A hero tree asset, utilized over many tree species throughout the film, from concept art to hand painted reptile bark, helped develop the artistic style of this asset. Taking from my research of dinosaurs and scientific illustration working with paleontologists with the ABC Australia's Fossils website, the lizard skin was constructed from many different reptiles for a realistic aesthetic by hand painted textures.

Completely hand painted a tileable lizard skin texture for the lizard tree asset.

Plants and environments 3d Surface Artist:

Texture hero leaf of Neytiri.

From 3D concept art to textured model. Taking photo reference images and deriving bump, displacement, sub surface scattering and hand painting color maps

Photo capture

Mari

Photoshop

Rendered with:

Plants and environments 3d Surface Artist:

Texture hero leaf of Neytiri.

From 3D concept art to textured model. Taking photo reference images and deriving bump, displacement, sub surface scattering and hand painting color maps

Photo capture

Mari

Photoshop

Rendered with:

Plants and environments 3d Surface Artist:

Texture hero leaf of Neytiri.

From 3D concept art to textured model. Taking photo reference images and deriving bump, displacement, sub surface scattering and hand painting color maps

Photo capture

Mari

Photoshop

Rendered with:

3D surface artist, Jakes Gun,

Animal Logic. Happy Feet. 2004-2006 The role of surfacing artist involved taking sole responsibility for a scene, designing the look of surfaces by: establishing UV layouts; creating texture maps for displacement, color, specular and reflections; baking out occlusion, subsurface scattering and footprints simulations; and building the shaders using a proprietary material management tool (the wonderful Freezer!)." Because of the complexity and technical aspects, packages were developed for the environment department that included scene cameras, geo, light rig and scene animation, which was beneficial for quality control and deadlines. This process involved close daily direction from the Art Director and Surfacing Supervisor. It also involved cross company communication and working closely with other departments. The pipeline was looped: once surfacing was approved by the director, the scene was delivered to Lighting where it was key-lit and sent back to surfacing for final tweaks before final lighting and VFX would begin. This process involved extensive experience with Maya's Hypershade and Renderman (PRMan).

3d surface artist

Texture and shading

3d surface artist, textures and shading

Using photographs, derived hand painted hero texture maps for the crocodiles head and mouth.

Photoshop

Hand painted and rebuilt underexposed scene. Rebuilt wood texture inside the hollow.

Hand painted and rebuilt underexposed scene. Rebuilt wood texture inside the hollow.

matte painting for concept

Final matte painting concept for Cathedral of Trees