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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 >

 
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