Enlighten Festival - Blooming Jungle

ENLIGHTEN 2014 from Eye Candy Animation on Vimeo.

Here is a short clip created by Eye Candy Animation just to give you a little bit of an idea as to what the Enlighten Festival is all about. 

For those of you who don't know anything about the Enlighten Festival; it's this really amazing festival held in Canberra every year where huge projectors light up the buildings with amazing artworks, and this year they decided to try some animation as well.

This footage was taken by Mark Jekabsons

I was involved with a community project where I created Blooming Jungle with the help of Sarah Robertson, Tom Magill and Jack Hampton.

This footage was taken by the AIE

The video above is footage taken of the other animations also created by people from the AIE; together with the Blooming Jungle animation which I was a part of creating. 

Blooming jungle is a short little animation that transforms the National Portrait Gallery into an artwork, as the ancient ruins becomes consumed by wild plants, deep in the heart of the jungle. 

White Wednesday - Short Film (Matte Painting)

This post is about the matte painting that I have created for the opening shot of the short film White Wednesday. The hills, trees and mountain has each been created on a separate layer using Adobe Photoshop whereas the buildings in the foreground is a rendered sequence from the 3D scene that has been created in Autodesk Maya. The sky in the background is a HDRI image created by Tom Magill.

White Wednesday - opening shot matte painting from Anzel Rossouw on Vimeo.

Creating the matte painting for the opening shot was quite a challenge as this was the first time that I have had the opportunity to create a matte painting. It was interesting to go through the process of creating the different layers of the background.

Opening shot, Final render

The opening shot for the short film White Wednesday, was created using Nuke's 3D scene through projecting each layer on a separate sphere with a camera which I have created within the scene. Each layer for the background was created using Adobe Photoshop by a series of images and painting.

Matte painting breakdown

On the left of I have included an image showing the breakdown of the opening shot. On the top left corner of the image I have included a screen shot of the 3D scene work space within Nuke to illustrate the composite of the five different layers, to create the final render that is used within the short film. The spheres that have the separate layers projected on, has been hidden so that I am able to show how each layer fits behind each other as the spheres are also hidden for render purposes. On the right side of the image is the four layers that make up the finished render excluding the sky. The very bottom layer is the 3D buildings; a sequence that has been rendered out of Maya from our 3D scene. This sequence was then projected onto a sphere in Nuke using an imported camera that is used within the Maya opening scene to achieve the downwards motion of the 3D camera. This was then projected onto the smallest sphere located at the centre of the other spheres so that was placed in front of the other layers.

Even though I restarted this matte painting quite a few times I think it turned out pretty good for my first attempt. Each time that I restarted, it just became better and better. Sometimes all it takes is a new perspective and to learn from your mistakes. I know I have definitely learned a thing or two.

White Wednesday - Short Film (Environment and Lighting)

This post is about the concept sketches of the environment as well as the CG lighting for the sunset setting for the courtyard scene that I have created for the short film White Wednesday.

Assets Concept Sheet, Anzel Rossouw, 2013

The Assets Concept Sheet on the left are a few silhouettes that I created to get an idea of how some of the environmental assets would potentially look like. I kind of focused on the street lamps as they would help to bring across the look and feel of an European town.

Environment Concept Sheet 01, Anzel Rossouw, 2013

The image on the left, illustrates the determining visual setting for the environment as a guide for the look of the film. The environment setting of White Wednesday, takes place within a European city on a hill; so the buildings would be very compact and would not be on the same level.

Environment Concept Sheet 02, Anzel Rossouw, 2013

I looked at cities all across Europe but particularly Salzburg, Tallinn and Venice. I mostly focused on the shape of the buildings so that it would have a good silhouette especially when it is placed within the background. I then focused on the windows, roof tops, as well as other assets that would be found on these types of buildings.

The style of the buildings were meant to be very simple such as blocks with sharp edges. These buildings were deigned to be created at a very low poly count to maximize the processing power of the Maya scene. By minimising the poly count, there would be less chugging in the scene and animation becomes easier and faster to create. Imagine having a hi poly object such as a house but then duplicating and placing it all around the scene to create the town; now that would make your scene slow to move around in. So these concept sketches are simple to create very low detailed houses.

Courtyard Sunset Camera 01, White Wednesday, 2013

Courtyard Sunset Camera 02, White Wednesday, 2013

The two images above illustrates the CG lighting that I have created for the Courtyard scene within the short film White Wednesday. The images above are renders taken within the Courtyard scene of the film with same lighting but taken different cameras to show different perspectives. The lighting in this shot is created for a late afternoon setting; at sunset. This lighting was created by using Autodesk Maya through using directional, area and spot lights.

In the end we decided to go with someone else's sunset lighting that they had created for this same shot for the film. Even though the lighting that I created in the shots above are not used within the film, is still think the lighting turned out really great.

White Wednesday - Short Film

White Wednesday from AIE on Vimeo.

In my second year at the AIE of the Advanced Diploma of the Screen and  Media, our last project was a short film assignment where we had to create a short film through using the skills that we have learned through our time at the AIE where we were specialising in 3D Animation and VFX and much more.

I worked with the 6 other students in my class to create White Wednesday. In the beginning of the project we all had to come up with ideas for the short film. The script used for White Wednesday was created by one of our group members, Rebecca Lyons Wright. Seeing as this was her script, she became our director for the film.

White Wednesday is about a pigeon pooping on several statues until he reaches a statue of a woman holding a dove. The pigeon falls in love with the dove not knowing that this is a statue and not a real bird. He flies down to her where he tries everything to impress her, to win her love and affection. When everything else fails, he figures out that she is in fact a statue. He's whole world comes crashing down and he falls asleep on the statues hand next to the dove statue. In the late afternoon a real female pigeon flies in and captures his attention where he immediately falls in love with her.

The style of the short film was set out to be cartoon like and unrealistic; something that would appear within a children's television program. The style for the environment, was initially meant to be very simple, such as blocks with sharp edges for the buildings and the textures were meant to look slightly grungy. Where the pigeon was initially going to look as if has been made out of clay.

The film turned out to look a little different to what we thought it would be at the start of the production, but it has turned out to be quite a production piece. We've all had a great deal of fun creating this film; I know I have. I worked with an amazing team as we created something extraordinary, especially when you consider the time frame that we were working within. I've learned a lot through this short film and had great fun working with the team.  I just want to thank the team and everyone involved in creating this film for all their efforts. This film just wouldn't have been the same without all of you.

Robo_Crane

Robo_Crane, Anzel Rossouw, 2013

Robo_Crane is a 2D artwork consisting of a crane bird that has been integrated with mechanical pieces, that lives within the tree tops where the sunlight breaks through the leaves. This artwork was created using Adobe Photoshop. Robo_Crane was meant to be just an inspirational wallpaper for my desktop computer. So that every time I would look at it, it would give me inspiration and hope. I wanted to create a artwork that would bring across my personality, something that would be me in a sense; my style. This artwork turned out to be exactly what I was looking for; it is creating the exact effect that I wanted to create; inspiration.

Robo_Crane, Initial sketch

The image, Robo_Crane, Initial sketch, on the left is the base for the artwork; so the concept sketch for the idea that I had. The sketch was originally done on a plain grey background, but I decided to add a frame and some shading to the background to make it look more interesting.

This one just started off with this line that I drew out of frustration and so my imagination ran off with this idea of creating a mechanical bird; it kind of just started flowing into something amazing.
Once I had a really good solid base I needed to get some details right, such as how the mechanical parts would look like or whether the bird's proportions were correct.

So I started looking at reference images of the different types of cranes that you get as well as their anatomy, in order to gain a really good perspective on how they work and how sections fit together. I looked at how their beaks looked in particular, how it would fit together with his head and I had to consider how I would incorporate those mechanical pieces. For that I looked at machinery with similar capabilities and functionality. Getting ideas about what kind of hinges and other metal pieces would work as well as how wires would fit in. On the neck of the bird I have incorporated some sort of armoury and the feathers on the head turned out to be more metal like than organic.

Robo_Crane, Colour block out 

So once I've fully created the base of the image and I was sure that I was happy with it, I had to start looking at the colour scheme that I would be using. So far through my artworks I haven't really been very versatile when it came to the use of colour. Choosing the colour was quite difficult. The first colour scheme that I considered using was one where I would use very vibrant colours that would be bright and colourful and this meant the use of colours such as reds, yellows, greens, blues; the usual tropical bird colours. The other colour scheme that I had in mind was the one shown in the image, Robo_Crane, Colour block out; the one I eventually used. Pinks, peach colours, purples, a orangey reddish colour that would work quite well with the peachy colours as well as blues to fit into those purples. I had to be careful as to where I would use the colours so that the image would have a good flow throughout the whole canvas. Through using the orange colour next to the blues; I was creating some contrast where I added this warm and cold colour together.

The next step was to add shading to the very flat block out colours that I have used in, Robo_Crane, Colour block out; where it illustrates the colour scheme. On the left I have included an image to illustrate the artwork once I have finished all the shading.

Robo_Crane, Shading

When it comes to shading, you have to know where the source of your light is in order to determine where you would make use of lighter shading as well as the darker shading. Consider what the fall off of the light would look like on your image. You also have to think about what shape you are using. The light would look very different on a flat surface as opposed to a rounded shape. These are the types of things I never use to consider. Once you think about these things shading becomes  so much easier and you have a much better result, this could also help with creating a more realistic artwork or you are just simply able to create the effect that you are aiming at.

For most shading work that I did, I just took a lighter shade of the colour that I was using, for where the light was shining on the section that I was shading, and the darker shade of my colour for the places where I would find shadows; where the light is does not really shine as bright as well as the places where there was a fall off of the light. I also had to consider the colour of my light as well and how that would affect the colour of my lighter shading. The colour of my environment also effected my shading as well as how the base colour would appear as the leaves around the bird would also contribute some light and would therefore effect the colour.

Robo_Crane, Effects

Looking at Robo_Crane, Shading, I decided that the colours looked way too washed out, so I then added some effects that would make the colour brighter and stand out more. I added some levels in Photoshop to bring those colours out more so that the colours wouldn't look as washed out and almost pale in a sense. Looking at the image on the left, Robo_Crane, Effects, you can see how this have made a huge impact. Especially when I considered on what effect that the bright sun light would have on the whole image. How the leaves around the bird would be more illuminated and how everything should be brighter. The image just looks so much more beautiful and way more vibrant. It feels so much more inspiring and uplifting than what it looked like before in the image Robo_Crane, Shading.

I wanted the background to reflect on the bird itself; a place where he would belong. Above in the tree tops of the forest just seemed so fitting. Even though the bird is integrated with mechanical parts, he is more organic than mechanical. The tree tops is a place where he belongs and where he feels inspired. This is his home.

So far this is my absolute favourite piece of 2D digital art. This artwork reminds me that I am capable of so much more; looking at previous art works and comparing it to this artwork shows me progress. To me this artwork symbolizes strength, peace and beauty. Every time I look at this image, I feel inspired and that is what I wanted to create; that feeling of inspiration. When I look at this artwork I want it to reflect my style of painting. It needed to be something that is truly mine.

Female Robot

In my first year of my Advanced Diploma of Screen and Media; at the Academy of Interactive Entertainment (AIE); one of my assignments that I was given was to create concept sketches, model and rig a 3D character. I decided to create a female robot character as this is something that I've always wanted to create.

Female Robot from Anzel Rossouw on Vimeo.

The video above is a render that I have created to display my very first attempt at creating a 3D character.

Female Robot Concept, Anzel Rossouw, 2012

The image that I have included on the left is the initial concept sketches that I created for my female robot character. I used all kinds of different reference images, ranging from cyber robots to machinery items. So when I started off with these concept sketches, I started looking at human female anatomy in order to get the form and proportions correct; as I was trying to create a fairly realistic female robot character with an interesting design. At that time I haven't had much experience with creating and concept sketches for characters; so I didn't really spend too much time on thinking about how the character would move or whether she would be structurally sound, or any of those considerations. There are however so many elements of the design that I really love; such as the use of negative spaces which gives the character a really strong silhouette.

Female Robot Silhouette, Anzel Rossouw, 2012

The image included on the left; is illustrating the silhouette that I have created for the character in order to gain a good strong perspective of the shape of the character; whether it is a shape that could be distinguished easily, one that is interesting and it is also very useful in identifying sections that could be improved upon, such as structural defects.

Female Robot Colour Concept, Anzel Rossouw, 2012

The image that I have included on the left was created to illustrate the colour scheme that I wanted to use as well as the materials and textures that I wanted to apply to my female robot character.

I mostly wanted to use different shades of grey for the basic colour of the body, because of the wide metallic range of materials that I wanted to use. I also wanted to bring some black, white and blue colours into the metal material in order to emphasise some sections of the robot as well as bringing some verity into the metal materials being used. Through adding colour schemes to my character concept sheet, I was quickly able to see what would work and what wouldn't; this saves time when creating the actual materials and texture maps for the 3D model.

Female Robot_Turntable from Anzel Rossouw on Vimeo.

Although this turned out pretty good for a first attempt; I have decided to recreate this character as I believe there are some really good ideas to this design. I am currently redesigning a few parts; especially her legs, as there are some major flaws which I only discovered once I started rigging my character. My skills as a concept artist has increased quite a bit, therefore I believe I can really take this character a lot further than I have before. I have really progressed within my modelling skills; so with a bit of effort this could become a fully functional robot and my goal is to get her to the stage where she is fully rigged and then I would be able to create a short animation with her. I look forward to finishing my next attempt and I know I could do better.

Holographic Fashion - VFX Short Film (VFX & compositing)

I just wanted to talk a little bit about the VFX/ Visual Effects as well as the composition that went into creating the Holographic Fashion short film. The process that we went through to achieve the final film.

Shot 01_Green screen footage

The three images that I have included on the left, is to illustrated the process that we went through to create shot 01 of the short film Holographic Fashion.

To the left is the first image, Shot 01_Green screen footage; this illustrates the footage that was taken with the green screen as the background and lighting set up. All the footage for Holographic Fashion was taken by Tom Magill at the Academy of Interactive Entertainment (AIE); at the Canberra campus. The green screen were used so that we could later composite the footage on top of the 3D background and then add effects to create the results we wanted to achieve.

Shot 01_Background

The image on the left, Shot 01_Background, is the clean render of the 3D scene for shot 01 that has been taken straight out of Maya. This render was used within the Nuke script as the Background layer where everything gets composited on top of. The image appears to be quite dark as it have not been gamma corrected yet and it does not contain any effects. This render has been done through a linear workflow in order to create realistic lighting within the scene, which also explains it's dark appearance. You can barely see the furniture in the background but as you can see the image below on the left, Shot 01_Composited, that it is more visible but still needs to be quite dark for the effect that I was going for.

Shot 01_Composited

To the left is the image, Shot 01_Composited; this image illustrates a final composited render that is used within the completed film. In this render you can see the result of the footage once it has been composited over the background together with the visual effects that are all added  together.

The Background layer which is the image shown above, Shot 01_Background; has been saved as an .exr file extension and was then automatically been gamma corrected once it was opened within Nuke. A ZDefocus node was then added in order to create the blurriness within the background to create the effect that the camera is focussed on the foreground.

The desk in the foreground has been rendered on a separate layer to the background so that the background can have different effects to what the desk in the foreground would be receiving; so using nodes like the ZDefocus node was easier and would not effect the desk in the foreground.

The slider on the table that I used to switch the holograms on; was created through the use of a two separate flare nodes together with an animated grade node to control the visibility as well as changing the colours and creating that slight flickering.

I then added the footage of myself to the tree of nodes by using a merge node. Using Primatte node; I was able to remove the green screen that  was in the background and instead I now had the render of the 3D scene as the background. Further more I used nodes such as Sharpen, Grade and LightWrap node to help the footage blend into the environment and to create the effect that the light of the holograms in front of me was illuminating me. This meant animating these effects at the start as the film does not start with the holograms on.

The holograms seen in this shot was created using all the Photoshop concept sketches that was created by myself and Natasha Downs. These include the dress designs as well as the hologram controls such as the intensity slider used to brighten the holograms; the wheel that is used to select the dress designs as well as the other holograms such as the folder or the keyboard. I used a Glow node in Nuke in order to create the hologram effects on all the 2D images used. I then mostly used Grade nodes for the most of the colour corrections that I wanted to do as well as animating the visibility of the holograms.

Nuke workspace, shot 01 

The scree shot above illustrates the Nuke workspace for the animation of the wheel in Shot 01 that switches between different dress designs, to be rotated. The animation curves is shown through the Curve Editor workspace when editing the transform node that is used for animation. The Curve Editor was very usefull in getting the animation timing right according to the movements of my hand. Transform nodes were also used in order to place the footage as well as all the images in the right spot that I wanted them to be in. Transform nodes was also used in the animation of the folder being minimised; the rotations, scaling and translation; as well as the scaling of the dress design files; so pretty much all the animation.

Shot 02_Green screen footage

To the right, Shot 02_Green screen footage; is used to illustrates the footage that was taken with the green screen as the background and lighting set up for Shot 02 of Holographic Fashion. As you can see in the image; my hand is slightly leaving the green screen on the bottom of the screen. It's not the worst thing ever, and can easily be fixed with a Roto Node within the compositing stage. Instead we decided to use a transform node to place the footage in a way that that small part of my hand is cut off; as seen in the image below, Shot 02_Composited.

Shot 02_Background

The image on the right, Shot 02_Background, is the clean render of the 3D scene for shot 01 that has been taken straight out of Maya. This render was used within the Nuke script as the Background layer where everything gets composited on top of. The image appears to be quite dark as it have not been gamma corrected yet and it does not contain any effects. This render has been done through a linear workflow in order to create realistic lighting within the scene, which also explains it's dark appearance. You can barely see the furniture in the background but as you can see the image below on the left, Shot 02_Composited, that it is more visible but still needs to be quite dark for the effect that I was going for.

Shot 02_Composited

To the right is the image, Shot 02_Composited; this image illustrates a final composited render that is used within the completed film.The 3D model appearing in the 3D hologram in the image on the right, Shot 02_Composited, was sculpted by Natasha Downs using Pixologic's 3D sculpting program ZBrush. The background was however created by myself. The compositing was also done by Natasha Downs and with the help of Tom Magill. They merged the footage of the different render passes of her 3D model and was then able to create the hologram effect through using a godrays node as well as the gizmo's that was used in shot 01 on the other holograms.

Shot 03_Green screen footage

To the left is the image; Shot 03_Green screen footage, which illustrates the footage that was taken with the green screen as the background and lighting set up for Shot 03 of Holographic Fashion. This was done the same as the above two images Shot 01_Green screen footage, and Shot 02_Green screen footage. Where the camera as well as the lighting was set up relatively the same for each shot. For each shot we had about 3-4 takes so that later on we were able to decide which one turned out the best. Each shot also had to be acted out the whole sequence over again so when it came to the compositing stage, we were able to cut the shot where we wanted it to.

Shot 03_Background

The image on the left, Shot 03_Background, is the clean render of the 3D scene for shot 01 that has been taken straight out of Maya. This render was used within the Nuke script as the Background layer where everything gets composited on top of. The image appears to be quite dark as it have not been gamma corrected yet and it does not contain any effects. This render has been done through a linear workflow in order to create realistic lighting within the scene, which also explains it's dark appearance. You can barely see the furniture in the background but as you can see the image below on the left, Shot 03_Composited, that it is more visible but still needs to be quite dark for the effect that I was going for.

Shot 03_Composited

To the left is the image, Shot 03_Composited; this image illustrates a final composited render that is used within the completed film for shot 03. The background used for this shot is a render from a third camera within the same 3D scene that is used in Shot 01_Composited and Shot 02_Composited. I composited this shot using the footage shown in the image above in, Shot 03_Green screen footage, together with the same set-up that was created for the 3D hologram in Shot 02_Composited; by Natasha Downs and with the help of Tom Magill.

Credits_Composited

The image above, Credits_Composited, is illustrating the effects that has been created for the credits using Nuke. I ended up using the same gizmo that we used on all the holograms within all the shots, to create the same hologram effect where it almost gives the idea of a glitch in the hologram, on the text and the extra images on the sides. I then used a transform node to animate the text as well as the hologram dress design images sliding upwards.

I absolutely loved creating the effects for this short film and I learned so much while doing them. Working with the Foundry's compositing program, Nuke was an amazing experience and I cannot wait to start another VFX project. 

Holographic Fashion - VFX Short Film (Concept Art)

These concept sheets that I have included below are a part of the short film Holographic Fashion. These sketches have been used as the holograms within the first shot of the short film that I am interacting with.

I just want to talk a little about how I created these concept sketches.

Dress Concept Sheet 1, Anzel Rossouw, 2013

On the left of the screen I have included Dress Concept sheet 1, as well as Dress Concept sheet 2. In these two concept sheets, I want to illustrate how the dress designs look without the hologram effects. I wanted to show the initial sketches as they are, on white paper. These concept sketches were created using Adobe Photoshop just like my previous concept art.

As these concept sketches were meant to bring across an idea as to what kind of fashion would be followed within the future, I wanted to create weird and wacky clothes; a fashion that is futuristic. As the short film is about a fashion designer I wanted the designs to be elegant and almost a little bit formal.

Dress Concept Sheet 2, Anzel Rossouw, 2013

At first I started looking at unusual fashion, like those that would be modelled on catwalks; so designers items. Even the fashion that would be worn by our unusual music artists like Lady Gaga.

These designs gave me a great direction to head towards, but it still didn't feel like it was enough, it wasn't quite bringing across the futuristic effect that I wanted to emphasise. So I started looking at abstract art. I gathered some seriously great shapes and put that together with the most interesting fashion designs that I could find. I even used the reference that I have gathered for my environment of the futuristic furniture, within the dress/clothes designs.

Hologram Dress Concept Sheet 1, Anzel Rossouw, 2013

On the right of the screen I have included the two concept sheets Hologram Dress Concept Sheet 1, as well as Hologram Dress Concept Sheet 2. These concept sheets are used to illustrate how the dress designs shown above, would potentially look like with the hologram effects added to them.

These concept sketches shows the colour direction, to see which colour to use for the dress design holograms as well as the intensity of the glow that we were aiming for in the finished film.

Hologram Dress Concept Sheet 2, Anzel Rossouw, 2013

I created the glow effects using the Gaussian Blur filter with a duplicate of the concept sketch layer, within Adobe Photoshop. that way the initial layer that has not been blurred is creating that sharp outlines and the blurred layer acts as the glow of the outlines.

Hologram Concept Sheet, Anzel Rossouw, 2013

The concept sketches that I have included on the left, are all the sketches that I have created in order to illustrate to hologram controls that is used within the first shot of the film like the dress designs above.

Holographic Fashion - VFX Short Film

Holographic Fashion from AIE on Vimeo.

Holographic Fashion is the combination of holograms and fashion design. The idea was to create a futuristic film in which I was a fashion designer in the future where the screen I am working on is a hologram.

Holographic Fashion was part of a visual effects assignment within my second year at the AIE where I worked with another student, to create a featured film. For this assignment we incorporated a 3D scene with filmed footage of myself and gave I then added some visual effects to create the holograms using Nuke from the Foundry.

The 3D scene was created in Maya in which I modelled, textured and lit the environment before rendering it. Using Nuke I composited the 3D scene together with the footage and gave the film effects using our dress designs as well as our screen designs, which was created in Photoshop.

I learnt so many thing s​and had lots of fun creating this film.This was an amazing experience. I hope you enjoy watching it.

Art Studio

Art Studio, 2012

Art Studio is a 3D Render of a scene that I rendered out of Autodesk Maya; for which I created the lighting for as well as all the materials and textures for the assets, using Adobe Photoshop. The scene is one of many that are available from Jeremy Birn - 3dRender.com.

Art Studio Process

On the right I have included a few renders that I have put together as a little bit of a breakdown of the process that I went through. The different light changes that I made trying to achieve the result that I desired. As you can see there is a major difference going through the first render all the way through to the twelve renders to get the final beauty shot.


You can see the different renders of how I went through the unwrapping of the UV's in order to get the texturing done using Adobe Photoshop as well as the different materials that I have created via the Hypershade in Autodesk Maya.

Within the final render shown above; the composition is made out of two render passes. These two render passes is included below.

AO Ambient Occlusion Pass

Beauty Render

The Beauty Render is the image that have been rendered straight out of Autodesk Maya before any other render passes has been composed together. The Beauty pass is sometimes also know as the diffuse or color pass which includes all your color maps as well as your diffuse lighting.


The image below on the right, is a top view diagram of the Art Studio that I have created to demonstrate the different lights that I have used within the scene to achieve the lighting within in the final render as show above. This diagram shows the location of where I have placed these different lights as well as showing the direction of which the the light is shining in.

As you can see on the diagram I have used three different lights in this scene. These three lights are shown inn three different colors; blue, green and red.

Lighting diagram

The light shown in blue is the direction light that I have used, which is also used as the key light. This light acts as my sun light coming into the room through the upper large window across from the art easels. The angle in which the directional light is placed is creating a late afternoon lighting.





This has been my one of my first attempts at creating digital lighting. I know now after exploring more into digital lighting as well as gaining more knowledge, that there are still quite a few flaws in the render such as photons bouncing around the room and being visible, but I think it turned out to be a great render and a beautiful image.

Woman: scribble to inspiration...

Woman,  Anzel Rossouw, 2013

This has been one of my very first digital art pieces which was created in 2013. I've mostly created traditional art through the years, so creating digital art was a new experience for me. Once I got started in Photoshop I was hooked. The idea of this artwork is to create inspiration through the use of imagination. To show people that by using your imagination you are able to create something which is inspirational.

Initial Sketch

This 2D digital art piece started out as a little scribble on a scrap piece of paper, which I have included on the left. So I decided to take this further, redrew the scribble using Adobe Photoshop and added some color. So at this point I only had some lines and some color swatches on a canvas, but this was enough to get me started. I looked at some female human anatomy in order to get the proportions of the body correct. The way in which the head is tilted up has created quite a challenge in getting the face proportions correct.

After I had the basic structure of the body correct, I started looking at the dress. So once I've started drawing the dress, it didn't feel like the right fit. I started looking at various dress designs and I then decided upon a frilly dress to bring across her personality as well as creating a challenge. I started researching different types of frills and the way in which the fabric would act when interacting with the other segments of the dress. Looking at the basic shape of her hair I had to decide how thick her hair would be, the quantity as well how long it would be. After I have determined this, I looked at how her hair would act blowing up.

After getting the basics right I started looking at the various color schemes that I would be using. I wanted to bring across a soft mood so I used cold colors that was in the range of a purple color scheme. I decided to put quite a bit of attention on the light coming into the image, as I wanted to put across the message of how there is always light within the darkness. The light is also representing the imagination as well as inspiration; where as the darkness represent how life would be dark and sad without imagination. After finishing this artwork I decided to add an inspirational quote that would make more of an impression and that would bring across some inspiration to many artists. As the whole idea of this artwork was to create inspiration through using imagination I wanted to use a quote that was about imagination. So I decided upon the very well known quote "Imagination is more important than Knowledge", by Albert Einstein. In this artwork the knowledge spoken about in the quote, is almost representing the darkness and how inspiration is more important like the light within the artwork.

I think it turned out pretty good for a scribble, especially because it's a little bit different to my usual style of artworks. I really enjoyed creating this artwork and I look forward to posting some of my new artworks.

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There are so many opportunities out there with all the technology of today. Using all kinds of software and even hardware, the possibilities are endless if you only add a little bit of imagination. Creating digital artworks, concepts sketches, CG modelling, CG lighting, compositing, and even doing animation, is all part of art within CG Designs.