Cursed to dwell at the edge of the enchanted forest, forever apart from his one true love, Blossom, Autumn channels his sadness and wrath into the wind each year.
I’m wondering how you did the tendril things. They appear to be joined to the main character mesh, but converting curves to mesh and then joining them manually would be quite painstaking.
Also, did you animate the leaves --> vector blur?
How many hours did this take? It amazes me that you did this in a weekend, and yet it’s one of my favourite pieces by you.
Man, I’d kill to look at just one of your blend files!
blenditall: Thanks! Probably around 15 hours or so. All tendrils were extruded from the main mesh. It’s all one big mesh with the exception of the leaves. Additional details were then added on to the mesh afterwards. For some slight motion blur simulating I used low sample defocusing I know I could have used vector blur easily by parenting all leaves to an empty, keying its movement between frames, but from this vantage point that would have produced too much of a zoom type blur I think, so I went this route.
Aquiva: To get this kind of texturing over a weekend took years of course for me which is to say it took a lot of practice, failure, joys, frustrations, trying, experimentations, and trying to remember what worked best from project to project. It’s an ongoing learning process for me. In technical terms, for this project I used the mirror modifier for the character and then applied the modifier once modeling was done. This was after the appendages and additional mesh details were added. Afterwards, proportional editing was used to introduce more variety into the scene. In terms of illumination, which I try to design with a view to complementing and accentuating my materials, I used a variety of lights, one main shadow buffered light for frontally projected shadows as well as an additional omni key lamp. Behind the scene, pointing to the camera, are several vertically aligned halo shadow buffered lamps that produce volumetric lighting (and long render times!), and they are there for atmospheric and emotional intensity for the character. In terms of artistic final product, it’s very helpful to have strong and vivid ideas going into a project. Once all that is in place (and it can take a while), I tend to feel better about the potential success of a project and being able to go from imagination to render with Blender
superkoop: Wow, thanks! =) I imagine it could be boring or frantic for someone watching these things come together, especially when I get to the near-infinite tweak/re-render phase. I might make a blending video some day just for fun.
Hey RobertT,
How would it look if a couple of the leaves crossed over the white border of the image and over the frame? (- Just a thought!)
Brilliant pic. - I usually considered autumn more a sleepy time than angry. He looks ticked off!
I like it. The colors are great and the composition works, even though this is pretty typical piece for you. Your modeling is getting better by every scene you do, I especially love the face and the expression it has. Solid four stars from me.
More greatness from robertT,
I do like this one, how can you not, after all, it’s a tried & tested method that almost always gains instant success
Start with a head, then explode it into a glorious, elaborate labyrinth of beautifully crafted shapes, texture it with sublime perfection, finishing with exquisite subtle shades & hues.
All in under a weekend!
I think you’ve really mastered this style.
On a more serious note, did you use the align/displace script for the leaves?
Or do you still use it?
Great work again, don’t take what i said too seriously, you rock!
m.a.
You have this remarkable style… very detailed and “fuzzy” and very symmetrical. I like it! And you make them so fast! At least you put them on blender artist forum almost every day