michaelw, you're right about the proportions. I did a quick warp job on a front render of her in photoshop, and got this:
I'll have to see about throwing the mesh into some other program and mangling it a bit with a lattice to get the proportions in line. Thanks a ton for pointing these issues out, I've been going in circles trying to figure out just what's "off" about the model's look.
Looks like it might be high time for me to start doing some figure drawing and the like
Thanks sreenivas, I had to export the mesh to obj and rendered it out in softimage's renderer. It took me a fair bit of time to get the shader looking right.
Unfortunately, I don't think there's a material in Sculptris has the same sort of look. I can try rendering out a sphere with this shader applied to it, and it might get some of the tones, but because of the way Sculptris works it won't get any shadows. I'll do some testing today and post up the materials when I get a chance.
Here's the material. It's actually fairly close to what the model looks like if I disable textures and shadows.
I grabbed a ton of reference, and a few books on anatomy and the like, and I think I've finally got something that's got more or less correct proportions. There's still a few things that I'm sort of uncertain about, but that could just be because I've been looking at this model too long.
I rendered her out in Softimage, the hair is just low res polygon strips with an opacity map, and some diffuse / ambient color. Its just a stand in until I can figure out the hair system, but that's an issue entirely separate from sculpting.
Here's what she looks like with just basic shaders applied.
Using grids like that can be helpful for early estimations but be careful. When perspective is in the mix making those kind of measurements can be deceptive.
A few things to also consider or be thinking about as you take this further:
- What mass is there under her jaw? Often it's a very defining characteristic of the lower face that people forget. - Check the measurements between the height of the lips and height of the jaw. - Where does the crease between the cheeks and the muzzle lie. It's a bit high currently. - How much space is there between the eyes and how does that compare to place between the eyes and ears. The eyes could come in a ways. - Check the mass between the eye and the eyebrow. You've got the arch, but it's a bit dead center at the moment. Also look to see if this mass folds over the eyelid to an extent. Depends on person to person. - How sharp/long of the muscle is the sternomastoid?
Thanks for the tips Crispy4004, I didn't really notice some of the issues until you pointed them out. I've noticed that camera field of view has a pretty big impact on how stuff looks, and it can make things rather tricky for me if I'm not paying attention.
I've tried to use your suggestions, and I think its coming along. Here's the latest version, from within sculptris... I'm thinking I should stick to just the sculpt and not have textures and shadowing distract me for a little while:
I exported the mesh out as an obj, and moved it into topogun to retopologize into a much lighter, evenly laid out mesh. I then imported it into softimage in both a highres and lowres mesh. Once there I setup a heirarchy of bones, and weighted the lowres mesh to them. The highres mesh is then cage deformed by the lowers. Then its just a matter of rotating the bones into whatever pose to test it out. I'm in the process now of building a control rig to allow for useful animation... directly rotating bones is a very, very tedious way to do things.
You could also use blender to do all this, but I'm not too familiar with that program. Michaelw has a good tutorial on the retopologizing in blender here:
This way you can create any pose without modifying the original model, right? I've been doing it the hard way, masking, moving & twisting and then smoothing and fixing geometry at the articulation right on Sculptris with very poor results.
Did some more tweaking on her face, I'm kind of stuck between making her stylized or realistic, dunno what I'll end up doing. I may just call this one done and start onto something new.
This guy was made as part of a test to get a job at a game company, so hopefully it'll be good enough
The requirements were max 6000 polygons (quads / tris) and a single 1024x1024 texture tile to be done within 4 - 5 days.
I used Sculptris a bit for the texture painting. I ended up having to go to Mudbox because there doesn't seem to be any way to re-import the exported color and bump maps... hopefully that'll be a new feature in future versions.
You have a very curious and distrinct consistency in your style. Hard edges, long and unique proportions, it's quite entertaining to see how it evolves. It almost looks like you'd be a game artist of sorts (doh, just read it, yeah, but it was obvious, of course), particularly with your boxer, of course, but he has this official style of human like model without soul, but the urge to have one. I don't know, if you are interested in putting a soul into them, but if so, you have some wonderful challenges ahead of you on your path into actual subtleties and out of those that you make yourself believe you could see. I sense them, but I also sense that you may not consider that people don't spend the time to look past the small issues. Hmmm...I really don't mean to sound harsh, especially because you are doing GREAT stuff already. You have a great sense for anatomy and you make some very technically sound observations. It's deceiving, though, as it might even appear too good to yourself already. Grrrrr...so tricky. Anyway, I see that you can do it! ROCK ON!
Continue to observe, dive deeper into specific forms and look at many different examples for one area to understand the underlying logic more. Don't project, but recreate with your understanding! You're well on your way to become one of the greats, I could imagine. Just a few proper course corrections, I think...(if I may dare to!)
Taron, thanks for your observations. You're definitely right on the mark regarding my work. Currently I'm still really, really unsure of my grasp of anatomy. I think I end up getting hung up on being technically correct at the expense of creating true character. I'd like to get to the point where my stuff is more alive and not just an assembly of parts. I guess I just need to practice more, or drink a few beers while working so I loosen up and don't worry about stuff so much If you've got any suggestions on how I could take my work up to the next level I'd really appreciate it.