Pinching is mainly derived from an extreme diagonal low poly face transition between circular support and rectangular boundary edges once subdiv was applied.
Now in my opinion a quadified sphere is the most optimal object to use in this type of situation so you were actually on the right track too begin with.
Anyway, here's an old school method learnt back in the day that's remained a firm favorite since, I'll be utilizing Blender 2.79 for this example with a few modifier operations however simple enough solution to translate across most popular DCC apps:
Workflow:
- Add a cube:
Sub Surf modifier - Divisions x4
Cast modifier Factor - 1
Then collapse/apply both (sub div first) and smooth, in turn generating a perfect sphere.
- Next, I'd advise applying a reflective material for this part. to check for shading inconsistency so a default matcap will do:
Edit mode, select 4 faces expanding x2
In the Tool panel under Loop Tools, select Circle, extrude inward.
- Still in Edit mode:
Add another Sub Surf modifier - Divisions x2
Then Bevel modifier - select Weight, Segments to 3 and Wdth to 0.01
Note: ensure Bevel/Chamfer modifier is top of the stack.
- Next, select the outer leading edge loop, then in the right Properties panel under Edges Data change Mean Bevel Weight to 1.
- Expected result, we've cut a perfect circle into a sphere:
Lastly an added extra, some supporting detail:
Simply select the outer boundary edges
Next, apply a Bevel to the edge:
Extrude inward slightly:
Done!
One technique among many, creating holes on or cutting into curved surfaces.
I'm not a professional but I can try to help. You want to show as much info as you need. The bottom left shots are good enough. You only need to show wireframe if you're trying to prove you can model stuff. You probably don't need to show off your individual texture channels as an AD would be able to recognize the roughness, normal, etc in your beauty shot. You would only need that if you're doing some trick where people would be surprised to see something in the textures. A specific example would be some thing I saw a while back where a person made this printer and it looked really realistic and detailed, way too detailed for a baked texture. Turns out they were using decals. So showing the texture/material breakdown in a case like that would be good. But just for a normal static mesh with the standard channels, you probably don't need to.
Beauty shots should be their own image. Save the secondary technical info for its own collage. Treat it like any other composition. The most important info should stand out. The eye should flow from primary info to secondary info. It may be a bit outdated by now, but a lot of people used to put drop shadows behind their images to get them to pop.
A really good way to figure out presentation is just to go through artstation and look at other people's presentation and look at how they solve those problems. Especially the pros.
I was relying way too much on the lighting to control the colours in my scene. Here's a new iteration. Pushing the colours in texturing atm, still playing with scene composition. Threw in an older version of the rat @Torch made. Him and I gotta decide on a placement for this little dude. Was going to stick him in the tunnel earlier, but he'll be too far away to see much detail, wouldn't want to hide such a cool character. I got rid of the stairs on the left because they were just contributing to the noise in the scene. Same with a bunch of the buildings. Replaced the texture for the sidewalk, since it was just so noisy before.
Hiya! Thanks everyone for your comments. Here's more progress on the gladiator. I've finally begun the texturing stage and set up a Marmoset scene to test my progresses. Planning to keep working on his texture for the next few days. Hope you like it!
Wow! You guys are amazing, and make me itch to do more real woodwork.
Currently living in an apartment with no space, so in the meantime I'm mostly carving spoons, spatulas, and little butter-knives out of some greenwood I got from a fallen tree in the woods nearby. Fun way to play with shapes, as you can see; quite a few of these just aren't practical (heck, some aren't pretty either). Fun to carve though.
All the flatish shapes are made using only a sloyd knife. The spoons were made using a hatchet, a sloyd knife, and a spoon knife. Long way to go, but I enjoy it! The pale ones I just carved yesterday, so still have to do a final pass and coat them (I slather them in propolis extract if I want to darken them, which is a weird trick I started a while back, then cover them in linseed oil.)
I realize the wood background isn't great for seeing the darker ones, but, well, hindsight and all that.
And a shot to show off a lil spoon I think has a lot of character:
There could be any number of reasons for someone to like a work on artstation. Could be friends, classmates, or people they have networked with. They may like the piece. Not really relevant. Until Artstation likes have value in Dollars, Euros, or Bitcoin there is no point in caring anymore about them than x number of people (mostly strangers) on the internet liked my art work. It does feel nice when your latest post gets more attention than the previous, but good luck paying bills or buying food with artstation likes. No employer is going to hire or not hire you based on your number of likes. You really should not care how many likes someones art gets. And if someone is using bots for artstation likes their time would be better suited in actually improving their art, but thats their time wasted. not anyone else's.