hope_01

i have planned a new project, the title will be clear only towards the end… here is the start, dynatopo one-hand sculpt of the character tha will be in the scene πŸ™‚

hope_01

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17 thoughts on “hope_01

    • thank you for your interest πŸ™‚ he is a random person, so you cannot know him. and, while i use reference fotos, i also planned which parts to change. i guess this counts as made up character …

  1. Any updates on this? I’m interested to see where this is going. With a nose like that he’s gotta have some history… πŸ˜‰

    • hi matt, fun to have you visit my blog! … yes, there is planned a story,, i did a dynatopo sculpt of the body, then i tried hair, and got frustrated by the technical hurdles blender is posing (blender is wonderful, don’t get me wrong please, but blender is not(!) artist friendly, not at all)… so, i had put it aside for the moment, and did some more fun stuff.. thanks for writing in my blog πŸ™‚

      • I have been reading it for a while now, I decided it was time to post πŸ˜‰

        What are the technical hurdles you are facing? I recently started a new project where I have faced many new problems (perhaps bitten off more than I can chew!)… maybe some of the same problems?

  2. glad you came out of the dark πŸ™‚ thank you!

    hair, problems are many: hairlines get jaggy from polygonal edges on lowpoly basemesh. hair renders at places where weight paint is blue( on the cheek), but it does not show in editor window at these places 😦 hair renders fuzzy when i use the curl. i never understood how the sliders for amplitude, frequency work, as either i get a totally crazy result or nothing at all… there are so many settings, i never understood really which are essential and how they influence each other. there are 2 “strand render” checkboxes, i have no idea what these do…the same?.. i got a few nice hairs, but i cannot reproduce it on other models… other is armature, i wanted pose the character in armature, but again building it i managed, but i wanted do constraints, so the joints not rotate unusal. i had watched a tutorial, but i cannot reproduce… see?… i need learn all these in smaller chunks. this project has too many new things for me. ..what are your problems? maybe i can help some?

    • Ah, our problems are not the same but are similar in that I seem to find unintuitive behaviour at times, compounded with cryptic blender UI. The hair sounds frustrating, I haven’t used it yet so unfortunately I have no ideas to assist.

      I used a rigged base mesh this time, but no constraints. I very heavily decimated the mesh (actually collapsing short edges with a very coarse brush as per your suggestion on the forum for my last sculpt) and attempted to sculpt in the shapes from that base. My main issue has been that which I mentioned on the horses blog post, i.e. dealing with a bigger project makes it hard to know where to focus when there is so much to do, add to that all the new things that need to be learnt along the way… it’s much more mentally taxing.

      As for specific problems – I’m having problems with sculpting hair. It’s supposed to be wavy and separated from the head in curls… but it seems hard to do in 3d.

        • happy new year to you too, matt!
          the twist brush does sometimes scale, do you mean that? if yes, that comes when you want rotate from top view, but have forgotten to disable symmetry…
          my arm is getting better thanks. i can use the fingers now, to press a single key on the keyboard, very helpful for sculpting πŸ™‚
          hair sculpting, try break it first in big forms, then refine each by breaking it into finer… do you mean like this or like this ? for the latter i made a mini tutorial in my ba sketchbook. if you show me an example, i could be possibly of more help…
          yes, hair is driving me crazy,,, but i want learn it now πŸ™‚

  3. Glad to hear your arm is getting better πŸ™‚

    The twist brush doesn’t always twist in the direction that I expect. I thought that it would twist on a plane that is perpendicular to current view window direction…but sometimes it doesn’t seem to do that. Maybe I’m just doing it wrong. I will get some screenshots of an example where it did not behave as expected.

    For the hair, I was actually following your mini tutorial I think (the one with Suzanne getting a some hair?). It works very well so far. My problem was with hair curls that are not in contact with the head, other than at the top, of course. If you put your head to the side and all your hair hangs vertically downwards (or an exercise in imagination if you have short hair), then I was having difficulty getting a sensible looking mass for the hair hanging down in separate curls. I’ve not addressed that problem recently since I spent a lot of time learning about the compositor (and I now have an horrendously complicated looking node set-up that has accumulated as I learned different techniques). I’m now working on the sculpt again, mostly on my train commute…which probably does not aid in drawing of steady lines!

    • by default the twist brush uses the normal of the triangle you click as rotation axis. this is usually not what you want. this is called “area plane”. instead better use view plane, then the rotation is as yo expect, it rotates in the viewplane with the rotation axis perpendicular,,, so for example you want rotate a head to the right, you would look from top view and click and roate the head to the right,,,

      good to know this works for you with hair… for the hair not in contact with head, first use the snakehook brus with a large radius (and collapse short edges on) and pull out the desired hair mass. do big masses, not single locks. then proceed on these as i did on suzanne, to break up the big forms into smaller ones that will define the locks eventually. let me know if you need more help.

      with compositor you know them much mire than i do πŸ™‚ i have given up on it, and prefer composting in photoshop. i am used to it so many years, composer feels arkward to me…

      • Aha! Thanks – the twist to view plane was what I needed. I forgot that there are additional options in the T pane :/ I am not at my blending computer right now, so I can’t test this – but can you mask and twist? I have heard of a masking tool, but have not yet used it, and it may resolve some of my remaining issues with twisting (catching other nearby parts of the same mesh that can’t be avoided when using an adequate size brush).

        I will try the snakehook for the hair. A new tool!

        I quite like the compositor. It’s rather similar in concept to the material and environment nodes stuff, so it wasn’t too bad after I had followed a few tutorials. There are a few things that work better than the software I have available right now, the main one being that once I have set it up, it will do all the post processing immediately on completion of a render (more flexible and tweak-able than a batch operation in GIMP anyway!). Another useful aspect of it for me is that selecting nodes that you don’t want to use in a particular post process, and pressing M, turns them off – so you can get a new ‘final render’ very quickly if all you want to do is remove a particular effect that you would normally apply early on in the post processing process. It seems quite intuitive to me once a node tree is set up, to be able to tweak things individually, or bypass them, and then quickly see the result of applying all those effects. That said, neither of these factors are going to improve the final piece, and maybe similar or better options are available in Photoshop, but with the software I have available right now it means I can save quite a bit of time. Maybe the extra time will allow me to spend more time on the modelling and rendering.

        One other thing, and I’m not sure how much real value it holds yet, is that I can now reproduce a render result by composting all the individual passes with the appropriate add or multiply mixers (direct/indirect/colour for diffuse, gloss, transmission, and AO, environmental etc). This seems like it might come in handy for making minor adjustments to each of those components separately if a render is almost right, but you don’t want to re-render (perhaps only relevant if the render takes a very long time..).

        There are a few fancier looking things that aren’t entirely relevant for most of the character/figure sculpting stuff, but they are quite interesting. I like the idea of controlling subtle mist, or adjusting the depth of field, in post processing by using mist/z-depth passes. These things may be possible in Photoshop anyway, since I know there are file types that blender can export to that contain embedded z-depth info.

        Anyway, you are getting beautiful final renders doing it your way, and the end result is what really matters (+ actually enjoying the process of course!) so I expect there would be little, or nothing, to gain for you to switch to using the compositor. πŸ™‚

        • hey matt, so it sounds the composer is perfect tool for you! great! as you said, what counts is the result,,, yes, photoshop can deal with the depth pass of blender to create mist or lense blur or…, and reconstruct the rendr from the passes.
          yes, you can use mask while twisting. lasso mask is great, activate it by pressing shift and ctrl then draw the lasso. i love that. ..so play with the snakehook, you will learn it is very versatile ,, much more possible then just “snakes”, i sculpted leaves with it and more,,,

  4. Interesting to know that you can even do leaves with snakehook! I am fixing the pose in my sculpt for now, then back to the hair and I will see what I can do. πŸ™‚

    • good to hear the twist brush is now behaving well for you… yes, snakehook can pull out geometry, and when you do it from one view you can pull out the leave shape from a cube, say, and after that refine it with claystrips brush…

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