The Gnomon Workshop is pleased to announce the release of "Airship Arrival" with Syd Mead.

In this demonstration, legendary designer Syd Mead shares his techniques to create a finished illustration of a futuristic Airship. Image making requires the next step from mastering drawing skill and technique. To produce a sense of ‘being there’ combines drawing and technique skills with a visceral illusion called ‘presence.’ Without these elements coming successfully together, the finished image will look stilted, contrived and unbelievable. Painting with guache, a classic opaque watercolor pigment that dries with a matte finish, Syd discusses the medium, brushes and guides, while sharing his thoughts on the creation of a successful design illustration that is imbued with presence.

The Gnomon Workshop is pleased to announce the release of "Sci-Fi Costume Design in ZBrush" with Luca Nemolato.

In this lecture, Luca Nemolato shares his creative pipeline for the design of a futuristic sci-fi costume. Using the myriad techniques and software that he has learned during his career, Luca begins his concept in ZBrush, showing the power of designing in 3D and developing the idea while sculpting. This exercise teaches you to imagine your concepts in three dimensions from the start, making your workflow quicker and more efficient. Luca then poses the model as another phase of the design process, while still further developing the design.

The Gnomon Workshop is pleased to announce the release of "Texturing Environments with Mari" with Jessica Canter.

In this lecture, Jessica Canter demonstrates how to create a highly detailed environment using Maya, Mudbox and Mari. She begins by modeling a detailed bridge and then blocks-in the cliffs using primary forms. The cliffs are then brought into Mudbox to sculpt the fine details. Jessica then brings them into Mari for texturing. At first Jessica introduces new Mari users to the interface and talks about how to organize a project. She then paints the models in Mari while discussing painting techniques used to texture large environments. Finally, the textures are exported out of Mari and brought back into Maya for final rendering using Arnold. Jessica discusses the process of working with different programs, including how to prep your model to work within Mari, and how to work with UDIMS in Maya. Artists of any level, interested in learning from a master texture artist, will learn techniques both in technical workflows and artistic design strategies.