[denizen]

I work using 3d but this I'm sure this applyes on all styles.

So, the problem is: when I model a face, I never use sketches but I follow the inspiration of the moment.

When I finish the character, I save all and turn of my pc. A day passes, I re-open the character and say: "mmh, this nose is too big this lips too full etc".

This lasts about a week or two.
At the end I found having a HORRIBLY perfectly standardized face.

In 3d this is pariculary true, because when you have the cage of the face it takes nothing to move the points a bit and obtaining different face...

when you model/draw a human character, you use photo reference, living models, what?

bye

denizen

[Anthony]

I don't use photo reference, although it's allright to do that. I try to work out a character on paper first, giving him his own personality, characteristics. That way he is his own being, and so you're just freeing him from the 2d page into 3d space.

[toast!]

hello Denizen, I understand what you mean , many 3d realistic faces seem to come close to the faces you see on the anatomy books .

I suggest you looking at Micke's website ; he s got a bunch of subtles things that make his faces really attractive with much personality;

The perfect head doesn t exist in real life , it s a lot of sublte details that make us different and so unique; so ; if your head is perfect head then be subtle, apply little differences in each element on the face

I m building myself a 3d head and trying to apply this but it s really difficult coz it s hard to get cool "diformities" and keep an overall realistic face.

I 've also got the same problem as you ; i never do concept art before doing the 3d; this isn't really clever coz when you have finished your piece you are never satisfied with it and there is no reference to check for the correct aspect of the design.

In production i guess working without a concept art part would be unthinkable...

Toasty

[Derek]

Here's how I generally work through any design, and it surely will apply to portraits and their like...

First, work with the idea that is in your head, get thumbnails, roughs, sketching, blueline, etc out on paper, or on the screen. Work toward character, balance, good design aesthetics, etc as well as getting your ideas out. Ask a ton of questions about the character if it's a design you want to fully work out, and answer each question in images. Strive for balance in all of this: an evil character who has a touch of beauty or grace. A comic one that is distraught or remorseful, an athletic one after a hard-won victory, not celebratory at all, etc etc etc.

Then, go and get reference that supports the initial idea, keeping your eyes and mind open for anything that can improve or twist it a bit. Not enough people do this. Why do so many people see using reference as a cop-out? It's not, not at all. If you want a great design, no matter how out-landish or out there, especially in characters, heads, etc, then you have to give people something in the drawing or image to respond to, there has to be a commonality to grab on to. You aren't going to be able to stand there and say anything to your audience when they come across it. It had better read quickly. Best way to get that to happen: go through a ton of reference and make some decisions about what will support your idea. Don't be a slave to the reference, and be aware of the tendency that photos have to flatten images, be shot in crappy lighting, etc. Use live models as much as possible. Then, use the reference appropriately, do a few iterations of the idea. Does it still hold up, or have you found flaws, weaknesses?

Grow, adapt, be flexible. You say your faces end up like representations of an anatomy book... that's not necessarily a bad thing, but I understand the frustration.
Remember that if you are working with 'realistic' features, or want that result, that even some of the most 'noticeable' deviations or mis-proportioned heads etc are often only off in their features by millimeters! Yes, we are that good at recognising the deviations. So take it easy on moving points around.

One final note: you must turn to nature and to the world around you. Your head's a great place to start a drawing or image, but it's not the place to carry one all the way through. I have never met anyone who has such a command of visual symbology that he or she can easily break away from it at need...

[ June 10, 2001: Message edited by: Derek Smith ]

[denizen]

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I m building myself a 3d head and trying to apply this but it s really difficult coz it s hard to get cool "diformities" and keep an overall realistic face.
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you got the problem! It's really hard adding some distinctive traits to a face AND keeping it interesting and good-looking...


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If you want a great design, no matter how out-landish or out there, especially in characters, heads, etc, then you have to give people something in the drawing or image to respond to, there has to be a commonality to grab on to.
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thanks derek, I've never thought about that!!


bye

denizen