DS CREATIVE
ISSUE 23 MAY 2016
The magazine for DAZ Studio users
ArtWORK SPECIAL More images than we have ever featured
The LAST ONE
We say our goodbyes for now
DS CREATIVE • April 2016 •
Decodence Alex LeDante
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CONTENTS
Issue 23
FEATURES 20 • Vendor Spotlight Our first featured vendor this month is the creator of many a wonderful character, It’s Tempesta3D.
EDITOR Camilla Drakenborg camilla.dscreative.mag@gmail.com
49 • Editor Spotlight For our final issue our founder and editor in chief Camilla Drakenborg wants to talk about DS Creative.
PRODUCTION DESIGNER Phil Thompson phil.dscreative.mag@gmail.com
64 • Vendor Spotlight Our second vendor this month is Orestes Graphics how makes some wonderful grungy environments.
TECHNICAL EDITOR Totte Alm totte.dscreative.mag@gmail.com PROOF READER Jamie Somers
REGULARS 06 & 68 • 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
35 & 55 • Fave Five Two fave fives again this month, so Mauro Bisiani and Claudine Lavoie share there must haves. 36 • Competition Winners The winners are in for our final competition, In a world full of magic, Picking the winners was really difficult .
TUTORIALS
28 • Texturing Intro Maniacmayo starts out on his texturing journey by building a complete new T-shirt texture 42 • Pinups part 2 Mithoron returns for the final part of his guide to creating pinups in DAZ Studio. 59 • Pose Tips We show the effect of the smooth option in the surfaces tab and why sometimes you want it turned off.
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 •
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Welcome to Issue 23 So here we are at issue 23 and sadly our last issue for now at least, now I know that may be a shock to some people, but i’m not going to dwell on that here, as there are articles by both Camilla and myself that talk about this turn of events later in the issue. So what have I seen this month well, there is a new Beta out, but I’m not a fan of Beta versions, I like stability so I think I will wait for the full release, the only time I ever installed a BETA was with the first release of Iray that was just too good a thing to miss out on, so a new Beta hopefully this may go some way to address some of the issues with connect and encrypted content. Perhaps the strangest DAZ related thing I saw this month was about the not so oriental look of the newest figures Mei Lin and Lee for both G3f and G3M, with some people claiming their look was too westernised, as in real life people come in all shapes and sizes and if you are really not sure then the simple answer is not to buy. One thing I have to give DAZ3D is a big thumbs up for is George, I love it when we have characters that look more like real life, like someone I might see walking down the street rather than strutting down a catwalk, George is on my wishlist. Once again, I ran across a raft of people who seem unhappy with DAZ3D and Studio and it set me thinking about the value of what we get for free, now I know people are going to say about the cost of content but DAZ studio itself is amazing value by comparison to other 3D programs. Zbrush $795 Maya $1800 Poser 11 $499 Cinema 4d $3695 And if you want to add a phyically biased renderer to C4D, Vray for C4D is $900 So DAZ Studio with Iray is immense value when you look at it.
Phil Thompson Production Designer
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Image by Phil Thompson
princess warrior
R.P. Callahan
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GALLERY
double beauty Ktoya
The Alien Capture Team Stephen Cody cyborg dragon Ginger Lee McKee
double beauty
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The Alien Capture Team
cyborg dragon DS CREATIVE • April 2016 •
GALLERY
joselien Rian Bergwerff
Rescue Interrupted Nancy Schultz
joselien • April 2016 • DS CREATIVE
Rescue Interrupted DS CREATIVE • April 2016 •
GALLERY
ShenLee Daniel Wright Power Garrett Miller
Exploration Seliah
ShenLee 10 • April 2016 • DS CREATIVE
Power
Exploration
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GALLERY
Platinum Bowski
Yin/Yang Kismet2012 The Real Hero Fantail451
Platinum 12 • April 2016 • DS CREATIVE
Yin/Yang
The Real Hero
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GALLERY
assenzio Sandra Bauser
Winter came! Vittorio Gagliano
After the party EsaPesa
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Winter came!
After the party DS CREATIVE • April 2016 • 15
GALLERY
Amarthandes Daniel Wright
Dragon Rider Kismet2012
A Sunday drive in Sicily DeepRed6502
Amarthandes 16 • April 2016 • DS CREATIVE
Dragon Rider
A Sunday drive in Sicily DS CREATIVE • April 2016 • 17
GALLERY
FairyButterfly Mithoron
Christmas Angel BronzeDragon Dragon Fighter Ginger Lee McKee
Fairy Butterfly 18 • April 2016 • DS CREATIVE
Christmas Angel
Dragon Fighter DS CREATIVE • April 2016 • 19
VENDOR SPOTLIGHT
Tempesta 3d
What made you get into 3D modeling and how long have you been active in the craft? I started this as a hobby in 2006, and slowly it became a real profession. I was always attracted by anything artistic from childhood. The moment I started to talk I invented already the most absurd stories full of animals and magical creatures. Growing up I dedicated most of my time trying to stay creative, either cooking elaborate and decorative meals or writing novels and poems or organizing the most colorful parties for friends and family. We should all try to keep dreaming despite real life pushing us often into reality. My sweet husband was the one encouraging me. He is still doing every time even now. There, now you know who to blame!
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Where would say you draw your inspiration from?
The inspiration is all over me! I was lucky enough to grow up in a city full of art and a big touristic place where I am in contact with any different cultures. This enriched me inside and inspires me daily. What I love the most is to create characters, I adore especially the underdogs. They are not the prettiest faces and bodies around, but they have a soul. They must work hard each and every day. They are often pushed apart and ignored because they are considered weak or “imperfect”. Those imperfections are what make them human and appealing to my eyes. My family is a great inspiration too. We are of many different nationalities, and so this boosts my brain to know and try many different things in life and in my job.
Which program(s) do you utilize to create your models in?
I usually work in Poser and recently also in Daz, while most of my modelling is done with Zbrush. For texturing I always use high definition pictures of real people. The programs I use daily are Corel Photo Paint and Blacksmith3D, essential for checking seams and mistakes, but the eagle eyes of my beloved tester always spot some of them anyway; he he.
Typically how long does it take from initial idea to finished model?
Normally it can go from two weeks to even a month or more. Sometimes I feel like the characters are not quite like I envisioned them or are not quite right and it can happen that I totally restart from scratch until I am satisfied.
“I was lucky enough to grow in a city full of art and a big touristic place where I am in contact with any different culture.” What would you say is your favorite subject to model?
People, common people, average looking, often beaten up, wrinkly or rough of any age and color. I also love to explore more fantasy subjects, and sometimes I am attracted to making sexy but non stereotypical beauties.
What one piece of advice would you give to someone, who is just starting out creating models for Daz Studio?
Find your own style. Create everything with passion. Be always kind with the other artists - either customers or sellers. Don’t get too mad when things seem to not go as you wish. Never stop learning. Be humble.
Which 3 vendors would you say are your personal favorites?
Just three? Every other seller is my favorite. I am not kidding! They all inspire me with their talent and skills.
If you could add one new feature to DAZ Studio, what would it be?
Hard to tell, for the way I use it I find that it is fine as it is.
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What is the biggest challenge for you when creating a new product? Achieving realism and conveying life and emotions from my renders is my biggest challenge. I may add also that often I get easily distracted working at home and being part of a big family of humans, cats and dogs. Have you ever tried to resist playing with your little nephew or that furry adorable pet who asks for all your attention? :-)
How does it make you feel when you see the final artwork created with your products?
This is the biggest emotion I could feel. When I make a character I like to give everyone the freedom to use it how they envision it, either as hobbyists or in commercial renders. To me it is the most wonderful satisfaction to see them come alive in those amazing talented hands.
Can you give us a hint of what is to come?
Oh, well... I can only say that I will always try to do original and maybe a bit weird characters so I really hope I will not disappoint those of you who like what my crazy mind comes up with because this year I would like to push the envelope a bit further.
Anything you would like to add that we haven’t asked or you think the reader would be interested in knowing?
I can only thank each one of your readers. I hope I don’t make some of you fall asleep reading all this. Are you really still reading that? Seriously, I wish for every artist to create something that can inspire us all and give hope to a world that is often cruel.
Where can we find your content to buy? You can find my content at Renderosity, Hivewire3d and now also at Daz3D.
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Tempesta3D brings you Sexylicious G3f a stunning collection of expressions for the Genesis 3 female
http://4eyes.code66.se/dsc/Sexylicious_G3F.zip
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Rising
Eden Clark
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images from the war by room theschell Gates Of hell
North Vietnam, specially the area around Hanoi and Haiphong, fielded some of the heaviest air defenses ever seen in aerial warfare. This region saw some of the most intense air/ground battles waged during the Cold War period; indeed, it was the most difficult such campaign fought by the U.S. Air Force since the aerial bombardment of Germany during WW2. Supported by communist allies, North Vietnam fielded a potent mixture of sophisticated air-to-air and ground-to-air weapons that created one of the most effective air defenses ever faced by American military aviators.
In this image I’ve depicted a pair of F-105F “Thud’s” making a run-in along “Thud Ridge” towards the Hanoi area as part of a low-level strike against the POL facilities there... F-105 Thunderchief, crew, and weapons by me, with additional scene props from a variety of sources. Flak Effects by me as well...
MiG’s Low
In ‘Nam the typical tactic employed by MiG pilots was to stay low while being directed on to the target intercept, where they’d be hard to see visually below cloud cover and lost in the terrain to both radar and sight, and then “pop up” to ambush the target... GCI ( Ground Control Intercept) Controllers guided the flight on to the correct target path and to the interception until the MiG’s were in range to acquire the enemy aircraft with their limited on-board radar sets. At that point the MiG Pilots would climb
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out of the ground clutter, engage with missiles and guns, then power into a dive using the ground clutter again for a low altitude escape... This sort of “hit-and-run” tactic was highly successful and Vietnamese Pilots racked up impressive kill scores through the course of the war... MiG-21 PFM Fishbed and extras by me
Fashion
Jean Morneau
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Start TEXTURING Maniacmayo starts us off with our first custom texture for a DAZ shirt Step one: The Base UV Open your Photo editing software and selecting File/ Open select the copy of the Template or UV you want to texture. It’s important that you always use a renamed copy and not the original, if you make mistakes and have used the original you can’t try again; always use a copy.
In my case this is the USMC T shirt from DS3D at Daz, now he didn’t supply a Templates .zip with his clothing set, so I contacted him by email via the Daz forums and asked his permission to retexture the set which he gave along with well wishes. This has been my experience with most vendors when it comes to retexturing an existing product but always ask permission FIRST , this will save you a lot of grief, never assume it’s ok to just do it especially if your thinking of posting it either for sale or as a Freebie.
This will select each part of the mesh as the black lines act as a barrier. Now using your Eraser erase the white background (* Note If your familiar with your paint or Photo editing software you can simply hit Delete)
at this point I make sure that the image is in RGB color, this is important as is whether it is PNG or Jpeg format as all the materials you use must be the same format. Now the most important step I rescale the UV to 4096 x 4096 and Export it in PNG format to a working folder.
Now that I’ve gotten the make sure it’s legal out of the way let’s proceed. Most UV’s included with Template .zips are already saved as .Jpeg or .PNG images, if like me you’ve generated a UV map using the .obj file and mapping software such as UV mapper classic or Pro then it will be in .bmp, either way the first thing I do is: Add a Transparency layer. In Gimp you must do this for the new PNG UV map to work.
You will notice a web of lines on each piece of the object the UV represents this is the Mesh, the mapping software has cut it and flattened the 3D object into 2D to make texturing easier, what I always do is get rid of the white areas around the obj. The fastest way to do this is by using your FUZZY Selection tool and selecting any spot outside the mesh on the white background. 28 • April 2016 • DS CREATIVE
Step 2 Texture Base Now open the new PNG you’ve made, the first thing I do is paint in the mesh in the lightest shade of my base fabric color, again the fastest way to do this is to simply Fuzzy, select the transparent background. Invert the selection and paint it in, by selecting the background then inverting the selection you can then increase your brush size and paint, the only areas that the paint will touch are the areas selected, this is great for those of us with problems coloring inside the lines, when finished don’t deselect or select none leave it selected
(*Note, If you’re asking yourself “why didn’t he just use the Bucket Fill? “ go ahead and try it, I dare you). Step 3 Fabric Base Ok it’s time to work on the T-shirts base material, where most people go wrong with materials for texturing is they forget about scale when using an image, looking at my T-shirt material it’s a 2454 x 2454 PNG image I’m all set, WRONG !
This is important especially when texturing items that people see and use every day, when doing clothing I use a simple rule when in doubt look in my closet. The cotton weave will be to large when its applied to my UV so I can easily remedy this by looking at and measuring the mesh,
this will give me an idea what sized material image I need, mine is 2292 pixels on the longest side, so I need a piece of material 2300 pixels to cover this panel, my T-shirt material image is 2454 so it will cover it but the cotton weave is to large and not to scale, so I will resize the image to 1/2 of 2300 , then tile it to 2300,
this will reduce the size of the weave making it more realistic and then create an image large enough to cover the mesh panel (NOTE* This is a easy fabric to tile the amount you reduce it and the amount of tiles will change depending on the base image and how you want it too look, others, especially anything patterned may require you to create a seamless texture of it first. There are tons of tutorials on YouTube on creating seamless textures for most photo editing programs) Step 4 Applying Fabric Base Switch to the UV and add a new layer, I’m calling this one” Fabric Base”. My friend Connie of Bad Kitteh Co fame taught me to do this simple step and the next trick I’m going to show you when adding layers to make my workflow both faster and easier. Adding Layers is very important when building a texture because we make mistakes, trust me it’s going to happen a lot. If you add a layer and work on the next part of the texture whether seams, dirt, stains or whatever you’re adding and you make a mistake you will only lose the layer you were working on. I used to do stuff all in one layer and the amount of times I’ve found myself losing hours and hours of work because of an error that couldn’t be undone are well, I shiver to think about it. Naming each layer just makes it easier to navigate when making adjustments and improves your workflow. Now copy your fabric image and “Paste as Layer”.
Using your “Move” tool drag the material over one of the UV mesh panels. If you followed the directions these parts of the UV should still be selected and you will see the marching ants’ line appears through the pasted material layer. Invert the Selection. Now using the “Erasure Tool” erase all the material outside the mesh. This trick works just like the Paint did and the erasure will only remove material outside the mesh, this trick Connie taught me has saved me 100’s of hours of work trying to erase the material freehand. DS CREATIVE • April 2016 • 29
brand of Racist Neo Nazi clothing, so while there was nothing offensive with the original design I found, the fact that it was from a hate group and I find that kind of thing intolerable I had to delete it. Be cautious and do your due diligence when you find stuff on the net, especially if it’s free. If I had not looked I could have very easily been seen as promoting this groups ideal without a clue I had done so.
When you are done erasing the excess merge the layer down onto the Fabric base layer, repeat this process until the mesh is completely covered. In my case this is four times. My last step is to open the contrast and brightness tab and increase the contrast to 50 and brightness 5, this will boost the fabric weave and give you “Bump” without having to generate a bump map effectively, giving you a one file texture. Step 5 Graphic The next layer will be our T shirt graphic, to keep this simple I’m using Ron’s War Essentials brushes which included several graphic and sign brushes, all you have to do is select the brush and color, then size the brush for the size of logo you want and paint it on. On mine I’ve gone with one large one on the front and a small one below the neck of the back in black, with both applied you can then play with the opacity of the graphic layer. On mine I lowered the opacity to 90% to give it a bit of a faded look.
Step 6 Stains, Dirt Etc... These layers are a matter of taste and depend entirely on the look you’re trying to achieve whether a new shirt fresh from the laundry or the T shirt you had on when the Zombie Apocalypse hit a year ago and I use various dirt and grunge brushes to achieve the look I want. It’s a simple matter of picking a brush and color, then applying it to the layer till your satisfied, again playing with the opacity as a layer for dust and dirt is easier than adjusting the brush itself. Stains however I do individually, the mustard stain from last night’s burger might be brighter than last week’s pizza grease stain.
If you’re going to texture you are going to want brushes for your program whether you buy Ron’s amazing brushes or use freebies, a quick search of sites like Deviant Art will give you 100’s of free brushes for PS or Gimp.
Now you can adjust the opacity on the brush itself but because I was applying more than one it was easier to simply adjust the entire layer rather than adjusting the brush undoing and doing this over and over till I was happy with it, much easier to adjust the layer as a whole. (*Note , While gathering resources for this tutorial I did as most of us in the content creator community do and hit the web, looking for graphics using a search of “ Free T Shirt graphics” will yield 1000’s of free for Reproduction. Use and even Commercial use designs, while looking I found one that was amazing, a graphic with Pin Up style art and even better it was free and for both Personal and Commercial use, so you could even sell it if you wished. BUT and it’s a big one the only identifier for the brand on the logo was a JR and a NO.13 on each side of the logo, when I find something good I always hit the “View More “ in hopes of adding to my texture library when I did this I found that the JR stood for a 30 • April 2016 • DS CREATIVE
Step 7 Applying New Texture If you’re using Gimp be sure to save texture as a project before you export and close Gimp, this will ensure that your layers don’t merge, when you export a file in Gimp to either PNG or Jpeg it automatically merges the layers down. If you don’t save it as a project and close Gimp you won’t be able to make adjustments to the texture layers later if you need too. Open Daz Studio and load your model and the item into the workspace, select the item and open the surfaces tab and select it there as well, go to the Diffuse channel and select the image icon this will open the popup menu, select Browse and navigate to your texture,
select it and open, your new texture will appear on the item.
(*Note the texture will appear differently when rendered than it does in the work space so when it first appears don’t make a snap judgment as too its quality until you’ve rendered a few test images.) Now applying the texture to the item in the diffuse channel can be done while you are working on your texture, this can really help as graphics can get quite distorted when the mesh is 3 dimensional. I always move back and forth between Gimp and Daz as I work to check how it looks as I go. Just exporting PNG’s as I complete each part, as long as Gimp is open the layers won’t merge so you’re safe. Be careful overwriting a file though, it can become corrupted if done to many times, my advice, don’t be lazy rename each version and delete unwanted files later.
Below is the T shirt rendered at 3200 x 2560 pixels with max samples and simple dome and scene with default HDRI in IRAY. Close up no fancy lighting or tricks and no IRAY shaders, maps or presets applied , this is why I texture at 4096 x 4096 you get a level of detail that will look good in any render engine all by itself with no maps. I hope you give this a try and just remember the first steps to becoming great at something is sucking at it, the first thing I ever made was a Ball Cap and looking back it was terrible, but I still remember the feeling of pride and accomplishment I felt when I loaded it into my program and it worked. Terrible it may have been but it was the most beautiful thing in the world to me. It proved I could do it and I could keep learning and get better at it
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Battle for Diesel Gate Brent Bowers
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Falcons Karisma
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FAVOURITE FIVE Five runtime must haves 01 Aiko 5
Mauro Bisiani
https://www.daz3d.com/aiko-5
Out of many enchanting figures out there in the store, Aiko 5 holds a special place in my heart. I’m a huge anime fan, and I was immediately attracted to the Aiko series. Among the different generations, Aiko 5 is my favourite because of the overall shape and because Genesis is so light on system resources. She loads and moves fast, she is cute, and I love the idea behind Genesis, that is having only one base figure to take care of.
02 Visual Style Shaders
http://www.daz3d.com/visual-style-shaders
I like so much photorealistic renderings, but there’s only one thing that I love better: anime-style renderings! Visual Style Shaders is a very powerful tool, when it comes to that task. It may seem a lot of trouble when first checked out, but it is indeed easy to grasp the concept, and very good results come with just a little bit of effort. The documentation makes a good job in explaining how every parameter works and how it is meant to be used. The product even comes with a huge array of presets for the different surfaces.
I’m a computer geek since I was 6 years old, plus I’m an anime/manga total lover. My first experiments in 3D rendering started many years ago, using POV-Ray and a 486DX PC (plus a lot of patience). I worked as a professional programmer/system integrator for six years. I was so fascinated by DAZ Studio that I started to involve myself more and more with 3D graphics again, till it became a full-time hobby. In 2014 I quit my job to focus 100% on developing a career as a Content Creator.
03 Manga Style Shaders
http://www.daz3d.com/manga-style-shaders
As I said in the previous item’s comment, I love anime-style renderings, but manga-style renderings are quite an amazing opportunity. While it is certainly possible to create that style in post-production, Manga Style Shaders is just a perfect solution for getting there fast. The results are quite impressive, and the products come with a ton of useful presets, with even some quite interesting “non-manga” styles.
04 Pure Hair: Bubblegum for Genesis http://www.daz3d.com/pure-hair-bubblegum
When it comes to hair, I have a sweet spot for bob cuts and the likes. This product is one of the few available on the store, so I’m very glad that the quality is so high. Being a short hair cut, it’s easy to use. Very good renderings come using just the basic parameters, without any need to do hard tweaking. The set of style morphs, while not huge, is more than adequate. The color choice, while again not impressive, is well-balanced. Overall, the final look is always charming.
05 Fashion Studio http://www.daz3d.com/fashion-studio/
This environment is great for many purposes. It can be used to do legitimate renderings in a fashion studio setting, but it is also very useful as a generic portrait tool. It comes with a lot of different lights from the real photography world, with umbrellas and gobos, and a backdrop prop, plus some handy cameras. The attached documentation also goes to a long length in detailing every element from the perspective of real world shootings, resulting informative and valuable as a reference. With this product a virtual shooting session is really just a few clicks away.
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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In a World 1Saidge42 st
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Full of Magic COMPET IT ION WINNER S
2 Heavenlee nd
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3LaMuserie rd
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HONOR A BLES Brent Bowers
Remco Kouw
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HONOR A BLES
Jennifer Drake
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Michael Klink Bellatryx
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Part Three 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)
Once more I want to stress there are no hard and fast ‘rules’ when it comes to the creation of a pin-up image—it is up to the artist and what they are trying to portray which makes the final difference. Instead of giving more lists of elements, I want to conclude this write-up by going over two of my more popular images, describing the thought processes which went into them in order to give an idea of how I think when specifically going for a pin-up render. Example 1: Beige This is my most popular image in terms of “faves” on DeviantArt. Initially I was not happy with the image, which goes to show beauty and art are in the eyes of the beholder. Do not get me wrong, I like the image—I created it after all, LOL—but to me, it is not an image which sticks out in my mind. For this image, the ultimate goal was to use the same coloring for the backdrop, clothing, and accessories. From the very first conceptualization of the image I wanted beige to be the predominant color. Character selection was easy—this was an early Genesis 3 Female, so I only had a couple to work with initially, so I did not spend a lot of time on this, which is atypical, but it was a new release. Next I focused on poses. I already knew it would be a contemporary pin-up, and I was not as concerned with clothing as the posing of the model. I had just bought the ‘Don’t Be Shy’ pose packs from Nemain Ravenwood and Angus Darkholme, so wanted to use one of those poses, so I went through each of them until I found one which ‘clicked’ mentally with me. I tweaked the pose to give more bend to one leg, while straightening the torso slightly from the hip to give the model more of an ‘S’ type pose. I then tweaked the model’s glutes to be more pronounced and obvious, as well as turning the camera to give a glimpse of both butt cheeks, but 42 • April 2016 • DS CREATIVE
not enough to make that the main feature. I also did not want the focus to be upon her breasts, so torqued her torso enough to completely obscure one breast as well her other arm, so while her breast is covered by her hand, her position is subtle enough to make it almost an afterthought that she is covering herself. Clothing at first was easy, as the pose itself already lent to her being topless, but that oddly enough made it more difficult, as I wanted what little clothing the model wore to be significant. In selecting footwear, I immediately decided on boots or high sandals, wanting the most covered part of her body being her footwear. As everything would be beige, I also wanted something to ‘stand out’ without being too obvious; however, I wanted even her boots needed to reveal a bit of skin. Lilflame’s Hot Pepper Boots for Genesis 3 Females were the answer, revealing not only the model’s heels, but a glimpse of the back of the model’s legs. I then chose a very subtle, semi-glossy leather shader—not wanting to be too shiny and detract from the overall image, but to still have a subtle reflection with lighting. I debated leaving the model completely naked other than the boots, but something seemed to be missing from the overall image, and too much attention seemed to be drawn to her boots as the main focus, so needed something to ‘even’ them out. A thong or more basic set of panties would have been too ‘plain’ for the image, so I knew I needed panties with at least a bow, or better yet some ruffles. Slosh’s L’Envie for Genesis 3 Female(s) was the perfect answer, having both ruffles and a bow, being blatant enough to off-set the boots, while not taking the spotlight of the whole image. Once again I changed the textures to fit the ‘beige’ theme, blending in with the shoes and backdrop. Hair I specifically chose to obscure a portion of her face, as I did not want her face being the main attraction, and sticking with the beige theme, I chose a ‘dirty’ blonde color. As the hair obscured some of the model’s face, I decided I could add a little color, so blending in with the beige them, I chose a chocolate color with a slight purple highlight as opposed to the bright red of a typical pin-up model. This was the only color besides skin and beige, and as an afterthought, I added matching eyeshadow— although it is pretty much hidden from view. Again, it is the little things! Finally it came to the lighting. Wanting the larger portions of the model’s curves to be highlighted, I chose a strong backlight/rim light, the glare drawing attention down her back. Unfortunately, in the initial renders the lighting caused too much attention to her back, and I wanted a more ‘overall’ view. I then added a spotlight to the front, aiming it on her lower half so the glare of the light continued down her legs from where the backlight left off.
Following another test render, the image still looked too ‘bleh’ and that is when I increased the glossiness of her skin, a ‘trick’ I often use instead of increasing the intensity of the light. Suddenly her back ‘popped’ out of the test render and the front view caused my eyes to wander in a completely new directions—down her legs, but also straight down the curve of her chest, perpendicular to the floor. Eureka! It was then I noticed the shadows at her feet, initially extremely sharp and delineated. As I kept viewing the render, my eyes continued to be drawn to her feet and those damn shadows, so it was at that point I increased the environmental setting until they were barely noticeable. And then I felt it was done… Example 2: Guten Tag! This image has quickly become a favorite both of myself as well as my ‘Watchers’ on DA. I began with the idea of a sexy SS girl in a burlesque themed render, so the officer’s hat was my primary prop I wanted to use—I chose that before I anything else with the render. My initial plan was to have sharp contrasts within the render—dark clothing with light skin, light background with stark shadows. It was a breach from the diffuse lighting of normal pin-up images, but at the time I remember being in a somber mood due to the weather, so my Muse had a dark streak within her that day, LOL! Another one of my thoughts was to have the model simply bent over the stool with her hands upon it, giving a right-angle to her body; however, once I posed her, I knew there needed to be more. Angles, angles, angles. Immediately I focused on her right (outer) leg and bent it at the knee. Like my ‘Beige’ image, I wanted the viewer’s eyes to be split into two directions—as one looks down the model’s legs, their eyes are immediately pulled apart, one trying to go down to the floor following the inner leg, while the other eye attempts to follow the curve of her outer leg. Happy with the effect, I did the same thing to her arms, again causing the angles to draw the eyes apart. My first attempt I tried posing her arm over her breast, but that obscured her arm and lost it within the initial test render, so tried raising it. After a few more attempts, I raised her arm to her face and realized the angle from her leg was almost completely opposite, the line down her arm to her elbow and then up from her knee creating a ‘V’ type symmetry—perfect! I also tried several facial expressions, going from blowing a kiss to a playful ‘Oops!’ type look, settling on a more subtle grin. I did not want a wide smile drawing attention to her teeth, so needed a more subtle playful expression to add to the overall image and not detract from it. DS CREATIVE • April 2016 • 43
For clothing, wanting a ‘burlesque’ feel, I added the fishnet stockings and high heel shoes first, wanting the outfit to match those first and foremost, whereas in many renders, shoes and stockings come much later in the process. Black clothing being the main goal, I also wanted a small drop of color, so changed the sole shaders to a deep red. Seeing the effect, I immediately matched her lipstick to the soles of her shoes, giving yet another symmetrical aspect, this time in color, to the image. Those two small glimpse of red are the only two colors I wanted besides shades of black and white and skin. I went through several different hairstyles until I settled on goldtassel’s Eclectic Hair for Genesis 3 Female(s), as the braid provided another angle I could monopolize, eventually adjusting it to go down her neck perpendicular to the floor, matching both inner appendages. Not wanting to detract the image with more color, I made her nails black, matching the clothing and not 44 • April 2016 • DS CREATIVE
drawing eyes away from the red of the soles of her shoes and lips. The backdrop was going to be a plan diffuse color originally; however, wanting slightly more contrast, I went through several different textures until I found the selected seedy—almost decayed—dirty shader, altering the textures to a dark grey and black in order to match the overall scene and not draw attention from the model. Finally it was time for lighting. Again, I wanted stark contrasts and angles, so went with spotlights, removing the dome and environmental lights completely, and after over a dozen ‘test’ renders to adjust for the angle and shadows—wanting them to be completely parallel to her body—I finally found what my Muse was looking for and was done! I hope this was helpful in giving you a better perspective on the creation of pin-up images, and feel free to contact me any time on FB, DA, or e-mail!
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Daybreak in Murano
Bowski
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EDITORS SPOTLIGHT
Camilla Drakenborg Here we are our last issue, for the time being. As most of you know, it all started 2 years ago when I asked “why there wasn’t there something like a magazine where everything DAZ related was collected” and voila, the project was born. So how does a thing like this actually work? Well, first of all you need people of course; to help you out cause it’s a task way too big for only 1 person. Luckily for me there were already a few people that were ready for the process, such as Phil, Totte, Sanyel, Matt and Bobbie. All of whom I had already had some casual Facebook interactions with. But now 2 years later I have come to consider them as good online friends. The kind you are very lucky you find among the masses :) We have gotten to know each other quite well, even though our interactions have only been online in our little Facebook chat room. We have shared some hectic times; some annoying hard ships in our everyday lives, health issues and more all brought together by our joint passion for DAZ and for what grew into this very magazine. There have been odd days or even two on a couple of occasions where we just peaked in or didn’t say much, but we have spent more or less every day together online for the past 2 years, talking about ideas, ways of achieving what we envisioned, what we would find interesting as readers because that’s what we are as well. We are not just the magazine. The magazine was “born” because we wanted to learn, we wanted to grow as artists and we wanted to be involved somehow but we didn’t know it until that evening when Totte started the DS Creative discussion group. From a comment
“It’s been a blast and we already are all agreed on that no matter where we go from this point, the team is still the team.” post from me, to the group, to the coming together of a group of people, to 2 years later, 23 issues, 1 issue each and every month. Lol an inside joke between me and Phil- I am not laughing... It’s been stressful at times, life, magazine, do you know how much connecting with people, sending out requirements to vendors and artists and writers, to Daz, trying to understand how they work, the business ways itself, waiting for answers, encouraging people and trying to find ways that benefits everyone. We never had any financial backing, we are just regular folks, so a magazine like this needs some funding whether it is content or sponsors etc, and thanks to my fellow wizards of the BWC, we got the required help to spice up those contests but it wasn’t only the BWC 9Bald Wizards Club if you were wondering) but it was also Bobbie25, Adria K, Marcus W and Fred W DS CREATIVE • April 2016 • 49
who were all regular sponsors of contests, there was many, many times my team members wished they could have taken part in the contests and jokingly threatened to quit, this mainly by my side kick Phil ;)
The possibility of future DSC projects lies ahead of us, but when, how or if we come back as a magazine we will hope to know pretty soon. So for now we are going to take a well deserved break.
But it’s a joy to be able to bring people together and to bring goodies!
Now if I hadn’t found DAZ Studio and been interested in learning it, I may never have come to know all these amazing people that I have had the opportunity to encounter throughout the lifespan of this magazine. It has been an adventure and I have learned so many things while doing it.
And I want to take the time to thank everyone, especially Phil for all the work and passion he put into these issues and pages. He put every single page together all by himself. Ha ha, and I doubt he wouldn’t have had it any other way. :D He and I are both perfectionists in our areas and we like it done our way. We have worked extremely well together and I’ve had fun with the team so cheers to ya mates, to Matt down under, to our marine momma Sanyel, to Totte and his wizardry at the shrimp smoker, to my dear Jamie that jumped in when needed! It’s been a blast and we already are all agreed on that no matter where we go from this point, the team is still the team. :) We have kind of gotten used to having each other in our lives even if it’s only in our online world.
Top that with the fact that DAZ Studio is free to download and try out. So thanks to the minds and powers at DAZ, because I met some really cool people along the way. And to all the fantastic people that sent us resources give yourself some kudos because you guys are the ones that created this magazine with us! And I hope that my thoughts of bringing people together for something we all have fun with in our daily lives, DAZ Studio is a hoot once love it, and we hope you came to love through the issues that we brought out. Be kind to each other, work together. Be adventurous in life and in art people! Camilla Drakenborg Editor in Chief
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Confession Time Phil Thompson
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Belle du Bal 4 LaMuserie
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FAVOURITE FIVE Five runtime must haves 01 The Wooden Attic
http://www.daz3d.com/the-wooden-attic
This is one of the first products that I ever “splurged” to purchase. It has a lovely old feel that works well for both dark fantasy-style “creepy attics” as well as the more warm feeling “attic full of family treasures”. The windowed wall by itself is very useful and makes its way into my renders even when I don’t want the image to feel like an attic. The floor has a trap door, how cool is that? One aspect of the Wooden Attic that I appreciate is the detailed textures they add an element of realism to the mirror and window.
02 Growing Up Bundle
http://www.daz3d.com/growing-up-bundle
I came to Daz right after Genesis 2 became available, so Growing Up for Genesis 2 has been my product of choice since my 3-D childhood for creating child renders. Of course, I find the Growing Up for Genesis to be easy to use for creating child characters. However, I use Growing Up for Genesis2 even when not making a child render, per se. For example, I dislike the “sway back” that Daz gives their female figures so that they look they are always wearing heels Growing up for Genesis2 has a morph called “child posture” which makes the back have a more natural and relaxed curve. Also, I also frequently want the elves and fairies in my renders to look a bit more innocent than Daz’ base characters. I find the “young face” morph option to be useful for adding a touch of all those things that show youthfulness, saving me dialing in increased eye size, width and height, decreased nose size, less length in the face, etc. The morph does all of these and more for me saving me a good deal of time.
03 FWSA La Llorona HD
http://www.daz3d.com/fwsa-la-llorona-hd
This is hands down my favorite character for rendering females in both light and dark fantasy genres. The claws, nails and eye options offer a lot of value and versatility. I use the dark grey eyes because they are very dark, but just light enough to still show the iris separate from the pupil. The La Llorona shape is great for adding severe edges to cheek bones and a hollow depth to the eye socket. It is often too severe on its own for my liking, but since the character is built on the Ninive 6 base, I often use it in combination with the Ninive base shape to give a thin, but not overly boney shape.
Claudine Lavoie Hi there! I’m known in real life as “Claudine” but artistically and medievally I go by “Fiona”, as in Fionathegood of Whitehart Design. Until a rare thoracic cancer called my name in 2007, I poured all my creative energy into two things: Art and pursuit of Knighthood in the Society for Creative Anachronism. When not swinging a sword in real life, I also liked to cast spells in MMORPGs. One day while using the building blocks in an MMORPG to create “player housing”, I realized that this was a form of art. However, I was disappointed that my art was “stuck” in that particular video game. I realized I could be creating the very artwork, environments and props I saw in the video games I liked to play. I decided to stop being merely a consumer of 3D content as a player of MMORPGs, and start being a creator and producer. Thus, I delved into the realm of 3D art. My 3D art reflects my life-long love of light and color. I have dabbled in color through many medieval and modern mediums such as mosaics, stained glass, enameling, patinas, pigment creation, mineralogy of gemstones, etc. I find how color works to be fascinating... and now explore color through pixels of art on a screen.
04 Alani for Callie 6
http://www.daz3d.com/alani-for-callie-6
I like this hair and use it often because it works well for both for Tolkien-esque fantasy elf/fairy renders, and late Dark Ages or Early Medieval renders, particularly for Norse and Saxon cultures. It comes with excellent adjustment dials for rendering the hair in action poses as well as getting the perfect fit. Furthermore, it comes with many colors, and if the exact color needed is not given, the colors available react well to changes made to the diffuse and ambient color dials. This saves the extra step of either buying add-on colors or going into a 2-d editing program to get the typical variety of hair colors that I use in my artwork.
05 Camera Magic: ToonyCam Pro http://www.daz3d.com/camera-magic-toonycam-pro
I do a lot of fantasy art in both the “light” and “dark” genres, and I discovered early on that winged creatures of most varieties were of particular interest to me. I like fantasy birds and bird-winged humans. Icarus, the sirens, angels, etc are among the subjects I have rendered. There are many styles of fantasy wings available such as bat wings, bone wings, mech wings, fairy wings, butterfly/dragonfly wings, etc. Knowing which type of wing you will render is important before investing in such a specific prop. But given the amount of time I have spent creating art around the theme of bird-winged humanoids, investing in a set of wings that had all the positions, morphs, and textures that I could ever want has been worthwhile. I found that the feathered wings are the best of the best! They are incredibly versatile and easy to use.
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Time 4 a Revolution
EsaPesa
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A Million Faces, A Million Lies Eric Susch
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JEWELLERY ISSUES
Oh my god it’s terrible, it’s just an amorphous glass blob, it’s like the facets have melted.
There is something wrong with my jewellery, get me a jeweller quick
The Problem The problem is that smoothing is enabled in the surface properties, so it is smoothing out all the edges of the polygons that define our facets.
Now there is a problem I have come across once or twice in the past, but it was no big deal and then a short while back I found issues when I used a commercial shader pack for Iray gemstones and because it was a shader pack it caused the issue on every piece of jewellery I applied it on. If you look closely at the following two images you can see one with quite clearly defined facets and the other is soft and ill defined.
The Fix This is as simple as either turn Smooth to off or turn the angle down to zero, which will stop DAZ smoothing out our polygons. So how does our diamond look now?
Let’s see how bad this problem is to do that I load a gemstone model of a brilliant cut diamond and straight off load a diamond shader, lit by a HDRI and let’s hit render and see what we get. Faceted that’s how so that’s exactly what we were after.
Hope Necklace Smooth On
Hope Necklace Smooth Off
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Roomies Playing Games
DamnedComic
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23 Issues 1648 Pages 1002 Images 98 Tutorials 49 Vendor Spotlights 54 Freebies 24 Artist Spotlights
As you are all probably aware by now production of DS Creative is ending with this issue after a production run of 23 Issues, whilst it is nowhere near as long as I would have liked the reality is at the moment, feeding what is often like a very hungry monster each month with the required number of features and tutorials is extremely difficult and without them continuation is impossible. So we have put out 23 issues, just one more and we would have made it to the two year mark, could we have stretched it to hit that goal, I would have liked to, but sadly we couldn’t do it. Over our 23 issue life span we have achieved some pretty heady numbers as you can see at the side, not bad considering we are a totally non-profit publication with no professional publishing experience I think that we managed to produce something really special, not bad from a bunch of amateurs. I really do think that all of us on the team gained huge amounts from this experience, the high points for me was always reading your comments on both Facebook and in your emails, hearing how much you valued what we do always made all the hard work involved seem worthwhile. Over the issues we tried many different things some noticeable others not so, always with the aim of trying to bring you the best publication we could. Some things we tried worked really well and some things not so well, they got removed or changed back but it was a learning curve for us. Of all the things that changed during our lifetime for me the change I was most happy with was when the content page got a make-over in issue 7. This for me had a much more professional look and was something I was really happy with. The colour palette that the magazine was using then was not so great; that changed quite a few issues later, again from a design stand-
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point a lot of design features that I created in those very early days are still being used in this issue.
in detail to see how it can be improved and most importantly what can be done to help ensure that it will have a long life span.
The strange thing is I don’t have a favourite issue, I am so proud of them all from the very first to the last. Each month, when we released the issue, it was such a high and a real rush then a few tense minutes waiting for reactions, that is something I am really going to miss.
But for now we just have to wait and see.
So the future, is there going to be a future for DS Creative? Well I really hope so, both I and the other members of the team have invested so much time and effort into it to just say goodbye. So with this issue released we are going to have a short break and then sit down and have a lot of discussions about the future and what can be done to restart DS Creative. I for one know that relaunching is going to be a difficult task and that for us to even get as far as to consider a relaunch is going to take a huge amount of effort. We are going to have to look at each and every aspect of the magazine
Thank you: If I was to try and thank everyone who has helped out along this journey I would need another four pages at least. So rather than bore you all with a very long list of names I just want to thank everyone that in some way contributed to this awesome and amazing journey. THANK YOU Phil Thompson Production designer
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VENDOR SPOTLIGHT
Orestes Graphics
What made you get into 3D modeling and how long have you been active in the craft?
While my first experience with 3D software was in high school, I really began modelling and texturing over 15 years ago, creating mods for the video game Quake 3 Arena. This hobby lead me to a landscape program called Terragen, and then to Poser. It didn’t take long to start creating my own models for Poser after that, with the intent of creating freebies and ‘one day’ selling items on DAZ3D. Well, that all changed as my work-in-progress renders for my first figure, the Mantiraptor, were noticed by DAZ, and later became my first product! I’ve been creating content now as my full time job for over 6 years, and this summer is my 10 year anniversary with DAZ3D!
Where would say you draw your inspiration from?
I find inspiration from a number of places. Some of my sets are from photos or art work I see on the web, others from literature I’ve read, and other times from TV, such as history documentaries. I have to say, though, by far my biggest influence has to be from the video games I play. I actually play very few games, but the games I do choose to play, I play a lot. The Elder Scrolls Series is one of my favorites, and it’s no doubt some of my sets resemble environments from Skyrim and such!
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What would you say is your favorite subject to model?
As my products evidence, I’d have to say creepy, grungy environments! In all my artistic endeavors, I always seem to be drawn more towards the old, ancient look and feel. Sleek and shiny doesn’t interest me that much!
“By
far my biggest influence has to be from the video games I play ”
Which program(s) do you create your models in?
I’ve always been an old school Poser user, and a diehard Hexagon fan, however after using these apps for years now, I feel as though they are holding me back. Within the last few months, I’ve completely changed my workflow as I now upgraded to Modo and Substance Painter for the bulk of my work. I have to say they are great! I use Cinema 4D and ZBrush quite a bit as well.
Typically how long does it take from initial idea to finished model?
Oh, that can vary wildly. My creative process is kind of like a dog chasing cars. I may start a project, then stop it for another project, and not resume the first for any period of time from a few weeks to a year or more, especially if the set frustrates me in some way or I lose interest. Then with some projects I may be able to go from idea to upload in a week or two’s time. While my rate of product releases is smaller, I’ve been known to create up to 20 products a year!
If you could add one new feature to daz studio, what would it be? I have no idea! As I said, I’m an old school Poser user. I could give you a list as long as my arm for things I’d like to see done with Poser, but while I know my way around it, I’m not as familiar with content creation within Daz Studio. What I may think to suggest may already be there and I just haven’t figured it out yet! Lol
What is the biggest challenge for you when creating a new product?
Umm, actually finishing it? Lol! I used to stress about not getting a product finished when starting a new one, but I’ve learned that they will get done and released when they were meant to. So for instance, my Cemetery bundle was meant to be done for Halloween the year before it was released! But had it been done then, there would not have been a bundle with all the other cool stuff. It’s better because of the delay! So I use this excuse for my flighty workflow anyway. Lol!
What one piece of advice would you give to someone, who is just starting out creating models for Daz Studio?
Make great renders!! The most important aspect of your products is the promos. You obviously want to create a quality product, but that honestly comes second. The art needs to grab the customer’s attention out of a page full of stuff, and is the only means the customer has to interact with your product before buying. But not only that, your art is a large part how DAZ will judge your set and decide if your product will be accepted to the store in the first place
Which 3 vendors would you say are your personal favorites?
Oh gosh that’s a hard one. I don’t think I could name just three. As an environment artist, I obviously admire artists such as Stonemason, Faveral, and Jack Tomalin. I’m also impressed with what Bluebird3D has done recently.
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How does it make you feel when you see the final artwork created with your products? Great! I love seeing what folks do with my content! I’ve created a Pinterest board for when I see art that uses my products, so I can keep them all in one place! I’ve gotten quite a few!
Can you give us a hint of what is to come?
Oh, great things. In the immediate future, I have two new environment sets nearing completion, which should be in the store in the coming weeks. As for further down the road, like I said, this summer is my 10 year anniversary as a PA. It seems like a decade in anything computer related feels like a long time, so I wish to make a big deal out of it. I’m also using it as a turning point in my PA career. I’ve equipped myself with new tools and software, so it’s almost like learning from the beginning all over again. I want to go back to what I once did, beside environments; I want to create creature figures again. And for the first time ever, I actually have an interest in creating outfits. So, the future will be very exciting indeed!
Anything you would like to add that we haven’t asked or you think the reader would be interested in knowing? A lot of folks don’t know that I’m not limited to digital creation! Folks kept confusing my 3D digital work for my handmade works and vice versa when they see them posted online, so that’s why I keep them
separate. I actually have 3 working user names for 3 different genres I work in. Aside from my PA work, for the past few years I have been creating handmade jewelry with my wife Karen, under the name Coquette Creations. I think people will find these creations are as out-of-the-ordinary as my 3d work. We both see things from a bit of a different perspective. Google it, I think you’ll find our blog and Etsy store interesting! As a Halloween and horror enthusiast, I also create Halloween/Haunt/Horror art and props under the name Sytnathotep Studios, specializing in creepy dead things. Basically ‘Them Bones’ but tangible! I also create prizes for our local annual Zombie tag and parade events, as well as local Halloween/Haunted house events, most of which proceeds go to local charities. Again, just Google it, I assure you there is only one Sytnathotep! Friends give me grief for choosing names no one can pronounce or spell correctly. Lol Aside from that I enjoy a busy life on my small farm in northwest Arkansas, USA, tending to the aquaponic greenhouse, our goats and our chickens! We live in the heart of the beautiful Ozark Mountains and have no immediate neighbors, so at the end of a busy day of farming, 3D content creations or jewelry making, it’s definitely very nice to just sit outside and relax and take in the view of the mountains all around.
Where can we find your content to buy? Exclusively at Daz3D! http://www.daz3d.com/shop/orestes-graphics/ Also be sure to ‘like’ my Facebook page for WIP’s and such on new things! I update it more often than my blog. https://www.facebook.com/OrestesGraphics/ 66 • April 2016 • DS CREATIVE
Orestes Graphics Presents
http://4eyes.code66.se/dsc/GardenMoonbyOrestes.zip
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GALLERY
Secret Place at The Sea Gran22 Stargate Atlantis Markus Ba Noel Charlie McDonald
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Stargate Atlantis
Noel
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GALLERY
Wintertime LaMuserie
Zoe’s New Toy Eric Johnson reading Bellatryx
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Zoe’s New Toy
reading DS CREATIVE • April 2016 • 71
GALLERY
breaktime Mark Kappe
sci fi candy Sandra Bauser
breaktime
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sci fi candy
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GALLERY
Angry White Bunny Rizky Agung Anandito Heading Home Kismet2012 Untitled Johnny C
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Heading Home
Untitled DS CREATIVE • April 2016 • 75
GALLERY
El morte girl Rian Bergwerff Virgo
Adrian Schmit
Princes
Astuce Man
El morte girl
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Virgo
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GALLERY
maestro 1.1 R.P. Callahan
Adventure Joerg.Ki
ascendant Mark Kappe
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Adventure
ascendant
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GALLERY
Shamus
Mary Van Assche
Relatives Seliah
The Frying Nun Todd Kogutt
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Relatives
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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 82 • 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 23, A very big Thank You. month
The DS Creative Team THE TEAM Camilla Drakenborg Phil Thompson Totte Alm Matt Allgood Sanyel Jackson Jamie Somers Bobbie Brundon Jeffrey Samir Rouabhi Deleuze
TutorialS
Mithoron Maniacmayo May Phil Thompson
Free GiftS
Tempesta 3D Orestes Graphics
Comic Strip Brent Bowers
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CONTRIBUTORS
Adrian Sc hmit Alex Ledante AstuceMan Bellatryx Noir Bowski Brent Bowers Bronze Dragon Camilla Drakenborg Charlie McDonald Damned Comic Daniel Wright DeepRed6502 Eden Clarke Eric A Carr Eric Johnson Eric Susc h EsaPesa Fantail 451 Garrett Miller Ginger Lee McKee Gran22 HeavenLee Jean Morneau Jennifer Drake Joerg.Ki Johnny C
Karisma Kenda Kismet2012 Ktoya LaMuserie Marcius Hess Mario Heyer Mark Kappe Markus Ba Mary VanAssche Michael Klink Mithoron Nancy Schultz Phil Thompson R.p. Callahan Remco Kouw Rian Bergwerff Rizky Agung Anandito Robert Veith Saidge42 Sandra Bauser Seliah Keller Sister of Darkness Stephen Cody Todd Kogutt Totte Alm Victor Strickland Vittorio Gagliano
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All the back issues of DS Creative in our secret vaults at Issuu.com
DS Creative Issue 24 • To be Confirmed
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Artwork by Phil Thompson