▼Character modelling
It is necessary to have a lots of reference and concept art when making stylized model. In this way it is easier for the artist to have base body proportions well-defined.
First thing to do when making a sculpture is always to make a nice block out. Then it is ok to start experiment the details on how to get the style right. Also it is also important to keep the intensity of the brushes low so the artist can have a better control of the detail. Crafting your own brushes and alphas is a good way to speed up the sculpting process as well, in the future I will look more into it.
After finishing the sculpture in ZBrush, I took the model to Maya for a better topology. A good topology can benefit the multiple sides (texturing, rigging, animating and rendering) on the creation of a character.
▼Creating texture
For the texture of this character’s face, I emphasized the outline of the eyeliner to show the character’s unfathomable temperament. I also emphasized the blush under the eyes. For the character’s overall texture, I tried to make it as translucent and deep as possible. For the material of the clothing, I used a gradient transparent design so that it doesn’t feel so oppressive around the neck. I also used a image of starry night for the costume’s print to reflect her identity that is inseparable from day and night.
▼Creating cloth
For the creation of the cloth, firstly I made a model in the shape of a veil and increase the polygon counts so the simulation goes well. Then I add a cloth tag on the plane. I set part of the points to fix points, so only the area close to the edge of the cloth is influenced by the force field (the wind). Then I add wind field, friction and turbulence to adjust the movement of the cloth. In the end, I baked the object as alembic, so the PC doesn’t have to recalculate every time when rendering.
▼Final character visual
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