By Linda Bergkvist; John Wallin; Philip Straub; Robert Chang
D'artiste: electronic portray showcases the paintings and technical abilities of: Linda Bergkvist, John Wallin, Philip Straub and Robert Chang. every one grasp Artist offers their electronic portray innovations via a sequence of tutorials which begin with the unique suggestion and step during the portray approach to finishing touch. d'artiste: electronic portray is damaged into 4 sections established round every one grasp Artist. Artists' sections contain a private gallery, the artist's paintings and ideas of their personal phrases, a 20-page instructional part, and an invited artist gallery that includes over 20 electronic work from probably the most gifted electronic artists on the planet.
Read or Download D'artiste: Character Modeling. Digital Artists Master Class PDF
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Extra resources for D'artiste: Character Modeling. Digital Artists Master Class
Francisco A. Cortina I loved the way her figure and dress models were integrated together. They conveyed a sense of balance ana careful motion in both her pose and clothing. Like the first Etaine image on the earlier page, these two variations of the angel-like character also contained a nice textural balance between her soft skin and the lace-stitched outfit. Even though the images had a somewhat monochromatic tone, it helped promote a somewhat dreamy quality as well as the doll-like feeling of the characters.
Most characterrelated pieces convey the first impression through the eyes and in this image it was the most important element. Modeling and simulating a very smooth face has always been a tough challenge, yet by careful use of lighting and the accentuated lip shine it seemed to work very nicely here. Francisco A. Cortina Replicating a person's smile has always been a very difficult thing to do. The key torms and contours of the face while smiling have been nicely and softly modeled. I particularly liked the subtle squint of the eyes and shape of the lips as they stretch over the teeth.
Character lighting tests Early on. I wasn't sure if I should use a combination of image-based lighting and ambient occlusion or just traditional lights. For this piece I chose to go with traditional lighting, letting the subsurface scattering component play a larger role in illumination of the model and skin. As you can probably tell, I keep the shadow maps fairly blurry and somewhat transparent, with their sizes at around 2K. This first test didn't quite feel natural enough for me, so I have decided to continue trying different things, including rendering different light passes.