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Making of: Dream

Greetings to everyone interested in the work of “Dream”. For the next few minutes I, Alex Kashpersky or, RIDDICK, will be with you.

Hello everyone interested the work of "Dream" The next few minutes I, Alex Kashpersky or RIDDICK, will be with you.

The composition and work with supporting material – references

Composition – very, very important step, which should never be left without proper attention, if you do not want the visitor to forget your work, just turning the page … I have even more to say, this process, I was parallel to the creation of work. Composition constantly refined, that it added something I cleaned …
Such a "grinding" the original idea. Here I Give examples of compositions in various stages of work.

The original idea was to make a girl on a chair, because engaged in the search for the optimal form of a chair. Of the final compoze, I removed it, replacing the water, but, nevertheless, this stage was, therefore, and the mention of it.

The composition in the work is like black and white photograph, a professional photographer – has a bright white, half-gray and deep black.
Roughly speaking 3 tiers. 3 tiers of all: colors, their saturation, objects in the scene complexity and meaning. At least, under the scheme, I tried to work. In my own work is central to the figures of girls subjected to the second plan – the water and third, respectively, the background.

The same should be with the color range. At the forefront of a bright contrasting shades and the farther they are from the viewer, it becomes more diffuse and less contrast. What would be better to understand what I want to tell you – imagine yourself standing on a huge colorful palette in the morning fog) Somewhere so))

Just want to underline such process as finding and working with supporting material. Do not neglect the study of the subject, which is going to create … Look for similar look to all of a sudden, it have already been done by someone. If you saw somebody else’s work element you can be useful when you create your work, do not hesitate to contact the author and find out what difficulties he faced in the creation of what in this matter can be pitfalls and Think how to make better …

When it comes to modeling and anatomy, then you have to find a dozen or two references of the part which you are working at, and even better make your own photographs in the right angles, preferably before the start modeling, because it can happen is that you will feel sorry to "destroy" —
fix the mistakes … An experienced eye is sure to notice them.

I would like to express my gratitude to the professional photographer Olga Shelegeda for the reference photos …

Plus to that, I look through all the internet far and wide in search of the necessary references,
hands, feet, folds and fabrics, burst water anatomical angles, I photograph by myself, studied at the "living examples", drawing at the paper, etc. …In the end, I have collect up to 500 various references. With this baggage, I was much clearer what to do))

Work in Z-Brush. Skulpting

Work in the ZBrush, I began from transpoziting … About how to use this tool has already written more than need lessons, because of that I will not stop at this part.

That’s it, look like the models after the initial transpoziting.
As can be seen, the proportions of the body has been violated. But gradually, in the course of their work, I will clarify. At this stage I start the set of forms, skulpting. I circle overlaid material on anatomy,
placed on my desk two monitors, or even a third, a laptop)) they were constantly required me to reference. This is a very convenient way to work … only the head slightly turned and you already know in
what direction should we go from here. This reminded me a real life drawing or sculpture … Very likely) Here is what I have started emerging in the course of work. As will be seen later, I did change some of the parts of the body. Even better, but still there are many problems …
I have continued to shape the body, in consultation with the anatomy and foto until the result does not start to please me ))
Here is what I got at the end of all of the skulpting work.
Of course there were the locations (the skin on her back like kirzovy boots etc….), which I finished later during the texturing prosess, but the sculptures were finished. I decided to try to render a model in mental-ray)

Texturing models

I like the process of texturing "live" surfaces) Dont know why the artists so afraid and do not like it …I was going to render the skin in the mental-ray, because of that I had to draw three different layers of skin, not to mention the relief maps and reflections.
So I began to paint the upper layer. I will not go into the technical details of the process, it is enough for the lessons …. I will stop some of the features:

The color of the body in all its parts are not the same …

Legs are always blue (green) depending on the light. The closer to the fingers – so mor red, and generally as thinner the skin, so its red color will have. Fingers, knees, elbows …

In places the fat, the skin will always be yellow (for example on the abdomen or buttocks).

Women’s breasts are almost entirely composed of a special fat, saturated vessels and skin is thinner, so it’s the bright part of the body. Should be able to display all these details, they will the work of the elusive charm, a liveliness that is inherent in beings of flesh and blood. Take a look at the works of the Boris Valedzheo, and you just notice this nuance in his work, though probably not before
pay attention to it.

So look leather upper spheres models. I tried to render them with the mental-ray. That’s the result.
As you can see, I have sculpt initial shape the future fabric. At that stage I still think that it will be fully fabric and draw once more composite sketch

At the same time, I proceeded to draw the second, deep layer. There are many veins, blood and meat))) But do not worry about it . None other than the benefits it will bring)
The result is terrible, but if you put everything together, you get a very good base for setting renders.
Beyond the method of trial and error, a few days, I was looking for "perfect skin")), it was a lot of variants, I show only a small part of them …
So far, in the end I stop at the variants and options that satisfied me

I would like to note that these options may have light (about this later), and projected all the maps. Here I give preferences of shader skin mr SSS – Fast Skin Material Different models are slightly different, but not essential …

I want to caution you against blindly copying the settings shaders. This will not bring any charges against the results. I speak from my own experience … I not at one time tried to copy the settings that one, that another artist make, the result obtained nonsense. While I did not began to understand what the slider is responsible for what. I do not even know what this relates … may be with the size bar on the "World" scenes and may have what, I do not know. In any case, the scheme is simply to help you understand the general meaning of SSS material.

I also want to stop on a bump bar. As the file with the exact settings I have lost, I written the sets on the memory. numerical values, it may not be accurate, but the meaning is clear.

Lighting

At the lighting setup was spent enough time … I could not understand why It do not work I need light sources FArea, which give a very pleasant shade of, and tried to use the Sun lamp, but nothing good I have it does not worked.

At last I understand is the rub … unscrew the brightness of lampstands FArea much higher, I got the desired result. + Set multicolored light reflectors for the beautiful paintings reflexes

Now all the light reflexes and reflections have become to their seats) Total there are 3 major multi-colored light source FArea, one subsidiary Omni and 4 large colored Plaine – reflectors in the scene.

Creating Water

This particular phase of work, what remember me as the most tedious job I ever did on the computer))) I had to put 3.000 spheres in their special place in three dimensions, I dont make a copying, I would not want that does not violate the "natural" movement. Do not like to make repitions. To this process, I approached several times a day for a couple of hours to several a week. More than two hours a row of sphere placing I did not comply with the)))

I had to something being distracted, change the color fields, color models, color windows, that just does not get off a mad ))… by the end of the week, I almost changed my mind to make the water by hand, but I finish it. The most offensive in the final scene of a large piece of cut, as well as disturbing in the composition. A little more focus on this stage, all of a sudden someone help…

Special thanks to the author of a lesson on the water – Abramyanc Karen. So the creation of water, I began with the extrude from the model of the part which should be the water.

Because the density of the grid was too high for this phase of work, I made it retopologization
And I began to shape the general form of water
Next, I specified it, and made the transition from water to a piece of cloth
Actually this is the part where fun started

Here is a nice tree, that came as a result of all the works. Most of the work done, now need make it all in the water.
For this, I export it all into a file format .Obj and downloaded in z-brush. Then applied the Unified Skin modifier with maximum detail and minimal (0) smoothing.

After that I went all over surface smoothing brush. It was impossible to apply the initial smoothing, as well as lost a lot of small details. And if the work manually, it is 10 times longer, but all the necessary details are stored.
This gives complete control over the process), and In the end I have such a wave

Hair – To create the hair I used the plug Ornatrix. Very flexible plugin, I am very happy … All is well if not renders…. Because it is not friends with any v-ray neither mental-ray, I had render it in skanlayn and then connect via alfa channel.
And after overpaint in Photoshop. Thanks to Elena Vuytsik for help me it this.

The same with the lower hair

Rendering postprocessing

To render the final scene, I used a mental-ray for the body and water (first layer) and v-ray for render the water (second layer). The fact that the mental-ray, I have not been able to achieve the desired type of water and I used for this purpose v-ray. later, I just joined them together in Photoshop.

Having obtained after the consolidation of the two laters, I began to draw the background. It All had painted by hand, from the top, I put my composition, cuted through alfachanel. Once finished with the
background, I put the hair on.

Left only a little play with filters to Photoshop AlienSkin. That’s all) Thank you for your attention, I hope you do not spend the time wasted reading the article.

Related links

Email: kashperskya@gmail.com

Web-site: http://arttalk.ru

Profile: www.rid.at.ua

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