How To Draw Nd Paint Fingernails
Learning
How to Create Your Own Manus-Painted 3D Characters
Describe Your Weapons by Manuel Sitompul on Sketchfab Games have ever been a big involvement for me. As a kid I spent the majority of my time exploring the story and worlds of Zelda, Pokémon and Rayman. I got so immersed in these worlds that I decided to start making
Games have e'er been a large interest for me. As a child I spent the majority of my time exploring the story and worlds of Zelda, Pokémon and Rayman. I got so immersed in these worlds that I decided to start making my own by playing with Game Maker and learning GML.
Nonetheless, my beginning existent game art experience started when I decided to study Visual Art at Breda Academy of Applied Sciences. At school I learned about the many sides of game art, such as: procedural modeling, 3D animation, standard asset creation and engine implementation. Experiencing this provided me with a good base of operations to start making my ain projects.
The Motivation
The journey started when I participated in a competition hosted by Yekaterina Bourykina. The challenge was to create a hand-painted character bust. I ended upward winning the competition and gaining tons of feel with hand-painting!
My Thoughts and Goals
After the 3D bust was received so well, I wanted to set the bar higher and create a total character. I'g a large fan of Jake Wyatt and his Necropolis comic, so I decided to create the protagonist from the comic.
The biggest matter I wanted to smash in this project was the emotion. The girl is a ferocious character filled with rage, which she eventually demonstrates by slaughtering a bunch of bad guys. Those kinds of emotions aren't easy to translate into a 3D model, but I took it as a claiming.
Sculpting the Character
I started the character by creating a cake-out in ZBrush. Creating quick blobs in the shape of a human being allowed me to establish the anatomy and way pretty apace.
I continued by Dynameshing the block-out and refining the basic shapes of the body. Adding muscular detail wasn't a priority considering it was not yet determined where the clothing pieces would encompass up the body. Additionally, I didn't need to sculpt very detailed, because the sculpt would only be used for a lengthened broil which I could paint over.
While sculpting the confront, it was very helpful to have some extra features in identify, such as eyebrows, eyelashes and hair. For the hair I used a haircurves brush, edited by Chris Whitaker, called makkon_haircurves_03. For the eyelashes and other pieces of special geometry, I modeled it in Maya and put information technology in ZBrush. I advise anyone who is new to sculpting, if there's any task that seems easier in your preferred modeling software, it's probably worth information technology.
The daughter from the comic has very dynamic and wrinkled wear, so it took me some experimentation to figure out how to approach this problem. I started by creating a uncomplicated dress in Marvelous Designer, which allows me to create realistic creases in the wear.
In the end I decided to sculpt all the vesture except the skirt. In this instance I liked the amount of control I had past sculpting the folds by mitt. Fifty-fifty though it isn't as realistic every bit a Marvelous Designer simulation, I could get abroad with information technology because of the hand-painted nature of the project.
Using ZBrush to create the clothes was elementary, I took the base of operations body, masked it, and used Subtool > Extract with a subtle Thickness. I continued past using the Standardbrush to paint some folds.
Retopologizing the Character
When the sculpt was finished, it was fourth dimension to create a depression-poly version which I could bake the sculpt on. I merged all my subtools with Merge > Merge Visible. Unfortunately, Maya doesn't like a 12 meg poly mesh, so I had to decimate the mesh using Decimation Primary to lower the poly-count a fleck.
When the decimated model was in Maya, I made the object live, and used Quad Draw to draw the faces on the mesh. I used this technique to retopologize the entire grapheme. I ended upwardly connecting a lot of the habiliment to the skin, which would help me peel the character more easily, and result in less artifacts in animation.
Texturing the Grapheme
I started this projection to build some experience doing hand-painted textures. Like my last manus-painted projection, I used 3D Coat considering of its dynamic link with Photoshop. 3D-Coat also allows me to make projections of the 3D model, which I can paint over in Photoshop.
For this project, I decided on diffuse-only textures, which ways the final product volition not interact with lighting in any way. This means all the shadows, reflections and highlights must exist painted past hand.
To start off, I wanted to create some base colors and basic lighting. I imported my model into Substance Painter and broiled the loftier-poly model on the low-poly. I continued by using an incredible smart-material called SoMuchDiffuse. This smart-fabric takes the high-poly sculpted data and bakes it down into a single lengthened texture. Using this tool, I added base of operations colors and gradients for every part of the character.
This is where the paw-painting starts. I continued by exporting the new diffuse texture and importing it into 3D-Coat. My painting process is very directly-forward. My main focus is always to add more than definition and highlight to the areas that I desire the viewer to focus on. I started by painting lighter values fading from the middle of the confront, which gives the face more depth. Additionally, I tried painting a lot of different hues in the face such equally reds, greens and blues. I treat this process no different than painting a character in a 2D illustration.
The eyes in detail were fun to brand! The vertex in the center of the eyeball is going inwards to create a parallax upshot. Additionally, there'due south a divide mesh for the cornea, on which I painted the optics' reflection. Because there'southward altitude between the reflection and the educatee now, the eyes have much more depth.
Additionally, there'due south a separate mesh for the cornea, on which I painted the eyes' reflection.
I couldn't call the textures finished until the character was rigged and posed. For example, changing the position of the arms tin can create new shadows and creases which I need to paw-pigment. I proceeded to create a bones skeleton for the grapheme and a few bones for the facial expression.
Settling on a pose and the facial expression took a while. Eventually I settled on a specific panel from the comic (Affiliate 01, page 10), where the daughter held a simple but strong pose. When the posing was finished, I could paint the shadows and ambience occlusion, because I now knew which side of the limbs would face outwards.
The Environment
I think an important part of selling your character is presentation. Yous can spend hundreds of hours on a project, but if you don't present it right, people will miss out on what you fabricated. For this project I cared a lot about emotion and immersion in character, and then I tried to take that into account when presenting. Adding a unproblematic pedestal wouldn't be very immersive, so I decided to create a small animated forest surroundings around the girl.
Retrospective
I have never done a paw-painting project this large, and information technology's safe to say information technology was quite a challenge. Getting all the materials to feel coherent while keeping the mitt-painted details consistent took a long time.
Even so, the biggest challenge was the face. The character is supposed to be an angry and fierce young woman. Still, I needed to sculpt her in a neutral pose and so the character could be used in possible time to come scenes where she is conveying different emotions. In retrospect, I would've sculpted the character with her expression immediately, so I could get the feeling of the scene from the commencement. I could always resculpt the face if I need new expressions.
Afterword
If you got this far, thank you for reading! I hope this inspires you to brand something new! You can discover me on Artstation and Twitter. Feel free to send me a message if yous have any questions!
Source: https://discover.therookies.co/2019/07/21/how-to-create-your-own-hand-painted-3d-characters/
Posted by: jacobsfooster.blogspot.com
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