The Gnomon Workshop – Product Design Rendering Essentials

Lighting and Shading in StudioTools with Dustin Brown
| 1,8 G | RS |

StudioTools is a workhorse application for many industrial designers, but much of its functionality is buried within complex option windows and cryptically named settings. In this DVD, industrial designer Dustin Brown demystifies the rendering process in StudioTools. He covers not only critical settings within the software, but also presents his unique approach to planning, lighting and shader creation. He concludes with a comprehensive rendering demo in which he shows this approach in action and discusses, among many other things, such difficult topics as depth of field, chrome and clearcoat paint finishes.

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3D Trainer Maya Physical Dynamics | RS – HF | 2 GB

Learn how to use real world physics to drive advanced simulations within Maya. Use fields like gravity and vortex to create incredibly realistic reactions between objects. Take advantage of constraints to create working catapults that can hurl boulders through the air. Or shake thing up with a massive wrecking ball. Maya Physical Dynamics teaches you quickly and easily how to harness the power of maya to create amazing simulations.

Topics Covered
Animation settings
Ridgid bodies
Ridgid Attributes
Baking Key Frames
Keying passive to ridgid
Slover Attributes
Optimizing Slumations
Building a Catapulte
Building a Canon

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Simply Maya Furry Yeti (3 Volumes)

3 volumes | 2,18 GB+3,61 GB+2,05 GB

The Holiday Tutorial is designed for new to intermediate Maya users. In this project you will learn how to create your own complete digital illustration from start to finish. We begin by modeling our main character, a snow yeti, by using images planes for reference and then we’ll model all the basic shapes using nurbs primitives. Once we have the shape and size right, we’ll convert into polygons to add detail. We will also cover converting back and forth to sub-d as well to help with shaping details. After our character is complete we switch to modeling the set using a lot of the same techniques.

You will then begin the texturing process for both. You will learn how to lay out a flat effective UV map for painting in Photoshop as well as learn how to use tools such as UV’s cut and UV’s sew and move. The painting of our illustration is done in Photoshop where you will learn how to build up layers of color to create cool looking skin for our yeti as well as ice for our cave. After the texturing its time to move into some Maya fur work to give our yeti some white fur to keep him warm. You will learn how to add fur to your model as well as manipulate it so it all goes in one direction. You will also play with size, length and “baldness”. Finally, its time for lighting work. You will learn how to create lights, adjust their settings and add cameras to get your final composition.

1 -5 Deal with the Yeti character modelling
6 – 8 Deal with the Yeti character UV mapping
9 – 11 Deal with the Yeti Texturing
12 – 13 Deal with the Scene Modelling
14 Deals with the Scene UV Mapping
15 – 18 Deal with the Scene Texturing

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DVD3 – ZBrush 3 for Windows Essential Training

| 900 Mb | RS |

Pixologic’s ZBrush 3 stands at the forefront of digital 3D sculpting and 2.5D painting, a new medium that is taking the art and entertainment worlds by storm. Visual effects artist Eric Keller shares his expertise and talents in ZBrush 3 for Windows Essential Training. He presents the concepts behind digital sculpting, shows how to produce fantastic images using the unique ZBrush toolset and interface, and demonstrates the power of the Digital Clay and Sculpting brushes. To offer a richer understanding of the application, Eric gives a guided tour of the interface and addresses the most common problems experienced by new users. Exercise files accompany the course.

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Kurv Studios – Get into ZBrush 3.1 – Sculpting, Texturing & Rendering – Total ZBrush Volume 2
Picking up where Volume I left off, this title from KURV studios is a little more than 6 hours of comprehensive training from skilled artist, Wayne Robson.

This video is a project based training video showing you how to create the cover image, Oranguman. Oranguman is Wayne’s character imagining if the Orangutan species evolved into a human type species.

This video starts off showing you some tips on modeling and some time saving interface customizations. Wayne then moved on into the modeling sections where he goes from a basic ZSphere character to showing you how to create fine details included details in HD.

Wayne then shows you how to texture the character in three separate detailed sections.

We have setup this DVD so that you can pick and choose the areas you want to learn. maybe you are already familiar with texturing, but want comprehensive information on HD detailing your model in ZBrush 3.1, simply open that chapter. But don’t dismiss the posing chapter as we learned a few time saving nuggets in that area ourselves. This video is more than 6 hours of training.

Topics Covered by this Video:

* ZBrush training video, free ZBrush 3.1 training videos, free ZBrush training onlineInterface customization for a better sculpting experience
* Creating a controlled ZSpheres character base
* Which brushes to use to start off your sculpting
* Sculpting the basic forms
* Refining every part of the body
* Character design on the fly and why decisions are made
* Using the ZProject brush to save yourself a lot of time
* This includes sculpting every part of the Oranguman’s body at both normal and HD level
* Using mesh extract to create new accessories
* Texturing the Oranguman and some simple texture painting theory
* Posing the final character sculpt


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Massive Black – Kemp Remillard – Vehicle Concepting part 1-3
This four-part series covers the process and working methods Kemp uses for designing science-fiction vehicles for the games and entertainment industry.

In part 1, Kemp utilizes a typical job sheet to assess the goals and needs of a client. Once he has his general direction he begins creating thumbnail sketches in Photoshop to begin the design process. Working in a side-view, plans are drawn up to work out issues of proportion and engineering.

Part 2 begins with Kemp choosing the three best thumbnails and taking them into Google Sketchup. The rough models are made and then Kemp takes these into Photoshop to add mood, lighting, and texture.

Parts 3 and 4 refine the processes above to further develop a single design. The Sketchup model is finalized and then Kemp returns to Photoshop to create a deliverable ortho and final illustration for a client.

The whole series provides a beautiful example of the way in which artists (and their clients) can use the iterative process to refine a rough idea into a fully developed asset. Kemp’s candid narrative reveals a great depth of experience in areas of design, approach, client relations, and more.


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Trinity Animation: Advanced Maya Character Modeling

Advanced Maya: Character Modeling will take you through each step of modeling a character from head to toe. Starting with photographs of a human female model, every step from the first polygon to the final tweak is illustrated and explained. Also, learn how to create a custom shelf to be used throughout the modeling process that will speed up your workflow.The 16 page book is a handy guide to the included DVD disc. The DVD disc (data format) includes over 16 hours of high-resolution (1024×768) video in QuickTime MOV format, designed for crystal clear viewing on a computer monitor. Voice narration on these movies by artist Kenny Cooper will guide you through each movie. A Maya scene file is saved on the disc for the start and end of each movie segment – 50 segments in all.
Designed for the intermediate level Maya user, this training video will help you learn how to use polygonal and sub-divisional modeling tools to create a fully articulated human 3D model. Follow along as each body part is created, matched, attached and refined.



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Simplymaya – Chef Ramsay | 3.47 GB

In this new tutorial from Simply Maya you\’ll get to learn character/caricature modelling techniques like those used in major TV productions. Based upon character styling used in the Headcases TV show Jason has designed and drawn a caricature of the infamous foul tempered chef, Gordon Ramsay!

The tutorial begins with a look at reference material followed by basic creation of the character/caricature image planes within Maya. Instead of ploughing straight into the modelling of the characters facial features, we begin with the creation of the more simpler elements of the model that serve their purpose as a \’warm up\’ exercise using mainly polygons and Maya\’s standard modelling tools and then gradually building up to the more complicated task of creating a characters head from a polygon cube.

Once various parts of the model are complete the uv and texture mapping process is then covered , then its straight into Photoshop to create some \’light\’ and uncomplicated textures in order to keep to the cartoon styling of the character. The tutorial concludes with all parts of the model being finalised then brought together to form the finished character.



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Digital Juice: Motion Designer\’s Toolkit 1: Gradient Hooladanders | 1.57 GB

Gradient Hooladanders leader among producers of material for graphic design, multimedia presentations, graphics, animation, print and music video. As editors and graphic designers know, time is our worst enemy. Clients want the best looking product (obviously) in the absolute shortest amount of time, and that\’s where companies like Digital Juice have helped us in the past by providing us with stock elements that we can use to not only spice up our projects, but get them finished a lot faster. There is one problem, though, and that is that so many other people out there have purchased the same stock element packages that you end up seeing a background that you just used in someone else\’s commercial or show. It becomes frustrating and ends up turning you off of using products like these. Until now. With the Motion Designers Toolkit (MDTK), I think that Digital Juice (DJ) is taking “stock” elements to a whole new level.


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TopoGun Win32 Full

TopoGun Win32 Full (not-beta)
TopoGun is a stand-alone resurfacing, and maps baking application. The resurfacing functions in TopoGun will help you modify and/or recreate the edgeflow of your digital 3D models. The maps baking functions, will help you bake various types of texture maps from your high resolution 3D models and then allow you to apply them to your newly created optimized meshes. These texture maps contain information that will help you recover the appearance and features of the original high resolution mesh.

In today’s 3D graphics, high quality 3D models, due to their nature, usually have millions of polygons. This is because most of today’s 3d models are created from real world scanned models, or they are digital sculptures, created using brush based 3D sculpting applications.
In order to better serve their purposes, 3D models should have a much lower polycount and must provide for a deserved ease of handling. Even more than this, they need to have specific edgeflows in order to be more easily animated, or further detailed.

A lot of artists nowadays create their concepts as 3D models, using brush based sculpting applications. They usually start from basic primitive objects, such as cubes. At a certain point, they need to rework the topology of their models. There are several reasons for doing this: to make the 3D models more animation friendly, to create lowpoly versions for gaming or further sculpting and detailing, or as a way to change the highres topology in order to improve the model’s capability of handling the highres information at a lower polygon budget. A resurfacing tool like TopoGun is needed for these purposes.

Furthermore, you can use TopoGun to bake multiple maps out of the original highres meshes. These maps can be used by texture artists when texturing the models. They can also be used by 3D engines in order to preserve the original mesh’s features, (i.e., small details that couldn’t be recovered after retopologizing due to the limited polycount an engine can render in realtime).

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