3D World

THE FOR­EVER

- in­sta­gram.com/max­chill_­patiphan

ARTIST

Max­chill Patiphan

SOFT­WARE

Zbrush, Maya, Xgen, Arnold

3D mod­eller Max­chill Patiphan cre­ated this stun­ningly emo­tive image over the span of three months, largely due to his slow PC. “It was ag­o­niz­ing,” he tells 3D World, “a sin­gle frame took around ten hours to ren­der. I am in the process of up­grad­ing my PC.”

Patiphan be­gan work on the piece whilst in lock­down due to COVID-19 in Bangkok. “I missed my girl­friend and could not visit her,” he con­tin­ues. “I was feel­ing lonely at the time and this in­spired me to cre­ate The For­ever. Love, that is how I want to spend my time to­gether with my love un­til we are old, a life­time of hap­pi­ness to­gether. I cre­ated this work to record my emo­tions and feel­ings at the time.”

Usu­ally, Patiphan’s work­flow be­gins with a search for im­ages re­lated to his sub­ject, which can be used for ref­er­ence. “I love work­ing with pho­tos from real peo­ple in real-life sit­u­a­tions,” he adds. The first step on The For­ever was then to build a model in Zbrush, us­ing Dy­namesh to cre­ate a com­pos­ite of both char­ac­ters. “I also used re­topol­ogy with R3DS Wrap, it is a very good pro­gram used to wrap hu­man head mod­els eas­ily and with qual­ity,” says Patiphan.

Once ad­di­tional mould­ing and UV light­ing was done in Maya, Patiphan tex­tured the skin us­ing Tex­tur­ing.xyz 175 in Zbrush, be­fore us­ing Zbrush’s Poly­paint for the skin colour. The tex­ture out­put map was cre­ated in 8K.

ARTIST

Tod Ryan

SOFT­WARE

Cinema 4D, Sub­stance Painter, Arnold Ren­derer, Pho­to­shop

Tod Ryan worked on this adorable image of a toy Poké­mon char­ac­ter for a few hours over the course of three or four days. The cap­ti­vat­ing re­al­ism of the toy be­lies the fact that Ryan has no prior ex­pe­ri­ence in the CG in­dus­try.

“I just like mak­ing things,” he tells

3D World. “I’m drawn to re­al­ism, es­pe­cially as it re­lates to col­lecta­bles and vin­tage items.”

The big­gest chal­lenge in Ryan’s work­flow came when us­ing Cinema 4D’s Hair ob­ject in con­junc­tion with Arnold’s Hair ma­te­rial to achieve the toy’s or­ganic, fluffy look. “Even though synthetic toy fur doesn’t con­tain melanin like real an­i­mal hair, adding around 1.5-2 melanin with 0.3 red­ness gave a lit­tle touch of that nat­u­ral fi­bre look. Arnold Hair might be the most life-like that I’ve used.” Through­out his var­i­ous per­sonal projects, Ryan has used most of the ren­der­ers com­pat­i­ble with Cinema 4D, but prefers Arnold. “It’s re­li­able and has all the tools needed for any job,” he adds.

Ryan will shape the over­all look of a piece, par­tic­u­larly the colour scheme, as he builds it. He ends his work­flow by do­ing a se­ries of quick ren­ders, be­fore fi­nally check­ing the light­ing and colours in Pho­to­shop.

 ??  ??
 ??  ??
 ??  ??
 ??  ??

Newspapers in English

Newspapers from Australia