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Old 05-24-2005, 08:36 AM   #46
-Sai-
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Sai
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Hi Zack Petroc,

I really admire you skill and level of understaning of form and anatomy.
Your gnomon dvd is excellent too.
now for the question part.

1 - What will be the top first 3 skills that every modeler should have?(silly question)

2 - How long you think one should spend on one model ?I know this one is abit general but
I have never been in industry so I would like to know how much time you have to
build the model .

3 - what will be a good exericise to do for someone who haven't got hired ?(Aside from
drawing ,sketching and learning anatomy)

4 - What kind of model you will like to see when you are looking for character modeler?
(human , elf , creature , animal?)

5- Last request is.. If you have time . please take a look at some of my models.
and please suggest me what should i do to improve.be honest now!!
http://www.sai.mmcgi.net/images.htm

excuse my noobish questions

Thanks a lot for your time.



Last edited by -Sai- : 05-24-2005 at 08:43 AM.
 
Old 05-25-2005, 03:29 AM   #47
zack petroc
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29. #(39) Tristan Lock




1-what is your proudest moment in your art life?




Second project of Second year Design Class.

When you present, you stand in the center of a circle comprised of your piers and professor. To give a little background. Right in the middle of my first crit my project broke in half. Obviously, I would have wanted to make a better first impression. For the second project I decided to let it all ride. I made a somewhat kinetic piece that was extremely hard to present to say the least. It looked like there was no way in hell this thing was going to work. I practiced for hours and hours, and still could only get it to function about one out of ten times. Because of my failure during my first crit, I had decided to make the “presentation” an even bigger part of the second. So long story short it ended up being the half court shot at the buzzer scenario, and the damn thing worked. It was a bad ass good feeling. Went to a get together later that night, drank and puked my guts out. Work hard play hard my man.







30. #(40) Ariel







1- Why Rockwell




Now we're talkin, now we're talkin. I'm glad you came to Rockwell's rescue. I think its important that you did because his work inspires you, and I respect that. For me, Rockwell is still an illustrator, nothing more. Please keep in mind that this is only my opinion, nothing more. It seems that when people read through these responses they tend to forget that every statement is not meant to change a reader's mind. They can just be statements. So, this is not meant to be stated as fact, or change your mind, but in spite of that I do think you were hoping I might elaborating on my opinion so here it goes. I think most art you find in museums these days was commissioned. In fact, most of the great pieces I can think of were commissioned. Maybe that's not a good defining factor for why some illustrators will never be in museums. I also thought of a painter\illustrator who's work transcends. Alfons Mucha. His work can be found in museums. Maybe the real question is what did his work have (if anything) that Rockwell's did not. I would suggest taking a look at Jeff Koon's work too. He dealt (in a way) with this issue. In fact that's exactly what I like about his work. That and the porn factor.




2- Who are your main influences when it comes to painting? Why do you like their work (what sets them apart from the rest, in your opinion)?




This is a great question. I wish I had the time right now to bore the crap out of all of you by elaborate on what I enjoy about great paintings and what I think makes certain works transcend. I promise to re-address this topic when I have the time it deserves. Ariel, this really is an important question, and at some point in time, I'd like to hear your response as well.







31. #(41) David






I was wondering If you could give me some feedback on my stuff? I know its still WIP but hopefully with some insight from the pros like you I could get better. Anyway for those organic models of the figures you did was that Z brush? or something else. My 3D instructor advises not to build a character that realistic if its going to be animated, so I'm curious what will you use those for.




1- I took a look at your work and I think its a good start. Again, I would find out what it is you want to do and more importantly define why you want to do it. What's motivating you to create that type of art? How do you feel your work is? Ask yourself if it can hold its own with the people you would consider great artists. Then, if you don't think it can, try to truly define what is different, or missing.




2- They were made with FreeForm and\or ZBrush. We switched about three quarters of the way through. Some were even started in one software and finished in another.




3- I build characters to a high level of detail for two reasons, the first is if its a design sculpt and we need to see all the details to visualize how the character will look, and the second is because I use the high detail to generate a displacement map to apply to a low rez mesh.




33. #(42) Fabrício Torres




1- So, this is my question, when do you model a character for a movie do you treat it like a real sculpture? in terms of trying to make it a piece of art, a real statue, as you would make it in clay or wood.. or no, it's 3D, and it'll always depends on the texture, lightining, composition..




2- Why is there so many real art coming form 2D people?




3- I always can buy my books in amazon so if you, by any chance, remember a name of a good sculpture book that's worth the price, so please, give us a name


4- Man, my english is bad







1- Yes, and I also try to make it work for the narrative. When I approach the design I try to focus on making sure it will visually integrate with the rest of the film. The immediate difference with film sculpts is that the way a person will see it is defined by the film, not the viewer themselves. I try to keep the intended shots in mind when I design as well.




2- Do you mean 2D in general, or digital 2D? If you meant digital 2D then I'm not sure much more great art is coming from 2D than from 3D digital artists.




3- If you email me I'll send you a list. Most of them are at my office and I'm working in my studio this week.




By the way, your English is pretty good. I know what its like to have to speak a foreign language and I give all of you guys props.










34. #(44) Clinton Koch




1- Can I use the demo version for the DVD?
2- You mentioned some of the traditional artists who inspire you but what about those people in the digital art field maybe some you work with that make it fun to go to work everyday.
3- Oh yeah, Star Wars like it or hate it?










1- Don't know. Its worth a try.




2- Ian is a trip. He really is a master. Steve Lawes is a great artists, and I like a lot of Ryan's work. Those are the ones I work with at Unit Eleven, I'd have to get back to you regarding others. I'm sure they are out there.




3- I'm a sucker for “The Wars” dude. The first Prequel broke my balls, but I still keep going back for more beating! Why, why!




“Use the strap-on Luke”......this is fun to say if you do it in a low monotone voice like Obi Wan would.




#(45) Sai Win Myint Oo




1 - What will be the top first 3 skills that every modeler should have?(silly question)

2 - How long you think one should spend on one model ?I know this one is abit general but
I have never been in industry so I would like to know how much time you have to
build the model .

3 - what will be a good exericise to do for someone who haven't got hired ?(Aside from
drawing ,sketching and learning anatomy)

4 - What kind of model you will like to see when you are looking for character modeler?
(human , elf , creature , animal?)

5- Last request is.. If you have time . please take a look at some of my models.
and please suggest me what should i do to improve.be honest now!!
http://www.sai.mmcgi.net/images.htm








1- Understand form. A simple way to begin is to look at a car. Notice how all the surfaces are “full”. They bow out in both directions. Really look at how those surfaces are converging. When you can see it, think about why you never noticed it before. Another important skill is the ability to translate 2D images into 3D forms. Last, learn what good design is. There will probably be times when you need to make design decisions, if not suggestions, and good ones will be appreciated.




2-It obviously depends on the model, but no one will ever yell at you for being fast as hell. I'll usually spend about two weeks on a high rez full figure. One on a high rez head.




3- Try to find a well designed sketch and translate it into a 3D model.




4- Human and real animals are the easiest way for me to assess your skills. Creatures are okay if there is a sketch involved. Then I can see how well you have translated it.




5- Now I know what happened to Rosemarie's babies. Just kidding, I think these are a great start. I would suggest focusing on sculpting real figures. Get real references and try to re-create them. It seems that some of your proportions might be a bit off, and you might need to look more closely at the real thing to develop those skills. Once you've mastered that, its easier to do sculpts of fictitious designs.
















Thank you guys very much for all the kind words and interest in my work. I hope some part of what I had to say made sense to someone. Keep going, and I want to dedicate this tread to all my babies mamas.
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Old 05-25-2005, 03:58 PM   #48
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You rock Zack! Thanks for you insight!!
 
Old 05-26-2005, 03:12 PM   #49
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Time to close this Q&A session. A big thank you to Zack Petroc for taking the time to participate in this Meet the Artist session!

Best,

Leonard
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