Ds Creative 20

DS CREATIVE

ISSUE 20 FEBRuary 2016

The magazine for DAZ Studio users

MC6 CONVERSION Time to convert those poser MC6 files.

PAINTED HAIR Brushes at the ready.

DS CREATIVE • January 2016 •

SNAPPER

Phil Thompson • January 2016 • DS CREATIVE

CONTENTS

Issue 20

FEATURES 18 • Vendor Spotlight Our first featured vendor this month is the master of all things monster, it can only be Sixus 1.

EDITOR Camilla Drakenborg camilla.dscreative.mag@gmail.com

41 • Artist Spotlight This months artist spotlight features the extemely creative artist known as Ourak Nysot.

PRODUCTION DESIGNER Phil Thompson phil.dscreative.mag@gmail.com

50 • Vendor Spotlight Our second vendor is the creator of many a pretty girl, we speak to Lyoness.

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

28 • Competition Winners We had a difficult time trying to pick a winner in our Dieselpunk competition, but we got a winner.

49 • Fave Five Russ Barratt tells us his fave five items of content that he must have.

54 • Competition Time February means Valentines day, so we go romantic, but you have the option to go dark.

TUTORIALS

24 • Converting MC6 files Seliah show us how to to convert Posers Mc6 files to something more DAZ friendly

32 • Speed Parenting Alex Ledante shares his quick tip for parenting props.

36 • Substance Totte takes us back to Substance painter for a look at smart materials.

46 • Painted Hair Featured artist Ourak Nysot explains the process of creating painted hair.

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 Issue 20

Time flies, it really does, if we could utilize the power of time to drive the render engines, we would be done rendering before we even started.

So much has happened in the 3D world and things do constantly change. Some changes stir up more feelings than others, and one of those changes is the DAZ Connect introduced in 4.9. Some people seem to fear the encryption of files on your hard drive, that this will make you dependent of being logged into DAZ from DAZ Studio to be able to use the content. That’s not the case. Once installed through DAZ Studio for your account as long as you have logged in at least once from that machine, you can use the content as any other content. Another concern seems to be that you cannot install the content they way you like. There is a fix for that too. In the DAZ Content Directory Manager, you can tell DAZ Studio where to save the DAZ Connect Content. You can even move the cloud data library from one disk to another as long as it is on the same machine, just tell DAZ Studio about it. But 4.9 is not just DAZ Connect, it is also an updated 3Delight and an updated Iray.

What else do we talk about, except yelling at DAZ? Cuda cores seems to be something everyone talks about, at least those doing serious Iray rendering. An interesting thing here if you look through nVidia’s website, is the nVidia Iray Server, still in beta though, but that looks promising for those who have a few tower systems and with big power supplies and some spare cash for some nice nVidia hardware. It looks like we can just tell DAZ Studio via the Cloud settings in DAZ Studio to connect to slave machine(s) and Iray will render there as well. Would be nice to see that in action.

On the content side, spring is on the horizon somewhere, and approaching slowly. With spring we get March Madness, just when our poor credit cards have partly at least recovered from christmas.

Until next time, be safe, render on and take care of your polygons.

Totte Alm Technical Editor

• January 2016 • DS CREATIVE

Image by Astuceman

Data Retrieval Bowski

DS CREATIVE • January 2016 •

GALLERY

Garden of Passion Victor Strickland

The Scarlet Witch Daniel Wright UK Wasteland Express circa 2112 SkyDaddyD

Garden of Passion

• January 2016 • DS CREATIVE

Wasteland Express circa 2112 DS CREATIVE • January 2016 •

GALLERY

The Stahd-In Stands By, 1982 Steve Cody USA Forgotten

Garrett Miller

Valkirie 4 LaMuserie France

The StaNd-In Stands By, 1982 • January 2016 • DS CREATIVE

Forgotten

Valkirie 4 DS CREATIVE • January 2016 •

GALLERY

VC2 Mary VanAssche USA

The Pawns secret Linwelly

VC2 10 • January 2016 • DS CREATIVE

The Pawns secret DS CREATIVE • January 2016 • 11

GALLERY

Unsure Ginger Lee McKee USA GOLDEN Astuceman France Untitled

Marie Brown

Unsure

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Untitled DS CREATIVE • January 2016 • 13

GALLERY

An Angry God Patrick Abrams

Tree People 2 Seliah Keller USA

Contemplation Kismet2012

An Angry God 14 • January 2016 • DS CREATIVE

Tree People 2

Contemplation

DS CREATIVE • January 2016 • 15

GALLERY

Cyborg Waitress Lucinda Atman USA

Best friends Ktoya Ukraine

couch

Rian Bergwerff Netherlands

Cyborg Waitress 16 • January 2016 • DS CREATIVE

Best friends

couch

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VENDOR SPOTLIGHT

Sixus1

What made you get into 3D modeling and how long have you been active in the craft?

My initial interest in 3D came from early 3D video games like Wolfenstein and Doom, as well as what was being done in film back then. Think “Young Indiana Jones”, “Labyrinth” and old “Jurassic Park” era. Really, I’m a comic book illustrator first and foremost, but I could see that with the advancing technology in the arts, someone with traditional skills and a love of storytelling would soon have a whole new tool set to work with and that excited me. I began with 3D Studio DOS, then Raydream and Specular Infini-D. Poser 1 had hit somewhere around that time and I saw in it potential for a very fast and fluid character development plaform, so I dug into it and spent a lot of my free time back then tearing it apart and figuring out ways to make it do things I wanted, most of which weren’t really documented or even intended. 3DSDOS eventually became Max on Windows, and I migrated with that, then, when I became art director for a firm that had a couple seats of Maya, version 2 I think, I dove headlong into Maya and haven’t looked back since.

All told, I’ve been involved with 3D professionally since around ‘95 or ‘96, having tinkered with it, teaching myself the in’s and out’s of it for a couple years prior.

Where would say you draw your inspiration from?

Too many places to really tell, though the biggest influences are definitely comic books and movies, specifically sci fi and horror. I also draw a lot of inspiration from history, religions, mythology... like I said, just all over the place really.

Which program(s) do you utilize to create your models in?

Almost exclusively Maya and Zbrush these days.

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Typically how long does it take from initial idea to finished model?

It really depends on what we’re calling “finished”. A finished model, without uv’s or textures can go by extremely fast for me, and by that I mean a matter of as little as under an hour depending on a lot of factors.

Uv’s can be a bit of a chore, and textures are where some real labor comes in, at times, though occasionally those can go really fast, too. It’s really hard to say unless I’m able to discuss it referring to a specific de-

“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.”

sign because every piece has it’s own ups and downs that will cause the time it takes to vary.

What would you say is your favorite subject to model?

Without fail, monsters. Every time. Monsters. The nastier, the more bizarre, the better. I just love the freedom of creating monsters because you’re able to embed into them all kind so human characteristics, but then twist those to evoke one feeling or another, and then take all the years and years of anatomy and study and apply in truly creative ways whereas more mundane pieces like people and animals require you to reproduce what is already known. That has it’s own value and can be fun from time to time, but I’m far more interested in showing people things they’ve never seen before than reproducing what they already know.

What one piece of advice would you give to someone, who is just starting out creating models for Daz Studio?

Don’t be too eager to replace your current living with it right off. It can happen, but it takes time. The competition is fierce these days, which is good for us old-timers as it forces us to stay on our toes and keep our skills current and sharp. In more artistic terms, sort of the same in that I would say be patient. The one other thing, a really BIG thing that a lot of folks in this probably don’t want to hear: learn to draw. Take time learning to draw, at the very least, your concepts, before you start slinging polygons and trying to make them into something useable. The software is always changing, but paper and pencils are the same, and if you can come up with solid concepts there, they will translate far more effectively into digital and 3D.

Which 3 vendors would you say are your personal favorites?

Honestly, I couldn’t say. It’s extremely rare that I use anything from other vendors. For the better part of 20 years, I’ve maintained a sort of policy that we’re a studio and as such, we make and use our own resources as exclusively as possible. As far as the content that I see, I would give the highest praise to Stonemason because his environment work is second to none. He has really set the bar super high with that, so I definitely admire what I see there, even though I don’t actually own any of his sets.

If you could add one new feature to DAZ Studio, what would it be?

The ability to share weight mapping data generated in Poser. That is the biggest hurdle, as a vendor, to being able to create truly cutting edge figures for both.

I basically end up having to either build something as though it were 6 years ago so that it works in both similarly and then do double duty adding features and enhancements in both, or I have to pick one. I hate DS CREATIVE • January 2016 • 19

that with a passion. I want users of Poser or DS to both get as similar and finely crafted a product as I can provide them, but the state of the two programs and what that has done to the content market puts someone like myself in a very uncomfortable position with a lot of aggravating choices that I know, from having a certain vantage point behind the scene on some things, never needed to happen. I find that the single most irritating part of this whole little cottage industry we have. Really, to offer a much more specific “feature” that would alleviate pretty much all of what I’m talking about, I would LOVE LOVE LOVE to see Daz Studio AND Poser both focus on migrating their entire system of rigging to fully, robustly embrace the FBX format. It is ubiquitous throughout the game development world, where I do quite a bit of work, and is so far superior to what is contained in both programs. Both are making their attempts, and that’s great. Eventually, I would like to see that FBX integration made into such a central point, that someone like myself, who prefers to rig inside Maya (there’s a reason it’s the mainstay of film and a lot of game studios...), could just work in there, save out to FBX and have that read by these programs. The sheer amount of options and feature that would open up that I could bring to users is staggering. As it stands, working with either DS or Poser is still using toolsets that are years behind what I’m used to in Maya.

What is the biggest challenge for you when creating a new product?

Honestly, promo images. I actually despise doing them. Everything I make is built with the ability to animate in mind, and everything ends up having some kind of story. With promo images, it’s very hard to convey a “product” and “story” at the same time, so I end up having to choose. Experience has shown that focusing on “product” is better for sales, so that’s where I end up having to go, which is totally counter to what I want to do as an artist. I might create a creature with a ton of interesting detail, but then see it in a darkly lit scene with just a rimlight to give a hidden, ominous effect and love that artistically, but it doesn’t work for a promo. If I’m working on a comic book, I can do that kind of art because it draws people into the story, but with these kinds of products, they need actually see the product. It makes sense, but artistically, it’s very stifling.

How does it make you feel when you see the final artwork created with your products?

That’s the exciting part, actually, and one of the things that takes me back to my early days of this stuff, back when a handful of us used to trade stuff we made and hacks on Poser around, just to see what each other would do with it. That’s just cool. So now, when someone does some of the absolutely brilliant work I see rendered with my products, it brings some of that back for me and helps keep this fresh.. which is good considering how long I’ve been at it now. There are a number of folks who I know love the stuff we make and who produce art with it that totally transcends this whole sort of community/industry/whatever you would call it. It’s always amazing to me when someone like Sephy or Hinkypunks works up some of the images they have using my stuff. They’ll render it better than I do every single time, in part because it’s new to them and they’re excited, whereas I’ve already spent enough time with it, making it, that I’m probably already tired of it.

Can you give us a hint of what is to come?

That’s really hard to say. A LOT of what we release now is as much from my son, Killian, as it is from me, so there’s a component involved of what he has in mind. I’m personally on a lot of client work at the moment, but there are some pretty nasty Lovecraftian monsters I have sketched out that I hope to bring to life as soon as time permits. Our “Mythos” and “Fantasy Racez” product lines are really my favorite things to work on, and for a lot of reasons, they have sat kind of dormant for a while. That is definitely on it’s way to changing. Also, as a lot of folks may not know, I have been doing more and more work in comics again, pencilling and inking some things that I can’t really talk about yet, and of course, continuing to push forward with my own graphic novel, Apocalypse Girl. I 20 • January 2016 • DS CREATIVE

almost don’t like mentioning that because it seems like everyone and their brother have a comic in the works these days, but I do truly believe that Apocalypse Girl is the apex of my career as an artist so far. We’ve been through talks with a few different publishers for it, and have some offers on the table, but still haven’t settled on where that’s going to call home, but as far as things to come for me/Sixus1, that’s a huge part of the future.

I would hope, a year from now, to have it out and be touring quite a few comic book shows to promote it and all the other stuff our little studio does and offers.

Anything you would like to add that we haven’t asked or you think the reader would be interested in knowing?

actually know each other and be more concerned with the people near us, what’s in our own backyards, then that builds friendships and communities that are real and can grow into a different thing than this whole impersonal, digital sort of existence a lot of us end up embedded in before we even know it.

Where can we find your content to buy?

Www.sixus1.com/store and of course, our store at Renderosity (http://www.renderosity.com/mod/bcs/index. php?vendor=77)

I guess maybe I would just add a bit of personal outlook/philosophy on life, for what it’s worth and just ask people to simply make an effort to be good to each other. Make art and have fun, but take time to be good to each other. As silly, simple and dumb as it may sound, as I’ve gotten older, that’s something that’s on my mind a lot, just what can I do for someone else today. Putting that into action as made my life better, made my art more meaningful to me, and generally improved my little world top to bottom. Even if it’s just asking “how are you”, or doing something more substantial.

Meet your neighbors. Turn off the computer for a couple hours. Turn off the TV. Go be people with other people, face to face, in real life. It’s so easy for many of us to end up spending so much time on computers, bombarded by social media, news, advertising and whatever else, that we forget to just be real human beings with the other real human beings who are actually, physically near us. I come from a very small town in the middle of nowhere Appalachia, and as I get older, I realize how impersonal the world has become. I hate that. If more of us take time to

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By SIXUS1

http://4eyes.code66.se/dsc/S1M_Summer_Cocktails.zip

22 • January 2016 • DS CREATIVE

Winds of War

EsaPesa

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CONVERTING MC6 Files Seliah shows us how to to convert Posers Mc6 files to something more DAZ friendly Ever have that great M4 or V4 outfit that you want to use on your Genesis figures, but the product only shipped with Poser .mc6 files? How about that great prop set, but all of the texture options were done in .mc6 format?

Tired of pouring through oodles and oodles of folders in textures to find the right folder? Or trying to figure out which map goes to what material zone and in which channel on your items that are otherwise perfectly usable in Studio?

be editing.

I like to sort the list of files in this folder by TYPE in Windows explorer when I do this, so that I can look at all of the .mc6 files in one group, and not have to worry about sifting through the thumbnail files. So, go ahead and sort them now. You can change it back to your preferred method of sorting afterwards.

To sort the files in Windows Explorer by TYPE - just RIGHT click anywhere in the empty space of the folder and click SORT BY --> TYPE from the pop-up menu that appears.

This is a simple conversion process for Studio users who want to, or need to make use of Poser format .mc6 MAT files inside of DS. The .mc6 files CAN be converted over to .pz2 format.

While this WILL retain all of the .mc6 information when the converted file is used inside of Poser, it will not apply any of the Poser-specific material room settings to your items inside of DS. Poser material settings (such as Phong, Blinn, etc) do not convert to Studio. All this conversion will do is, enable you to load the item’s basic texture maps in one click from inside of DS. If it’s an item that you use a LOT, the extra time to make this conversion might be worth it for you to do.

I use this frequently, if there’s an item made for Poser that only comes with .mc6 Poser material files, but otherwise would work just fine inside of DS (such as clothing, basic props, etc). Bear in mind, that you should expect to have to make adjustments and customizations to the materials in DS once these converted MATs are loaded, but this WILL at least allow you to load the basic texture maps to your items inside of Studio.

Anyway - if you have an item that only came with .mc6 files, and you want to at least have the one-click method of applying the item’s texture maps to the item inside of Studio, this is a quick way, to achieve a usable .pz2 MAT file that DS can read and load.

Converting .MC6 files to .PZ2 format

1 - Open your Windows explorer (or equivalent).

2 - Navigate to where the .mc6 files are stored for the item.

3 - Right click on the folder containing the item’s .mc6 files, and select COPY from the pop-up menu.

4 - Now, navigate to the Runtime/Libraries/Pose folder inside of the POSER runtime structure.

5 - When you’ve gotten to the place you want your converted .pz2 MATs to be, right click and choose PASTE from the pop-up menu that appears.

6 - Now, go into this newly copied folder. The files at this point are copied to your Pose folder, so you won’t run the risk of botching up the original .mc6 files, and it’s this copied version of the files that you are going to 24 • January 2016 • DS CREATIVE

7 - RIGHT click on the first .mc6 file - click OPEN WITH from the pop-up menu, and choose WORD PAD. (Note: I would NOT recommend trying to do this with Notepad.

You need something a little heavier hitting to handle this part of things, and some of the .mc6 files can crash the default Windows notepad application.)

If you do not have WordPad shown in the right-click menu, you can locate it by clicking “Choose default program” instead. That will allow you to point Windows to the application so that you can open up your .mc6 files and edit them.

8 - Now, once you’ve told your computer to open the .mc6 file inside of Wordpad, go to your Wordpad window that appears when the file opens. This is where the magic happens. You are going to make one teensy, tiny little edit in the text of the .mc6 file.

Right near the top of the file, you should see text that says “mtlcollection.” This is what tells Poser that the mat file is a collection of Poser materials to be loaded.

This is the line you need to change.

Highlight the “mtlcollection” and ONLY that word - be careful not to goof up the spacing of the rest of the line in the document! Change “mtlcollection” to “figure” instead.

9 - Now, SAVE the .mc6 file (this is why we made a copy of the files to work with, just in case something goes horribly wrong). Yes, you DO want to over-write this file, since it’s located in the POSE library, and will not hurt the original .mc6 file.

10 - Now, go back to your Windows Explorer again.

Change the file EXTENSION from .mc6, to .pz2. If Windows throws a temper tantrum about you wanting to change the file extension, just tell it to hush up and do as it’s being told to do. :) Repeat this process for each .mc6 file in the copied folder.

One quick note :

If the item you are working with is a PROP file (.pp2) rather than a FIGURE/Character file (.cr2), then you will need to change the “mtlcollection” to read as “actor $current” instead. (Make sure you keep the space between the word “actor” and the dollar sign $.)

Changing it to read as “figure” when the target item is in .pp2 prop format will result in a .pz2 MAT that fails to load anything at all. So, if you’ve converted your .mc6 to .pz2, but it doesn’t seem to be loading the textures, open up the converted MAT file in Wordpad again, and check to make sure that you haven’t used the wrong terminology for the item that the MAT files are for.

To convert mc6 MATs for a Prop type of item (.pp2) : “mtlcollection” becomes “actor $current” Remember that this process will NOT convert Poser MATERIALS to Studio materials. It only makes the MAT file readable by Studio, so you can at least load any base texture maps onto your items inside of DS without having to peek and poke all over the Textures folder to do it by hand. You definitely should expect that you will have to make changes to your DS material settings when you load any Poser MAT file, and this is no exception.

However, with this conversion process, a product whose MAT files ship with only Poser .mc6 MATs, can be loaded inside of DS and at least save you the time of hunting for all the textures, bumps, normals, transmaps, and figuring out which one goes into which channel. So if you have a .cr2 clothing item, but all the textures shipped in .mc6 format, and you want to use those texture maps inside of DS, this conversion will let you do that. You’ll lose the more Poser-specific material settings, but using this, DS will at least load the basic texture maps just fine.

I use this method to gain access to that basic functionality on products that shipped with Poser .mc6 only. I also use this method to set up .pz2 MAT files for freebies or other items that I’m about to release to the general public.

When you’re ready to use the converted MAT files, just remember that they will be under “Runtime/Libraries/ Pose/wherever-you-put-the-folder” in the Poser Format area of your DazStudio content menus.

I promise it’s not as hard as it looks. It’s easy, and after a while of doing it regularly, you won’t even need to think much about it while you’re doing it. It’s not a hard thing to do, it’s just tedious at times, depending on how many .mc6 MAT files you’re wanting to convert over to .pz2 format.

But, once you know how to do this, you have a wider array of options for items as well. Poser-specific props and clothing items, even if they only come with .mc6 files can now be used with a little more ease inside of DS, once you do the conversion. You won’t be stuck trying to figure out what the vendor named the item’s folder, or where they put it, or which map goes to what channel. You can one-click load those texture maps this way, and then get on about your business with your scene setup and rendering.

That’s it, folks. Have fun!

To convert mc6 MATs for a Figure/Character type of item (.cr2) : “mtlcollection” becomes “figure” DS CREATIVE • January 2016 • 25

images from the war room

Raid on Hanoi A pair of F4B Phantom II’s of Vf-92 escort a raid of A4 Skyhawks from USS Constellation’s VA-55 in a raid over North Vietnam. The USS Constellation conducted 7 separate deployments in South-East Asia from 5 May ‘64 to 11 October ‘73.

Constellation’s Fighter Air Wings scored a total of 15 aerial victories during her cruises, but suffered 78 losses (from both operational and combat causes) during the same period. Most of these losses were incurred from the heavy antiaircraft fire encountered over North Vietnam with only 3 26 • January 2016 • DS CREATIVE

aircraft lost to MiG’s. Operational losses were due to accidents and aircraft malfunctions during the intense flight operations of combat deployment... the total losses include aircraft and helicopters from all units serving aboard ship.

The best known aces of Vietnam on the US Navy side, Lt Cunningham and Lt(Jg) Driscoll flying “Showtime 100” (an F4J Phantom) from the USS Constellation scored 5 kills against MiG-21’s during their deployment with Carrier Air Group (CAG) 9, VF-96 Squadron in 1972. VF-92 Pilots Lt Dose and LCdr McDevitt also gained kills during this deployment .

IMAGE by theschell

During the 1972 cruise, Squadrons Vf-92 “Silver Kings” and VF-96 “Fighting Falcons” served as the Fighter/Interceptor component of CAG-9 on board USS Constellation...

F4B Phantom II and extras by me A4 Skyhawks by Bazze with custom textures by me, weapons and dummy pilots by me as well refitted to Bazze’s A4

DS CREATIVE • January 2016 • 27

1

st Jean Morneau Rob Vieth

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2

Kevin A Black

nd Lamuserie

3

rd

Carola Ottosson Jorg Kiessling DS CREATIVE • January 2016 • 29

Lucinda Atman

Rob Vieth 30 • January 2016 • DS CREATIVE

LaMuserie DS CREATIVE • January 2016 • 31

QUICK TIP painless parenting Alex LeDante share with us his tip for quick and painless parenting By now, most of you know that if you right click any prop that it will spawn a dialog and one of those options will be “Change Parent”... You will no doubt also be familiar with the pain of navigating the menu trying to find the node you want to be the parent, and not just some other prop with the same name. Unless you’re a glutton for punishment, let me tell you about an easier way to do this Load the figure and prop you want parented to the figure. Then position the prop next to the node you want to be the parent, but don’t worry about getting it exactly right, since the act of parenting will most likely mess up your positioning anyway In the viewport, select the node which you want to be the parent (example: Right Hand)

Now go to the Scene tab, and notice the node is active. Just drag and drop the prop there and it will be parented Notice that the position of the now parented prop has mysteriously changed. At least now when you fix the positioning, it will persist...

And that’s all there is to it!

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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 Transportation

FUTURISTIC

PRACTICAL

STEAMPUNK

MILITARY

Futucar Kibarreto

WWII Jeep Daz Originals

Steam Bike Pro Lesthat Val3dart

Army Truck 1930 Daz Originals

Introducing a futuristic car: Futucar. It features a drive by wire command ball with no bulky steering wheel.

Futucar’s command ball is positioned in the middle console. Any front seats occupant can drive the car or the car itself drives in autodrive mode.

VIEW

Modeled after the popular Get your motors running war-time vehicle, the WWII with the Steam Punk Bike!

Jeep is a stand alone figure for Poser and Daz Studio. The Jeep is fully poseable and pre-scaled so that it is ready for Poser humanoid figures.

Textures and templates for all items are included. Also included are two pose presets for drivers.

VIEW

VIEW

This 3D Vehicle model of the antique 1928-1930 truck has a conforming flat-bed with removable wooden slats, tent shell and covering. The truck has many moveable parts, including a hood that folds back, doors that open, spinning tires, turning axles, a rotating engine fan and moving dashboard gauges.

VIEW DS CREATIVE • January 2016 • 33

34 • January 2016 • DS CREATIVE

Lord Of Swampland

Mario Heyer

DS CREATIVE • January 2016 • 35

SUBSTANCE PART 3 SMART MATERIALS

texture as map as Base colour and the bump map as height. Name the layer Base Info

Totte Alm delves into smart materials in Substance Painter.

This time we will look at one of the major features of Substance Painter that makes your texturing work so much easier, smart materials.

Smart materials both can be downloaded from the Substance Share, but can easily be created using materials or even other smart materials. You can then save them and either publishes them on Substance Share or just use them when texturing several objects that you want to give the same look.

What Substance Painter is really good at, which you saw in the previous articles, is grunge, weathering and wear. So, I need to find an object that would benefit for this treatment.

We choose an oil barrel from the PC item Army Truck 1930.

Looks good, and export it. As the images are 1000x1000 and not 1024x1024 we could run into trouble but this is a small enough difference.

Now start Substance Painter and create a new project, setup to 1024x1024 and import the exported obj. file.

Add the exported maps to the project in the setup dialog; this is important when the images are not exactly the correct size. First when we have setup the new project, we bake the textures to 1024x1024. Then we add the original texture maps to the shelf, and set it as the ID map. Now we create a fill and set the original 36 • January 2016 • DS CREATIVE

Now, create a new Layer and right click and do Group Layer, which creates a group. We use this group to build our smart material. So, what do we want? What are the basic ideas? I think we need scratched paint showing metal with defects under the paint, dirt and rust added to that. I think we first add the dirt and rust then scratch it.

So now we need some rust, into the new Layer we created and group, we drag one of the basic metal materials, steel rust and wear. You will notice that it now cover the whole mesh, but the “bump map” we have from.

First we need to configure this material. We change the projection to “Tri-planar”, and then we change some of its settings. We set the cold tone and increase rust and dirt and surface imperfections.

So, now we move the Steel and wear below the base texture layer so it’s under it. As you see, the paint will inherit the metal from below. We can fix this in the layer box by switching from Base Colour to Metallic, and then change the composition mode from Normal to Replace. When you’ve done that, switch back to Base Colour or you will be confused. You can also add roughness to the fill as when we add generators the metallic will bleed through sometimes.

Now right click the Base Info (where you have the original maps) and add a black mask. Now you see the metal will only be visible. Right click the mask and add a Generator, and select the Generator “MG Metal Edge Wear”.

As you see, Substance Painter is a lot about wear and grunge. We adjust the settings until we get something that we like.

As you see, the underlying metal is not “rusty” enough, so we need to add a rust layer to it. Add the Rust material above the Steel Rust Wear layer, and right click to add a black mask.

Add a fill to the mask and pick BnW Spots 3, ands the histogram contrast to it is a little sharper, hide the Base Info layer while doing this for a better view. To avoid the bumpiness caused by the rust, tick off “height” in the Rust layer. We’re getting a worn look now.

Now add a new layer above the Base Info, and group it. In that group, add the material called uniform black dirt. Right click it and add a Black mask. Now, add a fill to that mask, and set the fill to “Wooden Fibres 3”. If you have downloaded any of the free Grunge Maps, you can use one of the vertical ones, but this one is “built in”. Adjust Histogram contrast and histogram position until they look good, and don’t forget to change projection to Ti-planar. Now add the second uniform black dirt, change the colour from black to a dark brown, and add a black mask and add a different fill. You can click Random to get different looks of the dirt.

So, does it look OK now? No it doesn’t, we need to layer things correctly, we need the grunge and the base textures to be together, and this we fix by smart grouping, create a new layer, group it, then move the dirt, and the base Info into that layer. Now, add a black mask to this group, and right click the mask we made for the base Info, select “Copy Mask”, and then select the mask of the new group and paste mask. You can now clear the mask on Base Info. See, it looks better now!

So, how does the layer system look now when we have arranged it, like this? We name the groups properly so they can be understandable.

DS CREATIVE • January 2016 • 37

Now, we can create a smart material, which can be used by just dropping it into a Layer. First we will export out texture maps, so we can see how this looks in DS. How to do this is shown in the previous tutorials so I won’t go into that here.

But now, can we use the smart material we just made on another object? We need to do that. Using the same base item, we load the Gasoline Tank instead, and export it. This is how it looks.

Now we just right click the top layer object group and select Create Smart Material, and it will show up in the Smart material tab

The tank is 2000x2000, so we would be able to use 2048x2048. We start Substance Painter and create a new project and add the maps. We now select the “Hull Paint” Texture set”, then Bake textures in 2048x2048.

We now connect the diffuse map, texture, to the ID Map. Now we just drag our Grungery smart material to the Layers, and magic happens, “except for one thing”, which I will show. As Substance Painter not really understands the name for the bump map, the bump map used when the material was created is still used. But the texture map it finds as it was connected to ID

We start DS again, load the prop, create a camera and shut off the headlight, change materials to Iray and also set the displacement subs to 4, and load all the maps. Setting Metallicity and Glossy Roughness to 100%, and set all the maps we just generated.

Looks great!

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All we have to do is to tell Substance Painter which map is the old bump map we want to use as height, and it works. If we had been using Normal maps in the model this would “most probably” have worked without any problems at all. So, this is how the gasoline tank looks in Substance Painter after we applied out Grungery Smart Material.

Ok, this is that for this time. I hope you have begun to understand the sheer power of Substance Painter and Smart Materials. I’m still just scratching the surface of what you can do, but this really makes texturing and retexturing much easier and more fun too.

DS CREATIVE • January 2016 • 39

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

TUTORIA L 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

W

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

40 • January 2016 • DS CREATIVE

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 • 41

42 • January 2016 • DS CREATIVE

ARTiST SPOTLIGHT

Ourak Nysot HOW DID YOU GET INTO 3D ART?

Since I was a child, I have been heavily involved in art.

I was using charcoal at the time and my art was more abstract in nature. Being a person with many interests; trying out something new was rather exciting for me.

DAZ seemed like a good start for getting into 3D. My first attempt was to create my original character Nysot; he inspires me the most and is my constant brain companion. I had the M4 model at the time, now when I look back it feels like it was ages ago!

“I cannot imagine

not creating art.

Art’s value cannot be measured”

DS CREATIVE • January 2016 • 43

HOW WOULD YOU DESCRIBE YOUR ARTISTIC STYLE?

I often see the evidence of my charcoal abstract work sneaking in to my 3D works. For me, just doing one theme in art is like listening to one type of music. I make surreal works, character art, even cute things, mixing fantasy with abstract, erotic, environmental art etc. I don’t put limitations to what I create.

HOW DO YOU FIND INSPIRATION?

I actually find inspiration within myself; one could say my imagination feeds my inspiration. I have a rich world and creations that provide me with many ideas and interesting visions. The creative world inside my head and my characters are very important to me.

They each have their own background stories; their stories and adventures are like a living, breathing being that in its turn feeds my vision. I don’t think my mind ever stops creating, that would certainly explain the reason for my insomnia hah!

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WHAT ARE YOUR 3 FAVORITE VENDORS?

My favorite vendors are Alessandro_AM, Fredel and Poisen. Quality and uniqueness matters and these PA’s offer just that.

IN YOUR OPINION WHAT IS THE VALUE OF ART?

Art is a highly misunderstood commodity. It has been around for ages it controls virtually every purchase we make, every aspect of our lives. I cannot imagine not creating art. Art’s value cannot be measured.

See more of my art on my Deviant art page: www.ouraknysot.deviantart.com

DS CREATIVE • January 2016 • 45

HOW TO PAINT HAIR Featured artist Ourak Nysot aims to get us painting hair.

Here we have the vacation picture of two dear friends!

We can make them fancier by adding some hair to them.

You have a few options. You can use 3D hair and paint on top of it. You can draw from scratch as I did. You can use the stamp hair brushes as your base and draw on top of it. I just drew basic hair from scratch and I hope it helps!

Using the same color, start painting hair strands using a soft round brush.

I am using Photoshop but you can accomplish this with GIMP as well. Pick a hair brush which looks something like this, draw the desired shape. You can control the intensity by using the opacity options of your brush or layers, either works.

Make your brush even smaller 1 to 2 px. And start drawing thinner strands of hair until you are satisfied.

Sample your highlight color from your characters skin or the environment. Make sure the opacity of the layer is low. Apply color to where the highlights are supposed to be.

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Make sure your “Noise” option for the brush is checked.

Start drawing shadows and give depth to the hair on top and under. You don’t have to go in this order; I draw pretty much whatever I feel like drawing. In the middle of drawing shadows, I also add fly away and fizzled hair strands. Don’t limit yourself just because I did things in this order. Draw however it comes natural to you!

Pay attention to your light source, Hair must match the colors of the environment. Here are a few things you can do. You can use the Brightness/Contrast layer option or hand paint the colors; I do both depending on which feels right. When hair is backlit, It looks like it has an aura around it. With a soft brush, you can draw a faint glow ar4ound the hair. Adding brighter color fly away hair strands makes the hair look more dynamic and more believable. Enjoy!

For Questions you can always note me here: OurakNysot.deviantart.com

DS CREATIVE • January 2016 • 47

FREDELS The

DS Creative Dress For Genesis 3 Female and Iray

http://4eyes.code66.se/dsc/Fredels_DS_Creative_Dress.zip

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Visit Fredels store at: https://www.renderosity.com/mod/bcs/?uid=766651

FAVOURITE FIVE Five runtime must haves 01 The Enchanted Forest

Russ Barratt

http://www.daz3d.com/the-enchanted-forest

The best environments are rich in detail, ready for customization, and expansive enough to support exploration. I can think of no better example of this than Stonemason’s The Enchanted Forest. I have employed this particular environment more than any other environment I’ve purchased, due in part to how easy it is to combine it with other sets.

02 Fantasy Scene and Lights

http://www.daz3d.com/fantasy-scene-and-lights

Originally purchased for use as a simple backdrop for character studies, I was immediately struck by how well this set renders in 3Delight. The lighting included is particularly good, so much so that now whenever I am creating a 3Ddelight scene with one or two figures as the focus, I default to loading one of the light rigs from this set as my starting point.

03 Aging Morphs 2 HD Bundle

http://www.daz3d.com/aging-morphs-2-bundle-hd

I find unique faces, human or otherwise, to be fascinating and love incorporating lots of detail into the faces of the characters I am rendering. Of the many morph sets available, this is one of first I turn to when looking add more personality to a character’s appearance, regardless of that character’s age (works well with the Creature Creator HD sets for G2.)

My name is Russ Barratt and I have been exploring 3D art and animation since the early 1990’s. After graduating college with a degree in digital art, I worked as a professional animator for a decade before transitioning to a career in information technology. The creative drive was not so easily disregarded, so after many years and a chance encounter with DAZ Studio, I found myself dedicating any free time I could manage to creating art and animation. In addition to DAZ Studio, I primarily work with Poser, Photoshop CC, Blacksmith 3D, Reality, Bryce, Hexagon, and Adobe After Effects, as well as the Look At My Hair and Dynamic Clothing Control plug-ins.

Examples of my art can be found at https://www. facebook.com/media/set/

04 Genesis Supersuit

http://www.daz3d.com/genesis-supersuit

This product is amazingly versatile and a great simple solution for those just learning how to customize outfits. Due to the vast number of options and individual material zones included, I have been able to turn to this set time and time again.

05 3D Universe Toon Mouse

http://www.daz3d.com/3d-universe-toon-mouse

Of the many animation specialties that exist today, more traditional toon animation remains my favourite. This particular character is the one I have enjoyed working with the most. Included are numerous expression morphs, over 70 poseable parts, and I remain a fan of the Eye Pose tool 3D Universe includes with several of their models. Highly recommend for those seeking a model to learn character animation.

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

DS CREATIVE • January 2016 • 49

VENDOR SPOTLIGHT

Lyoness

What made you get into 3D modeling and how long have you been active in the craft?

I started as a hobbyist about 10 years ago. I realized that I could texture as good as, if not better, than some of the product I saw in the stores. So in late 2011, I became a vendor.

Where would say you draw your inspiration from?

Fashion Magazines, Makeup Advertising, Television, Movies, Print, sometimes when I’m out shopping I’ll notice specific characteristic about someone that I see... then at home I try to incorporate that idea into my work. Real is good.

Which program(s) do you create your textures in?

I use: DazStudio (of course) Lots and lots of Photoshop Blacksmith3d for the seam cleaning Photoshop ZBrush 50 • January 2016 • DS CREATIVE

Filter Forge Colorpix for colour sampling, a text editor, lupus renamer for batch name changes, FastStone image Viewer for lots of the minor finishing details on all the jpgs QuixelSuite Just got Substance Painter, so hopefully that will help provide some new and interesting details.

Photoshop

Typically how long does it take from initial idea to finished model?

It usually takes 2-3 weeks depending on how much detail is included in the skin (i.e. second skin).

Models that have a second skin (like dirt, mud or battle damage) tend to take longer. Plus this isn’t including the time it takes to make a fresh skin from scratch.

“In recent few years DAZ Studio has grown a lot, and I like the direction it is going in. ”

Creating a base skin will take me 5-9 days. From there, I can begin to model and create the rest of the character.

What is your favorite subject to model?

I make girls. I’ve enjoyed specializing in one thing. It really makes me focus and hone in on specific details for greater realism.

What one piece of advice would you give to someone, who is just starting out creating models for Daz Studio?

Practice and study (watching videos and doing tutorials) is PART of the work. Often it’s the details that separate a beginner from an advanced artist. After you finish the overall shape, go back and add the small details that will make it shine.

For example, the lipstick line around the mouth shouldn’t be a hard line or be defined by the edge of the material. It should be a minutely wobbly like around the lip that is drawn with pencil like settings.

Google lipstick lips, examine the edges carefully (ignoring the glossy lips). See how the line sinks into the little creases around the mouth? You want to do this in your textures too.

These are the types of details that will make you noticed.

DS CREATIVE • January 2016 • 51

If you could add one new feature to daz studio, what would it be?

I would add a colour picker.

What is the biggest challenge for you when creating a new product?

The biggest challenge would be, finding a new approach for a fresh look, a different face shape, a tattoo, a second skin, a special body shape.

Which 3 vendors would you say are your personal favorites?

Lilflame is my favourite for clothes. I just love her style. She does quality work with an edgy flair. She’s always a must buy for me.

Danie and Marforno for poses. I love a lot of pose artists Dragonfly, Ilona, and Mattymanx to name a few other favourites. Yet D&M always have classy poses that I use over and over. All I can say is “more please”.

Lastly, I would love to just give a shout out to my partner in crime.... Slosh. He’s always there to make sure I have my daily fill of snark.

How does it make you feel when you see the final artwork created with your products?

At the end, I’m happy and exhausted. The best part of any project is the final upload... phew. Done!

Can you give us a hint of what is to come?

More girls, a greater variety of second skins, more varied morphs!

Where can we find your content to buy? http://www.daz3d.com/lyoness

52 • January 2016 • DS CREATIVE

My Fathers Sword Brent Bowers

DS CREATIVE • January 2016 • 53

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.

54 • January 2016 • DS CREATIVE

Love and death are two uninvited guests, when they will come nobody knows.

But both do the same work,

one takes heart and the other one takes its beats.

Saint Valentines day is upon us and regardless of whether you love this most romantic of days or you despise and hate this overly commercialised event, we want to set your valentines renders in motion So roses and cupid or broken and bleeding hearts, whatever your choice let your emotions show in your artwork.

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 February-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 • 55

Cyborg Chick Karisma

56 • January 2016 • DS CREATIVE

CLASSIC CULT CONTENT We asked you to vote for a classic cult item, this month was Transportation

The Winner Futucar

By Kibarreto

http://www.daz3d.com/futucar

Next months category is gorgeous gowns, if you want to cast a vote check out our facebook group from the 15th of January onwards https://www.facebook.com/groups/dazcreative/ DS CREATIVE • January 2016 • 57

GALLERY

Chilling Out Mithoron USA

The Exile of Rage Charlie McDonald USA Mulan

Fantail451

New Zealand

Chilling Out

58 • January 2016 • DS CREATIVE

The Exile of Rage

Mulan DS CREATIVE • January 2016 • 59

GALLERY

Fairylight Sister of darkness UK Flower rain Gran22

Role Reversal Todd Kogutt USA

Lascivious Lynette 60 • January 2016 • DS CREATIVE

Flower rain

Role Reversal

DS CREATIVE • January 2016 • 61

GALLERY

Princess Mononoke Bellatryx Italy OTS

Alex LeDante USA

Princess Mononoke

62 • January 2016 • DS CREATIVE

OTS

DS CREATIVE • January 2016 • 63

GALLERY

farmercowboy Markus Ba Germany Rose Garden Theresa Herlocker USA Awash James O’Rell

farmer cowboy

64 • January 2016 • DS CREATIVE

Rose Garden

Awash DS CREATIVE • January 2016 • 65

GALLERY

black guard R.p.Callahan USA Fairy

BronzeDragon

black guard

66 • January 2016 • DS CREATIVE

Fairy DS CREATIVE • January 2016 • 67

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 68 • 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.

DS CREATIVE • January 2016 • 69

CONTRIBUTORS Every to to

DS Creative needs a small army of people help make it happen, so to those people who helped make issue 20, A very big Thank You. month

The DS Creative Team

70 • January 2016 • DS CREATIVE

TutorialS Alex Ledante Ourak Nysot Seliah Keller Totte Alm

Free GiftS Sixus1 Fredels

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 Alex Ledante AstuceMan Bellatryx Noir Bowski Brent Bowers Bronze Dragon Charlie McDonald Daniel Wright EsaPesa Fantail 451 Garrett Miller Ginger Lee McKee Gran22 James O’Rell Karisma Kismet2012 Ktoya LaMuserie Linwelly Lucinda Atman Marie Brown Mario Heyer Markus Ba Mary VanAssche Mithoron Patrick Abrams Phil Thompson R.p. Callahan Rian Bergwerff Seliah Keller Sister of Darkness SkyDaddyD Steve Cody Theresa Herlocker Todd Kogutt Victor Strickland

DS CREATIVE • January 2016 • 71

Damn

I will never get a signal out here, I should have downloaded my DS Creative from Issuu.com

DS Creative Issue 21 • 1st March 2016

72 • January 2016 • DS CREATIVE

Artwork by Phil Thompson