This issue's cover image is a spin-off from a larger image, shown here, which I created a year ago. It is a montage of memories from growing up in New York City. Skyscrapers would have been a typical city scene, but the glowing subway ball and the blue dusk against the warm hotdog stand are the kinds of things that give me reference to the different city neighborhoods.
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The character's facial expression evolved a lot until I arrived at what 3D Artist's editors refer to as a "Mona Lisa smile." The Bones Pro plug-in as well as 3D Studio Max's own FFD Modifiers helped me achieve that effect.
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I wanted an imperfect character. I don't mean a poorly built or sloppily textured model, but one that avoided that polished look with a square chin and porcelain skin. I spent some time dirtying-up textures in Photoshop to create this imperfection.
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There are many end uses for 3D imagery other than animation, such as doing magazine covers. More and more illustrators are now using 3D programs to create digital illustrations. Although you don't have to worry about animation concerns when the final product is for print, detail and composition become extremely important. A viewer can spend more time examining a still image than an animated sequence.
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One approach to an illustration is to capture in one frame a paragraph from a story, which is what I have tried to do with this cover image. The advantage of using 3D tools over traditional 2D illustration is the flexibility to change camera angles and colors without repainting the whole scene. Because I am a great admirer of traditional paintings, I wouldn't want them to be replaced by 3D; however, it would be nice to see more use of 3D images in all possible mediums.
Eun Kyeong Anna Hennequet is a freelance artist located on California's north coast. She is a graduate of the Parsons School of Design, has done award-winning design and art directing, and is a co-author of New Riders' Inside 3D Studio Max R2 Vol. 3.