How did you get involved in 3D art? A friend of mine (that I was working on a collaborative story project with) bought me Poser and Bryce. Since then, nothing has been the same for me. I don't know if I can ever think of a life anymore without art. My surreal art is all about taking these programs, especially Poser, and twisting the skin out of it, until it bleeds itself into something entirely my own, something vastly different. It was through this twisting and bending, that I began to notice that I would get a lot of burn out on skin in work, and once you burn the skin out, you can never get it back again. How long have you been involved in it? I've been working in 3D art, since 1998. I started doing digital imaging of photographs for an indie band in Seattle, Washington. What did you did before you became a 3D artist? I have been a classical musician my entire life. I worked the last 12 years as a soloist, singing 17th century sacred renaissance music, and I did a great deal of sacred and concert stage work. How long have you been making your own textures? About six months ago, I began making my own skin textures for Poser, and beta testing them on my work. (A great example is her rendering "Desdemona"). I wanted real, shining eyes. I think eyes, as well as skin, is what really makes a texture believable. The old adage that the eyes are the windows to the soul stands true across the face of art-and humanity. So, I thought, why not apply that principal to a model? Why do you like texturing? Texturing is such an exciting field, competitive, and dynamic, and there are handfuls out there that do amazing work. One thing I stay away from though, is presenting product online that has been touched up. It makes people feel as though they have been completely ripped off. You have to represent yourself honestly, so people will understand you are working for them-as well as yourself. What was your first texture? "Ava" was actually the first; it was requested from a gallery member who complained furiously that no one was doing anything to change the "Victoria" model. I started making a skin texture, then a head texture, and then even changed the face. So this is how I began to approach Ava. Texturing is a painstaking and often times difficult process. Testing alone takes days, and can rattle your brain. Working with a skin texture requires a balance and symmetry, and you cannot color outside the lines, just like we learned in kindergarten. What inspired you to create "Max"? The success of Ava is what made me decide to do "Max" (for Zygote's Michael). With Max, I wanted to achieve a bright and shining intelligence and a 30 something face with quirkiness to it. I wound up seeing (through test rendering) a look that reminded me greatly of the old Hollywood film stars; Peter O'Toole, Errol Flynn, and Burt Lancaster. I could hardly wait to finish the texture so I could try applying photographic techniques to the face and develop that look. What were things you didn't like that you changed? On Renderosity, I noticed the P4 woman is still the most widely used model. The pointed upper lip, the vacant eyes, and her skin made her look like a Barbie doll. I changed her skin so she'd look like a viable, beautiful female. I also have created a line of clothing for her that could be used across the board; sweaters, leather pants, shoes, dresses and bathing suits. A lot of work went into the clothes, because I didn't use the standard tiled textures available in most of the programs. I went hunting for real clothes, and thus spawned the clothes from my searches. What do you like? My first love will always be surreal 3d art (fantasy style) work that is from the soul. Everything I have done so far, in this direction, is representative of a small piece of me. Everything I feel on the inside shows in some small way in these renderings. I create to music always. Or sometimes, I actually hear music in my head; and then I lose myself. Hours later something emerges. I am continually impressed here on Renderosity by the amazing amount of fantasy art, and by the way people are just exploring and exploding programs into another dimension. Models are being made continuously, that can be used in so many ways. Some of the finest 3d artists today are here, on Renderosity. What are your dislikes? There are two things actually. First, I intensely dislike remarks about post work and filtering. I believe that Photoshop should be an artist's best friend, and an illustrator's best friend. With all the joint trouble involved in posing the P4 woman, Photoshop should be used. When doing surreal work, filtering and plug-ins are what sends the work into the stratosphere. Color, movement, and style occur this way. Photoshop was created for photographers doing photo real work. Why not approach 3d art the same way? You are creating a digital person, and then using Photoshop as a studio and dark room to develop this person you created. Approach the work as you would a real person. My second major dislike, there is lack of respect given to 3d artists by the fine art community. I believe that 3d art is the work that will be recognized in this millennium. I have literally banged my head against the fine art door to be told that we, as 3d artists, are not artists; but fakes, and charlatans, who use programs instead of a real medium. I remember commenting sarcastically once to a fine artist, who took a dig at my work by saying, "Did you ever try to paint with a mouse??" Not only are we artists, we are mathematicians, technicians, and software engineers! I believe that we are the Van Goghs, Rembrandts, Dalis, and Picassos of the future. One day we will take our true place in Art, as it should be. We are the future, and we should look to it proudly with recognition of the contribution being made. What are you currently working on? I am currently in the process of driving for an even greater photo-realism in texturing. Photo-realism in texturing cannot be achieved in misrepresenting a finished product with cloned in parts of a photograph. That bothers me intensely. It either finds itself to the texture and wraps on the model, or it doesn't. A long time I ago, I posted an image here on RR. I got a private message saying I should take it down, because obviously I used a photograph for the eyes and skin. That never happened! At first I was totally insulted, because I had worked so hard in getting this model to look just right. Then, I took it as a backhanded compliment, because I had done it through POSER! I am also developing a website called "Syyd Raven's "PosaNation". It will be a website dedicated to all forms of 3d art, with tutorials on texturing and achieving photo-realism in work. I will be writing tutorials as requested on hair, and on using photographic techniques to enhance images. Who's work motivates you? I am heavily influenced by the work of Salvador Dali, Edvard Munsch, Bosch, Boris Vallejo, and H.R. Giger. I am madly in love with Pre-Raphaellite's art as well. St. John the Cross, by Dali, is still to date, my favorite work of all time. Who do you think are the best renders? I can think of a handful of artists here who are without a doubt, the best. Clay Hagesbusch, TB Koen, Desdemona, GeorgeD, Versionthirteen, Hubert, Dnick, Omen55, Palmix, and many more, who have been instrumental in developing individual style in 3D art to where it is. I also paid close attention to the work of Colm Jackson, who's rendering of "Elric Of Melnibone", is still one of the best things I have ever seen. Would you tell us about your unique Renderosity story? Funny enough, about a month after being on Renderosity, Colm Jackson had commented on a few of my works. Lo and Behold, one cold winter evening, he posted a rendering called "Sister Fate". It was an angel, of great monochromatic beauty. I commented on it, and we became fast friends. Three months later, Colm moved here to the USA from England, and we got married. Why do you use Renderosity? Renderosity is a home for me. I started posting here in December of 1999. I was scared, apprehensive, and amazed all at once. I had no idea at the time, that there were others like me. I can remember just perusing the galleries with my chin hanging on the floor. I especially remember work by Februus and June, and DigitalWoman. I thought to myself, "I have a hell of lot of nerve to even post here." Renderosity's current evolvement is astounding. The developments of this site for its artists, have given us a tremendous push. The store, the programming, the fine moderation, and all the new features are a constant amazement to me. I am so glad to be here, so lucky to have found a place that is as willing to showcase its artists, and not hinder them. Please visit Syyd's Online Store.