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Fabrice Delage is known for his persistant objective in trying to gain photo realistic character portraits from using Poser, Vue and Photoshop. We originally interviewed Fabrice in issue 3 back in September 2010 and included some of his best work from his portfolio at the time alongside the interview. We’ve reproduced the article in full here for you to learn a little more about Fabrice and his portfolio.
Let us know what your favourite image is from Fabrice’s portfolio and let us know of other artists that you think manage to obtain photo realism with their images. You can check Fabrice’s current gallery at Renderosity.
Happy New Year to you from all of us at 3D Art Direct!
3DAD: How long have you been involved with digital art? What were the beginnings?
FD: I started with 3D seven years ago. I already used 2D at work and since I love doing portraits, I wanted to create my own images. The idea of using 3D for portraits came quite naturally. I started with Poser 5 and was really satisfied with this program.
3DAD: Did you work with paints or photography before going digital?
FD: I do a lot of sketching and painting.
3DAD: Who were your first mentors or artists that inspired you the most as you started out?
FD: Koji Yamagami, Liam Kemp and Alceu Baptistao with their efforts to create realistic images, have been and still are a great inspiration for me.
3DAD: What was some of the first software and hardware you used in the early years for your work?
FD: I started with Photoshop, which was my main working horse, on an old Mac, but luckily things evolved for the better.
3DAD: Has imaging the human form always been your main motivation in the creation of your artwork?
FD: I love the human body and especially the female body. It is a real pleasure to work on the curves and forms of a beautiful woman, even when she is made of polygons.
3DAD: Is your primary goal to gain photo realism with the human form and to push the boundaries in this direction?
FD: My goal in 3D is to make an image as realistic as possible. Be it lights, scene set up, facial expressions, I want to make people forget that it is 3D! My friends have often told me, that my creations are really close to photo realism.
At this stage I do have a certain reputation in 3D world. And I feel very proud when my creations are used as a reference at art fairs or when 3D mags publish entire pages of my work.
3DAD: Has it taken you a while to get a streamlined work flow in the creation of your images? What are the broad steps you take in your work flow?
FD: My work flow is quite simple, I use one highend Mac for the scene set up and rendering and another with a Wacom tablet for postwork. I use the following apps: Poser 6, Vue 6 Infinite and Photoshop.
3DAD: You’ve created a great series of “Uzilite team” pieces, is that part of a graphic novel project? Is there an on-going story with these characters?
I did this series because Wusamah’s Uzilite products are really excellent! I love the quality of the Uzilite products and a couple of enterprises have been interested in these futuristic images. I have done those images to promote the products as well as to show their quality in complex scenes with great lightning.
3DAD: “Dream” and “Make a Dream” from your Vue C3D gallery are using a similar setting; floating spheres in front of the “Dreamer” character. These are fantastic images. What gave you the idea to create these pieces?FD: “Dream” and “Make a dream” are both made for my parents who love these kind of images.
3DAD: “Dabrat” is a nicely toned portrait. There’s a metallic reflective poll that the character is leaning against that adds interest to the scene and there’s a nice photo-realism about this picture. Tell me about this piece.FD: “Dabrat” is inspired by an image in the Mode Lifestyle magazine. The model was very beautiful with a certain saucy quality. I often use such magazines as source of inspiration for poses, lights and expressions.
3DAD: “Ronin2” is a nicely posed male character, with great expression; he’s looking for a fight! What’s the story about this character?
FD: The “Ronin” series simply exists, because I love the “Koji” Asian character from e-frontier. It is a fantastic character with very realistic expressions.
3DAD: Some examples of your photo realistic images “My Light 1”, “Meryl” and “Ruelle” that are rendered with a lack of colour. Is it easier to achieve photo realism with a lack of colour? Have you enjoyed working in this mode?
FD: I love very much the black and white portraits, I feel they look very natural. There are a lot of black and white images, which would be less beautiful in colour. I prefer doing my portraits in black and white, whereas the other scenes look evidently better in colour.
3DAD: Nikita looks like a dangerous character! It’s a nice touch using reflective light with her glasses. What’s the story behind this image?
FD: “Nikita” is inspired by the film of the same name by Luc Besson, which I love very much.
3DAD: “Mist” and “Elf” are more fantasy type images. Have you done much work in this genre, or is contemporary photo realism your main focus?FD: Every now and than I feel the need to do a fantasy style image, just to change universe. But that never lasts very long and I quickly return to portraits. But it feels good to change sometimes.
3DAD: What’s one of the hardest challenges you have had to overcome in your work and how have you overcome this challenge?
FD: The biggest difficulty in 3D is the lack of imagination and ideas. How to overcome that? Just look around you and keep your eyes open!
3DAD: What three top tips would you give to those who are just starting out in 3D digital art?
FD: My 3 tips are:
Tip 1: Work hard on the scene set-up.
Tip 2: Do lots of test renders before the final render.
Tip 3: Never neglect all those little details which add life to an image!
Issue 15 Value On-Line & PDF Edition Now Published!
Editorial:
What makes good sci-fi cover art?
Tribute: Peter Elson
His stunning sci-fi cover art was an illustrative benchmark in the 70s and 80s.
Interview: Chris Hecker
“The creative process is always ‘work’ for me. It’s a certain kind of work. It’s rewarding.
Christmas Galleries
Melissa Krauss, Artur Rosa, and Arthur Dorety comment on their Christmas Gallery entires and reveal their inspirations.
Interview: Susanne Korff-Knoblauch
“Most of the women I portray are the heroes in my stories or my original characters from the games I’m playing…these women often are mages or adventurers and actually live a life not for the faint of heart.”
- Divergence by Peter Elson
- The Early Williamson by Peter Elson
If you’ve been an avid reader of science fiction books during the seventies, eighties and nineties- then you would have noticed some of the book cover illustrations graced with the initials “PE”, standing for Peter Elson, who was one of the most talented in his field.
Peter’s illustrations took off after winning a competition for “Science Fiction Monthly”, with his illustration of “Fantastic Planet” published in the December 1975 edition. His career was helped with the Sarah Brown agency, headed by Carol Butfoy who marketed the talents of a number of science fiction illustrators.
We speak to Carol Butfoy as well as Peter’s sister Pam about Peter’s life and career as an artist, who has in turn inspired many sci-fi digital artists of today. The full interview will be published in the premium fifteenth edition of 3D Art Direct Magazine, to be published in the next few days.
3DAD : What are some of the techniques in the creative process that Peter used that you can bring to light?
CB: I don’t have any specific comments, other than Peter worked in gouache and air brush, with quite a lot of fine painting. He would cut a brush down to just a few hairs so that every little detail was perfect.
3DAD: What artwork pieces would you consider to be at the peak of Peter’s career and what satisfaction did Peter derive when at this point?
CB: When I tried to think about this I just came up with too long a list. The Early Williamson, Babel, The Outposter, Venus Plus X, Reach for the Stars, Nova 4, The Power of Blackness, Secret Harmonies, A Sense of Wonder, The Status Civilization. But many of his later works were fabulous creations in a different way. Icehenge, Cold Allies, When the God’s Slept, Freedom’s Challenge. The list goes on and on.
Many of the early classics were fortunately printed in Parallel Lines, the book that showed both Peter’s and Chris Moore’s work together. Fortunately you can still get hold of copies on the internet. Peter was really happy with his success. It was work he was born to. But there are no royalties for cover arts, or very rarely. You live from job to job. That can be a great worry.
Danny Gordon grew up in New Jersey, in the U.S. He’s a computer draftsman by trade which has naturally led him to 3D digital landsaape art. In his video portfolio we include quotes from our interview with him from issue 3.
Check out his video portfolio and if you’v eenjoyed it, please “like” the video at youtube.com/3dartdirect
It’s time again for FREE CONTENT FRIDAY and we are pleased to publish a full interview we’ve had with Melissa Krauss who has been involved with the internet from the beginning. Her specialty has been creating artwork that features well defined and striking female characters. Her artwork influences include text based role-playing games and the natural environment of the forest.
After you’ve read the interview, let us know how you liked it and please share this interview with others using the social media share buttons at the end of the article
3DAD: You’ve mentioned in your last post on Deviant Art that you’ve been on-line since the Beginning of the internet! Did you start posting your digital art very early on in the internet’s history?
No, I did not, I was busy with writing and bulletin boards (now known as forums). Digital artwork was not even in the picture for me at that time.
3DAD: What were some of the earliest influences for your artwork? Was much it from RPG?
RPG was definitely a strong influence, and books. The forest has always had a great deal of influence on my artwork too.
3DAD: Did you work with paints or photography before going digital? What were the earliest tools you used to create your images. Were you surprised at what you could achieve even back then with digital paint tools?
No. Before 3D I had never created artwork other than the drawings of horses I made when I was a child. 3D became a way for me to bring some of the visions in my head to life.
3DAD: Did you have any early “breakthrough” images that you posted where you suddenly received more than expected feedback?
Yes, there were a couple, “Conjuring Magic” and “Freedom” are two that come to mind.
3DAD: Your artwork is very much character based. Do you tend to create a backstory of those characters for the images you create?
Usually not, no. Most of the time I make a character image based upon my perception of how someone might react in that particular situation. Or how they might look, their facial expression, stance, etc.
3DAD: It’s great to see many well defined female characters in your work, have you helped inspire other women in digital art because of this?
I truly hope so. You see so many female characters in stereo-typical fantasy art settings, but so few with true depth.
3DAD: You have a category of “angels” in your Deviant art gallery with some fantastic imagary– what’s the influence in creating so many angel figures?
I have always been a spiritual person, but not particularly religious. Angels, specifically archangels, are one of the mystical creatures that fascinate me. I have heard them described as both terrible and beautiful, having envisioned them that way myself. That is such an elusive, ethereal combination to try and capture in an image. I feel as if I never quite capture it, so I feel compelled to keep trying. I feel that the closest I have come to that is with “Heaven’s Spear”.
Specific artwork questions:-
“Remnants of a Dream”
This is striking angel figure in a stony courtyard, with great grey toning. How did this image come about – was it a remnant from one of your own dreams?
I wanted to make an angel in a context that people could relate to a bit more, as opposed to the warrior visions of my angels.
The series of “Heavens Spear”, “Heavens Bow”, “Heavens Sword”.
What made you decide to do a series here? Was it wanting to explore this Poser character with the given armor clothing?
I have always had this vision of archangels as quietly powerful, a being both terrible and beautiful, majestic in the fullest sense of the word. The series was born because I felt compelled to create archangels as “weapons” that serve heaven, one might say. I felt that particular armor was a perfect choice.
“Untitled warrior commission”
This is a strong image of a female warrior: Tell me about this commissioned work.
The woman who commissioned it saw another similar image of mine, and contacted me about creating her RPG character. She was extremely frustrated by the lack of female warrior images with armor that actually covered most of the body. Having played an RPG warrior myself online for a number of years, I could truly empathize with her.
“I am the warrior”
This image has a good pose and a great use of light in it. Were you pleased with the outcome?
Yes I was, though the lighting took forever to get just so on this one.
“The Heart of a Knight”
This is a good combination of using Poser and Vue, with a great snowy backdrop. Is there a backstory for this character, given the quote that goes with the image?
During my RPG years, I ran an online group, an order of elite RPG warriors. Our writings were very detailed and I insisted on some aspect of realism to it, in order to make it more believable and give our storylines more depth. It was common practice for us to research warriors and battle tactics of the dark ages, medieval times, etc. The more I learned about knights, the more I realized how much they had been romanticized. The truth was much darker, and far less noble. Even so, there always was and always will be idealists, and this image represents the ideal of what a true knight should be. Noble but not arrogant. Courageous and smart. Strong and merciful. Someone who can indeed think swiftly on their feet.
“Primal”
This is one of my favourites. It has a compelling pose and tells a story straight away. Tell me about how you created this image and any story that this image portrays.
I was walking my dog one day and my mind wandered, as it usually does when we walk in the woods. I thought about what it might have been like, back in ancient times, if Amazon women had actually existed. What would the land have been like? Arid and dry? Jungles? I opted for arid and dry, with a character I felt would have been more on the savage side. A fierce hunter, to be sure. She would have to be, to survive in such a harsh environment.
“The Moment”
This oriental warrior has outstanding colouring, great hair and a nice out of focus background. I notice it’s from a series of oriental warriors you’ve done. What helped you inspire this image?
The martial arts, plain and simple. My son has been in martial arts for 9 years, so it’s often on my mind. It’s such an elegant style of fighting, and movies like “Hero” are part of the inspiration for these images.
“Remembering the Brave”
You’ve mentioned that this was an image you reworked, which you rarely do? Is this one of your favourites – what inspired you to make this image?
Yes, this is one of my personal favorites. The inspiration for this image came from two sources; the brave people that lay their lives on the line to protect the rest of us. And from my father, one of the strongest, bravest people I have ever known.
3DAD: What hardware and software are you using now? Is it enough for the job!?
I use a Dell Inspirion, but I would like to get a larger, more powerful computer. I’m a bit limited by my current system. Software wise I mainly use Poser Pro 2010, Vue 7.5. On occasion I might go to Bryce or Carrara, but rarely.
3DAD: What’s one of the greatest challenges you’ve had in creating your art and how did you overcome it?
To be honest, creating the art itself has been one of the greatest challenges for me. Learning the ins and outs of all the programs, learning the postwork, the composition of the images, everything about it was a HUGE challenge. I never imagined 10 years ago I could do any of this.
3DAD: What’s your favourite postwork software tool or function at the moment and why?
I use Photoshop for all my postwork. I’m very comfortable with it, and I feel it is a very versatile tool.
3DAD: Which other digital artists inspire you the most?
Luis Royo
Marta Dahlig
Cris Ortega
Stefan Morrell
Dominic Davison3DAD: What three tips would you give to those who are just starting out with 3D digital art?
Do not assume that 3D art is created quickly.
It takes patience, passion and persistence to learn the programs and create the art.
Study the images of the old masters, there is so much to be learned from them!
Issue 14 Value On-Line & PDF Edition Now Published!
Editorial
Will the sci-fi book cover survive in the new era of e-book publishing?
Interview : Bradley W. Schenck
“I’m much more about rockets and robots and pneumatic tubes, and the kind of unlikely science you find in the old pulp magazines.”
Interview : Angel Alonso
Professional artist and animator from Spain using 3DS Max.
Interview : Simon Beer
Horror and fantasy artist from Switzerland using Bryce and Carrara.
3D Model Zone : SciFi3D.com
One of the best Star Wars 3D model resources on the web is reviewed by Brian Christensen who picks five models to check out and gets the story from George Mezori who administrates this valuable resource.
Printed Version Available via Magcloud
By Paul Bussey in 3D Art Direct
60 pages, published 6 NOV 2011
Editorial : Long live the sci-fi book cover! Will the sci-fi book cover survive in the new era of e-book publishing? Interview : Bradley W. Schenck – “I’m much more about rockets and robots and pneumatic tubes, and the kind of unlikely science you find in the old pulp magazines.” 3D Model Zone : SciFi3D.com – One of the best Star Wars 3D model resources on the web. Brian Christensen reviews five models and gets the story from George Mezori …
Photoshop Photo Effects Cookbook
This book really impressed me and keeps me coming back to plumb it for more tricks: that’s Tim Shelbourne’s “Photoshop Photo Effects Cookbook”. I bought the CS2 edition, but I think the CS3 update is the latest.
What’s made this volume stand out for me is the utility of its chosen subjects and the non-obvious sophistication of its “recipes”. So many Photoshop effects tips are simple, like apply a filter and then change the layer blending mode. The effects in this book are far more complex and nuanced, but rewards you with superior results.
One example is this. People often ask “how can I make a photo look like a painting or pencil drawing with Photoshop”, and too many times the simplistic answer lends a finished product that misses the mark and screams “Photoshop filter”! But not in this book. Their recipes for oil painting or pencil drawing simulations aren’t “one-button” solutions, but they’re complex enough to allow the results to not only emulate the mediums but also represent some reflection of the artist’s skill.
Other helpful recipes include techniques for replicating high and low key photo effects, converting a photo to an Art Nouveau image, simulating watercolor painting, creating a randomized starfield, adding flames, simulating rain and water droplets, creating lightning, adding snow to a summer scene, turning a daylight street into a night time scene, faking an IR photo effect, turning a figure image to stone, various border effects, mock pen and ink techniques, and lots more. Each recipe walks you through with an illustrated step-by-step so you can be sure you’re on the right path. That may sound mundane, but some of these recipes are so complex that, halfway through, it’s hard to imagine you’ll be ending up where they promise. And maybe that helps make the finished images even more surprising and rewarding.
I wouldn’t recommend this as book for beginners and most of the techniques will rely on the user having a tablet and stylus, but for those intermediate and advanced Photoshop artists looking to expand their bag of tricks, this book is a great resource to have on the shelf.
“Photoshop Cs3 Photo Effects Cookbook: 53 Easy-To-Follow Recipes for Digital Photographers, Designers, and Artists” by Tim Shelbourne [Paperback ISBN-13: 978-0596515041] $30 USD SRP.
Review by Rob Caswell arcass.deviantart.com
Deconstructing the Elements with 3ds Max by Pete Draper
Pete Draper has taught me so much about 3D modeling, and I’ve never even met the guy. And it’s not from his Xenomorphic.com website either; instead I have a copy of his book Deconstructing the Elements with 3ds Max. It teaches you how to create realistic effects featuring fire, earth, water and air; and best of all it does it without using any plugins.
This book goes a long way towards explaining through teaching how many of the tools work. The tutorials are structured to give the reader a deeper understanding of how 3ds Max functions, and once you realize how a technique is done, you can repurpose that technique for something else. The other thing this book is great for, is that once you buy it, you get access to additional tutorials on the book’s website.
This book has helped me immensely in the past, I had a 3D project that was fast approaching a deadline. I didn’t know how to accomplish several things involving particles and I didn’t have money to spend on plugins, but I was able to get the effect I needed using Mr. Draper’s book.
Review by Brian Christensen levitatedart.com
Bold Visions: The Digital Painting Bible by Gary Tonge
One of the best digital art resources anywhere I’ve found is the book Bold Visions: The Digital Painting Bible by Gary Tonge. It’s a fantastic guide that’s directed towards digital painting but so many of the lessons can be adapted towards other genres of art with a little thought. He discusses many things that people might have thought about, like searching for reference material, but do not put much time into.
The book includes step by step walk-throughs explaining how to using light, color and textures in your art, as well as practical advice like tools for gaining exposure as an artist. It is not a very thick book, but the information contained in it is excellent. Mr Tonge has put together a wonderful book, which has helped me understand how to create what I see in my head on many occasions. Without it, I don’t think I would be where I am today as an artist.
Review by Brian Christensen levitatedart.com
- Dune Atreides
- The Guardian
We are very pleased to feature the popular DeviantArt artist Angelitoon (Angel Alonso) with his wonderful sci-fi imagary produced in Autodesk 3Ds Max.
His full interview will be featured in issue 14 of the mag, but here’s an excerpt that will give you an idea of where some of his inspirations lie. He has a long standing background in the CGI industry and provides some interesting points on his work, as well as strengths and weaknesses of the software packages he uses.
We’ll also be featuring extraordinary digital artist and retro-entrepreneur Bradley Schenck and Simon Beer (tiff66) from Renderosity who’ll be bringing a definite Halloween flavour with his eye catching portfolio.
3DAD: Welcome to 3D Art Direct. Tell us a little about your self – Where you’re from, where you live, and your roots in art.
AA: I was born in San Sebastian (Spain), 44 years ago. I started professionally 25 years ago in a small 2D animation study.
During this time I have worked on every kind of job, from preproduction (director, artistic director, storyboards, conceptual design, colour designer…) to production 2D and 3D (animation, modelling, matte paint) and even post production (compositing and effects).
3DAD: As you made the transition from traditional illustration into 3D art what was your biggest challenge?
AA: Without any doubt, my biggest challenge was the learning in itself. When I started to work digitally there weren’t any free tutorials and there wasn’t any kind of internet access.
Computers worked with 8/16 mb of Ram and hard disks had a capacity of 128/256mbI didn’t even fully understand – what was this 3D thing?!
3DAD: There are some strong sci-fi and fantasy influences in your work including Frank Herbert’s Dune and J R Tolkien. Talk about your attraction to these genres and how it comes out in your work.
AA: Working in TV and cinema, my influences were from this direction. I have always loved sci-fi cinema and 80′s comic masters. I have always loved sci-fi/fantasy comics and books. Tolkien was one of my favourite authors since the beginning. However, I discovered the Dune story from the movie and read the book later. It’s an amazing movie adaption and book, in equal ways for different reasons.
3DAD: A marvel of scope and scaling from your gallery is the Dune ATREIDES piece. The expanse of this image must’ve been a true challenge. Tell us about how this piece unfolded and the process it took to bring it to fruition.
AA: Dune deeply marked me. I remember that, when I saw it for the first time with some friends, I was the only one that liked it. My friends thought that it was too niche but it was that peculiarity that captivated me.
Ever since Dune, I have loved to do personal versions of imagery from this story that has caught my attention.
3DAD: Who are some of your earlier art influences?
AA: Some of my first influences came from American comics from the 80′s and 90′s. There was Frazzeta, Berni Writhgson, Corben, Boris Vallejo, Juan Gimenez, and Oscar Chichoni. I must also recognise that there are current incredible authors that are jaw dropping.
The internet has democratised information and given universal access to it. It has helped a lot of people to learn fast and become great artists. I wish it had existed when I started!
Issue 13 On-Line Edition Now Published!
Editorial
9 Essential composition tips for your digital art. These tips will help you create more compelling images
Interview : Glenn Clovis
“One of the reasons I like painting nebulas so much is that it stems form pure chaos, I have freedom to mix elements, colors and patterns how I like, I am not restricted in a detailed sense on what I can create or what it looks like. “
Interview : Rob Caswell
“Take ten photographers and tell them to photograph a subject and you’ll get ten unique results. The same goes for Poser artists. Each result is a reflection of the creator’s skill with the tools and creative manipulation of the subject.”
Interview : Peter Rex
Peter Rex on the Reality Lux plugin for Daz Studio. “Lux is an “unbiased” render engine, it emulates real world physics, very different from the “biased” render engines like 3Delight or the Vue render engine, the resulting images have a photography like feel!”
3D Model Zone : Celestia Motherlode
The Celestia Motherlode has a superb catalogue of spacecraft both from fiction and reality to explore. What’s more these spacecraft can be placed in an accurate 3D universe contained in the Celestia software or scenes within your own 3D applications. Brian Christensen journeys through the Celestia Universe.
Printed Version Available via Magcloud
3D Art Direct: Issue 13 Premium Edition
3D digital arts magazine, promoting selected artists and their portfolios through detailed interviews. This issue:- 9 Essential composition tips for your digital art. Interview with Glenn Clovis – master at creating digital nebulae;“One of the reasons I like painting nebulas so much is that it ste…
Peter Rex grew up in rural Germany and now resides in France with a passion for 3D digital art. He has been impacted by art throughout his lifetime, with early influences from his father who was a talented painter and photographer. Peter took prompt advantage of digital art at the time of the Commodore 64 and the Amiga and has never looked back since. Now with more powerful hardware and software at his disposal we look at some of his latest work and what has inspired the imagery he has created.
Recently Peter has been exploring the use of the Reality Plugin for Daz Studio. It provides a connection from DAZ Studio to the high end render engine “LuxRender”. LuxRender can provide photo realistic effects since it brings physically-based materials to the Daz Studio – emulating real world physics.
Our full follow-up interview will be published in the forthcoming issue 13 of 3D Art Direct.
3DAD: What are some of the main things you’ve learned as a digital artist since last time we interviewed you?
PR: I think I am getting better with the lighting and material work in DAZ/Studio and Vue. Also I’m using Reality, the Daz Studio plugin to transfer a scene into the Lux render engine.
3DAD: I’ve noticed you’ve used this DS plug in in your cute and creepy “Stay Back” doll image. What exactly does the plugin do?
PR: It allows you to “convert” a DS scene to a Lux compatible file, going through the steps of tweaking the materials (since it is a different render engine with different surface properties) and setting up the lights. Lux is an “unbiased” render engine, that is, it emulates real world physics, very different from the “biased” render engines like 3Delight or the Vue render engine, the resulting images have a photography like feel!
3DAD: It sounds like a complex plugin, but giving good results. Do you have to tweak much after DS exports the file ready for rendering in Lux? And do you think it is good value for money – would you recommend it to other artists?
PR: It is a complex plug-in – even for a person used to 3D. You learn how to use 50 lights (exaggeration!) to simulate a daylight scene! it is quite easy for photographer because you only need the sunlight.
3DAD: What are two of your favourite images that you have rendered with the Reality plugin?
PR: Mmmh, good question! I do like very much “Fairy dance” and “Hello old friend”, I am somewhat sentimental and I feel I was able to pass some kind of warm, cozy feeling, even when using She-Orkz model from Sixus1 Media. It is a kind of challenge, how to transform a so called “monster” into a feeling, loving being.


























