Friday 31 July 2015
Terminator Genesis CG, Scan data, 3D sculpt / traditional casting, VFX, PRE PROD itteration
https://www.youtube.com/watch?t=133&v=bB8KO6N0Jx0
Tuesday 21 July 2015
Innovation?
Something I am thinking about in my practice is 'Innovation', this has stemmed from my further education / ongoing masters degree and the recurring question of 'how' is your practice Innovative?
One thing that has kept cropping up is how I have evolved my process 'work in progress / WIPS!..
This example of a current branding project for an upcoming restaurant shows how I combine my traditional sketch, digital development and referencing to develop my designs.
Overlaying all components in various iterations to fully explore all the options from the produced content:
One thing that has kept cropping up is how I have evolved my process 'work in progress / WIPS!..
This example of a current branding project for an upcoming restaurant shows how I combine my traditional sketch, digital development and referencing to develop my designs.
Overlaying all components in various iterations to fully explore all the options from the produced content:
07; Line work clean up / Design development #02_Inverse Test:
07; Line work clean up / Design development #02:
06; Line work clean up / Design development #01:
05: Initial line work clean up:
04: Sketch studies / design development:
03: Traditional Thai style Artwork inspiration:
02: Specific reference:
01: Brief!
Tuesday 14 July 2015
Fibre mesh test 01
My 1st exploration of the fibre mesh feature in Z Brush 4R7 with my Current female character bust;
Going in with the Eyebrows & lashes. Following the Gnomon tutorial from Madeleine Scott -Spencer, Scott-Spencer refers to experience in 'Real' props for film where the layering of hair was arranged from the lowest point upwards, repeating this in Z Brush gives more accurate and manageable results. I am also referencing to an amazing artist; Hossein Diba:
http://www.zbrushcentral.com/showthread.php?176389-Sketchbook-Hossein-Diba-(breakdown-Pg-7)/page7
Beginning by masking the relevant area and blurring the edge of the mask in a lower subdivision, which then tells Fibre mesh to generate smaller / shorter hairs in the blurred area! Using the grooming brushes and sculpting tools to finalise the overall shapes.
This is a pretty straight forward entry point as I am just sticking to the eye lashes and brows, If I was to create the head of hair I would have to produce several sub tools to build up the hair accurately to suit the desired style. The working screen shot shows the varied modifiers which adjust every aspect of the 'fibres' which are then transformed into subtools and can be further manipulated with the programmes standard sculpting tools.
My next task will be to poly paint the face, although I may end up UV unwrapping to create a UV map I can paint and texture in
http://www.zbrushcentral.com/showthread.php?176389-Sketchbook-Hossein-Diba-(breakdown-Pg-7)/page7
Beginning by masking the relevant area and blurring the edge of the mask in a lower subdivision, which then tells Fibre mesh to generate smaller / shorter hairs in the blurred area! Using the grooming brushes and sculpting tools to finalise the overall shapes.
This is a pretty straight forward entry point as I am just sticking to the eye lashes and brows, If I was to create the head of hair I would have to produce several sub tools to build up the hair accurately to suit the desired style. The working screen shot shows the varied modifiers which adjust every aspect of the 'fibres' which are then transformed into subtools and can be further manipulated with the programmes standard sculpting tools.
My next task will be to poly paint the face, although I may end up UV unwrapping to create a UV map I can paint and texture in
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