Ds creative 22

DS CREATIVE

ISSUE 22 APRIL 2016

The magazine for DAZ Studio users

Pinup power

We delve further into the pin-up world

Eye see you

Lets get looking at people

DS CREATIVE • April 2016 •

Vintage Garden Mary VanAssche • April 2016 • DS CREATIVE

CONTENTS

Issue 22

FEATURES 18 • Vendor Spotlight Our first featured vendor this month is none other than Forbidden Whispers.

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

41 • Artist Spotlight This month’s artist spotlight features the powerhouse DAZ artist Katherine Briggs.

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

58 • Vendor Spotlight Our second vendor this month is another creator of beautiful girls, it’s Belladzines3D.

TECHNICAL EDITOR Totte Alm totte.dscreative.mag@gmail.com PROOF READER Jamie Somers

REGULARS 06 & 64 • 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

29 & 55 • Fave Five Two fave fives this month, so it’s Adrian Schmit and Michael K Eidson.

30 • Competition Winners We asked you to go Behind the Mask, and did you disappoint, Of course not.

48 • Competition Time For this month we really have a truly magical competition theme, yep that’s right I said magical.

TUTORIALS

24 • Texturing Intro Maniacmayo prepares us for the journey into the world of re-texturing meshes 34 • Pinups part 2 Mithoron returns with more insight into using DAZ Studio for pin-ups.

46 • Pose Tips Fantail451 offers us some guidance for when we create our own poses.

52 • Eyelines fixed Todd Kogutt show us how with a camera we can get our characters looking exactly where we want.

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 • April 2016 •

ww

Welcome to Issue 22 Issue 22 is here! And so is spring finally! Well, at least for my part of the world.

I love spring, how everything comes to life and starts to bloom and hopefully DS Creative will continue to bloom as it has done for almost the last two years now!

As we mentioned in our previous issue, the merging of Rdna with DAZ has slowly but surely started. Amongst all the new items in the DAZ3D store is the amazing and wonderfully creepy content of Mortem Vetus! take a bow Andrew and Tracey, So DS Creative wants to welcome all the added & upcoming RDNA vendors to DAZ and we hope your transition to your new home goes smoothly!

For artists, make sure to check your DIM now and then for added content that you have already bought from RDNA. I have already found some stuff last week in my DIM which made for a nice surprise. As I understand it, they are doing their best to transfer all the items we have bought and will add it to our purchase history and our DIM. As stated earlier, we are closing in on our 2nd year anniversary, which will happen on July the 1st and I really hope you all will take part in our anniversary issue in one way or the other.

So make sure you send in your best artwork in time and if you got an extra tutorial that would be perfect to go in as we want everything to be extra and don’t forget you can win 30 & 20 dollars for the published tutorial with most members’ votes. The members are those taking part in our Facebook group so if you want to be able to cast a vote come join us We are also looking for extra freebies for then as well, so tip off all your vendor & or creator friends so we can celebrate our second anniversary with an extra special big bang!

Camilla Drakenborg Editor in Chief

Image by Phil Thompson • April 2016 • DS CREATIVE

Priestess

Camilla Drakenborg DS CREATIVE • April 2016 •

GALLERY

Scavenger Tia Maze

All That Heaven Will Allow Daniel Wright

Scavenger • April 2016 • DS CREATIVE

All That Heaven Will Allow

DS CREATIVE • April 2016 •

GALLERY

Vampire Queen Ginger Lee McKee

THE EARTH SPEAKS Seliah The Dispute Charlie McDonald

Vampire Queen • April 2016 • DS CREATIVE

The Earth Speaks

The Dispute DS CREATIVE • April 2016 •

GALLERY

the year of Monkey Ktoya Mary Elizabeth Karisma

the year of Monkey 10 • April 2016 • DS CREATIVE

Mary Elizabeth

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GALLERY

A Girl & A Gun Bowski

Katya dancing Adrian Schmit

A Girl & A Gun

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Katya dancing DS CREATIVE • April 2016 • 13

GALLERY

Time for a smoke EsaPesa

farmercowboy Markus Ba

Interrupted Sleep Sanyel Jackson

Time for a smoke 14 • April 2016 • DS CREATIVE

farmercowboy

Interrupted Sleep

DS CREATIVE • April 2016 • 15

GALLERY

Bella Donna Saidge42 Guardian

Sandra Bauser

Bella Donna

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Guardian

DS CREATIVE • April 2016 • 17

VENDOR SPOTLIGHT

Forbidden Whispers

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

I got into the 3D industry purely by chance.

I had admired some renders of an artist on Renderosity and that artist taught me some of the basics of using Poser and Photoshop whilst I worked a part time job. We ended up very good friends and then ended up dating for many years. I ended up learning how to make some simple sets for Victoria 4, and selling them over at Renderosity back in 2005, with his help. Once I got more comfortable in Poser and Photoshop, I started making products on my own on a part time basis. Occasionally FWDesign and I would work together and release some stuff at Renderosity, and of course I would meet other vendors and partner up with them, Male_M3dia, FairyFantastic & JSGraphics just to name a few. After maybe a year to 18 months of selling there, I ended up moving over to DAZ3D with the help of one of their vendors, and naturally FWDesign and I have been selling there ever since.

In 2012 with the ending of mine and FWDesigns romantic relationship I continued to work alone, as well as partnering up with other vendors. Then, I decided due to personal circumstances, to throw myself into the vendoring profession full time, instead of part time. In doing so, I contacted the DAZ Platinum Club Rep, Jack Tomalin asking him if there was any chance of my doing some commissions with them. Jack agreed and in early 2013 I submitted my first commissioned set to the Platinum Club. It will be coming up to my 3yr Anniversary with the Platinum Club in April, and I can honestly say it has been a pleasure working with the PC Team over the years.

I do on occasion do texture commissions for the DAZ3D main store, for their DAZ originals, but I mainly vendor my own products and sell to the Platinum Club.

So, after all this time, I will have been in the 3D hobby industry for11yrs at least.

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Where would say you draw your inspiration from?

I draw my inspiration from what’s around me. The architecture surrounding me plays a big part in my work. I like to capture what I see and keep it real and believable. I also get inspiration from lighting, and how lighting behaves in an environment. It’s important to understand how lighting and shadows behave so you can properly and realistically lights your scenes so they look beautiful and end up captivating your audience.

“All of us want to achieve some sort of immortality, and I believe what better way to do it, than through Art?”

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

I mainly work in Photoshop, Poser and DAZ Studio. I have also toyed around with Hexagon and Cinema 4D in the past. I’m yet to find a modelling program that I’m 100% comfortable in. I recently started learning to work in Modo with the help of fellow vendor, David Brinnen, and have liked its simpler interface so far.

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

Depending on the model, or project it can take as little as 1 week, to as long as 2 months or more to finish something. It all depends on the size and complexity of the project.

What would you say is your favorite subject to texture?

Architecture is my favourite subject to texture, without a doubt. You can really open up your imagination with a good environment to place your characters in.

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

Don’t give up and to practice your craft as much and as often as you can. This job means you have to have a lot of self discipline and ‘get up and go’ about you. If you don’t work, you don’t make money, it’s as simple as that. Motivation is the key. If you cannot be motivated and self disciplined, this job definitely isn’t for you.

Don’t be afraid to ask for help from other vendors at DAZ, Renderosity and other 3D stores. All of us vendors are very approachable and all of us help each other if we’re ever stuck. So visit the forums, post questions. Don’t ever feel that you’re asking a silly question, no questions are silly and we have all felt this way at one way or another.

One Website: YouTube. This website is a godsend. It has a plethora of video tutorials for using Poser, DAZ Studio and many other programs. Utilize it; use it for hours and hours. Knowledge is power!

Free Stuff. When starting out, there are loads and loads of software out there that have free trials or are even free to use. DAZ Studio is free to use, and if you are looking for a painting software (and cannot afford to buy Photoshop or Corel Paint just yet), try Krita.

Krita is a free painting program similar to Corel Paint.

I think it’s important to try out the free stuff to see if you like this industry and what it’s all about, before financially committing yourself to something. This is an expensive hobby, let alone career so it’s best to dip your toe in first to test if you’ll stick it out before throwing yourself in the deep end.

DS CREATIVE • April 2016 • 19

Which 3 vendors would you say are your personal favorites?

OutofTouch Jack Tomalin SHIFTING IMAGES

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

I’d quite like integrated modelling software within DAZ Studio. I know DAZ already has Hexagon, but it would be nice if this was integrated into DS so it’s easier to go back and forth with changes for projects.

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

Opening up the project folder, especially when texturing a large scale Environment and seeing the huge list of UV maps that you have to deal with. Overcoming the overwhelming number of UVs to texture is somewhat chilling at first. But once I’ve started texturing the first UV and popped it on the model to see how it looks, I usually get a momentum going and there’s no stopping me. But for me, it’s definitely the first feeling of being overwhelmed which can paralyse me.

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

It makes me feel proud and gives me a sense of accomplishment to see my products used in peoples artworks. I find it flattering that they’d find my stuff worthy enough to use in the first place. All of us want to achieve some sort of immortality, and I believe what better way to do it, than through Art?

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

I don’t like to give details of future products out, as I don’t know sometimes what’ll be sold out to the Plat Club or as DAZ Originals. So because of the NDA at DAZ I like to keep it quiet most of the time…. But in this instance, does anybody like Ice Cream….? *winks*

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

I guess I could tell you a little bit about myself. My name’s Anna and I live in the UK in the North East, right by the Seaside. I am 30yrs old, and live in a cute 3 bedroom terraced house, struggling to keep my pet tropical fish alive. I find the sound of running water very calming, but on the other hand really loud music does have its moments. I love having flowers and plants around me, but for some reason I tend to struggle to keep those alive too. Maybe it’s because I’m chained to this computer desk? Haha.

Where can we find your content to buy?

I vendor at DAZ3d.com for the majority of my products, but I do have a small selection of items at Renderosity.com and HiveWire.com.

www.daz3d.com/forbiwwwddenwhispers

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

DS CREATIVE • April 2016 • 21

images from the war room

The MiG-21 was the first successful Soviet aircraft combining Fighter and Interceptor characteristics in a single aircraft. It was a lightweight fighter, achieving Mach 2 with a relatively low-powered After-burning Turbojet, and is thus comparable to the American Lockheed F-104 Starfighter Northrop F-5 Freedom Fighter and the French Mirage III. Its basic layout was used for numerous other Soviet designs; delta-winged aircraft included SU-9 Interceptor and the fast E-150 Prototype from MiG bureau while the mass-produced successful Front-line Fighter SU-7 and Mikoyan’s I-75 Experimental Interceptor combined a similar fuselage shape with sweptback wings. However, the characteristic layout with the shock cone and front air intake did not see widespread use outside the USSR and finally proved to have limited development potential, mainly because of the very small space available for the radar.

Like many aircraft designed as Interceptors, the MiG-21 had a short range. This was not helped by a design defect where the center of gravity shifted rearwards once two-thirds of the fuel had been used. This had the effect of making the plane uncontrollable, re-

22 • April 2016 • DS CREATIVE

sulting in an endurance of only 45 minutes in clean condition.

Additionally when more than half the fuel was used up, violent maneuvers prevented fuel from flowing into the engine, thereby causing the aircraft to shutdown midflight. The issue of the short endurance and low fuel capacity of the MiG-21F, PF, PFM, S/SM and M/MF variants—though each had a somewhat greater fuel capacity than its predecessor—led to the development of the MT and SMT variants. These had a range increase of 250 km (155 mi) compared to the MiG-21SM, but at the cost of worsening all other performance figures (such as a lower service ceiling and slower time to altitude).

The delta wing, while excellent for a fast-climbing interceptor, meant any form of turning combat led to a rapid loss of speed.

However, the light loading of the aircraft could mean that a Climb Rate of 235 m/s (46,250 ft/min) was possible with a combat-loaded MiG-21bis, not far short of the performance of the later F-16. Given a skilled pilot and capable missiles, it could give a good account of itself against contemporary fighters. Its G-limits were increased

LINEBACKER by theschell

from +7Gs in initial variants to +8.5Gs in the latest variants. It was replaced by the newer variable-geometry MiG-23 and MiG-27 for ground support duties. However, not until the MiG-29 would the Soviet Union ultimately replace the MiG-21 as a maneuvering dogfighter to counter new American air superiority types.

The MiG-21 was exported widely and continues to be used. The aircraft’s simple controls, engine, weapons, and avionics were typical of Soviet-era military designs. The use of a tail with the delta wing aids stability and control at the extremes of the Flight Envelope, enhancing safety for lower-skilled pilots; this in turn enhanced its marketability in exports to developing countries with limited training programs and restricted pilot pools. While technologically inferior to the more advanced fighters it often faced, low production and maintenance costs made it a favorite of nations buying Eastern Block military hardware. Several Russian, Israeli and Romanian firms have begun to offer upgrade packages to MiG-21 operators, designed to bring the aircraft up to a modern standard, with greatly upgraded avionics and armaments.

The North Vietnamese Air Force received the first MiG-21’s in 1965 and were used to such devastating effect during the early Rolling Thunder Bomber Raids that the US Navy and Air Force conducted Operation “Bolo” specifically to try and counter the MiG threat over North Vietnam. The issue of dealing with the MiG-21 led to development of what later became known as the “Top Gun” US Navy Fighter Weapons and “Red Flag” US Air Force Dissimilar Air Combat Schools (First started in 1969 to teach Navy and Air Force pilots how to deal specifically with the MiG threat over ‘Nam) and affected all subsequent NATO aircraft designs for many years to come.

Here I’ve depicted North Vietnamese MiG-21’s intercepting a B-52 Bomber Stream during Operation “Linebacker” during the Vietnam War... A roll that the MiG-21 excelled at...

MiG-21 PFM Fishbed F and extras by me with B-52’s and added scene props from a variety of sources...

DS CREATIVE • April 2016 • 23

TEXTURING INTRO Maniacmayo ventures into the world of creating new textures I ask that you, the reader, keep an open mind, this is after all just my opinion and I’m a gifted amateur at best.

Texturing is just as creative and artistic as any other art form so there are infinite ways of doing it and if you achieve the results you want then it’s the right way to do it.

When I first started texturing it was because of a lack of content for images which I wanted to create, so rather than shelving my ideas in the faint hope someone somewhere would make what I needed I decided to try to learn to do it myself. Having friends and contacts in the modding community I was a member of I began asking questions. I was given a link to the only written tutorial that existed at the time, it began thus “So you want to learn to do textures?

You only need 3 things: 1. Time 2. Lots of patience 3. A BIG BOTTLE OF VODKA “ I don’t drink but my first few attempts almost made me want to LOL. The problem with most tutorials is that the people who create them assume that we have a working knowledge of the programs and parts of the thing we are trying to learn, like most normal people I just wanted to do what I wanted right away and figured I could pick up the stuff as I learned but the language and terms eluded me. This led to countless wasted and frustrating hours and hopefully I can be of assistance to you, so you can avoid my frustrations.

What you need to create textures 1. A photo editing or paint program What you use for a photo editing program is up to you, there are several available. They range in cost from Free to 1000’s of dollars and they all do about the same job, the major ones are Photoshop, Corel Painter and Gimp.

Any of these three will do.

Gimp 2 is freeware and it is my program of choice for texturing. Main reason for this is that it was free and it’s the program I learned first so I’m comfortable with the interface and can do what I need to intuitively. This being said I also own Photoshop , Creative Suite 6 Extended 3D as well as the full Substance Suite from Allegorithmic , which is a professional texturing program - and yet I still use the first program I learned Gimp 2.

Since it is free it is a great program for someone who isn’t sure about whether or not they will enjoy or want to continue texturing. Gimp is available for download here https://www.gimp.org/downloads/.

The other programs are available either by the month or a yearly subscription fee and some as a one-time purchase. A lot of people in our community already use 24 • April 2016 • DS CREATIVE

Photoshop or Corel Painter for doing postwork on their renders so they are likely to be both, familiar and comfortable with these programs. Either of those will be perfect for texturing.

2. UV mapping program A UV map is a 2D representation of a 3D object,

U and V denote the axes of the 2D texture because X, Y and Z are already used to denote the axes of the 3D object in space. If you want to read about it in more depth, me check it out at https://en.wikipedia.org/wiki/UV_mapping It is a very good read if you want to understand what a UV is.

I use Uvmapper. Again this is only a personal choice and again it is available both as a Professional version and as a lite freeware program. The free version is called UV Mapper Classic and available at http://www.uvmapper. com/ . I liked this program’s intuitive interface so much I purchased the Pro version.

What UV mapping software allows you to do is generate 2D maps of your 3D object which you can then use as a guide to paint your texture. Most modeling programs have built in UV mapping software so that the modeler can generate the maps to texture the 3D object, this is great if you’re the original creator of the model but if you’re not and just want to retexture an existing model or if you find an untextured model, you will need to create a UV template yourself - unless the creator provides the maps with the model. A lot of content creators will provide texture templates; you are most likely to find them in Template Zips that you get from time to time. Yes, those pesky things that when you are new will leave you scratching your head wondering “where the heck do I install these”, so as I said those texture templates these are images of the UV maps that the creator provides so the user can create their own textures for their content.

What you need to know (And what I didn’t) I can’t stress this enough especially if your new to a Photo editor program - Take the time to learn all the basic functions of your program and the tools available.

Do yourself a favor and do the basic tutorials for each tool and function. There are 1000’s of tutorials available for all of the programs I mentioned (Photoshop, Corel Paint or Gimp) I did a very basic tools tutorial for

Gimp where the author had provided Images so that you could follow along step by step with the exact image he was working on. It is great to step back and go through basics.

The specific tools inside a program that you use are a going to be a matter of preference however for most essential ones are Simple Brush, Airbrush, Burn and Dodge, All the selection tools, Eraser, Fuzzy Select, and select by color. I know this may sound basic but if you can’t use them and well you will only frustrate yourself so take your time. Also you need to learn Cut and Paste, Layers, Tiling, Scaling, Rotate and Mapping.

It is so important to take the time to get to know the program inside and out as far as basic tools are concerned so you don’t end up like me reading or watching the next tutorial getting angry, frustrated and tempted to take up drinking because you can’t figure out what is being said and much less how to try and use it. This way you will save the Vodka for celebrating rather than washing down your frustrations ;).

WARNING!!!

When you do start texturing make sure the materials

and images you use are either open license or that you have specific permission to use it. There are several free texture resource sites on the net that have images that are free to use and open license two that I use are Textures.com http://www.textures.com/ and Mayang’s Free textures http://www.mayang.com/textures/ Now before I write a tutorial on texturing, I have to pass on this very important and somewhat annoying advice: while having a cool looking Nike ball cap or Coke bottle for your favorite character might seem like a good idea

DON’T DO IT !!!

Any and all companies with a Trademark, especially high profile clothing ones employ entire legions of people whose sole job is to protect their Name, Brand and Trademark. I hear you asking but what would be the harm if I just used it for an image? I will tell you, I personally know two people who did this. One was a beer can and the other the above mentioned Nike had both received legal notices by email telling them to delete the images and destroy all files containing the respective Trademarked labels. One did as instructed no harm no foul and the other decided Nike wouldn’t waste the money coming after him for a single image of a ball cap he had made. That was a very expensive mistake as it cost him close to $10,000 US in legal fees to get himself out of the situation and he was very lucky the judge didn’t order him to pay Nike’s legal bills which would have been enormous, so please just don’t do it is not worth the risk. Now when it comes to retexturing an existing product or making a texture set for one or whether for yourself or as a product. If the content creator has provided templates you can take that as permission to create your own textures for your personal use. If however they have not taken the time to contact them directly and ask permission to do it. I’ve done this several times and never been refused, most content creators love when someone makes an add on texture set for their product because it generates interest in the product, especially older content.

Next month we will get started with how to actually go about creating a basic first texture

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26 • April 2016 • DS CREATIVE

City Living

Lyam L

DS CREATIVE • April 2016 • 27

Spotlight Cliff George

28 • April 2016 • DS CREATIVE

FAVOURITE FIVE Five runtime must haves 01 Aine

http://www.most-digital-creations.com/aine_victoria_4.htm

I love the figures produced by Adam Thwaites at Most Digital Creations, as they look like real women rather than supermodels. My favourite of all is his Aine figure for V4 and Genesis. I have literally hundreds of female morphs, yet I constantly return to this lovely figure with an amazingly realistic texture.

02 i13 overhaul for V4

https://www.renderosity.com/mod/bcs/i13-overhaul-for-v4-dazstudio-version/93524/

If you’re using V4, the one problem you are likely to find is distorted joints with more extreme poses, and this product fixes those issues with a single click.

03 JM human shader for Iray

Adrian Schmit I use DAZ together with Photoshop to produce most of my artwork. I love fantasy art and I try to make fantasy figures look as realistic as possible, and realistic subjects to look like they have an element of fantasy. I have used DAZ for a couple of years now and it is a fantastic and addictive piece of software, but I am still firmly in the ‘pro-postwork’ camp and tend to regard DAZ as an artist’s tool, rather than an art medium in its own right. I work with Genesis 2 and 3 figures a lot, less so with Genesis, but still use generation 4 figures extensively, as there are some amazing morphs and content available for V4 and M4.

http://www.daz3d.com/jm-humanshader-for-iray

This is another product I use all the time with generation 4 figures, although it is not restricted to them. It makes the wonderful Iray render engine useable with any pre-Iray figure. It is particularly useful in sorting out problems with eye textures.

04 iRadiance – Studio HDRIs for Iray http://www.daz3d.com/iradiance-studio-hdris-for-iray

I have a number of lighting products for Iray, but this set, from Dimension Theory, I find the easiest to use and very versatile, and it give consistently good results.

05 OOT IrayPair hair shaders for DAZ studio Iray

https://www.renderosity.com/mod/bcs/oot-iraypair-hair-shadersfor-daz-studio-iray/110302/

Iray does a reasonable job with some hair designed for 3Delight, but in some cases the hair becomes very ‘thin and wispy’. This product corrects that and makes older hair products fully useable with the new render engine. It also extends the range of colors available in some cases.

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 • April 2016 • 29

Behind the Mask COMPETITION WINNERS

1st Place

Jodie Griffiths 30 • April 2016 • DS CREATIVE

2nd Place

3rd Place

Michael Tetzlaff

bowski

DS CREATIVE • April 2016 • 31

HONORABLES Dirac

Eric Johnson

Saidge42 32 • April 2016 • DS CREATIVE

Jaco Oliver LaMuserie

Adrian Schmit DS CREATIVE • April 2016 • 33

Part Two Pin-up Definition:

• •

a large photograph, as of a sexually attractive person, suitable for pinning on a wall (Dictionary.com) a photograph of an attractive person (such as an actress or model) that is hung or pinned on a wall (merriam-

webster.com)

COMMON PIN-UP ELEMENTS Regardless of the genre of a pin-up image, there are several commonly used elements used in creating an actual pin-up image. One more I wish to reiterate these are not hard and fast rules—and in fact, many times in art one wants to break the rules and post something unique. These elements are merely some of the thoughts which go through my mind when identifying a pin-up image versus an action scene or fashion or other type of render: • Fully body view – Most pin-up images are fullbody views of the model. Although you’ll find portraits or partial—most commonly three-quarter—body views, for the most part a full-body camera view is utilized.

[IMAGE 07 Crème de la – Mithoron]

• Make-up – Although the render involves and often focuses upon the full body of the model, possibly with emphasis on a particular body part or clothing, make-up plays an important aspect of a pin-up image and should not be skipped. It is often the little things 34 • April 2016 • DS CREATIVE

which make a good render great, and make-up and nail colors are one of the ‘little things’ which stand out in a pin-up image. Pin-up make-up typically focuses on the eyes and lips. For the eyes, the use of thick eyelashes with a dark, prominent eyeliner is fairly typical. Lips should provide a sharp contrast to the body, often consisting of bold red or orange colors which emphasis a dramatic pout or smile. The ultimate goal for makeup on a pin-up model is to cause the viewer to want to make out with the model!

• Expressions – One of my own pet peeves with 3D artists are models with blank, vacant, ‘null pose’ stares. NOBODY is expressionless, and I feel everybody should spend time in every render tweaking out a smile and changing the eye positions of their models at a bare minimum. Pin-up models often have playful or sultry expressions, or in pin-ups depicting ‘accidental’ revelations of intimate clothing or body parts, surprise. Examine the various pin-up works on the internet and you will observe most of the models having playful or flirty expressions, and almost always looking at the camera. These additional elements give the impression the pin-up model is posing specifically for the viewer and draws them further into the image.

• Hair – Pin-up models often have exaggerated hairstyles, particularly Retro or Rockabilly type pin-ups, consisting of large curls, large buns, and various accessories within their hair. Gothabilly pin-ups often utilize pastel coloring for hair, as well as fluorescent colors.

Even though the focus of the image should be on the model as a whole, hair elements provide a central focus to the image, but I often provide something in the image to even out the contrast of the hair—whether it is additional accessories, props, or whatever. In addition, think about adding a bold hair accessory. For example, Rockabilly pin-ups often have bandanas or handkerchiefs in their hair, while anime pin-ups often have bright hair ties or braids to complement their overall hair style.

• Posing (Part A) – Poses are typically provocative. A pin-up image is supposed to be sexy, and even if the pose is subtle, the placement of one leg, or bending the body or another extremity often is such that it calls attention to a revealing clothing malfunction. If your figure is standing, thrust out the model’s hip to cause the viewer’s eyes to be drawn to the curves of her behind.

If you utilize clothing revealing the lines of a garter or underwear or cleavage, position the model’s arm or leg at an angle such that they draw the viewer’s eyes towards the lines of her body and are drawn to that area.

If accentuating the bust and cleavage, bend your model forward or have her arms folded beneath her breasts and raise their breasts exaggeratedly. In many regards pin-ups are all about the pose itself, the rest—clothing, scenery, and so forth—merely are provided to enhance the pose.

[IMAGE 09 Afternoon Repose – Mithoron]

[IMAGE 19 Last Rays of the Day – Mithoron] [IMAGE 11 Fly With Me – Mithoron]

• Posing (Part B) – In addition to the above, one word which always echoes in my mind over and over when I am putting together a pin-up render is angles.

Angles, angles, and more angles! If you draw a line from your model’s head to their pelvis, then extend two lines down their legs to their feet, as well as two more from their shoulders to their hands, did you draw straight lines? Are they all parallel? If so, bend a leg slightly, or an arm, or even cause the model to bend at the waist and create a sharp angle to her pose. Many pin-ups are about sharp angles of the body, drawing the viewer’s eyes to where you want them to focus. Even subtle bends of the legs and arms do more for the image than if the model’s appendages are simply fully extended.

• Clothed versus Nude – The majority of pin-up models wear some type of clothing—even if it is simply a sheer robe or covering. Remember, the goal of a pinup is to create something which can hung on the wall in public view. But also remember the origins of pin-ups— they traditionally were made for male soldiers and ‘blue collar’ workers, so naked images should not necessarily be avoided. There were many a centerfold pin-up from Playboy hung in garages, men’s restrooms, and so forth.

‘Public’ can be a limited audience, but for the most part, although the model may be nude or half nude, the groin area is never revealed. Derrieres are the most common part of the body exposed, many pin-up models wearing panties or high-cut shorts exposing and highlighting their derrieres if not completely exposed. For a pin-up image, it is more about the tease of seeing more than usual. A woman’s breasts are the next most common area to reveal, although nipples are typically obscured, the focus predominately upon the woman’s cleav-

DS CREATIVE • April 2016 • 35

age. Topless and full breast views can be utilized, but remember to delineate a pin-up from more risqué images—adding even a sheer piece of clothing gives more to the illusion of being clothed and complementing the pin-up image, and does not offend a viewer as much as a ‘nude’ image. If a model is completely nude, her pose and positioning need to be such that the provocative nature of the image is the focus and the viewer’s thoughts, while keeping her more intimate areas obscured.

[IMAGE 12 Sitting – Mithoron] try – Mithoron]

[IMAGE 13 Sul-

pastel colors. Props and scenes are there to provide more to the story, inserting a single item such as a car, a washing machine, an ironing board, a mixed drink, etc. in order to provide ambiance to the scene, but not detracting from the model. Props are often merely a humorous addition.

• Clothing – Clothing is often dictated by the genre of your image, but along with posing can be an area an artist can have some fun with. Rockabilly and Hellbilly pin-up models often wear denim with polka-dotted or plaid clothing, but in a playful style. Gothabilly pinups often have a retro fashion to them, but use leather and latex textures to give a more somber appearance.

If your model is wearing a dress, morph it to show a bit more leg, or open the model’s top to exaggerate her cleavage. I often spend hours tweaking one particular section of clothing in an image—when they are wearing clothes that is—to get the perfect fold, bend, or ruffle.

Shoes are more commonly peep-toed with straps, often with additional accessories such as bows or flowers upon them in the fashion similar to hair accessories.

• Props – For the most part, pin-up images are minimalistic when it comes to props—the focus of the image should be upon the model. Many pin-up images have no props, simply using a plain diffuse backdrop of 36 • April 2016 • DS CREATIVE

• Lighting – Many pin-up images use a diffuse light source, often minimalizing shadows which may detract from the overall render and model. This is particularly true for vintage pin-ups, as one trend in contemporary pin-ups and boudoir images is to instead use muted or colored lights with heavy shadowing. One more this is more to the flavor of the artist’s taste and not a hard and fast rule—I typically use spotlights on the model herself, while providing a medium environment/HDRI lighting to remove or mute shadows.

Next Month

EXAMPLES AND THOUGHT PROCESSES USED IN CREATING PIN-UP IMAGES

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Last Tea Andreas Küntzer

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ARTiST SPOTLIGHT

Katherine Briggs

The ability to create art, for me, was always that “elusive” talent that other people were blessed with. I can remember my cousin drawing horses on everything when I was younger. She’d draw horses running, eating, sleeping. Horses all over the place! When I stayed with them, my aunt would drop us off Saturday mornings at some art class or another my cousin was attending and I’d just sit there. I could barely draw a stick figure. I can remember feeling totally left out.

“Learning Daz Studio

may not be the easiest thing you have ever done, but if you want to create, it will be one of the more rewarding ones.”

When I was 19 I discovered ceramics. This was an art form I was very good at, and I began painting wildlife steins, winning contests and totally enjoying my newfound abilities. From there I moved on to tole painting.

I taught myself and had a brand new outlet for my “artistic” desires.

Several years passed and my significant other discovered Daz Studio. I tried it a couple times, but was totally unimpressed. The pictures were flat and unappealing. I ignored it for the next 6 months. In fact, I would come home during that period to find him messing with his “digital paper dolls” and just roll my eyes.

Time passed and one day I went to the Daz 3D website and browsed the gallery to see what kept him so interested in this application 6 months later. I saw some beautiful images people had done with Studio and again felt the desire to create artwork myself. I reinstalled the program, began trolling the forums and discovered a big “secret” that made all the difference DS CREATIVE • April 2016 • 41

in the world. You had to actually turn on shadows.

Once I discovered this marvel in Studio I was off and running!

Once I really started digging into Studio there was no turning back. I was obsessed. I started learning as much as I could. I was determined to become more involved in the 3D community and set a goal for myself to eventually work within the industry. A few months after I dove back into Daz Studio, there was a post in the forums asking for a Q&A person. I figured, “What the heck? The worst that can happen is they tell me ‘No thanks’.”

To my surprise they didn’t. I got a position as a tester.

From there I set a new goal. Work in the 3D industry full time. I kept pushing and learning, and 5 years later had my dream job. I was in.

Today I work as a Published Artist as well as an employee where I get to use Daz Studio every day. I have watched the application grow from version 1.8 to what it has become today. The implementation of Iray and the interface changes have made the new user experience so much better than when I first tried it and was struggling to get anything to look even remotely 3D. I get totally excited when I can introduce others to Daz Studio and teach them the ins and outs of the program. I love it when someone else who doesn’t feel like they can create the art they want begin to realize that this is exactly what Studio will allow them

to do. The application is designed for those of us who have an inner artist wanting to burst out, but are on the short end of the stick when it comes to drawing, painting and so forth.

Now that I am comfortable with Daz Studio, I am venturing into new waters to further my 3D education and customize my own artwork. I have started learning Modo, Zbrush and Substance Designer and Painter.

This will allow me to create exactly what I want in my images as well as give me a better grasp on the industry as a whole. There is always something more to learn.

On a final note, I would encourage others to set goals, educate yourselves and never give up. Learning Daz Studio may not be the easiest thing you have ever done, but if you want to create, it will be one of the more rewarding ones. Also, get to know people. Talk to others who are doing the types of things you want to do yourself. Two people who have helped me along the way and been invaluable in their advice and encouragement are DZFire and Littlefox. Lastly, have fun! I look forward to seeing the beautiful art you create.

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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

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

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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 • April 2016 • 45

Saving & Mirroring poses Fantail 451 show us just how easy it is to save our poses

I have called this one G3MLRun. This describes that it is a pose for G3M on the left hand side and it is a Run pose.

The next is to make sure unless you are copying an animated pose or action that it is only capturing a single frame.

Pic 4

So you finally made the pose that looks just right. You have the one that not only looks right but makes the scene complete.

Pic 1

So how can you save this for another time? What if you want the other side instead? Let’s have a look at these two problems first.

First let’s just do a save. As in the pictures go to file/save as/pose preset Pic 2

Make sure the character you want to capture the pose from is selected (you may have multiple) and if you want (recommended by most) untick the compress file box. This is usually ticked until the first time you untick it. I had many problems when I first started and when I wanted to edit the files I couldn’t and so had to capture the poses many times over just because of my name.

And then accept.

Your pose is made. J Oh yea... wrong side… blast… have to do it all again for the other side? Nope really easy.

This time go to Edit/figure/symmetry

Make a name for it that will let you know what it is and how it is being done (as in which side) and who it is for.

Pic 5

Pic 3

Then change Nodes to Root; Propagation to Recursive; Direction to Swap Left and Right; Trunk Nodes to Mirror Y and Z Rotations and accept.

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Pic 7 Save this as above and you have both sides saved as a pose but don’t forget to change the name to reflect which side it is.

Have fun and next time well have a look at some other posing tips.

Pic 6 You now have the opposite side of your pose.

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agic is in the air, so cast your spell on us bring out your witches, wizards, enchantresses and sorcerors, cast your spells, use your potions and elixers and take us to a place where magic exists, a place of fantasy a place with dragons and unicorns, a place of wonder and MAGIC.....

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 April-16 For full prize Information and for full term’s and conditions visit our Facebook group: https://www.facebook.com/groups/dazcreative/ DS CREATIVE • April 2016 • 49

50 • April 2016 • DS CREATIVE

DAZMOPOLITAN

Steve Cody

DS CREATIVE • April 2016 • 51

MASTERING EYELINES Todd Kogutt get creative with cameras to get good eyelines As humans, we naturally look at the eyes of others: other people, animals, and figures in art. Entire stories can be told just by looking at the eyes in a picture, while an entire composition can fail if there’s something wrong with the eyes.

Eye-lines, literally a line from a character’s eyes to whatever they’re looking, are critical to getting art to look right. If someone is facing towards an object, but not looking at it, something just feels off, even if the viewer can’t quite determine what. Likewise, getting the eye-lines right adds a whole layer of realism to even the most outlandish of pictures.

This is a very easy way to mastering this critical element in your Daz Studio compositions.

Set up your scene: characters, objects, Main Camera etc.

Create a New Camera; name it for your figure.

Parent the camera to the Head of the figure. Make sure “Parent in place” is NOT checked.

Select the camera in either the Camera Pane or the Scene Pane (depending on your program layout).

Leave the Translate settings as they are. Set X Rotate and Z Rotate to 0. Set Y Rotate to 180.

Your character will now appear like in the picture. You can set the camera to invisible if you wish to unclutter the screen. I’ll leave it visible for the tutorial.

Change your View Port to have 2 camera views

Change one of the Views to the character camera.

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WARNING: Your view will be INSIDE the head, so the squeamish should be aware.

At this point, using pose controls of the head, neck, and body, as well as the figure’s total Y Rotate setting, change the figures so they’re looking at what you want them to, keeping an eye on your main camera so you don’t alter your setup negatively (like turning a figure too much away from the main camera). Start with big movements (Y-Rotate of figure) and slowly get finer (turning the head).

BE CAREFUL to not change the camera’s position itself.

Lock it down if that helps...

Change the camera’s Y Translate until the view is between the eyes.

Change the Camera’s Z Translate (Or Zoom) so the view is in front of the face.

Repeat steps 2-10 for any other character you’d like to set up. You’ll wind up with something similar to this.

You can use any kind of movements, like tilting the head, to set different attitudes or emotions for your figures, while still having their eye-lines correct.

You can use this method to match two characters looking at each other, focusing on their eyes meeting.

You can change the Parent of the camera to the eyes if you want to get further into the details of positioning.

You can use it with people, animals, even cars to make sure their headlights are pointing where you want. It’s a simple and versatile trick to add another bit of reality to your 3D art.

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FREEBIE from Luthbellina

WOLF SADDLE

Make your wolf into a beast of burden If he agrees that is

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

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FAVOURITE FIVE Five runtime must haves 01 Elianeck Lights Package for Iray http://www.daz3d.com/elianeck-lights-package-for-iray

One of the biggest problem areas for me when rendering with Iray has historically been setting up the lights and the render settings to get a satisfactory render. There are lots of good products to help with lighting for 3Delight, but the ones for Iray that I had tried were not easy for me to use well. That’s not the case anymore. The Elianeck Lights package is fantastic for portraits, and I also use it for larger scenes sometimes. It can make nearly any skin look great.

02 DA Real World Lighting http://www.daz3d.com/da-real-world-lighting

For outdoor Iray scenes, the Sun-Sky Only render option can be a good choice, but trying to get the settings just the way you want can be a royal pain. This product from Design Anvil makes it easy to select pre-calculated render settings for certain geographical locations, times of day, days of the year, and amounts of haze, tint, exposure and bloom.

It makes the Sun-Sky Only option usable for me.

03 UHT Hair Shaders for Iray http://www.daz3d.com/uht-hair-shaders-for-iray

Michael K. Eidson My name is Michael K. Eidson, and I’m a software engineer/web developer by trade. I sign my artwork with my DBA name, Eposic. I first got into rendering 3D art with Poser 3 and Bryce 3D, many years ago, strictly as a hobby. Life interfered, and I gave up the hobby for a decade or two. A few years ago I discovered DAZ Studio as a free download. I grabbed it and am using it now more than I ever used Poser or Bryce. I’m currently working on a fantasy novel, and I hope to become good enough with DAZ Studio to produce the cover art for my book.

The short-form URL for my website is http://eposic.org, where you can find links to my Twitter, Facebook, and other social media pages.

With this product from SloshWerks, I never have to worry about whether I have an Iray material for the hair of my choice when doing an Iray render. Hair products created before Iray came along can turn out great in Iray scenes by applying this shader. The product not only is useful for setting the colour of hair for an Iray render, but gives you some convenient settings for backscatter, shine, displacement, and translucency.

04 Alani for Callie 6

http://www.daz3d.com/alani-for-callie-6

I love rendering stylized characters, and enjoy using many different ones. Alani is a favourite because she’s so versatile, rendering with a Disney style if you want, or not if you don’t. She renders well in Iray or 3Delight, and is great for toon renders. But mostly, I love her shape and those big eyes.

05 Camera Magic: ToonyCam Pro http://www.daz3d.com/camera-magic-toonycam-pro

I don’t always strive for realism in my renders. Sometimes a certain stylized look is what I’m after, and when I want to do toon renders, I turn to ToonyCam Pro. It gives me so much control over outlines and shading, even without using some of the more complex utilities available. I’ve never needed to do post work to my toon renders when using ToonyCam Pro with the right settings.

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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freefalling

Mark Kappe

DS CREATIVE • April 2016 • 57

VENDOR SPOTLIGHT

Belladzines3D

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

I’ve been “in the craft” for about 14 years now. I started years ago but didn’t believe I was good enough to become a vendor until 2004. My mentor was Chrislenn, she taught me all I knew then and I just kept on learning by what I read, and questions I asked and so forth. My motivation to get into 3D was Valentina aka Vali and _A_ who I believe have retired from 3d? I’m not sure. I was surfing the internet one day and came across their art works and then it was all downhill ...

I mean uphill from there, spending lots of money to get what I needed to learn it all.

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Where would say you draw your inspiration from?

Pictures I see in magazines of beautiful women, women from different eras. Each one of my girls is unique and not cookie cutter.

“Each

one of my girls is unique and not cookie cutter. ” Which program(s) do you create your textures in?

Zbrush, poser back then but now its Daz Studio. Yes I’ve abandoned V4 for creating characters but I still use her on occasion to make art.

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

Anywhere from 2 weeks to 3 months - this girl I am working on now is almost finished and she’s been in the pipelines for about 3 months, I’ve redone her skin and makeup’s three times so far but I’m sure she is ready for promo stage.

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

I’m sure there is one but I just haven’t thought of it yet, maybe DS remembering what position you left your scene in and not go back to default every time you load a saved scene up (if that makes sense).

If it has that already can someone tell me what box to tick?

DS CREATIVE • April 2016 • 59

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

Where can we find your content to buy?

Which 3 vendors would you say are your personal favorites?

http://www.daz3d.com/belladzines

Making her unique, I don’t want her looking like other girls out there or the previous girl I made.

For clothing - lilflame, outoftouch For hair - SWAM, outoftouch, Valea, aprilsyh Jewelry and what have you - Fabiana and Sveva

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

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

Just this girl I’m working on, hope she sees the light of day.

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My main store is Daz3d.com and my 2nd store Renderosity.

https://www.renderosity.com/mod/bcs/ ?uid=280096

Would you like to win some content money, every month we have two prizes up for grabs 1st place $30 of content money 2nd place $20 of content money All you have to do is to submit a tutorial or a tip and get it published and we always need tutorials and tips, then in the days after publication we will let the readers vote in our facebook group https://www.facebook.com/groups/dazcreative/ for the 2 most popular tutorials/tips winners announced in the following issue.

As this is judged by the readership it is open to all tutorial/tip writers.

Send your tutorials and tips to: articles.dscreative.mag@gmail.com

Last Months Winners 1st Phil Thompson $30 2nd Mithoron $20

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Reverie Mithoron

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GALLERY

Farmer Wants a Wife Andreas Schwietzke West Girl 3 LaMuserie

Farmer Wants a Wife 64 • April 2016 • DS CREATIVE

West Girl 3

DS CREATIVE • April 2016 • 65

GALLERY

Coming for you Garrett Miller Skye’s Ride BronzeDragon

Coming for you

66 • April 2016 • DS CREATIVE

Skye’s Ride

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GALLERY

steampunk elf Rian Bergwerff Winter Magic Jaco Oliver

Stop

Fantail451

steampunk elf 68 • April 2016 • DS CREATIVE

Winter Magic

Stop DS CREATIVE • April 2016 • 69

GALLERY

Let’s have a Wintery Vittorio Gagliano FAST TALK Astuce Man

Let’s have a Wintery

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GALLERY

UNTITLED Kusuma Chandra bella3 Bellatryx

Deep in Thought Eric Johnson

Untitled 72 • April 2016 • DS CREATIVE

bella3

Deep in Thought

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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 74 • April 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 to to

DS Creative needs a small army of people help make it happen, so to those people who helped make issue 22, A very big Thank You. month

The DS Creative Team

76 • April 2016 • DS CREATIVE

TutorialS

Mithoron Maniacmayo May Fantail451 Todd Kogutt

Free GiftS

Forbidden Whispers Luthbellina

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

Adrian Schmit Andreas Küntzer Andreas Schwietzke Astuceman Bellatryx Bowski Chandra Kusuma Charlie McDonald Daniel Wright Dirac Eric Johnson EsaPesa Fantail451 Garrett Miller Ginger Lee McKee Jaco Oliver Jeff Thomas Jodie Griffiths Karisma Ktoya LaMuserie Lyam L Mark Kappe Markus Ba Mary VanAssche Michael Tetzlaff Mithoron Phil Thompson Rian Bergwerff Saidge42 Sandra Bauser Sanyel Jackson Seliah Steve Cody Tia Maze Vittorio Gagliano

DS CREATIVE • April 2016 • 77

At least DS Creative brings some sunshine in to my life Only available at Issuu.com

DS Creative Issue 23 • 1st May 2016

78 • April 2016 • DS CREATIVE

Artwork by Phil Thompson