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Malo's Sketchbook


Malo
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Time to start some Threat to show my experiments with 3d Coat.

First, i will start with a future armor, and testing some technics that i was asking in the last days.

Quick and dirty.

post-24378-0-51111700-1372193036_thumb.j

I think it is time to start a real project with that technics.

Tools uses.

Duplication and extrude of the basic body, Cutoff, Vox Layer, Clone and LiveClay.

Regards Malo

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Thanks.

Yes, it should be 1920x1080, not sure why it is now smaller.

There appears to be some automatic resizing of our images now if they exceed a certain size in dimensions. I have to resample my image down before posting otherwise the jpg gets resized again which leads to some ugly artifacts in the image.

Lots of ways in 3DCoat to obtain armor. :D

Very good looking armor and the only drawback is the roughness of the edges.

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  • 4 weeks later...
  • 4 weeks later...
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First render test in Cycles.

 

Test 1 with Node-Setup

post-24378-0-87079500-1377101413_thumb.j post-24378-0-63672700-1377101445_thumb.j

 

Test 2 with Node-Setup

post-24378-0-69841400-1377101426_thumb.j post-24378-0-55115700-1377101463_thumb.j

 

Many thanks to michalis for his help to setup the materials.

It looks now much better as my own attempts.

 

But i am still not happy. Any suggestion how i could improve the armor.

I think i should use some decals on it, or not?

I am stuck at this moment, i have no idea what i should do.

 

 

Pleas no comments about the pose, that was a little Rigify test.

 

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Thats a Shader with some Noise.

 

Not realy.

 

As far as you see, i still have some trouble with human faces.

Than its best to look at good reference fotos, and take time to study the contours, and shapes, because those 3 wrinkles/scarfs on the cheeks are not natural. also the two wrinkles under the eyes look not natural.

Are you using tablet or Mouse?

For wrinkles i use only sharp-brush from Artman-presets in combination with Clay-brush

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(ich schreib mal auf deutsch und übersetze es eventuell später):

Ich mache es wie beim Zeichnen, ich bin keiner der immer gerade Linien zeichnet/ zeichnen kann. Ich fahre immer mehrmals mit dem Stift über eine Stelle. Mal stark, dann wieder ganz leicht um es auszugleichen, wenn die Konturen zu stark geworden sind. Die Smooth-Funktion nutze erstmal gar nicht, nur wenn es wirklich aus dem Rahmen fällt. Das hilft auch schon dabei einen gewissen (Noise-Effekt) zu erreichen. Dein Gesicht sieht, wenn der Noise-Shader nicht da wäre, sehr glatt aus. Eine glatte Oberfläche gibt's in Wirklichkeit aber nicht. Ich denke es würde dir helfen einfach mal die Gesichtsmuskeln/ Anatomie aufs Gesicht zu sculpen, dann siehst du wo du noch Volumen brauchst. Dann siehst du auch wo die Falten benötigt werden. Ich nutze für Clay (Artman) immer die Pinselspitze, die wie ein Zylinder aussieht, wechsle eigentlich nur selten in die runde Form.

Den Mund finde ich schon ganz ok so,

der Übergang Wange zur Nase gefällt mir noch nicht ganz, ich denke da Muss noch Fleisch ran, das muss an der Nase anfangen und in die Wangen laufen. Sonst sieht es zu sehr nach Cartoon/ Low-Poly aus. Wenn ich heut heimkomme, werde ich mit Bildern versuchen zu zeigen was ich meine.

 

Cheers

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I tried to answer this the day you posted it, but chrome ate my comment and didn't have the courage to type it all again.

 

You need to think about how a human express feeling even if your character is in a neutral pose. Your 3 strokes on the cheeks running from the mouth won't work: smile and look in the mirror, you should see where wrinkle appear: in concentric circles around the mouth, there's reasons for that if you look at how muscles are layed out on the skull but that's boring talk and the most important thing is not knowing their names but what they do.

This concept is true for other areas: for instance you made little grooves around the nose from the corner of the eye towards the tip of the nose: those aren't expressed unless you're frowning/squinting. Those wrinkle appear when you activate some muscles which are for the most part "relaxed".

 

Smiling-and-Grinning-Helps-People-Deal-w

 

If you want to do it the easy way: try to think how things flow around area of interest (eyes/nose/mouth) and how major muscles are linked to the jaw/skull. Sometimes people have the right intuition when they draw their topology lines on a face.

 

Now about that noise in the shader: drop it.

No human face has uniform pores all around. Look at your lower eyelid, how the pore/mini wrikles flow around the shape of the eyeball, or how the pores are different between your forehead or around your nostrils in the ridge of the nose.

 

This should help you layout more logical major "wrinkles" if your character is older (which I think is what you're going for).

Also don't forget gravity if it's your goal to make an elderly: skin fall down and is less stretched; around the lips and I think it was your idea judging by your stokes in that area: don't make tight creases, with age it becomes softer in fact it's probably one of the area that changes the quickest.

 

stock-footage-senior-old-woman-mouth-wri

 

And last thing but one of the most important imo: avoid same shape/depth strokes at all costs. Never do the same stroke parallel to another with the same intensity. It never occurs in nature (or let's say it's very rare) and variety is believable.

Don't make the same stroke all around your character, vary in size and depth go from large shapes (meaty parts) to wrinkles, to pore (if you want to) but you need hierarchy.

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Thanks for the advice.

 

I am not realy interested in creating a perfect human face. But i think this is a good training and learning of the basics that i could use for my creatures, aliens and stuff like that, to improve it.

If i understand how the human face and body works or get sculped, i could use this knowledge for my stuff that i want to create.

Or is this the wrong way of learning?

 

I start a new head and give it another try, and try to follow your advice.

 

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Or is this the wrong way of learning?

No, take what you can, it's always helpful in the end.

 

And about the bit of not being interested about creating a perfect human face, not your goal I can understand, but the way I see it: you don't know how much you don't know until you try to understand (here goes the cryptic sentence but if you get the meaning you'll understand).

So even if the goal is not a perfect head (in the sense a photorealistic head I mean), something close to that is a necessary step towards your real goal, also: repetition repetition repetition :)

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Can't really say as far as I remember I always drawn, then painted then sculpted and now this. I'm mostly self taught (badly in fact) and I'm now picking up everything I can, to do what I really want. It's vague I know but I've no secret knowledge Carlosan gave you some of the lecture I would advise too. That and : repetition repetition repetition :) AND gather references, tons of them, sometimes the difference between a good artist and a master is in the collection of great references and a good talent for observation.

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