As in any artistic endeavor, you need to know your tools and how to use them. 3D scenes on any theme need technical knowledge to understand and use the software and hardware. Good news is that there is nothing you cannot learn if you want to.

This image could be classified as pertaining to a "realistic" group. I firmly believe in multiple "realities", and that those realities are the result of perception, contrary to what is usually conceptualized. Therefore, there is no limit to what can be created.

Notes for Visual artists, 2006

De-composing a 3D scene

Our first "Notes"(2002), tried to build a kind of "bridge" between traditional art -painting in that case- and digital art.
However, digital is a word that widely encompasses many meanings. "Digital Art" is just one of those usages.
Among the many definitions of Digital Art, the use of digital technology as a tool is a sine qua non fact.

Starting from here, there are further considerations to think and analyze that would not be mentioned. These notes aim to de-compose a 3D still image, so you can take a look at how all elements come together.

A Sorolla (To Sorolla) Is a still image, a "snapshot" from a scene created in a 3D software. In this case, it was in CarraraPro 5.1.
That snapshot is created when the file is rendered. Before that moment, a lot of work -usually days or even months- has to be done.
In 3d images, you see what the camera sees. Let's start from there.

The startpoint is the void. Just imagine a space without any light, a space ready to materialize what you create. Depending on the program, some reference points to start from will be provided. Basically, you'll have a perspective view, and 3 definite points of view: Front, Side and Top.

The terrain (right) can be generated in many ways and using a lot of software. In fact, one of the most interesting aspects in 3D is converting from one format to another.
This image conveys depth, with black as deepest and white the tallest. Some programs can take away -or 'clip'- the deepest areas, like Bryce.

The terrain from above, placed. Left, in wireframe mode. Right, with a default shader (Just a grey color). There is also a plane, which will be the water.

Here, shaders has been applied. Almost all applications come with already made shaders (or textures, or materials). However, the best way to go is creating your own. Every software handles textures in certain proprietary way. Usually they can be handled with maps (images you 'map'onto surfaces), procedural (more difficult but equally beautiful) or both.

Objects

The object in the foreground, the ship, was modeled after a spanish fishing boat, the "Lagoas", in a vertex modeler. There are many modelers, both free to use and commercial. Usually, their file formats can be displayed in a variety of renderers. Some of them behave like carving out from a material, some others can "add" like clay, and many have features not found in "real stuff". Back to the ship, it is only one. It's been repeated and changed few times.

Details in the composition

Details are added to the composition. They are the "salt and pepper".

Modeled in the vertex modeler, then texturized, the net.

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