Eduardo LÃ'bo shares how he created this striking image and perfected the art of modeling realistic-looking draped material.
Hello everybody, my name is Eduardo LÃ'bo, but people here refer to me as Ellobo. I am so glad to have had the chance to write this project overview for you guys. I have been studying 3D really hard since January 2012 (I had to do this because before I didn't paid attention to anatomy and all the foundation studies related to 3D, but now I know that this makes all difference and the progress can be seen on each model).
I am from Recife, Pernambuco, which is in Brazil. There are not so many 3D-related courses here as there are in foreign countries and so that makes me a 3D artist generalist. I spend my free time studying anatomy, rendering, and complex and quick modeling techniques aimed at always making the modeling process faster each time, and the results better.
What I am going to show you here is my approach to anatomical sculpture and the synthesis of an analytical study of the relationship between drapery and topology (something I find really awesome and I hope you like. It can be replicated in any software).
The modeling process was all inside the ZBrush, but the drapery was a mix of simulation in Maya and ZBrush refinement. (Again, the simulation process can be done in any software).
The Pose and Anatomical Approach
I started this scene marking out the pose with ZSpheres. Then I generated the skin using Adaptive Skin while keeping the subdivision density as lower as possible. Starting a model with a lower topology makes it easier to control the gesture and pose of your model and all the silhouettes (Fig.01
shows the second level of the model where the landmarks have all been set, such as the visible bones and main muscle groups. I worked from top to bottom.
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