how to draw a 3d hand ventuno art
Learning
How to Create Your Own Hand-Painted 3D Characters
Draw Your Weapons by Manuel Sitompul on Sketchfab Games accept always been a large interest for me. As a child I spent the majority of my fourth dimension exploring the story and worlds of Zelda, Pokémon and Rayman. I got and then immersed in these worlds that I decided to start making
Games have e'er been a big interest for me. As a child I spent the majority of my time exploring the story and worlds of Zelda, Pokémon and Rayman. I got so immersed in these worlds that I decided to outset making my ain by playing with Game Maker and learning GML.
However, my kickoff existent game art feel started when I decided to study Visual Art at Breda Academy of Applied Sciences. At schoolhouse I learned virtually the many sides of game art, such as: procedural modeling, 3D animation, standard nugget creation and engine implementation. Experiencing this provided me with a good base to kickoff making my own projects.
The Motivation
The journeying started when I participated in a competition hosted by Yekaterina Bourykina. The challenge was to create a paw-painted graphic symbol bosom. I ended upwards winning the competition and gaining tons of experience with hand-painting!
My Thoughts and Goals
Later on the 3D bust was received so well, I wanted to set up the bar college and create a total grapheme. I'm a big fan of Jake Wyatt and his Necropolis comic, so I decided to create the protagonist from the comic.
The biggest affair I wanted to nail in this project was the emotion. The daughter is a ferocious character filled with rage, which she eventually demonstrates past slaughtering a bunch of bad guys. Those kinds of emotions aren't easy to translate into a 3D model, but I took information technology every bit a claiming.
Sculpting the Character
I started the graphic symbol by creating a block-out in ZBrush. Creating quick blobs in the shape of a human allowed me to establish the anatomy and style pretty chop-chop.
I continued by Dynameshing the cake-out and refining the basic shapes of the body. Adding muscular detail wasn't a priority because it was non yet adamant where the clothing pieces would comprehend upwards the body. Additionally, I didn't need to sculpt very detailed, because the sculpt would only be used for a lengthened bake which I could paint over.
While sculpting the face up, it was very helpful to have some extra features in place, such every bit eyebrows, eyelashes and hair. For the hair I used a haircurves brush, edited by Chris Whitaker, chosen makkon_haircurves_03. For the eyelashes and other pieces of special geometry, I modeled information technology in Maya and put it in ZBrush. I advise anyone who is new to sculpting, if at that place's any task that seems easier in your preferred modeling software, information technology'due south probably worth it.
The daughter from the comic has very dynamic and wrinkled habiliment, so it took me some experimentation to effigy out how to approach this trouble. I started by creating a elementary clothes in Marvelous Designer, which allows me to create realistic creases in the clothing.
In the end I decided to sculpt all the clothing except the brim. In this case I liked the amount of control I had past sculpting the folds past manus. Fifty-fifty though information technology isn't every bit realistic as a Marvelous Designer simulation, I could become away with it considering of the mitt-painted nature of the project.
Using ZBrush to create the clothes was simple, I took the base of operations trunk, masked it, and used Subtool > Extract with a subtle Thickness. I connected past using the Standardbrush to pigment some folds.
Retopologizing the Grapheme
When the sculpt was finished, it was time to create a depression-poly version which I could bake the sculpt on. I merged all my subtools with Merge > Merge Visible. Unfortunately, Maya doesn't like a 12 1000000 poly mesh, so I had to decimate the mesh using Decimation Master to lower the poly-count a flake.
When the decimated model was in Maya, I made the object live, and used Quad Draw to draw the faces on the mesh. I used this technique to retopologize the entire character. I ended up connecting a lot of the article of clothing to the skin, which would help me skin the grapheme more than hands, and result in less artifacts in blitheness.
Texturing the Character
I started this project to build some experience doing manus-painted textures. Like my last hand-painted project, I used 3D Coat because of its dynamic link with Photoshop. 3D-Coat as well allows me to make projections of the 3D model, which I tin pigment over in Photoshop.
For this project, I decided on lengthened-simply textures, which means the concluding product volition not interact with lighting in any way. This means all the shadows, reflections and highlights must be painted by paw.
To start off, I wanted to create some base of operations colors and basic lighting. I imported my model into Substance Painter and broiled the loftier-poly model on the low-poly. I continued by using an incredible smart-material called SoMuchDiffuse. This smart-material takes the loftier-poly sculpted data and bakes it downward into a single diffuse texture. Using this tool, I added base of operations colors and gradients for every role of the grapheme.
This is where the manus-painting starts. I continued by exporting the new diffuse texture and importing information technology into 3D-Coat. My painting process is very straight-forward. My main focus is ever to add more definition and highlight to the areas that I want the viewer to focus on. I started past painting lighter values fading from the middle of the face up, which gives the confront more depth. Additionally, I tried painting a lot of different hues in the face such equally reds, greens and dejection. I treat this process no different than painting a character in a 2D illustration.
The eyes in particular were fun to brand! The vertex in the center of the eyeball is going inwards to create a parallax effect. Additionally, there's a split up mesh for the cornea, on which I painted the eyes' reflection. Because there'due south distance between the reflection and the pupil now, the eyes have much more depth.
Additionally, there's a dissever mesh for the cornea, on which I painted the eyes' reflection.
I couldn't call the textures finished until the character was rigged and posed. For example, changing the position of the arms tin can create new shadows and creases which I need to hand-paint. I proceeded to create a basic skeleton for the character and a few basic for the facial expression.
Settling on a pose and the facial expression took a while. Eventually I settled on a specific panel from the comic (Chapter 01, page x), where the girl held a simple merely stiff pose. When the posing was finished, I could paint the shadows and ambient occlusion, because I now knew which side of the limbs would face up outwards.
The Surroundings
I think an important role of selling your character is presentation. Y'all can spend hundreds of hours on a project, simply if you lot don't nowadays it right, people will miss out on what you made. For this projection I cared a lot nigh emotion and immersion in character, so I tried to take that into account when presenting. Adding a simple pedestal wouldn't be very immersive, and so I decided to create a modest animated forest environment around the girl.
Retrospective
I have never done a hand-painting project this big, and it'southward safe to say it was quite a challenge. Getting all the materials to experience coherent while keeping the hand-painted details consistent took a long time.
Nonetheless, the biggest claiming was the face. The grapheme is supposed to be an angry and fierce young woman. Yet, I needed to sculpt her in a neutral pose so the grapheme could be used in possible future scenes where she is conveying unlike emotions. In retrospect, I would've sculpted the character with her expression immediately, so I could get the feeling of the scene from the beginning. I could always resculpt the face if I need new expressions.
Afterword
If you got this far, thank you for reading! I hope this inspires you to make something new! You can notice me on Artstation and Twitter. Feel free to ship me a message if you take any questions!
Source: https://discover.therookies.co/2019/07/21/how-to-create-your-own-hand-painted-3d-characters/
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