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Leigh's Sketchbook


LJB
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Little update on player model

I decided I was being V' Lazy with a gas mask. So Here's a start.

Very generic face, I hope to give it some more character later., And I haven't seen the Streaking behavior circled in a little while.

post-1266-0-75578800-1317149934_thumb.pn

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Looking good on the weapon and the guy's expression right now is tending toward the more serious type...

I been having some of those artifact problems too using the move tool or hitting enter key in the surface room to voxelize the mesh.

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I'm curious LJB have you tested some of the LC tools on this character to see how they work.

I found that if you put the inflate clay tool to a depth of "0" and use falloff in the tool's dialog box then you can add local subdivision without changing the mesh. Of course all this is done in surface mode and you might still be in voxel mode.

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@Digman Not Yet ,Im love hate with Live clay. I think it has potential but Like Jan I think the tools are not much more than toys and tech demos currently. I will try them out a bit further on some of the areas of this sculpt.

@ Beat's Yup Your soo right. On the knees! See I amended and it feels way better. I'll sort out the face later or I'm there too long.

Update -

post-1266-0-50642200-1317249764_thumb.pn

post-1266-0-46304000-1317249771_thumb.pn

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Leigh, I'm curious to know how you're taking your rough sculpt and refining it to something more polished. From my experience to get effective crisp edges and whatnot it almost makes more sense to re-build things that you know the final shape of, either with a more effective use of primitives or retopoing > exporting mesh to max/maya to adjust the shape and add loops/smooth modifiers etc. > re-import and merge back into the scene. That seems kind of ridiculous to me, so maybe you can help shed some light on your methods for me?

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Leigh, I'm curious to know how you're taking your rough sculpt and refining it to something more polished. From my experience to get effective crisp edges and whatnot it almost makes more sense to re-build things that you know the final shape of, either with a more effective use of primitives or retopoing > exporting mesh to max/maya to adjust the shape and add loops/smooth modifiers etc. > re-import and merge back into the scene. That seems kind of ridiculous to me, so maybe you can help shed some light on your methods for me?

hmmm that would be a a bit of a long winded way around.

im sorry but i cant offer any sure fire solutions other than that I dont do anything radical. I tend to stay at a low Volume level in the vox room For a long time, Alot longer than if i was using Polys. Its actually alot easier than you think because while the volume resolution is low its uniform, we dont get the shearing you do from Polys. also I tend to do all my concepting as one peice, Ragrdless of how i get there primatives thrown together or the curve tool or sigle volume from the start. I then Keep working this single volume until I get to the stage where im happy, Then i break up the model in various ways to give me individual (managable) volumes to refine. It much mopre sculptural then ZBrush in the way i work.

Last thing i do more so than others i have worked with is I Dont use many tools/Brushes. I tend to use Build brush all the time and vary the finish using FallOffs and Alphas. Using shift Smooth and Various strengths alphas I can get a nice crisp line if its a dooable cut I'll use clay and one of the number of Lasso styles, but if its no i may boolean one or several voumes to get it to the shape i want.

Your explanation above defines your need for clean geometry and this really is not the world to be in when using voxels. stop thinking of then as pushing and pulling a surface.The surface is just the visual representation of the volume your working on.. Think about how the tools work and what they are doing and it will help you move on.

Thats not to say Im happy with the crisp (or not so crisp) results in 3DC, and I will probably take this into ZB towards the end, But im moving forward fine ATM and feel i can finish all the main forms here in Coat.

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Leigh, I'm curious to know how you're taking your rough sculpt and refining it to something more polished. From my experience to get effective crisp edges and whatnot it almost makes more sense to re-build things 'that you know the final shape of', either with a more effective use of primitives or retopoing > exporting mesh to max/maya to adjust the shape and add loops/smooth modifiers etc. > re-import and merge back into the scene. That seems kind of ridiculous to me, so maybe you can help shed some light on your methods for me?

I hardly ever know the final shape of anything

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Loving this character Leigh. I like the tactical characters. His face is pretty interesting and its also a pleasure to see how you work in 3dcoat. You know sculpting vs traditional poly modeling. I also did a tactical type character for my folio called Bohdan and used Dolph Lundgren as ref.. You might even remember my japanese man sculpt from a while back. Disregard my lowpoly stuff for my mite and Bohdan characters, I'm aware of the inefficiancy.

Alan.

http://jalanflores.com/

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HEY Alan good to see you here. Thanks for the input. I remember your Japanese guy, Your best piece so far in my eye.

Bohdan is good work also. One crit of that work though, The Clothing is just too creased, Its to the point of it not being artistically pleasing, I see that you have used lots of good ref for it and though It might be very close to the reference I just cant love the clothing on that sculpt its too distracting from the overall character.

Mite is fantastic and Very good texture work, Very good render in Marmoset, I'm glad you found it well wink.gif.

@ B33nine & Shape shifter thanks for comments, I really enjoy this sculpt and Pushing to try and keep in Coat for as long as possible, (While trying to work smarter rather than just trying to show its possible, ie Realy define my limits in Voxels rather than just make the jump to ZB to early, I'd encourage all to try this!!!!) im finding it quite interesing to see how much detail i can get out of each piece at lower res, We know that Coat can display Many Many million tri but the fact that we cant Drop down through Res means we have to work Cleaner from the start. I very much enjoy this as it forces us to correct mistakes rather than back track. This is where the 'Happy accidents' happen. Im teaching myself Maker Drawing currently for my concepting and i love the Mistakes and making good.

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Here is an Update. And brief explanation -

post-1266-0-03420900-1317547268_thumb.pn

From the image you will see that What I'm doing is replacing each piece Using ie the the Copy tool to define new volume from old or Move tool to form New geo into place. Pretty much identical flow as would in ZB, No exporting geo to refine shape, just using the tools at my disposal in Coat to for each piece. No broken workflow due to topology. I find this whole process so much more intuitive than in ZB.

So no fancy tricks, just a purely sculptural flow.

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Its buggy Phil and always has been.

And destructive!

Just to re iterate, I went back and tried Proxies again after Phils comment (Sometimes things change with time, System spec and software revision) but I get same issues i.e. I switch to Proxy and Move switch back Not happy so i switch to proxy commit another move and switch back, But then im not happy so I try and go back but I cant UNDO Im stuck sculpting back to where i was. So Proxy is Not Multi res at all it a Proxy, That can be Destructive. Sorry if i seem negative & i wish it worked better for me but im happy with my Resampling and defining workflow. Maybe its more to do with my System spec but im not sure it is. So for me I see no benifits from my usual workflow. Others might.

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Thanks

Kay no pinching a combination of Build with Sharp alpha and Smooth gets a nice edge. Im going to play with the Live clay tools once all the bits are finshed But right now Im going to treat myself to a quick retopo of his headpardon.gif.

@ Beats. It might be the angle hes quite deep. Let me finsh these volumes and i'll post a turntable, I'll comfortably use Turn table now the Perspective fix is in place.

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Very nice. The hair is great. Pouches on the webbing are super. In some areas though, the cloth appears a bit to soft and the folds too random. Not that I by any chance could do a better job my self, and definitely not with voxels. Ever since i discovered 3D Coat a little more than a year ago, your work has always been a great source of inspiration to me. Thanks a lot and keep it coming.

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