filter Forge 4 (to add the fading and grunge for the look of an old photo)
Her 1972 cruise was one of the heaviest periods of line activity during the war with over 733 sorties flown by the 4 Carrier Air-wings deployed to the Gulf of Tonkin in just one month (February). By the end of April there were no less than 6 full Carrier Groups operating off the coast of Vietnam in support of the Linebacker Raids though this was cut back to 4 by the end of June when a halt was called and Linebacker discontinued...
Essex by BeyondVR with custom modifictaions and textures by me to convert her to an ELINT Snooper Ship...
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Kitty Hawk and Destroyer 3D Models from Turbosquid with custom textures and modifications by me...
CA-44 and C29 Cruisers by Briney on ShareCG with custom textures and modifications by me... A-4 Skyhawk by Bazze with custom textures and dummy pilots by me...
IMAGE by theschell
A-6 Intruders by Neilwil on ShareCG F-4B Phantom II, A-7 Corsair II, Weapons, Aircraft Towing Tractors, Low-poly Crewmen and Pilots by me... P4 Poser Businessman with custom textures by me using various extra props and items from a variety of sources to make the deck crew... Additional scene props and items from a variety of sources...
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COMPetitio
1
st Jean Morneau
Penelope Chaput
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on WINNERS 2
nd Lamuserie
3 Carola Ottosson rd
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COMPetitio
Theresa Herlocker
34 • January 2016 • DS CREATIVE
on WINNERS
Eden Clark DS CREATIVE • January 2016 • 35
COMPetitio
Todd Kogutt
Fantail451
36 • January 2016 • DS CREATIVE
on WINNERS
LaMuserie DS CREATIVE • January 2016 • 37
COMPetitio Kevin A. Black
Bellatryx
38 • January 2016 • DS CREATIVE
on WINNERS
SkyDaddyD
HeavenLee DS CREATIVE • January 2016 • 39
With all the excitement surrounding the release of the latest Star Wars movie, I thought I would share a quick and easy technique for a light saber blade. Different light saber models use differing techniques, for this technique we need our blade to be a single tapering cylinder, some models use two cylinders the inner one for the blade and the slightly broader outer one for the glow, well for this technique we just need the one. This is a two step process. Step 1 - Lighting the blade • We are going to use the basic Iray shader and then make it emissive • In the scene tab select your light saber • Then in the surfaces tab select the blade surface • Now apply the Iray Uber base shader • Set Base color to Black Make sure there is no map in this channel • Glossy layered weight 0.00 • Glossy color = White • Glossy reflectivity 0.30 • Emission color this is your blade color • Emission Temperature 6500 • Luminance 200,000 • Luminance units lm (Lumens) Here are a few suggested colors: Red RGB 221, 67, 70 Blue RGB 63, 171, 221 Green RGB 63, 221, 95 Yellow RGB 221, 208, 66 *Note* for the best results adjust the bloom filter settings for each color. Step 2 - Creating the Glow To create the glow we are going to use the bloom filter, this is in the Iray render settings under Filtering. • Turn Bloom Filter Enable to On • These settings are what worked for me • Bloom Filter Radius 0.075 • Bloom Filter Threshold 10000 • Bloom Filter Brightness Scale 0.075
40 • January 2016 • DS CREATIVE
CLASSIC CULT CONTENT We asked you to vote between 6 pieces of content to see which one you reckoned should be called a cult classic, these are your final four. This month Fabulous Footwear
ADVENTURE
ROMANTIC
TOUGH
PARTY
Bootleggers G2F BadKittehCo
Sweetheart Boots Silver
SciFi Boots Male for Genesis xenic101
Sexy Platform Sandals For V4/A4/V4Elite dx30
Genesis 2 Females version of Fun and Flirty Footwear for our legendary Bootleggers Victoria 4. boots. Add a little Bad Kitteh This set consists of 01 Pair to your G2. of cute lolita style boots for Same UV’s as the V4 version Victoria 4. - this means you can use Included are MAT poses to original V4 bootleggers tex- apply 07 texture styles to ture expansion packs on G2 each boot. Included is a boversion. nus ‘Any Color’ Mat Pose.
VIEW
VIEW
This rugged pair of Sci-Fi A set of fashionable Sexy boots is perfect for climbing Platform Sandals for V4, A4, the mountainous terrain of and V4 Elite. distant worlds. With three different color textures, you are sure to impress any extra-terrestrial with a foot to face
VIEW
VIEW DS CREATIVE • January 2016 • 41
42 • January 2016 • DS CREATIVE
Janna and Her Caddy Gary Woodard
DS CREATIVE • January 2016 • 43
How to Use IBL’s in Reality.
Mark Kappe delves into the world of Reality and IBL’s. So you’ve gotten started with Daz Studio 4, done some renders using the standard renderer (3Delight), and heard good things about the Reality plugin and using these things called IBLs but don’t know where to start? Here are some useful tips. What is IBL? Image Based Lighting is a concept in which, instead of having one or more lights (whether spot lights, point lights, or others) scattered around your scene, you wrap the entire scene in a sphere. That sphere has a 360-degree photograph (taken with an HDRI camera) pasted on it. The HDRI information in the photograph means that within the renderer, the photo-sphere actually emits light-- brighter areas on the picture emit more light, darker areas emit less. This means all the objects inside the sphere (where your subject(s) and camera exist) are lit by that variant light, and it looks more realistic than any combination of artificial lights. Note that the IBL image is, in fact, part of your render, so the part of the sphere behind your subject will show the image you’ve chosen. In some cases, that’s good-for example, sky and clouds above a building might be just what your render needs-- but in other cases, you may want to put other objects in the way to block the view of the IBL sphere. For example, you may not want the palm trees from the IBL image you’re using to be visible, so you block them with a wall or hut. In addition, a standing human figure doesn’t generally look “right” without a floor to stand on in an IBL-based render; this is why you often see images posted to art sites where the figure is cut off at the shins-- the artist has clipped the image to eliminate that awkward looking area. IRay, the new rendering engine in Daz Studio 4.8, can use IBLs. So can Reality, the plugin application available for under $50 from various vendors, that connects DS with the free, physics-based LuxRender engine. I’ll focus on the Reality scenario in this tutorial.
We’ll discuss indoor scenes in another article. Image Setup Let’s do this together, using free or inexpensive objects in your scene. We are assuming that you have Daz Studio 4.8 and have purchased Reality 4.1, which comes bundled with LuxRender, and that everything is installed correctly. You have downloaded at least one sIBL (Smart IBL) set from the website above, unzipped the files, and know the path to where those files are stored on your hard drive. Add some figures and/or objects in Daz. For example, add Victoria, Michael or a Genesis figure and put some clothes on him (or her.) Add an object or two, like a horse or a car or a garbage can, to the scene. Add a building, like a castle or storefront, to use as a backdrop for your scene. A ground plane is also highly recommended.
Michael 4, clothes from the Daz Basics set and Bad Boy set; ground and back wall from the Family Grave set. Barrel, chair and wine bottle from Tavern set, all from DAZ.
IMPORTANT: you don’t want your camera and subject to be inside a closed room for this exercise; that’s an indoor scene (as discussed in the next article.) Move your building back (negative Z values) to make it a backdrop. Pose and arrange your figures as desired. Create a new camera and place it where you want it. (Reality sometimes fails to recognize the Default Camera, especially if you have merged multiple existing Daz files.) Save your file.
Where do I get IBL images? The most popular site for free IBL images is at HDRILabs, here: http://www.hdrlabs.com/sibl/archive.html Take a moment to review the available thumbnail images. You’ll note there are both indoor and outdoor images, and that the outdoor ones vary from mid-day to sunset, clear to cloudy, and summer to winter. Some are desert scenes, others are urban, and yet others are forest scenes. You can certainly download the whole set, but if hard drive space is at a premium, pick the one that is most appropriate for your scene and download that one. 44 • January 2016 • DS CREATIVE
posed Michael 4, added a camera in the default location and switched to that view.
Lighting Mark’s Golden Rule for lighting is this: more isn’t always better. You could easily add just the one IBL light and render as is; at the most, you could also add a Reality Mesh Light or Curved Light if your subject will be backlit by the IBL and you want to illuminate facial features. Using a variety of lights in one scene will just lengthen your render times, and Reality/Lux are already notorious for taking hours to render (even with the improvements in Reality 4.1.) You can add and place Mesh Lights directly into your scene as you pose the figures. You can also add your IBL (it only allows one per scene, as you’d expect) in the same way, or you can add it from the Reality Render Editor when you get to that point. Note that you can edit the color and intensity of these lights in Lux as it renders, so don’t worry about that at this point. Remember that Mesh Lights are physical objects in Daz (just like that reflective umbrella your professional photographer uses) so place it outside the frame of the image, and be sure to point it at your subject (unless you’re intentionally pointing it somewhere else.) Adding Mesh Lights Reality’s Mesh Light and Curved Light options show up in the Content Library / DAZ Studio Formats / Reality / Lights / Reality menu. Add one and move it around to what you consider to be the optimal spot. Note that within the preview screen, you will NOT see any additional lighting effects at this point.
you can add the Reality IBL Sphere and then select the IBL file for the set you downloaded from HDRI Labs. Once added, the only way to tweak the appearance of the IBL is to rotate it on the Y axis, effectively spinning the sky around, deciding where the sun is in relation to your objects. My preference is to add it from the Reality user interface rather than within Studio. Reality also includes a Sun option, creating a very bright light source at such a distance that all light hits your subjects at the same angle. This is fine to use for outdoor scenes but should not be used in the same scene with an IBL. Converting Objects to Lights You may have a scene, for example a street scene that includes street lights, that you want to light using those objects. If the street light object was well-designed by the product creator, it will have separate material zones for the light post, the cantilevered arm, and the glass of the lamp itself. If you wish, you can right-click on the lamp object in the Reality Materials tab and select Convert to Light, which will make that item an actual light within Reality. (Yes, you can switch back if needed.) Note that in my experience, using too many of these items can drastically increase the number of fireflies (the random white pixels sometimes seen in a LuxRender image) so use with caution. Skydomes Some building sets include a sphere with a sky image on it, so your render includes clouds or stars. These are NOT IBL images and will, in fact, block all the light the IBL creates, so if you have one in your scene, delete or hide them before rendering. Image Specifications Remember to use the Editor in the Daz Studio Render menu to set your image size and dimensions before you start rendering with Reality. You can actually do a traditional 3Delight render if you wish, just to see if you’ve placed your objects well, but none of the Reality lights will do anything.
Added a texture from the Adrenaline package for the clothes, as well as a Curved Light from the Reality menu (it shows as the gray rectangle in the lower right corner of the image frame.)
Unfortunately, unlike spotlights within Studio, you can’t view the scene from the Mesh Light’s point of view, so you may need to use the Perspective View to make sure the light is placed where you want it (and pointed in the direction you want.) The curved light in the screenshot above defaults to a location of roughly x=0, y=115, z=300. To move it out of the frame of the image, just increase the Z Translate value on the Parameters tab to a higher number, say 400. Adding the IBL Light In the same menu where you found the Mesh Lights,
Materials Understanding the Reality Material editor and the Universal Presets that come with it will be the subject of a future tutorial. Note that materials in Reality / LuxRender are the functional equivalent of shaders in Studio and iRay, but they are not interchangable. In the sample image we’re creating, some edits to the base materials that I would probably try include lowering the glossiness of the floor, converting the wine bottle to glass, and changing the shirt and pants to cloth. Render via Reality / LuxRender From the Render menu, select the Reality Render Editor. From here you can check on your lights (including adding the IBL if you haven’t already), cameras (make sure the camera you set up earlier is the selected one,) and the materials associated with every object in your render. For your first render or two, just go with the deDS CREATIVE • January 2016 • 45
fault materials to get a feel for how it works, but Reality has a very useful set of material presets (the equivalent of a Daz or iRay shader) that can really enhance your images. Play with those at some point, or use your own settings for glossiness, opacity, color, texture and so on. Lighting and setting the right material settings are key to creating a highly realistic render.
hit Render Frame again to start over. You will need to adjust the lighting settings again.
Our image after 5 minutes of rendering within LuxRender. Note that different IBL lights may or may not have a distinct sun, and thus may not generate a distinct shadow. This one (Barcelona Rooftop) does.
The Reality interface. To add the IBL, check the Enabled checkbox next to IBL, then hit the Change button to surf your drive to find the IBL file you want to use. (Remember I told you to remember its location!)
Save your work again before actually starting the render. Reality-specific information is saved to the same file as the DS-specific information. When you’re satisfied that everything is ready to render, close any memory-intensive apps you may be running (besides Daz Studio, of course) and hit the Render tab in the Reality application. Then hit the Render Frame button. This causes Reality to take the Daz Studio files, add any Reality material and light settings, and import them into LuxRender. (LuxRender does not need to already be running, Reality will launch it for you.) You may see nothing but “Loading” for several minutes depending on your computer’s speed and memory (and the complexity of the scene), but eventually the image will start to appear. Edit the settings and watch your image begin to appear and refine itself. My settings edits for this tutorial image are: Kernel: Linear. Film ISO: 200 Shutter: ⅛ Light Groups IBL: reduce to .48 Light Groups Mesh: increase to 2 NOTE: Leave both DAZ Studio and Reality running at this point. Corrections and Tweaks The image will be useful enough to spot mistakes after a few minutes (for example, I did an image where the car’s wheels were hovering just above the ground.) Close LuxRender, make the adjustments in Studio (if it’s a posing issue) or Reality (if it’s a materials issue) and 46 • January 2016 • DS CREATIVE
Adjusting Lighting Within LuxRender Reality automatically creates two categories within LuxRender for lights in an image; IBL if it’s used, and Mesh Lights. If you add six mesh lights to your image, they will all be adjusted by adjusting the single intensity slider under Mesh Lights. If you want more control, you can rename the Group for every light so you can categorize them however you want, and then have sliders for each Group. Note that the IBL light is much, much more intense than the Mesh Lights. I’ve had some scenes where I dropped the IBL down to 0.25 and bumped the Mesh Lights up to 6 in order to adjust the lighting the way I wanted it. Note that this also impacts the sky color; a very low IBL can be very blue, while an IBL with the intensity slider at 1 or higher can cause the sky to appear almost white in your render. When Is It Done? LuxRender will continue to refine your image forever, so it’s done when you’ve decided you don’t want it to run any longer. I often find that I go through the launch / find a problem / exit / correct the problem / try again cycle several times before I’m happy with the materials, pose, placement of the objects, lighting, and so on. Once it’s perfect, I let the render go until it’s sufficient for me to quit; that’s often between 3 and 16 hours after I’ve launched the final render, more if it’s got a lot of transparency, water, or complex materials. My goal is usually to let it run overnight and check it in the morning. NOTE: If you’re convinced you’re running your final render, you can close both Reality and Studio (after saving your work) so that LuxRender has more memory to work with.
Lighting Options You’ve seen the final render (left) which includes both IBL and Mesh Lights. Here are the same image with only one or the other activated. Render after lighting adjustments and 2 hours render time.
only Mesh Lights
only IBL Light
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WAN T
o ensure the continued survival of DS Creative every month we constantly require content: images, tutorials, tips and fave fives, these items are our lifeblood, without them, we will cease to be, so once again I have to ask for your support.
IMAGES
TUTORIAL S
mages, we always need your images, every issue features between 30-40 images, so to say we have a constant need of your artwork is an understatement. we are happy to feature artists from all skill levels from beginners to advanced, getting your artwork featured in DS Creative is showcasing your skills to the world and I do mean the world, DS Creative is a global magazine with readers from Mexico to Japan and almost everywhere in between. So create your art and email it to us, we can’t guarantee when it will be featured, but we will try to give you your moment to shine as soon as it’s possible.
ords, we need words, so our need for tutorials and tips is endless, If you have some knowledge of DAZ Studio that may be of interest to the other readers of DS Creative, jot it down and send it in, If you have your own website and have tutorials on it, consider sharing them with us and in return we will link to your website, generating possible new traffic for your website, it’s a win - win situation.
I
For the full image terms and conditions you can find them here: https://www.facebook.com/groups/dazcreative/files/ All IMAGE submissions are to be sent to images.dscreative.mag@gmail.com
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We are happy to feature articles that range from a small tip right up to multi part tutorials that run over several months. Are you worried that you are not a technical writer, no worries neither are we, but we have people who help to turn our written rambling into nice easy to read articles. For the full article terms and conditions you can find them here: https://www.facebook.com/groups/dazcreative/files/ Please send your article submissions to articles.dscreative.mag@gmail.com
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NTED FAVE FIVES F
ave Five, we need one of these each month and the good thing about a fave five is that it is easy, here is all you need to do: 1. Look through your content library 2. Pick the five items you can’t live without 3. Write them down (include the store link if you can find it) 4. For each one tell us why you can’t live with out it 5. Take a break, you deserve it 6. Write a short piece about yourself telling us about your love of DAZ Studio 7. Email it to us 8. Relax your done
EXTRAS I
f you have something else you think may be of interest to us and our readers, then get in touch you can email us, our email addresses are on the index page near the front of the mag, if an email is a bit of old hat for you then come and join us at our Facebook group, https://www.facebook.com/groups/ dazcreative/, you can even send us a personal message. What’s most important is we want to hear your ideas, we love knowing that you have had a hand in shaping the DS Creative community.
For the full Fave Five terms and conditions you can find them here: https://www.facebook.com/groups/dazcreative/files/ Please send your Fave Five submissions to articles.dscreative.mag@gmail.com
DS CREATIVE • January 2016 • 49
50 • January 2016 • DS CREATIVE
ARTiST SPOTLIGHT
Galung Swa
My name is Galung Swa and I am 45 years old & live on the island of Bali in Indonesia. Bali is a paradise island & has lots of artists. They live life among the trees, rivers & mountains. With this natural life, it is easy for the artist to get connected, and with the insight to create a life with art. It is with this kind of life that I get creative with my art I create art using many different mediums, with canvas, photography or even dance.
In 1995, I found a new world lay before me with a PC and with that PC I could see that I could create things that would be different and extraordinary. My first painted artwork was created by using Microsoft Paint,
“My advice to a newcomer to 3D would be to save your money and take the time to explore the software. if you were a teenager back in 1996 you will remember. But I wasn’t happy with it though, because I don’t think I’m that level of artist. In 1999 a friend of mine introduced me to the world of 3D gaming and it blew me away. It wasn’t the game itself but how they had created it that got me into it, and at that time living in the forest in Bali we didn’t have internet. So I asked and asked all of the tourists that I meet in Bali about 3D. And then one day I finally met someone who knew a little about 3D and he got me a souvenir in 2000 so I could start to learn how to make 3D things. He got me the 3ds software from Japan. But as I wanted to pay him back, I worked as his assistant for 3 years, he is a photographer and with him to guide me, I learnt a great many things about lighting, poses and reality. But I was still not happy, because the results didn’t look as real as I wanted them to. I understood that what was lacking in my art was things such as natural shadows & lighting, something that is very DS CREATIVE • January 2016 • 51
easy to create nowadays thanks to the amazing software we now have. In 2000 I remember I saw an other 3D software package on the internet, but it was too expensive for me and back then the internet was really slow, speed was only 16kb. Took a full day trying to surf the internet. But then I found something, DAZ 3D Studio with Victoria 1. I managed to download it and started to study her. After about 3 years I started to get the type of results I actually was happy with. After that I found Vue & started to combine the two. I needed a natural light, an environment that supported a natural global light, so with Vue I fell in “love” and it was love at first sight. But Vue is quite expensive, so I have tried to find another program that would allow me to create the same. I needed to upgrade my workflow, so since 2013 I’ve been using reality, but I’m hoping to one day be able to upgrade to a newer version of Vue. When I set up my scenes I always focus on the characters pose and on the camera position, so that the composition is as perfect as possible. This is where my photography experience comes into play. I want my “audience” to get the same feelings from the point of focus in the image as I do. I want to make an impact in a simple but striking way. Doing it in b/w gives it an extra artistic feel. I often get the question from newbies why it’s not more real looking? and of course, one can get it more real looking, but the art is in the mind of the creator! * DS Creative´s thoughts on this is- if you want real, become a photographer* My advice to a newcomer to 3D would be to save your money and take the time to explore the software and start to open your mind to create an imagination that represents your feelings before you go ahead. (that’s the awesome thing about DAZ that at least it’s free of cost & many freebies can be acquired) but before you start to create, you must open your mind to your imagination.
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I gather much of my inspiration from nature. But nowadays it’s sometimes hard to find the inspiration because of day to day life, but luckily enough it comes when I truly need it. But a good way to get inspiration when in lack is not to go to your canvas (or PC) for at least 12 hours. Just take your time outside, find an animal, a beautiful place, somewhere you’re mind thrives. Or take a couple of minutes, imagine an animal in your mind, go back to childhood, play in your mind. Imagination is the greatest in a child’s mind so put yourself back to that state of mind. It can truly help the inspiration come alive again and then translate that into your “adult” mind to get, the more real look if that’s what you are after. 3D is my life. I’m so busy in my adult life, but this way I can translate my feelings and inspirations. 3D is my therapy. With it, I can go take out the child in me and it makes me happy!
ARTCollaborations
The Shack Presents
http://4eyes.code66.se/dsc/ART_Shack.zip
DS CREATIVE • January 2016 • 53
GENX PART 3 Seliah shows us how to convert morph dials only
• Under “Target” you want to select either the “Genesis 2 Male” or the “Genesis 2 Female” (whichever one you want to use the morphs on later) as the figure to convert the morphs TO.
Today, we’re going to go over a third type of transfer that GenX is capable of doing. This is a less common use of the plugin, and in my opinion is a highly underrated function of the plugin. What I’m going to demonstrate this time, is how to take morph dials only from one figure and transfer them to Genesis or a G2 for use on those figures. This is another, very useful capability of the GenX plugin! By doing this, you can greatly increase the versatility of both Genesis and the G2’s. Converting individual morph dials from one figure to another can help to fill in gaps that the standard DAZ morph packs fail to cover. I use these converted morphs extensively in almost all of my own personal characters. So, what morphs can you convert? • You can convert any of the Gen3 or Gen4 morph dials to Genesis and the G2’s. • The G2 morphs can be converted to Genesis. • The Genesis morphs can be converted to the G2’s. • The G2 morphs can be converted between each other. Like the conversion of characters, your results will vary. Some morphs just do not work well on the figures, while others work beautifully. Often times, just a slight turn of a Gen3 or Gen4 face morph dial is enough to get that little touch in a face that you’ve been pulling your hair out trying to achieve. I have converted many of the Gen3 and Gen4 morphs to my Genesis 1. I am beginning to convert them over to my G2’s as well. I’m not a heavy user of the G2’s, so I’ve been somewhat remiss in doing this. You’ll find that even though all of the figures have some kind of “Face Round” type of morph, the way in which it deforms/affects the mesh of a figure is very different between the morph packs. The Genesis 1 “face round” will NOT affect the mesh of your Genesis in the same way as the M3 “face round” morph will! This is why being able to transfer these morph dials between figures can be so valuable. Step 1 : Setting Up For Conversion Since we’re going to convert the Genesis Ethnicity morphs from Genesis to the G2’s, you want to load a Genesis into the scene. Now, this is not entirely necessary due to how the GenX interface functions for Genesis and the G2’s, but I like to at least have a figure in the scene when I’m working. So, load your default Genesis into the scene. • Open the GenX pane. • Click on the “Source” button, and select Genesis, G2M, or G2F, whichever figure you are converting the morphs FROM. • Under “Mode” you want to choose “Selected Morphs” since we are not converting a character, but are instead converting individual morph dials for use on the G2’s. 54 • January 2016 • DS CREATIVE
• Click on the “Select” button, and then choose “Transfer : All Off” from the options dialogue that appears. This will ensure that you are starting with nothing selected at all, so that you transfer only the morphs you want. Transfer Setup From Gen3/Gen4 Figures to Genesis or the G2’s The process for converting from a Generation 3 or Generation 4 figure is almost identical. The main difference is that instead of selecting the figure from “Source,” you need to click the “Load Figure” button, and select your Gen3 or Gen4 .cr2 that already has the morphs injected. • If you do not already have a .cr2 saved with the morphs injected, then load one into the scene, inject the morphs, and perform the .cr2 export process that I covered back in the first installment. Then you will choose this exported .cr2 to load into the GenX pane for morph transfer. • Once you have loaded your .cr2 Gen3 or Gen4 into the GenX pane, then you can continue on with Step 2. Step 2 : Setting Up the Morph List • Once you have your initial setup done, find the pair of triangles/arrows that are in between the morph list window and the lower options window. (See image for visual reference if need be. I circled the arrows for you.) Click those arrows to expand the morph list window downward. You’ll need the extra space to work with for this part. • Since we’re only converting the Genesis Ethnicity morphs, you only need to worry about the “head” section in the listing. Click the triangle next to “(region) Head” in order to open up the full list of Genesis’ head morphs. • Now, look to the right. You’ll see a column labeled “Group.” This column tells you what category the listed morphs belong to. By default, GenX lists all morphs alphabetically according to their name. Normally, this is not a problem, but you can, and you really SHOULD,
tell GenX to list the morphs alphabetically according to GROUP instead, when performing this kind of a conversion. It will save you a lot of headaches later, especially if you are only converting a specific group of morphs, such as just the ethnic morphs, or just the eyes morphs, for instance. Click the column title “Group” to have the morphs rearranged alphabetically according to their group. Step 3 : Selecting Morphs For Transfer • Now, you have everything set up to begin selecting the morphs you want to convert. In my case, I’m going to convert all of the Genesis Ethnicity morphs over to my G2F I know that these morphs have “male” specific morphs in them, but you wouldn’t believe me if I told you how many of my own characters contain “male” face morphs in their shape!
I’m a morph hoarder, and I make extensive use of ALL of my morph packs, so the more I can have available on Genesis or the G2’s to work with, the happier I am. :) You can, if you want, choose to convert only the female Ethnicity morphs for G2F, or only the male ones for G2M if you really want, but I’m doing both in this step for myself. This is where having the list arranged alphabetically by GROUP becomes a godsend! (And saves you from having to add your whole wallet into the Swear Jar for cussing...) • At this point, you want to scroll down through the list of head morphs, and put a checkmark in the boxes under both the “Morph” and “Type” columns for each morph you want to transfer. Scroll down through the entire list, and select each morph dial you want to convert in this manner. This is a little time consuming, but you only have to do it once. • Once you have all the morphs selected that you want to transfer to your G2, go down to the “Transfer” button, and click that. Depending on how many morphs you have chosen to convert, this might take a minute or two to process. Just wait it out, and let DS chew on it. Step 4 : Verifying the Conversion • Exit DazStudio once again, then re-open it. • Go to the Content tab, and load a default G2 (or whatever figure you chose to convert the morph dials to). • Next, go to the Scene tab, and make sure your figure is selected. • With the figure (in my case the G2 Female) selected, you now want to go to your Shaping tab. • Up to this point, everything we’ve needed has been located in the “Actor” tab. However, when transferring morph dials between figures, GenX places those dials where they would have been on it’s original figure.
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So, in other words, if the morph is a “body” morph dial for V3, it would be under Actor--> GenerationX --> Victoria 3. • However, if the morph is a head morph, it would be under Head--> GenerationX --> Victoria3. So, go ahead and expand your Actor/GenX category. You should now find the new morph dials there, under whatever figure name you converted them from. Then, go and expand the Head-->GenerationX category, and take a look in there, too. You should find any head morphs that you converted under this category. These two locations is where you will find all of V3’s head morphs that we just finished converting. • Go ahead and expand those categories. Just as with the Gen4 morphs before, you’ll find that GenX has organized all of the V3 head morphs into the categories that they were originally in on the V3 figure. Now, because I had gone through and re-organized all of my V3 and M3 morphs into different groups back in my Poser 4-Poser 7 days, my groupings might look different than what you have in your tab. If you never saved a preinjected V3 with customized morph groups/categories, then all of your V3 morphs might very well end up being in one spot together.
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Either way, though, you will have all of the morphs between those two places that you converted over, and they are now available for use on your Genesis or G2.
Get Genesis Generation X2 aka GenX here http://www.daz3d.com/genesis-generation-x2
FAVOURITE FIVE Five runtime must haves 01 Genesis 2 Male Clone for Genesis https://www.daz3d.com/genesis-2-male-clone-for-genesis
Where it comes to the Genesis line of figures, I am almost exclusively a Genesis 1 user. I only break out the G2’s on rare occasions, so having these clones (I have both the G2F and G2M clones) from Sickle has been absolutely integral to my ability to update the wardrobe and render a scene. They provide wonderful backwards compatibility with the newer clothing, and I use them constantly. I am cross-fitting wardrobe items from every generation, starting with the V3/M3, all the way up to the G2’s, and I almost always end up using the auto fits on Genesis 1’s. These clones have allowed me to make use of the outstanding G2m outfits, and many G2F items from various vendors as well.
02 Predatron Essential Lights & Skies https://www.daz3d.com/predatron-essential-lights-skies
This gets used with every image I produce! I almost always start with one of these light settings. I might set the Skydome itself invisible if I don’t need the clouds/sky in my render, but these lights are a great basis to start with for a semi-directional area fill light, especially if rendering outdoor scenes. If I don’t start with one of these lights, I always end up adding one to whatever other lights I have in the scene.
03 Sergeant Major Invasion
https://www.daz3d.com/sergeant-major-invasion
I do a lot of story renders. Okay, most of my renders are story-based, honestly. And even though we are up to Genesis 2’s and 3’s nowadays, I still make heavy use of this texture set for my story renders. It features in almost every render, being worn on everything from M3 right up to Genesis 2’s. I’ve converted the original M3 clothing to fit on V3’s and V4’s as well, so these textures are seen in almost every story-based render I put out.
04 Shape Shift for Genesis
https://www.daz3d.com/shape-shift-for-genesis
These morphs get used on every character that I dial up. So many of my Genesis characters make use of these morphs, that I have literally lost count. They are extremely versatile, and allow me to achieve much more realistic body shapes and types than the stock morphs that shipped with the figures, and that is an absolute must for me, as I produce a high amount of ethnic characters in my scene. Zev0 also has these morphs in G2M/G2F as well, and I do have those also.
Seliah Keller I answer to Childe of Fyre online. I started in this hobby with Corel Photopaint 7 back in 2001 out of a need to produce illustrations for my story characters, then moved on to 3D and Poser 4 around 2002. By 2004, I had begun to produce freebie content. It wasn’t until DS4 launched that I was able to tolerate the DS interface. As my hardware continued to age, and the software began requiring more than my machine could do, I ended up exclusively in DS because it would actually perform on my 10-12 year old fossilized hardware, where Poser no longer could. These days, I only use Poser for content creation, as I am much more comfortable inside of DS now than I am in Poser. I render almost exclusively storybased scenes that are inspired by, or come directly out of my creative writing, and a lot of my the content I make starts out as personal items that I need for my scenes. I enjoy making content just as much as I do my renders, and many of my items are poses and ethnic morphing, while my renders continue to be story illustrations.
05 Hybrid Grunge Bundle for DAZ Studio https://www.daz3d.com/hybrid-grunge-bundle-for-daz-studio
I’m constantly rendering scenes that call for blood, wounds, dirt, grime, rust, etc. All the ‘ugly’ gritty stuff that’s so hard to find. I use this bundle liberally, along with a couple of other items meant to add damaged or worn effects to a scene. I’ve used this on everything from ground and architectural surfaces, to figure skins, clothing, hairs, rocks, and plants. I have both versions of this bundle, since I started out as a Poser user. I bought the DS version of the bundle once I realized I was becoming a DS-exclusive user, and I absolutely love the ability to add those small, much-needed details to my story scenes.
YOUR
FAVORITE
TELL FIVE US
If you would like to submit your favourite five just follow the format above, 5 items with links plus your reasons they are must haves, also include a short bio and a piece of your artwork and send it to:
articles.dscreative.mag@gmail.com
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Damsels in Distress
Judith Neugebauer
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VENDOR SPOTLIGHT
Arki
What made you get into 3D modeling and how long have you been active in the craft? I have been working with 3d models since 2006. My very first 3d model is still online for sale in the Runtime DNA store. It was an elven style inspired circlet with a crazy polygon count. I think I started modeling because I wanted to create my own content. Mainly jewelry, props like wings, which I could not buy at that time. Of course it was a long way from my first small props to a set of wings in 2006… but I have now reached one of my final goals and modeled a full dragon figure.
Where would say you draw your inspiration from?
Mainly books, movies, sometimes music. It depends. I tend to dream weird things as well, probably inspired from all these sources and my hobbies on real life. Sometimes I get an idea while taking a walk or riding the bus, It’s not really a standard procedure for me.
Which program(s) do you utilize to create your models in?
I model in Hexagon at this point. That is also where I started to make my first 3d models in. I played with Maya before that, but that was years and years ago. So far I am sticking with Hexagon. 60 • January 2016 • DS CREATIVE
Typically how long does it take from initial idea to finished model?
That really depends on the complexity of the current project. Seems I cannot do smaller things, so development time is between two and three months. One month, if I am really fast, but that is rare. I have had projects that have been sitting on my hard drive for over two years, so that can also happen. Although this is more an exception of the rule.
“It is very pleasing and fulfilling to see what others create with my products. That’s probably the best and the greatest reward for me.”
What would you say is your favorite subject to model?
Fantasy and Sci-fi, or a mix of both. I love elaborate sets in clothing, hair and sometimes architecture, Organic shapes seem to work best for me as well. Sometimes I go for creatures (like dragons), but most of the time I stick to inanimate objects.
What one piece of advice would you give to someone, who is just starting out creating models for Daz Studio?
Do not give up if things don’t work out in the beginning. Try small pieces at first, then move on to more complex ones. And be patient. If something does not work out in the beginning, put it aside and work on something else until you feel you can tackle that problematic piece again. Don’t get stuck with one problematic piece. That can be a killer for inspiration and passion. And never hesitate to ask for help! There are experienced vendors out there who are willing to help if you are stuck.
Which 3 vendors would you say are your personal favorites?
I must say I have real trouble naming individuals here. If I had to make a list I would end up with a dozen or so… I love the works of other vendors which have a lot of attention to detail in their products, no matter what genre they belong to. That goes for clothing, hair, jewellery, architecture… pretty much every sort of content that exists. And that is the reason why I have such a huge content library for my own use.
If you could add one new feature to DAZ Studio, what would it be?
“Create fantastic light” and “create fantastic material”. I am not very gifted in those two departments. So maybe a set of really well made standard lights and material presets. I tend to buy products of both categories when I come across them.
What is the biggest challenge for you when creating a new product?
Promo images. When I am done with a project and get to the point of doing the promotional material, I am so fed up that I sometimes just want to bin the project… and then I have to render it in interesting and cool ways for days. Inspiration is almost gone at that point, and the vision for the project went on vacation days before that. So that’s the hardest part for me.
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How does it make you feel when you see the final artwork created with your products?
I am often amazed when I see the results artist create with my products. They have so creative use for my stuff and use it in such amazing ways that I often view the renders with a huge grin all over my face. It is very pleasing and fulfilling to see what others create with my products. That’s probably the best and the greatest reward for me.
Can you give us a hint of what is to come?
I am between projects right now, so there is nothing cooking at the moment. Probably some fantasy clothing along the lines of a romantic ball gown for G3F. And perhaps another dragon. Some architecture as well. I will have to sit down in January and see what it will be.
Where can we find your content to buy? In my DAZ 3D and Runtime DNA stores, see the links to my shops below: http://www.daz3d.com/arki http://www.runtimedna.com/Arki/
Access all of Arki’s freebies at:
http://aarki.deviantart.com/gallery/24045891/Freebies
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Proud sponsors of Competitions in DS Creative Code66 Bobbie25 Pandygirl
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Allegorithmic is co-sponsoring this contest with two one month licenses of Substance Live! Look at the images on page 27 to see what Substance Live can do. 64 • January 2016 • DS CREATIVE
Dieselpunk is a Punk Punk genre of Speculative Fiction based on the 1920s - 1950s period, spiced up with retro-futuristic innovations and occult elements. The dieselpunk narrative is characterized by conflict vs the undefeatable (nature, society, cosmic), strong use of technology, and Grey and Gray Morality. The protagonists are often Heroic Neutral and have low social status. Generally, dieselpunk can take inspiration from 1920s German Expressionist films, Film Noir, 1930s Pulp Magazines and Radio Dramas, Crime and wartime comics, period propaganda films and newsreels, wartime pinups, and other entertainment of the early 20th century. As this covers a broad spectrum, the precise sources of inspiration can vary greatly between dieselpunk works. Both grime and glamour have their place in dieselpunk. All competition submissions are to be sent to:
contest.dscreative.mag@gmail.com All submissions must be new artwork and must not have been displayed online before Images can be either portrait or landscape Deadline is 23:59 UTC on the 22nd of January-16 For full prize Information and for full term’s and conditions visit our Facebook group: https://www.facebook.com/groups/dazcreative/ DS CREATIVE • January 2016 • 65
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The Kill Jean Morneau
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SUBSTANCE PAINTER Part 2 of our look into using Substance Painter with DAZ Studio
We start Substance Painter and create a new project, setting the size to 4096x4096 and load the exported .obj-file. This is how it looks when it’s loaded into Substance Painter.
You want to learn more? Good, you will get some more about using Substance Painter to create textures for existing DAZ Studio figures and props. We will dig out an old favourite, the Gazer, a very old Poser figure, a monster that is very similar to the old AD&D monster the Beholder. The figure was created long before DAZ Studio was created, and when Poser 4.01 was the hottest software around. Remember, at that time, 64 MB of memory was a lot, 256MB was a lot of RAM. So, let’s load up the Gazer, tweak him a little, or is it a she, I don’t really know. I convert the textures to Iray as good as I can and render.
Now we select the Layer we have by default in the layer list, and right click and select Group layer(s). This turn the layer into “group parent” and you can add layers into the group. This is a very important feature of Substance Painter, that you will love, I promise you.
As you can see, they eyes, teeth and even the inner mouth looks pretty decent, but the skin, shrug, the skin does not at all look like a beholder, and suffers from age. So, time to export it as an .obj, but this time I will do it a little different, so you can learn another good Substance Painter trick. I export all UVs onto the same, after I have looked at the UV-map to see if we have any overlapping UV layers, but objects from this time usually only have one layer, to save memory.
We now rename the parent group from “Layer 1” to skin, as this is where we will create our new Gazer skin. We now right click on the skin group and select Add Black mask.
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We click on the mask; then we go to the toolbar at the top of the working window. If it’s not there, you might have changed your GUI layout. If you haven’t done that on purpose, there is a menu option “Restore GUI”, I’ve used it several times when I accidentally trashed something.
Now, when we have baked them, it’s time to get down and dirty with making a texture. We look through the materials and I found one of the default materials called Frog leather wrinkles. It’s green, not the colour I want, but it does look good, and colour is in the eye of the Beholder, sorry, the Gazer.
The icon of interest is the one that is selected in the next image. I enlarged the image so it would be easier to see.
Now the properties on the other side of the screen changes and you can now select how you will select polygons or UVs. You will also notice that you have a wireframe in the 3D and 2D views. The selectors I use the most are either UV (which selects all polygons belonging to the same mesh cut-out, chunk, or whatever you want to call it. The box selects all polygons belong to the same mesh, and the square selects single quad polygons, which I sometimes use, and the triangle selects trip polygons when you click on them, or half a quad. It’s important to set the color to the opposite of what the mask created has, so we created a black mask, we use while selections, as white is the color the mask will pass through.
Now we can select either in the 3D or the 2D view. But you won’t see anything, so to see what you select, just create a Fill and set a random colour (not white or grey though), and you will see that the polygons are being effected, painted when you select in the mask. This is how the mask looks when we’re done.
We create a fill under the layer inside the group, and then set the material to Frog leather wrinkles. Now it’s time to tweak a little. First, we set Triplanar on, to handle seams in a very elegant way. Then we set the UV scale so it looks a little nicer, with one, the scales was way too big.
Now we look at more of the parameters that this material has, and we find something called Main Color, which is set to green. We click in the colour swatch and select a darker red colour.
So, time for homework. Did you read part one? Guess what we will do now? Yes, you’re right, bake textures.
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I also set up the different parameters for the brush. The brushes can be very nice controlled, if you know how to paint that is.
So, how does he look now? Oh, nice, but a little too shiny and perfect.
Then I just paint away. Create a new layer, change colour, and paint again. You can paint in either the 2D or 3D view, but in the 3D view it can be good to mask the area first with Quick Mask. You hit T, the you select the polygons you want to paint, hit I (for Invert), the T again to exit Quick Mask edit, the you just paint, and when you’re done, hit Y to exit Quick Mask mode. So, are you curious? How did our Gazer come out?
Now we add another layer in the group, on top of the layer we just fiddled with. We select a brush from the brush palette, and the select a colour, and increate the Roughness for what we are going to paint. I admit straight that paining by hand isn’t my strong side, that’s why I love tools like Substance and FilterForge, you paint by code. I selected a brush named Dirt 3, seems to fit.
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I think I really gave new life to this little bugger, made him useful again. I did use him in a render just recently. I hope you have learned something useful. And if you have questions, I recommend the Allegorithmic forums: https://forum.allegorithmic.com
CLASSIC CULT CONTENT We asked you to vote for a classic cult item, this month was Fabulous Footwear
The Winner Bootleggers G2F By BadKittehCo
https://www.renderosity.com/mod/bcs/bootleggers-g2f/106313/
Next months category is transportation, if you want to cast a vote check out our facebook group from the 5th of January onwards https://www.facebook.com/groups/dazcreative/ DS CREATIVE • January 2016 • 71
GALLERY
SECRET CHAMBER Sister of Darkness UK
Please, Do not Disturb Garrett Miller My Pride And Joy Ginger Lee McKee USA
olivia
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Please, Do not Disturb
My Pride And Joy
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GALLERY
Lascivious Lynette Debbie Gorecke
Spreading the dust. Henrico Visser RSA Muted Hills Ugly Smelling Thoughts Mario Heyer Germany
Lascivious Lynette 74 • January 2016 • DS CREATIVE
Spreading the dust.
Muted Hills Ugly Smelling Thoughts DS CREATIVE • January 2016 • 75
GALLERY
alba Bellatryx Italy
UN-NAMED Michael Klink steam hunter Linwelly Germany
alba 76 • January 2016 • DS CREATIVE
UN-NAMED
steam hunter DS CREATIVE • January 2016 • 77
GALLERY
NICE Markus Ba Germany
morning lights Astuce Man France
Nice
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DS Creative Competition Terms & Conditions Just recently I recieved a competition email from someone who doesn’t use facebook and they asked if we have the T&C’s posted anywhere else, well sadly at the moment no, so I have included them here All IMAGE submissions are to be sent to contest.dscreative.mag@gmail.com Submitted images should have the dimensions of 150dpi with a maximum of 2480 x 1754 + include one or two lines describing your image! Make sure you include name (aka) & link to webpage if wanted. Images must be created with Daz Studio & new original artworks are accepted. They should not have appeared online before! We are looking forward to see what you ALL have to share, so please create away & have fun! 1. BACKGROUND: At specified times as determined by DS Creative Magazine, DS Creative Magazine will select images for inclusion in the DS Creative Magazine. The following rules, regulations, terms and conditions (collectively the �Terms and Conditions�) shall apply. 2. ELIGIBILITY: Entrants are ineligible where the legal requirements or restrictions of any jurisdiction prohibit eligibility of an individual. DS Creative Magazine, in its sole discretion, shall determine the eligibility of Entrants. Entrants that do not comply with the Terms and Conditions are not eligible. Staff of DS Creative magazine are ineligible to enter. 3. HOW TO SUBMIT YOUR IMAGE: In addition to other conditions which may be specified by DS Creative Magazine, to submit your image entry (�Image Entry�), please email contest.dscreative.mag@gmail.com with your image attached and with the title of the contest the image is being submitted for. The Image Entry MUST NOT: (i) contain any copyrighted works (other than as owned by you, the Entrant); (ii) contain vulgar, pornographic, obscene or indecent behavior or images; (iii) defame or libel any third party; (iv) been licensed or (v) contain any watermarks or other notices, whether digital or otherwise, obstructing the image Entry. image Entries that do not comply with these Terms & Conditions or that otherwise contain prohibited or inappropriate content as determined by DS Creative Magazine, in its sole discretion, will not be shared. Automated entries (including but not limited to entries submitted using any robot, script, macro, or other automated service) are not permitted and will be disqualified. DS Creative Magazine is not responsible for technical failures of any kind, including without limitation, any failure of Instagram or any other website, any internet connection problems, technical malfunction of any computer on-line systems, servers, access providers, computer equipment, software, failure of any e-mail or entry to be received on account of technical problems or traffic congestion on the internet or at any website, or any combination thereof including any injury or damage to an Entrant�s computer or electronic device or any other person’s computer or electronic device (collectively, �Technical Failures�), all of which may affect the Entrant�s ability to participate. DS Creative Magazine reserves the right to disqualify any Entrant and to seek any remedy at law or equity in the event you, in DS Creative Magazine� reasonable opinion: tamper with any website, the entry process; violate the Terms and Conditions herein; or act in an unsportsmanlike or disruptive manner. Once a image is submitted it cannot be changed, altered or modified. DS Creative Magazine has no obligation to post any images submitted; all sharing or posting of images is done in DS Creative Magazine�s sole discretion. Image submissions close for all issues on the 22nd on the month before the 1st. 4. IMAGE SELECTION. The images to be featured in the DS Creative Magazine will be selected by DS Creative Magazine based on perceived quality, creativity, artistic merit, and other criteria, which may be identified by DS Creative Magazine. All decisions of DS Creative Magazine regarding submissions are final and binding. If your image Entry is selected, you may be asked to sign a confirmation of eligibility and compliance with these Terms and Conditions, a publicity/liability release (unless prohibited by law), and/or any other documents which you must return within the time period stipulated in such documents. If your image Entry is selected, you may also be asked to provide confirmation of identification either by passport, driver�s license or other documentation that may be required to provide DS Creative Magazine with proof that you are the authorized account holder of the Instagram account associated with the selected image Entry. Failure to comply with these requirements may result in disqualification. DS Creative Magazine reserves the right, in its absolute discretion to remove any image Entry, at any time, from the DS Creative 80 • January 2016 • DS CREATIVE
Magazine Instagram Page, or any other website, for any reason whatsoever. 5. RIGHT TO USE: By submitting your image Entry, you grant DS Creative Magazine the right and permission (except where prohibited by law) to copy, reproduce, encode, store, transmit, publish, post, broadcast, display, adapt, exhibit and/or otherwise use or reuse (without limitation as to when, duration, or the number of times), the image Entry and your: name; image; voice; persona; sobriquet; likeness; statements; and biographical material in the DS Creative Magazine, the DS Creative Magazine Facebook group located at https://www.facebook.com/groups/dazcreative/, the DS Creative Magazine Facebook page located at https:// www.facebook.com/DSCreativeMagazine, the DS Creative Magazine Tumblr page located at http://dscreativemagazine.tumblr. com/ and the DSCreative Magazine twitter account located at https://twitter.com/DSCreative_Mag for purposes of administering and advertising, DS Creative Magazine; all of the foregoing without additional review, compensation, notice to, or approval from you or any other party, unless prohibited by law. By entering the Spotlight, you consent to the collection, use, and disclosure of the information described herein. 6. REPRESENTATIONS & WARRANTIES: By submitting an image, you represent and warrant that: (i) you have all rights and necessary consents or permission to submit the image for use set forth herein, including consent and permission for DS Creative Magazine�s use from any individual featured in the image; (ii) your image does not infringe any third party intellectual property, privacy or publicity rights or any other legal or moral rights to any party, (iii) each image Entry was created by you; (iv) you will use the image Entry for personal use purposes only and will not be used for any commercial purpose or conduct that is of commercial character, whether or not it is used in the expectation of profit; and (v) you are complying with these Terms & Conditions. 7. RELEASE: BY SUBMITTING AN IMAGE ENTRY, YOU AND EACH OF YOUR HEIRS, SUCCESSORS AND ASSIGNS RELEASES AND AGREES TO HOLD HARMLESS DS Creative Magazine AND ITS PARENT, SUBSIDIARIES, AND AFFILIATES, AND THEIR RESPECTIVE DIRECTORS, OFFICERS, EMPLOYEES, INSPECTORS AND AGENTS FROM ANY LIABILITY WHATSOEVER (WHETHER ARISING IN CONTRACT, TORT OR ANY OTHER LEGAL THEORY) FOR ANY CLAIMS, COSTS, LOSSES, OR DAMAGES OF ANY KIND (INCLUDING, WITHOUT LIMITATION, THOSE RELATED TO PERSONAL INJURY, DEATH, DAMAGE TO PROPERTY, INFRINGEMENT OF INTELLECTUAL PROPERTY RIGHTS, RIGHTS OF PUBLICITY OR PRIVACY OR DEFAMATION) ARISING OUT OF OR IN CONNECTION WITH: (I) SUBMITTING; OR (II) OTHERWISE ARISING OUT OF OR RELATING TO SUBMITTING. 8. INDEMNIFICATION: You agree to indemnify and hold harmless DS Creative Magazine and its parent, subsidiaries and affiliates and their respective officers, directors and employees (�Indemnified Parties�) from any and all claims, damages, expenses, costs (including reasonable attorneys’ fees) and liabilities (including settlements), brought or asserted by any third party against the Indemnified Parties due to or arising out of his or her entry or conduct during and in connection with submitting, including but not limited to any claims for trademark, copyright, or other intellectual property right infringements, right of publicity, right of privacy or defamation whether arising in contract, tort (including negligence) or any other legal theory. 9. DISCLAIMER AND LIMITATION OF LIABILITY: DS Creative Magazine MAKES NO REPRESENTATIONS OR WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, REGARDING ENTRANT’S PARTICIPATION. DS Creative Magazine SHALL NOT BE RESPONSIBLE OR LIABLE FOR ANY LOSS, DAMAGE, COST, OR INJURY THAT ARISES FROM OR RELATES TO PARTICIPATION, OR BEING SELECTED, INCLUDING BUT NOT LIMITED TO: (I) LATE, LOST, DELAYED, DAMAGED, MISDIRECTED, INCOMPLETE, OR UNINTELLIGIBLE image ENTRIES; (II) TECHNICAL FAILURES (AS DEFINED ABOVE); (III) FAILED, INCOMPLETE, GARBLED, OR DELAYED COMPUTER TRANSMISSIONS; (IV) THE DOWNLOADING OF ANY MATERIAL IN CONNECTION WITH THE SPOTLIGHT; AND (V) ANY OTHER CONDITION THAT MAY CAUSE THE SPOTLIGHT TO BE DISRUPTED OR CORRUPTED. DS Creative Magazine RESERVES THE RIGHT, SUBJECT TO APPLICABLE LAW, IN ITS SOLE DISCRETION AND WITHOUT PRIOR NOTICE, TO SUSPEND OR CANCEL OR ALTER THE RULES FOR ANY REASON, IN WHOLE OR IN PART, INCLUDING, BUT NOT LIMITED TO, IF AT ANY TIME A COMPUTER VIRUS, TECHNICAL PROBLEM, OR OTHER UNFORESEEABLE EVENT ALTERS OR CORRUPTS THE ADMINISTRATION OF THE SPOTLIGHT.
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CONTRIBUTORS Every month DS Creative needs a small army of people to help make it happen, so to those people who helped to make issue 19, A very big Thank You.
The DS Creative Team
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TutorialS Mark Kappe Phil Thompson Seliah Totte Alm
Free GiftS
ART Collaborations
Comic Strip
Brent Bowers
THE TEAM Camilla Drakenborg Phil Thompson Totte Alm Matt Allgood Sanyel Jackson Jamie Somers Bobbie Brundon Jeffrey Samir Rouabhi Deleuze
CONTRIBUTORS Astuce Man Bellatryx Bowski BronzeDragon Charlie McDonald Cliff George Daniel Wright Debbie Gorecke Eden Clark Fantail451 Garrett Miller Gary Woodard Ginger Lee McKee Heaven Lee Henrico Visser Henry Polis ItiseyeMeeSzark Jean Morneau Jörg Kießling Judith Neugebauer Karisma Kevin A Black Kismet2012 Klaus Sauer Ktoya LaMuserie Linwelly Lucinda Atman Mario Heyer Mark Kappe Markus Ba Michael Klink Penelope Chaput R.P. Callahan Seliah Sister of Darkness SkyDaddyD Theresa Herlocker Todd Kogutt
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To Stop my Brother, I hide my DS Creative in a galaxy far, far away
DS Creative Issue 20 • 1st February 2016
84 • January 2016 • DS CREATIVE
Artwork by Phil Thompson