Keep up-to-date with Free tutorials!!

 

Sign up to our twice-monthly newsletter today for the latest tutorials, interviews and product information.

Sign me up to receive third-party emails from 3dtotal's partners, too!

- Latest news
- Exclusive Shop Offers
- Preview early content
- Plus much more

 

Not Ready to take that step? OK, Why not just Subscribe to the RSS Feed

 
submit tutorial
1 | 2 | 3 | 4 | 5
Project Overview: Dramatic

| Your Rating:
rating star fullrating star fullrating star fullrating star fullrating star half
(5 Votes)
| 85858 Views
| 0 Comments
| Comments 0
Date Added: 1st July 2013
Software used:
Keywords:
1743_tid_fig23.jpg

Eduardo Lôbo shares how he created this striking image and perfected the art of modeling realistic-looking draped material.


Introduction

Hello everybody, my name is Eduardo Lôbo, 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).

1743_tid_fig01.jpg
Fig. 01


Fig.02 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.

1743_tid_fig02.jpg
Fig. 02



continued on next page >

 
1 | 2 | 3 | 4 | 5
Related Tutorials

Envisioning epic characters

by Anders Ehrenborg
published on 2014-12-30

Keywords: Character, warrior, 3ds max, ZBrush, Photoshop

rating star fullrating star fullrating star fullrating star fullrating star half (25)
Comments 1 Views 54844

Making Of 'Morass'

by Dzmitry Surynovich
published on 2011-01-27

Keywords: character, creature, monster, horizon,

rating star fullrating star fullrating star fullrating star fullrating star none (9)
Comments 1 Views 91129

From Paper to After Effects - Creating an Animated Short from Scratch: Lesson 08

by e.d. Films
published on 2013-06-20

Keywords: character, cartoon, rocket randee,

rating star nonerating star nonerating star nonerating star nonerating star none (0)
Comments 0 Views 12378

Classical Sculpture - Chapter 1

by Rafael Ghencev
published on 2013-01-03

Keywords: sculpture, classic, human,

rating star fullrating star fullrating star fullrating star halfrating star none (6)
Comments 0 Views 101757
Readers Comments (Newest on Top)
no comments!
No comments yet. Be the first to comment!
Add Your Comment..