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- ka­sita.art­sta­tion.com Arts · Gnomon School of Visual Effects

ARTIST

Ka­sita Wonowid­jojo

SOFT­WARE

Zbrush, Maya, Mari, Xgen, V-ray, Wrap, Mar­velous De­signer, Nuke

Re­cent Gnomon School of Vis­ual Ef­fects grad­u­ate, Ka­sita Wonowid­jojo, cre­ated this piece for a look de­vel­op­ment class taught by Miguel Ortega. The im­age, which takes its name from a Ja­vanese term mean­ing shadow pup­peteer, took Wonowid­jojo ten weeks to com­plete.

“The pup­pets were the most in­ter­est­ing piece work­flow wise,” she tells 3D World. “I got my hands on two of these pup­pets and dis­as­sem­bled them for ref­er­ence. I wanted to ap­proach cre­at­ing these how an ar­ti­sanal Wayang maker would.” The tra­di­tional process would have in­volved cut­ting a huge piece of wa­ter buf­falo hide as a base, which Wonowid­jojo repli­cated by mod­el­ling the pup­pet’s sil­hou­ette in Maya and adding wear in Zbrush. They would then ham­mer holes into the hide, which could be achieved by us­ing Live Boolean in Zbrush. “For the tex­tur­ing process, artists would paint a gold base be­fore adding the other paints on top of that,” says Wonowid­jojo. “I cre­ated var­i­ous paint shaders in Maya us­ing pro­ce­dural noise nodes. I ap­plied masks painted in Mari for a V-ray Blend Ma­te­rial. Build­ing ma­te­ri­als pro­ce­du­rally like this gave me much flex­i­bil­ity dur­ing look de­vel­op­ment.”

Wonowid­jojo strove to cre­ate a sense of im­per­fec­tion in var­i­ous el­e­ments of the piece, break­ing up smooth CG edges to make things feel life­like and be­liev­able. She adds: “This meant never smooth­ing the skin so that it has an un­even, bumpy sur­face that ev­ery hu­man has in re­al­ity. I also used V-ray Fur to sim­u­late cloth threads to break up the sil­hou­ette of the fab­rics in the scene.”

I WANTED TO AP­PROACH CRE­AT­ING THESE PUP­PETS HOW AN AR­TI­SANAL WAYANG MAKER WOULD

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