Sketchbook Thread of Madio

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Old 03 March 2012   #16
Thank you, marowak! This skull took about 2-3 hours, had many proportional mistakes and hard work on blending

Vilppu is great for sure!
My Sketchbook
Old 03 March 2012   #17
Started to block out the skull, comments on anatomy are welcome!

And couple close ups:

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Old 03 March 2012   #18
I continue to learn and draw a skull, this time on paper
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Old 03 March 2012   #19
Young Viktor Tsoi for speed sculpting challenge. Took about 3-5 hours. All done in Zbrush from DynaMesh spheres.

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Old 05 May 2012   #20
Started to sculpt the head as a part of anatomy study, c&c are welcome!
Going to fully finish this with all details.

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Old 05 May 2012   #21
Hi Madio..

Nice progress..

On your faces, skulls and heads,..While in the first stages of sculpting,..You might want to exaggerate the planes of the structure, and keep the sub divisions as low as you can,..and then up the divisions after you have all of the structural planes in place with nice crisp edges.
That way,you won't end up with overly soft forms where you cannot distinguish between underlying bone surface and the skin that rides ontop of the bone, and also the tendons that attach to the bone.
Have you tried out the Move Topological brush in ZBRUSH yet....It works great for estabishing those crisp surface planes..Plus after you move your mesh around with that brush, can just press Shift, and smooth your mesh out with that same brush..It tidies up the mesh really nicely, you end up having a really nice surface to do your sculpting upon.
Just throwing your way,.. a couple of thoughts that crossed my mind as I am enjoying the progress you are making within your sketchbook this morning..Hope that they may be useful to you...
Keep up the Great progress Madio

Glenn Gallegos

Old 05 May 2012   #22
Thanks Glenn! The mesh was subdivided only for screenshot and I work with about 50k polys now I already know the usage of all main brushes, move topo is really great, especially in mouth and eye zones
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Old 09 September 2012   #23
I got your email asking for help, and here I am. I'll try to help you as much as I can.

It's great that you're taking steps to strengthen your understanding of the foundations, as that is the most important aspect of visual art, regardless of what you want to specialize in.

I don't know if you've ever read this thread from the Art Techniques and Theories forum, but it explains a lot why 3D artists want to learn to draw/paint:

And this sticky thread contains a lot of very important tips I've given over the years, for anyone that wants to get serious about becoming a better artist:

If you read those links, they will form a very distinct impression in how you should approach your artistic development strategy.

Once you have read those links, please post any questions you have--whether it's what you need to work on next, how you should structure your learning/practicing routines, or general personal artistic growth and career development questions.

Last edited by Lunatique : 09 September 2012 at 06:10 AM.
Old 09 September 2012   #24
Thumbs up

Thank you, Robert!

I appreciate your help. I will read carefully what you suggested and post my questions soon.
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Old 09 September 2012   #25
Post Questions

I spent couple of hours to read all the stuff around the AT&T forum. I found some answers but also have new questions:

1. I want to choose one book to begin with and do step by step exercises from it. Loomis is my choice for now, which one of his books is the best to start with?

2. Is it right to draw on the tablet from start (I'm pretty comfortable with it in Zbrush now)? And what exercises are useful to improve line control with it?

3. How to develop in constructing faces/figures in perspective, correct placing eyes, nose, cheeks etc.?

4. What is higher priority, to learn anatomy first or start drawing figures from life/photos?

5. Which way should I learn anatomy? Draw every muscle from reference/sculpt it in Zbrush/learn by heart their placing and form? Maybe there is some more effective way that I don't know?

6. What is crucial for becoming a good 3D Character Artist and how to construct my learning process to develop as effective as possible?

7. On what stage of my learning I should go for color/texturing?

That's it for now. I really have a lot more questions but they are less important and are part of those that I asked. I hope for your help!
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Old 09 September 2012   #26
1) Loomis's books are roughly in this order in terms of how advanced the lessons are:

-Fun with a Pencil
-Successful Drawing / Figure Drawing For All It's Worth / Drawing the Heads and Hands
-Creative Illustration
-The Painter's Eye

2) A lot of today's younger artists don't really draw on paper much, and only draw digitally, and that is totally fine. It's the end result that matters. One can be expressive when drawing digitally too, since the principles of expressive drawing is the same--it's just line weight, line quality, and grain-based shading. Your drawing skill will translate between digital and analog easily once you have done both for a bit and compared the differences.

3) You need to learn anatomy/figure from quality resources such as books or websites dedicated to anatomy/figure for artists. You need to memorize standard proportions such as:
-Distance between the eyes is the width of one eye
-The eyes are roughly at or above the half-division line of the head
-The top of the ears are roughly at the same height as the eyes, or a little bit higher
-The bottom lip rests roughly between the bottom of the nose and the chin
-The distance from the eyes to the side of the face is roughly the width of an eye
-The nipples are roughly one head length lower from the chin
-The hands reach down to roughly the mid-point between the groin and the knees
And so on.

These are the kind of basic proportional information you must memorize, and the anatomy books will teach you this stuff.

In terms of constructing figures from scratch, books from Andrew Loomis (Figure Drawing For All It's Worth), Jack Hamm's Drawing the Head and Figure, Walt Reed's The Figure: The Classic Approach to Drawing & Construction are all good choices.

4) You need to tackle both at the same time, since they go hand-in-hand, just like how learning grammar must be accompanied by learning vocabulary, otherwise you won't learn a language knowing just one aspect. Anatomy teaches you the underlying structure, while working from life/photos teaches you how figures really look in reality, when there's a layer of fat and skin over the bones and muscles, as well as how skin responds to light, and how skin stretches and creases. They also teach you how real people balance themselves in various poses--how their body parts naturally compensate in order to achieve balance without toppling over.

5) It's better to learn the general structure such as the simplified forms first, and then only when you need to dive into great detail should you home in on the very intricate details. One mistake too many artists make is to depict people as if they're cadavers or superheroes with super-defined muscles that are perpetually flexed to full strength. People really don't look like that, unless they are extreme body-builders competing all the time. That is why it's more important to learn the basic layout and general shapes of the main muscles we actually can see on normal people, than to memorize all the intricate details that almost never show up on normal people with a layer of fat and skin. The books I mentioned for figure construction are in general better than books that focus only on detailed anatomy plates. Remember, you're an artist, not a medical doctor. Learn "artistic anatomy," not "medical anatomy."

6) It's really just learning what all artists learn--being able to depict correct proportions and details. You can learn this by learning to draw, but you can also learn this by "drawing" with modeling programs, because at the end of the day, proportions are proportions, regardless if it's 2D or 3D. But knowing how to draw will directly translate to 3D sculpting skills, while 3D sculpting skills do not readily translate into 2D drawing skills nearly as well. That is why is much smarter to learn to draw in 2D, since it'll carry over to 3D, and you've now acquired two skills instead of just one.

But keep in mind that a 3D character artist must also understand the technical aspects such as rigging, skinning, deformation, topology, etc. And all of those technical aspects are still rooted in anatomy/figure, so if you don't understand anatomy/figure, you won't be able to translate those foundational knowledge into technical apects.

7) You don't necessarily need to master one thing before moving on to another. You can rotate your focus so that things don't become stale/boring. You can rotate your focus every few hours, or maybe every other day, or maybe a couple times a month--it's really up to you.

Last edited by Lunatique : 09 September 2012 at 08:01 AM.
Old 09 September 2012   #27
Thumbs up Thank you!

Thank you very much, Robert!

You and Glenn greatly help me. Thanks to you, I have enough information to organise my learning process effectively and to develop my skills faster.

All the best to you guys!
My Sketchbook
Old 10 October 2012   #28
Some fun with a Pancil

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Old 10 October 2012   #29
More emotional sketches:

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Old 10 October 2012   #30
Some more sketches.

Got problems with the placement of the eyes relative to each other and to their form in perspevtive, workin on it.

P.S. Practiced with paper and pancil yesterday, there is no UNDO! Tons of paper...
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