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L'Ancien Regime

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Everything posted by L'Ancien Regime

  1. That's a nice way to go Michalis but if I do it that way I deny myself the sensuous pleasure of sculpting by hand which is really the entire point of the exercise I think. I mean nobody here enjoys the sensuous pleasure of sculpting more than you, right?
  2. So after puttering around a bit I made my first 3d Coat custom brush in Photoshop. It worked OK with Inflate Clay but it really popped out the way I wanted it with Extrude Clay. Thank you Digman. And actually it's interesting that this turned out to be the best way to solve this pattern problem in this sculpture because the illustration I'm working from in Penny's Materials of Sculpture was in a chapter calledl "Stamped and Moulded Clay"; it turns out that Assyrian sculptors would carve pattern stamps out of soft stone and use them to push into soft clay to get repeated patterns, and that is what we're doing now digitally. almost 3000 years later. It makes me want to read this chapter more closely and it makes me want to reassess how to approach a lot of other details in this kind of work, like the gold hair ornaments repeated on the king's braided locks of hair... You can really see that on his robes in this photo from the British Museum
  3. Global space is pretty good but the problem is that it will resize different layers separately and often differently. What you want is Uniform Space, not Global Space. And yeah this mesh got really messed up. Time to retreat from .003 to .002.. What I didn't realize at the time was that I screwed up the proportions of each individual voxel when I unified all 4 layers under a parent then put the Transform Tool on the parent to scale down the thickness of the entire composition on the Z plane. That's what made the voxels non uniform, non cubic. Thank you Chong Chong et al for your advice. And yeah, Michaelis, Alexandrian period sculpture is supreme, particularly the Alconeus and Ea of the Pergammene school, but this particular fragment took me by surprise. It's from 650BC and there were just these little sophisticated details that I was surprised to encounter at this early period. That and the challenge of making something that looked like a fragement, aged and damaged and in a style that was idiosncratic to its culture, yet reprsentational.. That in itself was a challenge. We'll see if I can pull it off. An arm has to look like an arm but it can't look like a neoclassical French arm if you see what I mean. It has to look Assyrian...
  4. Well judging from the little holes that appeared like the one I showed you I think it involves a tangling of the mesh in surface mode. Sometimes, particularly with dynamesh these can get pretty radical... Digman will know. Digman knows all...
  5. So I wanted a break from the anatomy studies and I was reading Nicholas Penny's excellent book The Materials Of Sculpture http://www.amazon.co...y/dp/0300065817 and I came across this fascinating fragment from about 650BC with some amazing things in it. I decided to test my skills on it and particularly was looking forward to texturing and ultimately lighting it and rendering it. http://books.google....0bricks&f=false If page 167 doesn't appear hit reload.. I love antiquities like this. Their fragmentary nature makes them all the more fascinating. So I laid it out with the best intentions in four layers; substrate, man's body, lion paws, and spear shaft. Everything went well up to a point; the point being when I started to do greater details using LC in Surface Mode; then I came up with the Nonuniform advisory and sure enough in the details there were abberations, perhaps even holes. I tried the close hole command and crashed it. I tried reverting to Voxels and reducing the polygon count on all layers one by one but still the NonUniform advisory remained. I did a test Autopo and Merge with NM PerPixel and got a strange mess on the maps. I'm not sure if this had anything to do with the non Uniform business. A big chunk of the NM and diffuse map came out missing while the other half was inverted. Are there any resources on the Non Uniform problem and how to cure it out there in 3d coat forum or manual? I need to not only heal these rather numerous aberrations but know how to avoid them in future...
  6. What is more important than multiple views is multiple screens. i realize this must be difficult to pull off in a sculpture program; neither Zbrush nor Mudbox has it. I suspect it's the way the OpenGL window is optimized for maximum speed and maximum polygons/voxels in a sculpture program.. Nevertheless I'd really love to be able to shuck off all the pop ups/attribute editors/toolbars etc to my second screen and leave my main screen wide open for nothing but the object I'm sculpting in. There's just too much clutter on the screen otherwise.
  7. This course would just be awesome to take; http://www.scott-eaton.com/digital-figure-sculpture
  8. Oftentimes the stuff you think will be the simplest is the toughest. Not really done but good enough to be finished later with surface mode.
  9. Nice stuff. Very impressed with the hard surface work.
  10. So I finally loaded all the bones of the right arm and hand into 3d Coat and then cloned and flipped them for the left arm. They're still in a crude form but at least the beaurocratic work is done...it wasn't necessarily fun figuring out how to parent layers to facilitate their scaling an movement later...like the bones of the hands.
  11. Nice. I'm seriously thinking of picking up a copy of Octane to play with...
  12. Mopping up the last dregs of the cold. Glad that's over. Back to work.
  13. Well that's interesting. What are you rendering that with?
  14. This is what we need; it wouldn't take too many polygon tools added to the retopo room to create a polygonal modeling suite the equal of Maya's..
  15. OK now this is great. While you're at it, build Supercar and its cast.
  16. I came down with a wicked cold yesterday so I didn't feel like much more than importing the femur, tibia, fibia and foot bones that I'd done earlier. It took a bit of juggling around with scaling etc but it was pretty easy to do. It doesn't look that good at this resolution on the screen. Sometimes you just have to be patient and wait for the good times to come along, which hopefully will arrive when the texturing and rendering take place in high resolution with more dramatic and colorful lighting.
  17. Don't give up! 3d Coat > Zbrush + Mudbox.
  18. There are no simple bones. Each bone has a physignomy that is as unique and powerful as each human face.
  19. http://www.3dscience.com/3D_Models/Human_Anatomy/Collections/Male-Female_Collection.php
  20. Done. Well good enough for the voxel stage. I'll add the other angles since it's almost impossible to find photo references from those angles and without a real skelton it's impossible to figure out what's going on in there. Next; Os Clavicule.
  21. Working with really thin laminates with high relief, particularly at their edges will drive you crazy And thank you Digman for showing me all the ins and outs of the Pose tool. I hated that thing before you showed me how it worked, now I'm actually kinda liking it a lot.
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