Maybe building the values from dark to light, or from light to dark, or maybe starting from mid tones and figure out form that way. What I would recommend is to experiment, and see what works for you. Many people approach painting in many ways. It’s always a balance thing with the amount of polys you use, just keep in mind camera distance, style and rigging and you should be in a good spot. Faces in general should be more dense than the other parts of the body, simply because that is what will be looked at the most. Depending on how far the model will be viewed in game, the polycount can be greatly decreased. We especially dedicated extra time so that the model looks pleasant from certain angles. The reason we didn’t made it using less polygons is, that this was not meant to be a game asset, just something pleasant to look at in relatively high res. It can be made to work in a game easily, maybe the polycount is a bit high, but it could have been build in such a way that it uses less polygons, with almost the same outcome. My workflow is somewhat linear, but is heavily based on iteration, so once I call the model “done” and start texturing it, everything starts to move, and shape back and forth between fixing the model, fixing the texture, adjust the camera angle and basically everything becomes mobile, and reviewed a million times in order to get to a more satisfying end result inch by inch.īunnygirl and Spacegirl were a collaboration with Tamas Sarffi, who made the sculpt, and the low poly model as well! He sculpted it first in Zbrush, and then used Topogun to retopologize the model. At this stage it’s okay to work while intoxicated since everything will change by the time the piece is done, so I’d call this the goofy part. That way as I model I can already compare my model exactly on top of the illustration. So if I have a painting of a guy from a 3/4 view, I simply set up a camera from that view, try and guess the fov, and set the illustration as a background. I usually set up a camera which looks at the model the same way my reference illustration is painted. For me this is a fun process, I like the boxy feel, and the limitations around low poly hand-painted works. Since there I want each vertex to have a purpose, and break down the shape to a very basic form, and relatively low poly count. I usually model my works only in 3ds Max ( I have a theory that the software is developed by Beelzebub himself, the manifestation of all evil, but this theory is yet to be proven), using basic box modeling techniques. The PC I bought from my first real payday is sitting right next to me here as I’m writing this. Got my first paid work during high scool, a bunch of renders for a museum, where I got the models, and I had to light, and texture the scene with Vray. I loved the shapes, the rendering, the proportions, the spells all of that universe was mesmerizing to me. Also during this period, I got in to the Warcraft universe which then basically had me hooked on the hand-painted style of 3D and in the rich, colorful, exciting world of fantasy. I remember seeing one of my brother’s friend work, a pistol on the monitor and I was like “how was that made?” During high school years, I got past the phase when I proudly showed my dad a sphere which I created in the 3D world, and moved more deeply in to the various segments of 3D like the then called “next-gen” normal map workflow, and rendering various stuff in Vray. Hi, I’m Miki Bencz ! I started messing around in 3ds Max when I was 11 years old, and I kinda liked how it works.
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