Thank you for the acknowledgement. The Michael character is Nathan which required some dial spinning to emulate what Abaddon created. The hair is Simon Hair using the BRN2 shader.
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What do you think is the best way to lay out raw materials? Did you study physics at school? optics section, refraction in water. Tell me, is the creature on the left is Frankenstein? His neck and head are clearly from someone Alien.
Of course, anyone can offend an Artist. I'm sorry. Only first you need to become an Artist!
sorry for my bad english
Was this your idea of constructive criticism? I am so tired of people using the "sorry for my bad English" after they went out of their way to throw an insult"Only first you need to become an Artist!". Seriously!
Be a positive influence, present options and ideas to improve a scene. If not, just keep your attitude to yourself. As an old saying goes "better to be thought a fool then to open your mouth and prove it".
Thank you for your work Pupoc!
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Sir Wynlard really priceless the lighting effects and especially the bedspread unique !! She really contemplating and relaxing
well done . Once again .
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That is noting as I could have the highest number of Facepalms on here.
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In progress before I start my Precious render.
Redoing the render after some good advice from Jack Adams
After alterations
Redoing the render after some good advice from Jack Adams
After alterations
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Killjoys. This has become my favorite example of your work. The way the light plays on Sophia's face is an affect that, so far, has eluded me in my efforts. The island of light in the darkness is a nice affect, and do I detect blur in the background? One suggestion, if I might, concerns posing. In our real world people who hold a hot lantern do so with the wrist bent down to avoid being burned. I learned this the hard way as a child. If there is a story element that you are conveying with the wrist position then please proceed with all haste! Nice work!
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That is a good point concerning the lantern Jack Adams and I will try it out.
I had a hell of a job with the lantern as if I put it too close it would wipe out part of the dress so I may have to move Sophia back so I can level the arm for the lantern
Thanks for your suggestions and kind words.
One of the ways I pose very quickly are through tricks I've developed by trial and error. If the relationship between the lamp and Sophia is giving you fits, then try this: Place the lantern to its desired location in the scene. Place Sophia roughly 50 to 75 away from her final position in the render. Position the joints in the arm (shoulder, arm and wrist) so that they look natural, and having the hand at the right height to hold the lantern. As you do this the elbow will try to migrate out into an unnatural position (rotate is your best friend to correct this). Once the arm position looks satisfactory to you eye's intent, simply move Sophia to the lamp. Some minor tweaking may be required. This approach has saved me enormous amounts of time, and has given me better results. I hope this is helpful to you.
Great examples of constructive criticism, sharing techniques and ideas. Hopefully others will observe and partake of just some of this.
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I put together a quick and dirty render to demonstrate the wrist position I meant. I apologize for any confusion.
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this is insane, the composition and the lights, really romantic but also spicy
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Sunday at the beach - Pages 171-178 + txt for translation.