3D World

GUARDIAN OF THE HOLY FOR­EST

- car­los_­soares.art­sta­tion.com

This mag­i­cal char­ac­ter is based on a 2D con­cept by free­lance il­lus­tra­tor Hee­won Kim. It took 3D art stu­dent Car­los Soares around three months to cre­ate the elf ranger her­self and a fur­ther two months to build the ea­gle. “With each port­fo­lio piece, I try to learn some­thing new,” he tells 3D World, “with this one I wanted to cre­ate more be­liev­able and com­plex real-time hair. There­fore, I think cre­at­ing the hair and feath­ers was the part I en­joyed most.”

Soares chose to fol­low a work­flow rec­om­mended by CGMA in­struc­tor Jo­han Lith­vall. First, he found a se­lec­tion of great ref­er­ence ma­te­ri­als. “My first step is to find a story or mood for a char­ac­ter,” Soares ex­plains, “with that in mind, I start to draw some ba­sic shapes that I think will rep­re­sent that char­ac­ter. I start with scrib­bles and shape stud­ies, then I look for ref­er­ences of gar­ments, ar­mour, peo­ple, or any­thing that could add to the story or mood.”

Next, he cre­ated all the nec­es­sary tex­tures and maps, in­clud­ing the al­pha or trans­par­ent map, height map, root map and ID map. With the tex­tures ready, Soares used curves with ex­tru­sion and tweaked the ma­te­rial to cre­ate the hair and fur. “I enjoy us­ing Blender be­cause it is faster to me and the Eevee view­port ren­derer is a god­send,” he adds. “With the meshes com­plete it is just a mat­ter of send­ing ev­ery­thing to Un­real, then ap­ply­ing and tweak­ing the ex­cel­lent Hair ma­te­rial that comes with Epic’s free Dig­i­tal Hu­man pro­ject.”

Con­cept artist and 3D sculp­tor Kevin Chris­tian Mul­jadi cre­ated this charm­ing Mu­lan fan art en­tirely in Blender. It took him two weeks from the be­gin­ning of sculpt­ing to the fi­nal ren­der in Cy­cles. “An­i­mated films in­spire me,” he ex­plains. “I found some in­ter­est­ing per­spec­tives in the mes­sage of the movie and I re­ally love stylised char­ac­ter de­signs, as they have a cer­tain ap­peal that re­al­is­tic films don't have.”

Mul­jadi sculpts his char­ac­ters from sim­ple shapes like spheres, only oc­ca­sion­ally us­ing poly mod­el­ling on props like Mu­lan’s sword. “I enjoy mod­el­ling the face,” he adds. “I think Mu­lan is my favourite char­ac­ter so far and it ex­cites me to trans­late her from a 2D char­ac­ter into 3D.” Mul­jadi at­tempted to model Mu­lan’s face from a new per­spec­tive that would sim­plify the process. “I found her face chal­leng­ing be­cause the char­ac­ter has a lot of 2D dis­tor­tion, so it's tough to trans­late into 3D,” he ad­mits.

With the sculpt­ing process com­plete Mul­jadi then painted tex­tures for the en­tire model, all of which used sim­ple colours, with the exception of Mu­lan’s face. “For the sword I used a sim­ple colour, but added ma­te­rial so that it would look like metal,” he con­tin­ues, “af­ter that I added three points of light­ing, so that later on I can ren­der it in Cy­cles with 4K res­o­lu­tion.”

in­sta­gram.com/ke­vicim

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Car­los Soares SOFT­WARE
Zbrush, Blender, Sub­stance Painter, Un­real En­gine 4, Maya, Mar­moset Tool­bag, Pho­to­shop
ARTIST Car­los Soares SOFT­WARE Zbrush, Blender, Sub­stance Painter, Un­real En­gine 4, Maya, Mar­moset Tool­bag, Pho­to­shop
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Kevin Chris­tian Mul­jadi SOFT­WARE
Blender
ARTIST Kevin Chris­tian Mul­jadi SOFT­WARE Blender

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