[b]Digital Tutors Colection December 2012[/b]
Beginner – Advanced | 3d 5h 19m | 62.5 GB | Project Files included
[b]Digital-Tutors – Asset Workflows for Modular Level Design[/b]
Intermediate | 4h 04m | 2.75 GB | Project Files 174 MB | Required Software: Photoshop CS4, 3ds Max 2012
In this series of tutorials, we will discuss the process for creating assets for use in Modular Level Design. We will start off by planning out a texture sheet using reference. In this phase we’ll discuss the importance of building a solid texture sheet that is flexible to accommodate most geometry. After that we will set up our Photoshop document by creating a grid that blocks out our texture space. Then we’ll jump into creating several textures that will be utilized by our modular assets.
After we’ve completed our texture sheet, we’ll jump into creating geometry by making a simple wall and we’ll gradually build up our set by combining and modifying our geometry. Finally, we’ll end the tutorial by testing our assets in a game engine.
[b]Digital-Tutors – A Designer’s Guide to Printing with InDesign[/b]
Intermediate | 2h 12m | 1.55 GB | Project Files 75 MB | Required Software: InDesign CS6
We’ll get started by learning about the RGB and CMYK color models which is something every designer must understand. From here, we will begin learning about several topics that are specific to preparing jobs for commercial printing. First, we will spend a little bit of time learning about the difference between screen resolution and print resolution. Next, we’ll move on and learn about topics like spot color and process color, the appearance of black, overprinting and trapping as well as managing our ink levels. We’ll wrap up this course by learning how to prepare a press ready PDF in InDesign. After completing this course, you will have a good understanding of the concepts, tools and techniques used to prepare print ready documents in Adobe InDesign.
[b]Digital-Tutors – Creative Development: Creating a Sci-Fi Hero in Maya and Silo with Antony Ward[/b]
Advanced | 6h 38m | 4.32 GB | Project Files 170 MB | Required Software: Maya 2013, Silo 2.2, Photoshop CS6
Throughout this tutorial we will see how to build, UV, texture, pose, light, and render the Sci-Fi Hero. We are going to cover all bases as we create this Sci-Fi Hero character.
Rather than focusing on a few key areas we will be looking in detail at each aspect of his construction, going right from the first polygon to the final pixel. We will begin with primitives which will form the foundations of the character before we use subdivision surfaces to flesh out the rest of his body and armor. With the model ready we will then apply a full set of UVs as well as look into adding detailed textures.
On top of this we will also briefly explore adding a rig to the character so we can pose him before we then light the scene, setup our shaders, make our final adjustments and output our render passes.
Finally we will mix everything together in Photoshop and add a bit of magic to give us our final render.
[b]Digital-Tutors – Creating Cartoon Characters in Maya[/b]
Intermediate | 4h 34m | 3.00 GB | Project Files 10 MB | Required Software: Maya 2013
In this series of Maya tutorials, we will go step-by-step through the process of building and texturing a child character in a cartoony style. Cartoony, stylized characters are prevalent in the world of TV and film CG, as well as video games. These types of characters are a lot of fun to build, but they do present their own set of challenges.
We’ll jump right into the training by talking about creating work that matches our reference images. We’ll use a variety of polygon methods as well as some NURBS techniques to build up our adolescent football star from the ground up. In addition, we’ll talk about creating topology that will lend itself well to deformation during animation.
In the end, you’ll have a finished cartoon character ready for rigging and animation. And you’ll have the knowledge you need to begin creating your very own character designs.
[b]Digital-Tutors – Creating Custom Muscles in Maya[/b]
Intermediate | 4h 17m | 2.91 GB | Project Files 39 MB | Required Software: Autodesk Maya 2013
In this set of Maya tutorials we will learn techniques that you can use to add volume and musculature to your characters without sacrificing the rig’s speed. Throughout the tutorial you’ll learn everything from how to create custom Pose Space Deformers, which do a wonderful job at maintaining volume in areas that are prone to collapse. We’ll cover how to create custom muscles that slide underneath the skin, and we’ll also learn how to create a modular rigging component we can incorporate to add an extra level of flexibility and stability to your control rigs.
[b]Digital-Tutors – Creating Dynamic PDF Forms with InDesign[/b]
Intermediate | 1h 10m | 834 MB | Project Files 8 MB | Required Software: InDesign CS6, Acrobat Pro 10.1.4
When it comes to creating forms, the process used to be rather tedious simply because it required you to design the form inside InDesign and then make it usable digitally inside Acrobat Professional. With the release of InDesign CS6, many of these worries fall by the wayside. In this course, we will walk through creating each and every form element that InDesign offers.
From text entry fields to digital signatures, InDesign can now do it all. We’ll wrap things up by learning a couple ways that we can merge the old form creation workflow with InDesign CS6’s new workflow. After completing this tutorial, you’ll be familiar with the tools and techniques used to create both simple and complex forms alike within both InDesign and Acrobat Professional.
[b]Digital-Tutors – Creative Development: Creating Light Rigs in Maya with Ed Whetstone[/b]
Advanced | 2h 40m | 2.10 GB | Project Files 5 MB | Required Software: Maya 2012 and up
In this tutorial we will learn how to set up a simple light rig to effectively highlight and show off your modeled assets. This series of lessons will walk through the absolute basics of lighting for presentation – or, simply, lighting from a non-lighter’s perspective.
Showcasing your work is an essential part of being a CG artist, and lighting is essential to showing off. We will talk about the absolute basics of creating and placing a light, three-point setups, methods for creating wireframe renders, and a handful of other helpful tips and techniques for artists who want a hit-the-ground-running guide to lighting.
[b]Digital-Tutors – Creature Creation in CINEMA 4D[/b]
Intermediate | 3h 28m | 3.69 GB | Project Files 926 MB | Required Software: CINEMA 4D R14 Studio
With the addition of sculpting tools to CINEMA 4D studio, it’s become possible to complete creature projects without leaving the software. In this CINEMA 4D sculpting tutorial we will discuss the modeling of a base mesh in CINEMA 4D, using a variety of modeling tools.
Throughout the tutorial we will talk about model preparation and UV layout in anticipation of texture baking and painting. Once the base is prepared, we will go through the process of adding high resolution detail using the sculpting tools in CINEMA 4D. Once our creature model is sculpted, we will talk about baking that detail out into Normal, Displacement, and Ambient Occlusion maps. Then we will use BodyPaint to create textures for the creature.
We will integrate photographs and blend multiple layers together to paint a color texture from scratch. We’ll also talk about modifying the color texture to create textures that will drive the bump and specularity of your creature. By the end of the tutorial, you’ll have learned a variety of sculpting tools and techniques to help you create your own creatures in CINEMA 4D.
[b]Digital-Tutors – Designing a Game Boss in Photoshop[/b]
Intermediate | 3h 10m | 2.27 GB | Project Files 273 MB | Required Software: Photoshop CS6
In this Photoshop tutorial, members will learn the tools and a technique that can be used to take your idea for a game boss and realize it in a piece of concept art.
We’ll get started by establishing a road map for our game boss where we’ll talk about the story, the environment as well as the approach we’ll be taking. From here we’ll begin sketching our concept using a loose, gestural approach. We’ll continue adding to our sketch until we are satisfied, and ready to render out the shadows and highlights using grayscale values. Once the forms of our creature have been properly realized using only shades of gray, we will begin applying color to our concept.
We’ll wrap up this tutorial by adding a few finishing touches to our image. After completing this training, you’ll be familiar with the tools, techniques and workflows that can be used to create your own concept art for a worthy game boss.
[b]Digital-Tutors – Designing Otherworldly Creatures in Photoshop[/b]
Intermediate | 2h 33m | 1.93 GB | Project Files 274 MB | Required Software: Photoshop CS6
In this tutorial, members will learn a creative method that can be used to help design new creatures.
We’ll begin this process by discussing some elements to consider when first developing a concept for an other worldly alien creature. We start by describing the environment that our creature will exist in and we’ll reference a couple of known animals that already exist in a similar environment. We’ll examine the proportions of these animals to establish a unique base proportion for our creature.
From there we’ll continue to morph our base proportion by incorporating attributes from other known creatures. After sketching our concept we’ll focus on the structure of the head from a three quarter view. Finally, we’ll render out our other worldly alien creature in a more dynamic and engaging pose.
[b]Digital-Tutors – Creative Development: Destroying Urban Environments in NUKEX with Angelo White[/b]
Advanced | 2h 36m | 3.50 GB | Project Files 1.45 GB | Required Software: NUKEX 6.3
In this tutorial we are going to create a destruction scene using the great tools found in NUKEX.
We will be compositing a wide shot of a city to look like a scene of massive destruction. We will also go over how to work fast if it needs to get it done before a deadline.
[b]Digital-Tutors – Illustrating Form and Folds for Clothing[/b]
Intermediate | 1h 35m | 1.36 GB | Project Files 98 MB | Required Software: Photoshop CS6
In this tutorial, members will learn proven techniques for illustrating realistic form and folds for clothing. We’ll begin this process by breaking down specific body parts into simple shapes and examine how they appear in three dimensional space. Based on this information, we’ll learn how we can apply accurate clothing hemlines and edges onto varies parts of the body, allowing us to block in articles of clothing.
From there we’ll explore a series of common and specific folds and learn how they play an important role in drawing clothing. And we’ll finish by adding some final fashionable details to some articles of clothing we’ve drawn. As we’ll see, understanding body form and position, will allow you to create accurate types of folds for clothing giving a sense of form, volume, depth, and movement.
[b]Digital-Tutors – Introduction to Lighting in 3ds Max[/b]
Intermediate | 2h 55m | 2.01 GB | Project Files 17 MB | Required Software: 3ds Max 2013
Getting acquainted with the core lighting tools and features of 3ds Max is an important skill for anyone who is getting started with this powerful 3D application. This training will begin with us learning about the various types of lights found in 3ds Max and how to precisely control your light parameters and find the right mixture of physical accuracy, and your own artistic desires.
In this 3ds Max tutorial, we will also explore some of the specialized parameters found in certain light types, we will learn about the different types of shadows that can be utilized within 3ds Max, and explore the unique characteristics of each of these shadow types. We will also learn how we can use volumetric lights to add a sense of mood and atmosphere to our renders, along with many additional lessons covering tools and topics that are designed to give you a strong introduction to the lighting and rendering capabilities of 3ds Max.
[b]Digital-Tutors – Introduction to mental ray in 3ds Max[/b]
Intermediate | 3h 15m | 2.29 GB | Project Files 23 MB | Required Software: 3ds Max 2013
Having a solid understanding of mental ray’s core features, and how they work, is a crucial step toward becoming an efficient and productive rendering artist in 3ds Max. We will begin our training in this series of tutorials by learning two different methods for simulating realistic indirect lighting in 3ds Max, the first method will use global illumination, then we will learn about the second method using final gather.
We will also explore how you can use caustic photons to simulate the detailed light patterns that are created when light passes through refractive surfaces. In addition, we will also explore Image-based lighting techniques, we will learn how to minimize rendering artifacts such as final gather flickering from our animated scenes, as well as many other tools and techniques that will allow you start generating high quality work for a multitude of projects.
[b]Digital-Tutors – Creative Development: Look Development for Visual Effects in Maya with Xuan Prada[/b]
Advanced | 8h 17m | 5.10 GB | Project Files 501 MB | Required Software: Maya 2012, MARI 1.4 Photoshop CS3, Mudbox 2011, UVLayout
In this tutorial we will learn how to create textures and shaders for a digital asset.
Throughout these lessons we will look at the steps required to create a professional UV mapping. With proven techniques and workflows used in the visual effects industry, we will create a highly detailed textures and cover all the steps involved during the look development process.
[b]Digital-Tutors – Maximizing Your Wacom Device for MARI[/b]
Beginner | 1h 04m | 1.32 GB | Project Files 402 MB | Required Software: MARI 1.5v1
Whether you are a 2D or 3D artist, it’s a good possibility that the tablet is a critical piece of hardware in your day to day work. The goal of this course will be to help you maximize the features of your tablet in a way that is specific to texture painting in MARI. Whether it is your grip pen, express keys, touch strip or radial menu, each is a powerful feature that, when properly utilized, will extend the functionality of your Wacom product so that it is much more than a simple surface for drawing or painting.
We will learn how to set each one of these features up for MARI and then wrap up this course by learning how to backup and restore our customized tablet properties. After completing this course, you will be able to fully harness the power of your Wacom tablet when painting textures in MARI.
[b]Digital-Tutors – Maximizing Your Wacom Device for Maya[/b]
Beginner | 0h 38m | 552 MB | Project Files 7 MB | Required Software: Maya
Whether you are a 2D or a 3D artist, it is a good possibility that the tablet is a critical piece of hardware in your daily work. However, when it comes to working in Maya, your first inclination may be to put your pen down, and go back to working with your mouse and keyboard. However, this series of tutorials will help you set up the features of your Wacom tablet in a way that is specific to Maya, allowing you to keep your tablet in front of you at all times, and using your tablet to it’s full potential.
We will learn how your tablet’s grip pen, the express keys, the touch strips, and radial menus can all be customized to create a much more intuitive Maya experience. We will conclude this course by exploring some of the tools in Maya that can actually take advantage of the pressure-sensitive nature of our tablet.
[b]Digital-Tutors – Maximizing Your Wacom Device for Mudbox[/b]
Beginner | 0h 48m | 840 MB | Project Files 179 MB | Required Software: Mudbox
If you’ve used Mudbox for a while, there’s a good chance that a Wacom tablet or pen display is a critical piece of hardware in your daily work. The goal of this tutorial will be to help you maximize the features of your hardware, whether Cintiq, Intuos, or Bamboo, in a way that is specific to Mudbox. Whether it is your Grip Pen, ExpressKeys, Touch Strip or Radial Menu, each is a powerful feature that, when properly used, will extend the functionality of your Wacom product so that it is much more than a simple surface for sculpting or painting.
We will learn how to set each one of these features up for Mudbox and then wrap up this course by learning how to backup and restore our customized tablet properties. After completing this course, you will be able to fully harness the power of your Wacom pen display or tablet when working in Mudbox.
[b]Digital-Tutors – Maximizing Your Wacom Device for ZBrush[/b]
Beginner | 0h 59m | 1.05 GB | Project Files 165 MB | Required Software: ZBrush
If you’ve used ZBrush for any amount of time, it’s a good possibility that a Wacom tablet or pen display is a critical piece of hardware in your day to day work. The goal of this course will be to help you maximize the features of your hardware, whether Cintiq, Intuos, or Bamboo, in a way that is specific to ZBrush. Whether it is your Grip Pen, ExpressKeys, Touch Strip or Radial Menu, each is a powerful feature that, when properly used, will extend the functionality of your Wacom product so that it is much more than a simple surface for sculpting or painting.
We will learn how to set each one of these features up for ZBrush and then wrap up this course by learning how to backup and restore our customized tablet properties. After completing this course, you will be able to fully harness the power of your Wacom pen display or tablet when working in ZBrush.
[b]Digital-Tutors – Methods for Painting Realistic Skin Tones[/b]
Beginner | 1h 53m | 1.70 GB | Project Files 210 MB | Required Software: Photoshop CS6
In this tutorial, we’ll cover tips and techniques that will help you create realistic skin tones. We’ll begin this process by mixing a variety of skin tones to paint the head of a light skinned Caucasian female. From there we’ll take a layered approach of building up our skin tones by applying a base tone first followed by blocking in mid-tones, shadows and highlight tones. As we progress, we’ll focus on specific areas of the head and face and explore how the skin’s appearance varies throughout. Finally, we’ll finish by adding some final details to our skin tones to tie everything together.
As we’ll see, in addition to tones, there are several elements of skin to consider such as reflection and translucency. Throughout this series of lessons we’ll also discuss a few common mistakes that can be made when painting skin tones. While everyone’s skin is different you will be able to apply this method of painting skin to your own projects.
[b]Digital-Tutors – nCloth Techniques for Characters in Maya[/b]
Intermediate | 1h 16m | 1.04 GB | Project Files 36 MB | Required Software: Autodesk Maya 2013
In this series of Maya tutorials we will focus on how to use Maya’s robust nCloth system to simulate everyday clothing. You’ll learn everything from how to simulate various clothing types, to exploring ways to prevent interpenetration between passive and active nCloth objects. We’ll also cover how to save setup time with presets and how to create custom presets of our own. By the end of the training, you will have a solid understanding of nCloth properties that you can use to simulate clothing realistically!
[b]Digital-Tutors – Painting Female Hairstyles in Photoshop[/b]
Intermediate | 1h 38m | 1.07 GB | Project Files 166 MB | Required Software: Photoshop CS6
In this tutorial, members will learn techniques for painting hairstyles in Photoshop. We’ll begin by examining photographs of various female hairstyles and discuss some elements and problems to look for when painting hair. Following this we’ll create a sketch of our hairstyle in addition to painting in a base tone to form a silhouette of the hair. From there we’ll continue to build on our silhouette by layering on mid-tones and high lights.
Along the way we’ll focus on various points such colors, shapes, contrast and the environment to name a few. Once we have established the foundation for our hair, we’ll begin the process of refining and detailing the overall hairstyle. By the end of the tutorial, you’ll have new skills and techniques you can use to paint hairstyles on your own projects.
[b]Digital-Tutors – Creative Development: Realistic Fire and Sparks in Maya with Pankaj Malik[/b]
Advanced | 1h 41m | 1.46 GB | Project Files 344 MB | Required Software: Maya 2012, Adobe After Effects CS5
Throughout this Maya tutorial we will explore the technique of creating realistic sparks and fluid flames using Maya classic particles and Maya 2D fluids. We will also examine useful references and videos to study the behavior and shading in our simulations.
Along the way, you will learn the utilization of shading networks and utilities to produce the shading of particles and fluids. We will also cover the technical idea and theories on attributes of fluids and by the end of this tutorial you will have a sound understandings of particle and fluid dynamics.
[b]Digital-Tutors – Creative Development: Rendering Interiors in 3ds Max and Maxwell Render with Stas Poritskiy[/b]
Advanced | 1h 45m | 1.85 GB | Project Files 587 MB | Required Software: 3D Max 2013, Maxwell 2.7, Photoshop CS5
This tutorial is designed to help you quickly get a good solid foundation of lighting and rendering techniques used for interior visualization.
Over the period of the tutorial, we are going to explore quick ways to achieve a believable render of an interior, discuss the importance of light source placement as well as additional techniques to speedup the Maxwell rendering and prevent noise generation which is a common problem with unbiased renders. We will look at the process of setting up the lighting for the day time scene, and then shift our parameters to create a night effects.
By the end of the training, you should be able to generate a fast lighting solution which you can later tweak to achieve the effect and mood that you or your client wants.
[b]Digital-Tutors – Creative Development: Sculpting Alien Concepts in ZBrush with Jonny Bone[/b]
Advanced | 2h 36m | 1.94 GB | Project Files 197 MB | Required Software: ZBrush 4R4, Keyshot 3, Photoshop CS6
In this ZBrush tutorial, we will learn how to create a concept of a quadruped alien. Throughout these lessons we will design a fast base mesh using ZSpheres in ZBrush. We will then quickly sculpt out the basic forms of the creature and lightly detail it. We will then further our detailing in Photoshop using various paint over and texturing techniques, and finish by refining our creature using various photographs taken and collected by the Artist. In the end, we will have a realistic 3-quarter view of the concept.
[b]Digital-Tutors – Creative Development: Sculpting a Fantasy Monster in ZBrush and Softimage with Szabolcs Matefy[/b]
Advanced | 7h 39m | 5.37 GB | Project Files 1.06 GB | Required Software: Softimage 2012, ZBrush 4R4
In this tutorial we will learn how to sketch a character in ZBrush and Softimage, and how to make it into a detailed sculpture.
The purpose of this tutorial is to present the usage of Softimage and ZBrush as a 3D sketching application. Also, how to use new features like DynaMesh and ICE to complete a 3D concept of a mythological character.
[b][b]Digital-Tutors – Sculpting Workflows in CINEMA 4D[/b]
Intermediate | 1h 44m | 2.17 GB | Project Files 726 MB | Required Software: CINEMA 4D R14 Studio
In this series of CINEMA 4D tutorials, members will learn to use the sculpting tools in CINEMA 4D Studio to create very detailed, high-resolution models. We’ll start out by talking about how to setup geometry for sculpting and go over an explanation of the subdivision level workflow. Then, using a little creature as an example, we’ll talk about the functionality of all of the different sculpting tools- from Pull and Grab, to Wax and Scrape.
We’ll cover common brush settings and options like symmetry and steady stroke that can speed up our workflow. We’ll also talk about the importance of working with layers and how they can add flexibility to the way we work. We’ll also cover the use of stamps in the sculpting process and we’ll finish up by baking out maps to reproduce our sculpted detail on low resolution base meshes.
Once done, you’ll have a good overview of the sculpting process in CINEMA 4D and be able to start integrating those tools into your own asset creation workflow.
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