Rick Baker

Lux: I have seen people dismiss the base modeling as something any number of tools could easily do and therefore it doesn't really matter what tool you choose for that phase. Is this what you have experienced?

RB: Well, I am so used to modo now. I love the selection tools and that fact that is really is artist-friendly. I do not have a computer background and yet I feel comfortable in it. I actually think it is incredibly natural and easy to use. It just seems to smart how it is set up. And modo is way more than modeler now. I like having a library of hands or heads that I can modify for new projects as needed. Scale stuff up, cut things out.

Lux: Much of the work we have seen from you is character work. Do you also use 3D for other purposes like set design?

RB: Well I have done a few still-lifes, but my thing is characters! I see renderings of mechanical objects and what not on the various forums and they are interesting but do not grab me like a great character does. I have actually experimented creating everyday objects and surprised myself at how fun that was. Take symmetry for example.  Computers are great at letting you create have an object and mirroring it over to the other side. Faces aren't like that and so you have to be careful. But when you are making a mechanical shape that ability and other tools like beveling are useful.

I will say I have learned a lot from renderings of objects done by others. That is actually how I was introduced to using HDRI images. Someone had gotten a nice effect on a series of flavored syrup bottles and that was when I learned about using an HDRI image. I had no idea what it was when I first heard the term.

Lux: You have always been great about sharing your 3D work. What 3D communities do you belong to and what role do they play in your creative process?

RB: Initially, I had no intention of sharing my computer graphics work. Like I said, I didn't even have a decent Internet connection, I was dialing up. But I needed a copy of the ZBrush manual, which was a little thin as far as what I needed. So I decided to post an image on the ZBrush forum and get some answers. Without really thinking about it I posted it under my moniker, Monstermaker. I got an amazing reaction even though not everyone was clued into the fact it was me. I liked the anonymity that I did have and later thought that maybe I should have used a different username. BTW, I have been able to recognize the 3D work of other guys in my business that I knew and who had transferred their sculpting and paint skills to computers. Their style is very evident, and that comes through even on a computer. Anyway, I stopped posting after a while. Then about a year later, actually it was almost exactly a year later, I posted another image on Zbrush central and CGTALK. That was pretty bold of me as the CGtalk forum has some really beautiful work from people who do this for a living. I posted "The Monster" and people liked it. Later I shared some of my work on the Luxology forum, mainly because I like modo and being in a community where people are sharing their ideas and techniques.

Lux: What, for you, is the most difficult part of the 3D creation process? Have you had to abandon certain projects from hitting roadblocks?

RB: Oh, I do not finish everything I start, that is for sure. I am a little dyslexic and have more difficulty trouble remembering passwords and typing in serial numbers as in actually creating interesting stuff. I hate losing work and should probably back up more frequently. I get carried away trying to do one more thing and one more thing and sometimes I get into trouble.

Lux: Tell us a bit about your workspace and computer(s). Are you a fan of using a pen and a tablet? How long would you work at a time before taking a break?

RB: I like to work in the dark. Seriously, I hate seeing the reflection of light on my screen. I use a WACOM tablet on a Mac. When I am not on a job, I often just work at home and do not go into the shop. I have computers in both places. I kind of get lost in the process and have forced myself to get up and exercise a bit so I do not turn into a lump!

Lux: Do you have a philosophy on how software tools should work? How are you hoping they evolve in the future?

RB: Well, they should work like modo and ZBrush – that is be artist friendly. I do not want to have to be an engineer to use software. I won't even use software like that. I sometimes try them but I do not bond with them. You know, a lot of people can learn to use software but it really comes down to having "an eye" for things. I think that is the difference between a fair CG image and artistic one. No matter how well you know the software you still need an eye to do great work.

Lux: It can be daunting for some 3D artists to look at work of your quality and try to imagine how long it will take to get to that level of mastery. What advice do you have for people who are struggling with 3D?

RB: I once saw a comment posted by someone who said they were going to give up on creating CG after seeing my work. That is the type of reaction that makes me want to quit showing my work online. It is exactly the opposite thing that I want to have happen – which is to have my images inspire people to create their own stuff. I mean people ask me how I did something and I am thinking...well, I have really been doing creative stuff for almost 50 years! If you are learning 3D, it is incredibly important to be grounded in a traditional arts background. I still paint, I mean using real paint. Which is sometimes strange because I forget this is no "revert" and I sometimes paint over stuff that I later regretted. But back to the point which is this; "train your eye to see what is front of you."

Lux: Nicely summed up! And thank you for spending time with us today.