This process projects a texture map onto a 3D object. Before that can be done I need to create a UV map. Once the base mesh is created I need to create the detail that discribes the Muscles and the texture colors of my subject. The polyflow will deform the mesh in a way that must compliments the animals physiology, not distort it in a manner that looks unnatural. This is very important if I want to move the bull in a particular pose, or animate it. The poly-flow is where the quad are created in a way that will echo the physiology of the animals muscularity. Also the base mesh has to have what is know as good poly-flow. UV mapping I will explain a little later on. It must also have equally spaced polygons for the purposes of UV mapping. This mesh is a polygoned model that has to have an economical amount of polygons. The image below is what is know as a base mesh. Anything that will enhance the look of the subject, I will incorporate. I also study a variety of different cattle types because there may be something another breed emphasizes better than the Longhorn breed. Using plenty of good anatomy books on animals as well as faithfully reproduced plastic animals along the way. So besides the photos which are indeed important because the client wants his bulls represented in the painting, I use other references as show in picture below. That means we are limiting ourselves to a more holistic understanding of our subject that we could greatly benefit in future projects. However, if we do limit ourselves to just a few photo references we are restricting our latitude. A few photos isn’t going to give you enough information when designing. Here was the jpgs of his Texas Longhorns sent to me via Email by the client.Ī crucial part of any subject is research. I hope you find it engaging and hopefully useful it you are involved in the visual arts or are aspiring to break into this particular profession. I am going to share a description and explanation of my methodology. With my pose I want to exaggerate it as a serious confrontation between to huge bulls sparring over territory to make the narrative more engaging. In the original photo, the bulls appear to be gently sparring with their horns. This also includes staging the bull for dramatic lighting and a good point of view to add to the drama of 2 bulls.
The bulk of this process involves sculpting the subjects in polygons, texturing with muscle detail ( called Displacement maps), color detail, rigging the character to move the bull in to any particular pose I want.
This process was carried through with the aid of other applications such as Zbrush, 3D Coat and Photoshop. Instead of just copying from a photo, I decided to create both bulls in 3D using an application called LightWave 3D. I decided to make the project ‘fun’, fun as in challenging.
I felt this was a great opportunity to study this animals anatomy in some detail. Here is a commission done for a rancher from Seguin, Texas, to paint his 2x Texas Longhorns.
0 kommentar(er)
