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Having been brought up in the Middle East, I have been exposed to a lot of the traditional ways of life in this part of the world. Additionally, my father is a well known artist who has illustrated various sports of our ancestors, such as hunting. So, as the second generation of a family of illustrators, I took it as a duty to show the world our traditional sports in a new age or with a different eye.
This Hunting-Toy robot is one of many units designed for the Arabian Desert. I am working on a project based on a Middle Eastern story with a few of my creative friends and this is a demo of that concept. Things might change completely, but you always need to start somewhere!
The Arabian Desert has a lot of stories anI I have always wanted to combine the culture to a futuristic imaginary look that would be interesting to all nationalities and that’s why Hunting-Toy was created!
My father’s long history in Arabian illustration has been one of the greatest influences on my work. It helped me to look at things from different angles and understand them better. Also, I have always been inspired and influenced by the Japanese Airbrush artist Soryama, and
Texturing is one of the most important parts of the job. I converted the files to Maxon BodyPaint, where I constructed the UVs. It took me a few hours, but this is an art form by itself and every artist will deal with it differently. BodyPaint tools helped me to create what I wanted in the shortest time, plus I could always go back to fix the problems in the testing stages.
After I finished the UVs, the canvas was ready to be painted, and I had already layered the bump, color, specular and the reflection maps. All this in BodyPaint helped me to paint freely and with flexibility. It is simply like Photoshop on 3D! My references were taken from traditional Omani daggers. These designs are well known and go centuries back, so my idea was to bring these different patterns, designs, colors and metals as references into my textures. Plus, I needed the hunting toy to look used and abused, so I designed the scratches from crashes and other damaged parts. It looked really clean when I started and I wanted to put it back to a 'used' state.
Right: Some of the textures used in Hunting-Toy are procedural and others are map images or UV maps. Below right: painted UV map. Below: Traditional Omani daggers referenced for textures
I added a bit of dark radiations to the image, some bloom effects, and finally film grain. These are the main effects that helped with the color correction In LightWave. I do admit that there was some Photoshopping, but very little. It is always better to minimize the use of post editing in an image editor. Yes it will enhance your work, but if you design your scene well, you'll have less need for it. These things will be fixed at render time, and that's always the issue with 3D work.
This scene was created on a Macintosh G5 with 4GB RAM and dual 2Ghz processors. All the 3D was done in LightWave 8 and BodyPaint and the elements were composited in Photoshop.
Words and images by Khalid Al-Muharraqi