This is looking really good, ysalex. I agree with woogity and Fomori about the things they've mentioned. In addition, I think you should tweak the nasolabial fold a little.
Most people's nasolabial folds, even when they're pretty old, start out fairly shallow and smooth at the edge of their nostril and slowly become sharper and deeper as they get closer to the corner of the mouth. Unless the person's pretty old and their face is sagging pretty heavily, they'll have a fine crease that deepens when they smile or frown. I did a little paintover to show how it could look if you adjust it:
Holy crap dude, I lurked the whole thread, And this last render looks absolutely stunning! (Im jelly I want to be able to do this, (Im trying hah)).
Im not sure what crit I can give you, but on the latest render Im wondering if the shadow of the eyeballs is to intense, and they feel a bit like they are too glassy. It is a minor thing but it might help push this even further. If you have the tools needed you might want to try and do super high quality photography of your wife with simlar lighting to see how the eyes look.
Rock and roll dude im definitely coming here again for reference for my own work!
Thanks man, and jesus that's a cool image. It really goes to show the milkiness of the eye under that much light, must have hurt to take that picture. Also, I really like the way it presents the iris. Thanks for that.
Working on a bunch of stuff, and trying out compositions. I like this one the best so far. It means more work on the hair then I'd wanted, but that's fine. Also, I am not sure what color her coat/coat collar will be, but not pure black, and probably not black at all. I'm scouring the internet for an interesting coat reference to use, so if anyone has any ideas let me know. I think a yellow raincoat could be interesting, maybe even with the hood up, but that would kill the rim lighting with I really like, so possibly hood down.
I think it's the large brown eyes set just a bit far apart, and a wide'ish nose. Makes me realize that I need to get the lips under control. They're way too round and perhaps big.
Not sure if I'm liking the composition here I just really liked the idea of a raincoat. I'll keep working on the coat and see what comes. Who knows. It will probably have a light cloth interior with some nice light transmission to keep the face from falling into too much shadow.
I'm not so great with the dynamics, but learning real-flow for this one. I need to get some splash in there, lengthen the drops due to falling speed, and get it animated so that I can do some motion blur. A specular map could help me fake a bit of the coat wetness. Also need to work on the lighting.
Anyone got any realflow rain tips, please let me know.
So here is the first part of the tutorial I said I'd try to work up. I'm not really a tutorial person but I got a lot of these questions and a bunch of requests for it so here it is. I got caught in some extra heavy work, but I found the time last night/today to put this together. Please let me know if you find it useful or useless, and I will either give up or complete the two other parts.
As you'll see in the overview, there are three parts to this thing, basically MODELING, TEXTURING, and RENDERING. This is the part on texturing.
Most of this is super simple stuff, so especially for the modeling and texturing part, it probably won't do anyone but the super amateurs any good.
Thanks for doing this. I just got a ZBrush license and was thinking about spamming you with some PMs to steal some of your sweet, sweet knowledge. This should hold me over for a while. Thanks again!
Thanks everyone, really glad people could take something away. I will finish parts 2 and 3 when I have the time, then drop it all into a PDF or something.
As a frequent study of character development this stuff is great added knowledge for such an in depth field. Thanks a bunch, it's really appreciated! :thumbup:
Doing a quick study, since I haven't been doing them lately, and I was inspired by my playthrough of the last of us, so I wanted to do something to fit into that world.
Quick anatomy study. Did the head once with the pose, but zbrush poseable symmetry got thrown off, so instead I did it as a separate tool and added it on after.
thats a very strange pose, quite hard to crit, I think its looking pretty good but the pose seems a bit rigid and lacking in overall flowing curves...unfortunately I cant really explain why I feel that way cause I dont think I could do any better.
this looks like an awesome start. everything is looking pretty good. i feel it is lacking a feeling of weight. i can't really get a feeling for what is happening, is she balancing? is she springing up? falling? that sort of thing. from here i would look towards adding more compression in areas as well as relaxed/strained muscles. the placement of the navel is looking a little strange and I might examine the knee anatomy a little more. also i can't quite tell the insertion point in the sternocleidomastoid, but remember it doesn't actually attach to the clavical but rather the top bone of the sternum.
feel free to disregard any of this, just my 2 cents awesome work!
Thanks for the input guys. I completely agree that something in the pose feels off, rigidity or something, but I have absolutely no idea what it is or how to fix it.
I tried a semi-different pose to open it up a bit more, not really sure if it worked.
As a question, how do you amazing polycount anatomy artists go about finding a decent pose for an anatomy study? Books, google search etc? Could really use some tips on how to look for dynamic poses to emulate in my studies.
Although I certainly don't qualify as an "amazing polycount anatomy artist", I think I can share some useful input, so here it goes.
For starters, are you using any specific reference for your poses? I think this is pretty critical for figurative work. You've definitely got your anatomy and proportions under control. But, when you take those out of the equation you are still left with a lot of variables, such as weight, gesture, rhythm, and purpose/focus. In order to reach a believable and lifelike pose, all of those things have to be in agreement with each other. Especially with a pose as dynamic as this.
So how does this apply to your current sculpture? The limbs appear as if they each have a mind of their own, and none of them can agree upon which direction they want to go. Her left arm says "I want to go up and away!", but that message never made it up to the hand, who is all, "Well whats going on down here?". The supporting leg, appears to recognize this inconsistency and is hesitant to propel the figure in any particular direction. The head is facing in a different direction all together.
In all of this confusion, there is no obvious focal point. Everything should agree with, and support a singular purpose. Give the figure some specific goal. For example, if she is reaching for something that is just out of reach, she should be looking at it, the active arm and hand should be extended towards it. Maybe the torso is beginning to twist and turn towards it, and the supporting leg pushing everything in that same direction. This might put the figure off balance, so the other limbs might be acting to counter-balance, and should agree with that purpose.
It all depends on the specific intent of the person that you are trying to depict. It can differ wildly from my example, but the purpose has got to be there.
Sargent:
Bernini:
Bouguereau:
Random Google Image:
In all of those examples, you could define the major direction of movement with a single brush stroke.
Replies
Most people's nasolabial folds, even when they're pretty old, start out fairly shallow and smooth at the edge of their nostril and slowly become sharper and deeper as they get closer to the corner of the mouth. Unless the person's pretty old and their face is sagging pretty heavily, they'll have a fine crease that deepens when they smile or frown. I did a little paintover to show how it could look if you adjust it:
Formori, not exactly a front shot but closer to center.
So here is where I'm at. Learning decent hair for maya vray, and more about the shaders:
Im not sure what crit I can give you, but on the latest render Im wondering if the shadow of the eyeballs is to intense, and they feel a bit like they are too glassy. It is a minor thing but it might help push this even further. If you have the tools needed you might want to try and do super high quality photography of your wife with simlar lighting to see how the eyes look.
Rock and roll dude im definitely coming here again for reference for my own work!
Its the tiny details that push it of the edge!
This is turning into a really nice piece man. Great work.
Just doing a sort of lame lookdev, trying the raincoat materials and seeing how they would work lighting/composition wise.
Anyone got any realflow rain tips, please let me know.
Credit: Marek Okon
I've seen Marek's work before, I love his stuff it always tells such a good story.
As you'll see in the overview, there are three parts to this thing, basically MODELING, TEXTURING, and RENDERING. This is the part on texturing.
Most of this is super simple stuff, so especially for the modeling and texturing part, it probably won't do anyone but the super amateurs any good.
Awesome, Great stuff Ysalex!
Dark to light tones:
More study:
And great models you got here man ! Keep it up
Could really use an anatomy crit.
feel free to disregard any of this, just my 2 cents
I tried a semi-different pose to open it up a bit more, not really sure if it worked.
As a question, how do you amazing polycount anatomy artists go about finding a decent pose for an anatomy study? Books, google search etc? Could really use some tips on how to look for dynamic poses to emulate in my studies.
For starters, are you using any specific reference for your poses? I think this is pretty critical for figurative work. You've definitely got your anatomy and proportions under control. But, when you take those out of the equation you are still left with a lot of variables, such as weight, gesture, rhythm, and purpose/focus. In order to reach a believable and lifelike pose, all of those things have to be in agreement with each other. Especially with a pose as dynamic as this.
So how does this apply to your current sculpture? The limbs appear as if they each have a mind of their own, and none of them can agree upon which direction they want to go. Her left arm says "I want to go up and away!", but that message never made it up to the hand, who is all, "Well whats going on down here?". The supporting leg, appears to recognize this inconsistency and is hesitant to propel the figure in any particular direction. The head is facing in a different direction all together.
In all of this confusion, there is no obvious focal point. Everything should agree with, and support a singular purpose. Give the figure some specific goal. For example, if she is reaching for something that is just out of reach, she should be looking at it, the active arm and hand should be extended towards it. Maybe the torso is beginning to twist and turn towards it, and the supporting leg pushing everything in that same direction. This might put the figure off balance, so the other limbs might be acting to counter-balance, and should agree with that purpose.
It all depends on the specific intent of the person that you are trying to depict. It can differ wildly from my example, but the purpose has got to be there.
Sargent:
Bernini:
Bouguereau:
Random Google Image:
In all of those examples, you could define the major direction of movement with a single brush stroke.