Making of Binah by Florian Delarque

Published on: 01-02-2008 | Views: 356426

Inspiration

Binah was a difficult and long time consumming project. It was a great challenge for me, technically and artistically. Binah is the third sephirah of the  tree of life in cabbala. After reading many texts about the tree of life, I wrote some sentences describing my vision of Binah:

She is the third sephira in the tree of Life.
She channels the torrent of energy of Chokmah.
She is the one who creates Life…
She gives Life to all things…
She gives Death too…
She is the dark protector of Life and Death.

After this process of describing the character I thought about my inspirations and the graphical style I want to create. I wanted Binah to have a soft, pale skin, with some details only in the eyes, mouth and hand areas. She wears a long dark robe, and drapery, and I wanted her hairs to be in the continuity of her robe style. Finally, I wanted her to have a dark, cold and enigmatic glance.

Step1: Modeling

My modeling process is based on the edge extruding technique. During this process, I try to get edgesloops as accurate as I can, so I can manipulate/animate what I do. I principaly use EdgeExtruding method for my characters so I can set up my edloops directly. For the face, I do my best to keep circulars edgeloops over the overall surface. I try to get good transitions between edgeloops too.

For the dress, I use procedural approach in fact. (I was discovering Houdini at the same time ...). First I modelised a polygonal patch with few polygons and unwrapped it directly with planar projection.

For the dress, I use procedural approach in fact. (I was discovering Houdini at the same time ...). First I modelised a polygonal patch with few polygons and unwrapped it directly with planar projection.

Then I add  it an EditPoly modifer to give his main shape. As you can see, the object keeps its uvs. Now It’s time to use procedural approach further to detail it.

Generaly, I add a Meshsmooth/Turbosmooth modifier on top of this hierarchy. And I add a noise modifier too with soft selection on vertices. This create little chaotic turbulences that make the fabric more natural.

The falloff helps to smooth this effect toward the surface. Then, I add a new EditPoly, to erase the selection of the previous one, and a MeshSmooth to smooth the surface.

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