Welcome to Issue 34!
Welcome to the “Future Interiors” issue. It’s corridors, all the way along, dear readers! No, I’m kidding. We also have some rooms. Some of the rooms even have views.
‘The corridor’ is everywhere in science fiction. On moon bases, in orbiting space-cities, deep under Mars, forming intricate mazes inside spaceships. Corridors of all types, from claustrophobic ventilation-shafts to grand avenue-like baroque structures that would not shame a royal palace. Explorers creep down these corridors, then usually flee back about 20 minutes later — pursued by ravening monsters! Curiously, we never tire of this. Which suggests that the pattern was set early, and goes deep into our history and psychology.
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We re-visit Tarik in Turkey, to find out how his art and commercial practice have developed over the past two years.
3DS MAX | PHOTOSHOP
“We won First Prize for an important national competition! But it was a long run up [and the renders] became kind of paintings or art, because I spent so much time on them. So I was very pleased when they were showcased in magazines and on billboards.”
Daniel melds Blender with Vue, and uses the NURBS modeller MoI 3 to create a wealth of free science fiction OBJ models.
VUE | BLENDER | MOI
“The difficulty with going in a different direction is that your first attempts aren’t very good. They don’t satisfy you, because they’re awkward. […] Of course, in that, you forget the journey of ‘I wish that was better’ — which got you to where you are now.”
‘Petipet’ is a name well-known to those looking for high-quality science-fiction content on the DAZ Store.
DAZ | CONTENT MAKER
“I was modelling just for myself, as a hobby. Then my friend offered to put my models on sale. [Then the DAZ] Platinum Club offered me a contract. Since then, my hobby has become my job. I can say one thing — this is the best job in my life, and I do what I like.”
Also in Digital Art Live….
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- VUE FREEBIES
- BACK ISSUES INDEX
- MY STUDIO
- PULP COVERS
Part Interview text with TARIK KESKIN
DAL: Tarik, welcome back to Digital Art Live magazine. We last published an in-depth interview with you, way back in Issue #1 (October 2016). It was the lead interview in that first issue of the new title. We thought you’d be perfect for this new “Future Interiors” issue, especially when we saw your latest “The Overview” series. How have you been, for the last two years? And how is Istanbul, these days?
TK: Hello again, it is very nice to be back! Thanks for that. Well… for the past two years, I had my ups and downs. But in general it was fine, if not great. Istanbul is especially great these days, especially as it is the Fall [Autumn] and it looks poetic here!
DAL: That’s great. Yes, it’s very golden and gold here in the UK, although the fogs and mists are starting to predominate now. For our readers who didn’t see the first issue, could you briefly introduce yourself and your work to them, please?
TK: Sure. I’m a licensed architect based in Istanbul, Turkey. I work more on the virtual side of the architecture, such as virtual places or renderings. So that’s my profession, and I have been a freelancer for the whole time. So other than those activities, I also participate in national and international architectural competitions with teams, and I have side projects like space-based or you know, futuristic stuff… like doing space stations in virtual reality or your know that kind of stuff.
DAL: Yes, readers can look back to the first issue for details of that, thanks. Now, you use the 3DS Max software. What are you most exciting about, or find the most useful in that software in its current version? Especially any changes to it which have happened in the last two years – either in the UI, render engine, or in its many plugins.
TK: Autodesk has been systematically developing 3DS Max which is good, every year they offer new technologies to keep up with the competition. Now, in the 2018 version they offered a totally new rendering engine, and I think this is because of the bad reputation of the iRay renderer, which is not really that practical.
DAL: Right. I wasn’t aware they used iRay, but I don’t follow developments in Max. I casually assumed that Max users had to plug in V-Ray or similar as their renderer. So tell us about the new native rendering engine, please.
TK: The new rendering engine is called ART Renderer, which is not totally ready for production, but is way better and practical than iRay, when used to test out stuff, drafting or even for simple renderings. Other than that, Autodesk also made it possible to simulate people and texturize objects like you do with brushes, and doing that had required plugins in the past. I’m not sure if those developments happened in the last two years though, they may be earlier, but still cool stuff.
DAL: Great. Did you get to explore Revit, which you were planning to do when we last spoke? What are your thoughts on the development of that, or on other software you use alongside 3DS Max?
TK: I still haven’t been able to learn or practice Revit yet, but still it’s hell of a software for architectural projects. I have been using Photoshop for ten plus years now, and there have been so many new features introduced which have been extremely useful for me. To mention a few: things on perspective control / lens correction; enhancements on content-aware filling; enhancements on refine edge function; and the always-getting-better user interface. Those are things which I really like a lot and which ease my work.
DAL: What three things still excite you about making interior renders?
TK: The future getting closer! Also creating unbelievable and out-of-this-world atmospheres and moods, and hyperrealism. By hyperrealism I mean seeing things I imagined or designed like as if it were taken by a camera in the future.