By Linda Bergkvist; John Wallin; Philip Straub; Robert Chang
D'artiste: electronic portray showcases the paintings and technical talents of: Linda Bergkvist, John Wallin, Philip Straub and Robert Chang. each one grasp Artist offers their electronic portray innovations via a sequence of tutorials which commence with the unique suggestion and step throughout the portray technique to of entirety. d'artiste: electronic portray is damaged into 4 sections dependent round each one grasp Artist. Artists' sections contain a private gallery, the artist's paintings and strategies of their personal phrases, a 20-page instructional part, and an invited artist gallery that includes over 20 electronic work from one of the most gifted electronic artists on this planet.
Read or Download D'artiste: Character Modeling. Digital Artists Master Class PDF
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Additional resources for D'artiste: Character Modeling. Digital Artists Master Class
Modeling knees is one of the most difficult things to do because depending on how the leg is flexed, they can look both angular and soft at the same time. You'll notice that I have also accentuated her quadriceps, or the leg muscles just above the knees, so that they are in a half-flexed and halfrelaxed state. Two feet, ten toes Like hands, feet are very difficult to create because they contain so many muscles and tendons. Since the feet have so much more model density than the lower legs, I have carefully chosen a weld area that will not affect the look when the feet bend.
However, one thing to note is that each light pass must be un-premulted, or be divided by its alpha channel, so that when they are added together again they do not incorrectly add up over each other. Continuing lighting tests Here's another render test with an isolated key light from behind. At first I thought to have the key light source coming from behind her, but I'm still not comfortable with it and continue trying different angles. In this pass I have created a small polygon patch that is transparent, commonly called a 'light blocker', which partially occludes the light from hitting her left hand.
While painting the textures I begin working on the shader networks, creating test renders until it begins to look natural. Once the model, textures and shaders have been balanced, the process of lighting the posed figure begins. I usually continue making refinements and fixes to both the model and textures during the lighting process as lighting often brings out both the good and flawed parts of the character. Before I begin modeling work, I gather as many reference images as possible so that I can use them for both visual inspiration and direction.