Portrain Of Troll
This document was uploaded by user and they confirmed that they have the permission to share it. If you are author or own the copyright of this book, please report to us by using this DMCA report form. Report DMCA
Overview
Download & View Portrain Of Troll as PDF for free.
More details
- Words: 1,256
- Pages: 3
Troll The picture was made as a school project this spring at Nackademin Digital Graphics in Stockholm. It was not only our fist individual project but also the first where we could choose subject ourselves. So i decided to do something fun, a troll. At this time i had only studied 3d for about ten months so there was heaps of stuff i didn’t know. I think more than half of the time spent on the project was research, and of course a lot of trial and error.
TROLL
Figure 4. Testrenders
Figure 1. Sketch
Figure 2. Mesh
Figure 5. Texture
Mudbox scupting
Figure 3. Mud box
The concept For a while now I have been doing illustrations for a sort of Swedish version of dungeons and dragons, called Drakar och Demoner Trudvang. A game much more influenced by Nordic folklore and fairy tales. One of the big differences from other fantasy worlds is that this one doesn’t have the classic orc, instead there is numbers of strange and fun troll species. When I did this sketch I got inspiration from other illustrations made for this game, especially some from the artist Alvaro Tapia, a true master of drawing trolls. And of course from the old paintings made by the great Swedish fairy tale illustrator John Bauer. I didn’t put very much time into the sketches (as you can see), just enough to have something to start from. I know now, that i should have given them some more work, it saves you time in the end and it would have been nice to have something better to show you guys. As you may notice, at this time I still thought I would have the time to make a hat, hair and beard. It turned out to be a bit optimistic.
Low Poly mesh Even though I wanted to have nice topology I knew I didn’t have to make the edge loops perfect since the final product would be an image without any need of blend shapes or other deformation. There are no big secrets in this part. I just tried to get loops that didn’t go to much on the diagonal and that concentrated the amount geometry to where it was needed. I was not trying to hard to create the perfect mesh from the beginning, it usually works out when you start to sculpt the shapes and see what kind of loop you need. After that, I began solving all the problems that I had created, adding and shifting loops to make the mesh as clean as necessary. I finally ended up with something that was good enough for the next step, the fine sculpting.
I had a quite strong vision of how I wanted it too look and that always makes the work a lot easier. I just tried to create a fairly realistic looking creature, where you can sense the thick skin and the skull underneath. Like always I finished all the big shapes in the first levels before even starting to look at details. Something that can be applied to almost every creative work. And though I tried to achieve some level of anatomical realism I knew somethings were not hundred percent correct, like the corner of his mouth sticking out and that he got a fat lower lip even though he is smiling widely. But i chose to keep them anyway, since this was for a picture only I could get away with stuff that might have looked ridiculous on a animated creature. Our teacher often tells us you are never better than your reference material, its true. I used some reference material for the wrinkles and other details, pictures of old smiling people with thick leather like skin. Two tools that really help you give the wrinkles the right feel is the pinch and bulge tool. When I considered myself finished with the sculpt i extracted a 32bit map for the displacement. And also a 8 bit bump map from the last level to help me create the fine details without having to tessellate the mesh as much in Mentalray. Although the bump map was 8bit I figured out that I got more control if I baked It as a 32 bit to later turn it into a 8bit in Photoshop. Like many other things i don’t know if its the right way to do it, but it works for me.
Texturing I started off painting a simple base color, when I got that right I proceeded adding texture. The ones I used was two different rock textures that I liked, and an adjusted version of my displacement map. Although it dosen`t sound like it, this was one of the steps that took the most time, trying different methods in photoshop and creating infinite numbers of testrenders, before I got what I wanted.
Shading For the shading i used the Mental ray Subsurface scattering shader,fastsimple for the teeth and gum, and Fast-skin for the head. I think I could have managed with only the fast-simple one though. A lot of tutorials has already been made in this subject so I wont go into details. One thing worth saying is, before you start to tweak the other parameters make sure you get the shader as good as possible by only adjusting the scale. I have seen many different ways of using the fast-skin shader, some
www.gomotionmag.com
59
CHARACTER ANIMATION
Figure 9. Color test
Figure 6. Teeth texture
where you use different textures for the different layers of the skin. What I ended up doing was just having one texture plugged into the over all color, only using colors in the underlying layers. I think it worked out nice, no need to make it more complicated than necessary.
Additional details Even though I didn’t have the time to do the hair, hat and other props I still wanted something that turned the troll into a fairy tale character instead of just an ordinary beast. I figured the earring would do the job and still not be to complicated. After some studies of old viking and Celtic jewelry I pretty much designed it in Maya and Mudbox. I am quite happy with how it turned out after adding a Photoshop generated bump map and a simple color and specular texturing. This test render is done with a point light in Maya software.
Final rendering At this point I didn’t have much time left. I tried with some more advanced lighting but I didn’t have time to make it work nicely. I finally used a more simple lighting, similar to what i used in the test renders. I simulated a simple diffuse light from above with three slight blueish directional lights for a night sky and one slightly from underneath with more yellow tones, to look as it came from a fireplace or a flashlight. Figure 7. Teeth
Photoshop post The background was done really fast the night before deadline. I used pieces of photos and paintings, corrected the colors and painted away the seams just enough so it wouldn’t be noticeable when I blurred it. And after some fake depth of field with the blur tool it was pretty much done. After deadline I still had some thoughts about creating hair, and I did try, but to get it the way I wanted demanded too much work. I was already involved in too many other projects. by Jonas Persson
Figure 8. Gum network
60
Figure 10. Troll ring
www.gomotionmag.com
Figure 11. Occlution
TROLL
Figure 4. Testrenders
Figure 1. Sketch
Figure 2. Mesh
Figure 5. Texture
Mudbox scupting
Figure 3. Mud box
The concept For a while now I have been doing illustrations for a sort of Swedish version of dungeons and dragons, called Drakar och Demoner Trudvang. A game much more influenced by Nordic folklore and fairy tales. One of the big differences from other fantasy worlds is that this one doesn’t have the classic orc, instead there is numbers of strange and fun troll species. When I did this sketch I got inspiration from other illustrations made for this game, especially some from the artist Alvaro Tapia, a true master of drawing trolls. And of course from the old paintings made by the great Swedish fairy tale illustrator John Bauer. I didn’t put very much time into the sketches (as you can see), just enough to have something to start from. I know now, that i should have given them some more work, it saves you time in the end and it would have been nice to have something better to show you guys. As you may notice, at this time I still thought I would have the time to make a hat, hair and beard. It turned out to be a bit optimistic.
Low Poly mesh Even though I wanted to have nice topology I knew I didn’t have to make the edge loops perfect since the final product would be an image without any need of blend shapes or other deformation. There are no big secrets in this part. I just tried to get loops that didn’t go to much on the diagonal and that concentrated the amount geometry to where it was needed. I was not trying to hard to create the perfect mesh from the beginning, it usually works out when you start to sculpt the shapes and see what kind of loop you need. After that, I began solving all the problems that I had created, adding and shifting loops to make the mesh as clean as necessary. I finally ended up with something that was good enough for the next step, the fine sculpting.
I had a quite strong vision of how I wanted it too look and that always makes the work a lot easier. I just tried to create a fairly realistic looking creature, where you can sense the thick skin and the skull underneath. Like always I finished all the big shapes in the first levels before even starting to look at details. Something that can be applied to almost every creative work. And though I tried to achieve some level of anatomical realism I knew somethings were not hundred percent correct, like the corner of his mouth sticking out and that he got a fat lower lip even though he is smiling widely. But i chose to keep them anyway, since this was for a picture only I could get away with stuff that might have looked ridiculous on a animated creature. Our teacher often tells us you are never better than your reference material, its true. I used some reference material for the wrinkles and other details, pictures of old smiling people with thick leather like skin. Two tools that really help you give the wrinkles the right feel is the pinch and bulge tool. When I considered myself finished with the sculpt i extracted a 32bit map for the displacement. And also a 8 bit bump map from the last level to help me create the fine details without having to tessellate the mesh as much in Mentalray. Although the bump map was 8bit I figured out that I got more control if I baked It as a 32 bit to later turn it into a 8bit in Photoshop. Like many other things i don’t know if its the right way to do it, but it works for me.
Texturing I started off painting a simple base color, when I got that right I proceeded adding texture. The ones I used was two different rock textures that I liked, and an adjusted version of my displacement map. Although it dosen`t sound like it, this was one of the steps that took the most time, trying different methods in photoshop and creating infinite numbers of testrenders, before I got what I wanted.
Shading For the shading i used the Mental ray Subsurface scattering shader,fastsimple for the teeth and gum, and Fast-skin for the head. I think I could have managed with only the fast-simple one though. A lot of tutorials has already been made in this subject so I wont go into details. One thing worth saying is, before you start to tweak the other parameters make sure you get the shader as good as possible by only adjusting the scale. I have seen many different ways of using the fast-skin shader, some
www.gomotionmag.com
59
CHARACTER ANIMATION
Figure 9. Color test
Figure 6. Teeth texture
where you use different textures for the different layers of the skin. What I ended up doing was just having one texture plugged into the over all color, only using colors in the underlying layers. I think it worked out nice, no need to make it more complicated than necessary.
Additional details Even though I didn’t have the time to do the hair, hat and other props I still wanted something that turned the troll into a fairy tale character instead of just an ordinary beast. I figured the earring would do the job and still not be to complicated. After some studies of old viking and Celtic jewelry I pretty much designed it in Maya and Mudbox. I am quite happy with how it turned out after adding a Photoshop generated bump map and a simple color and specular texturing. This test render is done with a point light in Maya software.
Final rendering At this point I didn’t have much time left. I tried with some more advanced lighting but I didn’t have time to make it work nicely. I finally used a more simple lighting, similar to what i used in the test renders. I simulated a simple diffuse light from above with three slight blueish directional lights for a night sky and one slightly from underneath with more yellow tones, to look as it came from a fireplace or a flashlight. Figure 7. Teeth
Photoshop post The background was done really fast the night before deadline. I used pieces of photos and paintings, corrected the colors and painted away the seams just enough so it wouldn’t be noticeable when I blurred it. And after some fake depth of field with the blur tool it was pretty much done. After deadline I still had some thoughts about creating hair, and I did try, but to get it the way I wanted demanded too much work. I was already involved in too many other projects. by Jonas Persson
Figure 8. Gum network
60
Figure 10. Troll ring
www.gomotionmag.com
Figure 11. Occlution
Related Documents
Portrain Of Troll
May 2020 6
Con Troll Ability Of Linear Systems
May 2020 5
Troll Cache Description
May 2020 3
Metamorphosis Troll Bloods Vf
May 2020 7
Guide Troll Warlord
November 2019 9