33 replies to this topic

[michalis]

I had these beers LOL and some nightmares...
A kind of rhinocerus, a workinprogress, influences from the brilliant Dürer's drawing. Not a naturalist approach, always fascinating with drawings of great artists who had never seen these creatures.

[chris_solo]

Michalis, you are a great artist!! ...all your works are nice!


++Chris

[moska]

salut!

[michalis]

A great artist wow, in a paralel cosmos probably, as all of us.
thanks chris_solo, moska.
Still working using sculptris and waiting LC fine tools. It'a matter of time I guess.
How easily I can block parts, cut or join them in 3dc.
What I'll try here is to stay in surface mode. I'll probably remesh all in one and bring it back for hi LC details and baking.
3dc , a swiss army knife they say. Because of the lack of an after retopo sculpting room.

[michalis]

Another study and another test.
Started in voxels (curves, cuts) and some sculpting. hands spread (you know why). Exported to sculptris as tris and zbrush for grouping and setting a pose.
Still in symmetry (retopo friendly).
Now I have to spread hands again to retopo.

[michalis]

Testing new blender-cycles builds. Displacements and bumps.

[LJB]

Your Portraits are beautiful. Lovely Rhino too. and yes If we badger him enough maybe the sculpt room will happen eventually, sadly with the sculpt tools nothing works right after the Retopo.

[michalis]

Inspired from L'Ancien Regime's anatomy project.
Here almost the opposite approach.
Digging Michelangelo's drawings, always wanted to do this. Never quite understood this master. Anatomy here is used for organizing what I see.
Nothing precise, I mean. How could it be. Are the bones, the muscles, the composition needs, the pose?
The pose... this man was a bit crazy, so, a master.
Voxels at ~500 k (I love the behavior of 3dc vox tools on this resolution, performance is great up to millions but not the tools behavior)
then dynamesh and zb render.

[digman]

The flow of form, the dynamics of his action. I do really like plus the more classical form of his muscles, nice work...

[L'Ancien Regime]

Thanks Garagarape
When sculpting these, I need to brake symmetry as soon as possible. But, you know what this means. This is my problem with 3dc. The absence of a decent sculpt room. Zb is always waiting. Just saying.
But something is wrong in these possible workflows, I feel it.
Anyway, a question: I constructed these cans using instances. I retopo'ed one. Then what? Do I have to re-compose the whole scene? I would like to paint them as one single mesh. And maybe deform them as one single mesh. I need one UV map.
Just to inform you, I had all this beer during last weekend. Not in good mood, you can guess.

That's unreal work and I love the direction you're calling for in workflow development.

[L'Ancien Regime]

...

[michalis]

Thank you, Digman, L'Ancien Regime.

the more classical form of his muscles

Whatever that means LOL

That's unreal work

You're so kind, but not unreal. Lot of wrong strokes around. The crazy is that I find lot of of these wrong things in maters works. Do we miss something?

[L'Ancien Regime]

Thank you, Digman, L'Ancien Regime.

Whatever that means LOL

You're so kind, but not unreal. Lot of wrong strokes around. The crazy is that I find lot of of these wrong things in maters works. Do we miss something?

Masters, particularly masters of the Maniera didn't concern themselves with anatomical correctness once they were past their apprenticeship. I think they've got all sorts of other agendas operating. Michaelangelo's David is totally wrong in terms of proportion; the hands and feet are too big the head is too big for the body and the eyes are too big for the head. But it works while a photographically correct work would not work correctly, or feel right. This is partly attributable to stage craft, tricking the eyes and the mind behind them, but also the Maniera of the late Renaissance is a rejection of Albertian classicism of the early Renaissance with its clarity of light and Euclidian proportions; the Maniera is the adoption of the occult, the mysterious, and the alchemical. Stylizations with deep abstract impulsions come to dominate the icons, pushing aside mere proportional correctness with strange distortions that suggest spiritual qualities that are unspoken, cryptic. An analogous movement takes place in the sciences with Galileo's classical geometrical astronomical mechanics being shouldered aside by the mysterious and occult force of gravity for which there is still no obvious mechanical explanation or even rational model. Gravity travels through space instantaneously in some cases, at the speed of light in other cases. It's occult. The Maniera is occult. The later Michelangelo is of the Maniera and has more to do with Bronzino's peculiar proportions than it does with Leonardo's brilliant Albertian analyses...

[L'Ancien Regime]