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Interview with Maarten Verhoeven - 3D


By Richard Tilbury

Web: http://mutte.cgsociety.org/gallery/ (will open in new window)
Email: moc.oohay@ettum_htrad

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Date Added: 15th November 2011

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Can you describe your work methods and approach to sculpting and do you ever create a low poly mesh in LightWave before going into ZBrush?

I don't draw with pencils or crayons anymore. I create the base concept in my head and search for a lot of references in art books and pictures on the web. I have a library of base meshes that I built in Lightwave in the past, full bodies and busts. But now I create and sculpt everything in Zbrush, since the feature shadowbox was introduced to Z4 I never leave the program especially with the new DynaMesh feature. I don't like to waste time during the creative sculpting process.

Do you ever make any clay maquettes of your models or indeed use this process to create 3D models?
I haven't used clay as reference for my maquettes; for me it slows down the process of creating. I have a feeling that this will evolve or dissolve in the end like make-up effects, and it will all grow to digital. A lot of sculptors are leaving the classic materials behind and giving digital a try and I hope that they can find the real world feeling of analog materials in the CG realm.

ZBrush has revolutionized the way character modellers work, but how do you see software developing over the coming years and what improvements would you welcome?
I think that the creators of ZBrush have open and good communication with their artists, and with every new version they seem to add new features that nobody has thought about, but once you use them you can't do without them. The new DynaMesh, ClayPolish and Curvebrushes feature will bring more people to Zbrush that are now working with clay and want to give the digital a try. Also the new render options with the Waxshader and LightCaps truly give a more real world feel to your images. This will be very welcomed by design artists.

Of all your pieces which rate amongst your favourites and why?
Most of the time my latest work is my favourite, and I think it will always be like this as long as I can see progress in my own work during the sculpting phase or the final composite renders. I could name some pieces like Centaur, Banshee Knickers Zombie, Kludde or Ian Mcshane bust as favourites because of the reactions I got from them.
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The Centaur is a quite dynamic and complex marriage of anatomical features. What were the most challenging aspects of this project?
I created this piece almost two years ago, and I feel I have evolved a lot since then. The most challenging part of this sculpt wasn't the anatomy, it just felt right. I think that the attitude was more important than the anatomy in this case. I wanted to give it the impression of being big, strong and heavy, and that is often forgotten in a lot of work as most of the time you'll see emotionally empty T-poses. I always have an urge to give the viewer a pose, look or emotion, even if it's a bust. I try to add something to the character of the figure, even if it's very subtle. During the sculpting phase you'll already know how it should move and live in an environment if it ever got the chance to run free in a game, movie or animation.

If you had the chance to work on any project what would it be?
I would like to work on any big AAA projects if time permits it, where I could learn and work with other artists, to exchange ideas. My preferred department would be pre-production or concept design of digital maquettes for toys (collectibles) or film. I love sculpting, design and posing, textures and animation aren't always important to me.

Thanks for taking the time to talk to 3DTotal!
Thanks, it's always nice to hear you have a following. Sculpt on!





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(ID: 63029, pid: 0) Anne on Fri, 18 November 2011 12:45pm
We're very proud of you ;o)
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