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Science Fiction Artist In-Depth Interviews

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Science Fiction Artist In-Depth Interviews DigitalArtLIVE.com DigitalArtLIVE.com SCIENCE FICTION ARTIST IN-DEPTH INTERVIEWS THE FUTURE OCEANS ISSUE ARTUR ROSA SAMUEL DE CRUZ TWENTY-EIGHT MATT NAVA APRIL 2018 VUE ● TERRAGEN ● POSER ● DAZ STUDIO ● REAL-TIME 3D ● 2D DIGITAL PAINTING ● 2D/3D COMBINATIONS We visit Portugal, to talk with a master of the Vue software, Artur Rosa. Artur talks with Digital Art Live about his love of the ocean, his philosophy of beauty, and the techniques he uses to make his pictures. Picture: “The Sentinels” 12 ARTUR ROSA PORTUGAL VUE | PHOTOSHOP | POSER | ZBRUSH WEB DAL: Artur, welcome back to Digital Art Live magazine. We last interviewed you in our special #50 issue of the old 3D Art Direct magazine. That was back in early 2015, when we mainly focussed on your architectural series “White- Orange World” and your forest pictures. In this ‘Future Oceans’ themed issue of Digital Art Live we’d like to focus on some of your many ocean colony pictures and your recent sea view and sea -cave pictures. Which are superb, by the way! Some of the very best Vue work I’ve seen. Your recent work of the last six months is outstanding, even more so that the work you made in the early and mid 2010s. You must be very pleased at the level of achievement that you can now reach by using Vue and Photoshop? AR: Thank you for having me again, and thank you for the compliment and feedback. I’m humbled and honoured that my work may be of interest for your readers. To be honest, I’m never quite sure if my work is getting better or worse. Other people often say that their favourite image is their latest, but that doesn’t apply to me at all. Sometimes I look in wonder at some of my older images and doubt “would I still be able to do that now?” When I look at a newly finished image, I tend to think too much of the work behind it and too little of the image itself. Some timehas to pass before one can really appreciate an image from a neutral standpoint. 13 With time, the memory of the “labour” fades and ones, which ship with every Vue version. I only the enchantment remains. mainly use those as fillers). The “hero” plants in my pictures are usually xFrog or some models You mentioned Photoshop, but my images are from Evermotion. Or ivy from the old 99.99% Vue and 0.01% Photoshop. I still use a IvyGenerator. By the way, you mentioned Poser very old version of Photoshop, which is enough 11, but in fact I still use a rather old version of for me. I basically use it to sign my name, Poser, not the new one. The Poser version I use sometimes correct small errors, tiny adjustments is from the time when it belonged to eFrontier. in colour and add a bit of glow in some highlights. I spend perhaps 10 to 15 minutes in DAL: Wow, yes that is old. Pre- Smith Micro. Photoshop per image, sometimes less. I see this AR: I just realised this is the fifth time I time more as a chore, not as a part of the mentioned I use old versions of software… creation process. The creation happens mostly in Photoshop, GC2, xFrog, Poser, IvyGenerator. In the shower — where most of my images are first fact, with the exception of Vue, all of the other born in my mind — and the rest in Vue. Where software I use is very old — all of the versions I experiment and happy accidents may show me a have are 10 or 15 years old. They are just different direction. accessories to my workflow and they keep on DAL: I see. Have you changed your workflow or working just fine, so I don’t replace them. tools at all, to be able to reach that level? In DAL: Ok, let’s turn to this issue’s ‘Future Oceans’ 2015 you were using Vue 2015 and GeoControl 2 theme. You obviously have a strong interest in (now World Creator) — is that still the case? the ocean, sea-caves, underwater structures and AR: I recently added WorldMachine (WM) to my ocean-world colonies. Once can see the theme toolbox. Although WM is fantastic, I actually still coming through strongly in your early 2007 frequently use a very old version of GeoControl picture “The Colony” for instance. Could you 2. For example, to create dunes or simulate outline how these various ocean themes rivers — it’s easy to manually create rivers in emerged for you, how it progressed and changed WM, but you can’t simulate them by planting over time, and what keeps you interested in it? water springs on some mountain top and just let AR: The ocean evokes in me a sense of wonder, the water flow and naturally carve the terrain, beauty, mystery, power... ‘What secrets does it like GC2 can. I also use xFrog 3.5 for plants – hide? How can it be so immense and powerful?’ it’s simple, reliable and fast. And, of course, now I use Vue Infinite 2016. I often take strolls by the ocean and frequently, and somewhat surprisingly, I find myself smiling DAL: Yes, Vue 2016 was quite a improvement — while I’m doing it, for no apparent reason. It faster rendering and stability is always welcome makes me feel good, it calms me, takes my mind — and we had had five good patches on top, to away from mundane things. It makes everything get to Vue 2016 R5 — which offers faster loading else look small and insignificant by comparison. of saved scenes. It was great to see such a fine It restores mundane problems to its proper tool get a solid overhaul like that. And, of scale. I guess this is why I include so many course, Vue 2016 still interfaces perfectly with oceans in my images, it somehow brings back Poser 11 — readers can find in-depth reviews of these feelings. After all, making images is just a both in the free Digital Art Live back-issues. hobby to take my mind away from mundane Let’s just hope that the recent troubles with the things, so it fits together perfectly. E-on website are fixed soon. Luckily I only lost a couple of license-locked Cornucopia models and DAL: Thanks for that. Your ocean structures ecosystems. How did those events affect you? sometimes offer accompanying texts, explaining what the structures are and how they would AR: I don’t even know if I lost anything, because work. For instance, the picture “The Colony of I don’t use content from Cornucopia nowadays. Sigma Draconis” you talked about how these All the ecosystems I use are made by myself and idyllic colony islands would be engaged in the few Vue native plants I use are the stock 14 collecting a “vast amount of mineral resources in common saying is that an image is worth a the bottom of the ocean”, and would be mining thousand words. I think a poem is equally colonies as well as being floating towns. What powerful. In just a few verses, you can leave in sort of back-stories have you been writing the minds of the reader the seeds for a whole recently for your work, or what sort of non- world of concepts, very much like an image can. fiction has been inspiring your art lately? DAL: “Visual poetry” is a fine description. Now, you mentioned a moment ago that you read a lot of science fiction. Have you encountered any “I pursue beauty, not realism. fictional stories of the ‘future ocean’ that you’ve The pursuit of realism is a been especially impressed by? finite road, the pursuit of AR: Not specifically about ‘future oceans’ but I beauty is an infinite freeway. did recently read a book by Nathan Van Coops, When you pursue realism, titled Faster than Falling, which takes place once you’ve reached it, that’s mostly in the air. The native alien races to that world behave in the air very much like humans it, there’s nothing beyond — behave in an ocean — they live there, they float, end of the road.” they travel, they take their food from there. Their cities are like islands, but in the air instead of water. It may sound strange when it’s AR: Apart from occasional scientific articles to described in this simplistic way but the author remain updated with the latest discoveries in did a wonderful job in making it very believable. physics and cosmology, I don’t read non-fiction. That did impress me and inspire me a lot. For non-fiction I have the real world, that’s non- fiction enough for me. I do read lots of science- DAL: Sounds great. Do you have a ‘future fiction, though, which provides me an escape timeline’ in mind, along which your pictures sit? from the real world. I can’t explain this Do you, for instance, think to yourself: “Ah now, properly, but most of the times, I don’t verbalize that picture is in the year 3799 on my timeline”? the back-stories of my images. A back-story AR: No, I don’t often verbalize my stories, much pops up in my head in a few seconds, but less put a number on them. I just let my mind without words behind it. It’s just a concept or a flow, unmoored from time and space. But I do sequence of concepts, but with no words or have a concept of “before” and “after”.
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