![]() The hair is a low poly model, and I use sub-division inside of Reallusion so it’s working pretty fine. But pay attention to some details like the bump map, just to break it up a little bit, and the lipstick is just shiny as it can be. There weren’t many details in terms of texturing. Creating a comic style for animated characters is simple, all you need is to match up with the whole reference library that I had on her. But it was pretty simple because it’s so toony, and I didn’t really have to go in there and do a lot of details. They are available for you guys if you would like to have them inside your collection.įor the rest, I hand-painted the texture out and I am using Substance Painter. The shoes are from my own Reallusion webshop, but they came very handy in this case. It’s nice to play around with the texture, making things shiny and bling-bling. I was pleased with the result that actually came out of its shader. You can change the color and it works pretty well. I created that in the Substance Designer, and it’s actually available through my website. It also works well with normal maps on the Modify Tab, even on the wrinkling parts.Īs for the dress, I used a texture that created myself. You can play around with the settings and adjust the shininess or roughness. I used the hair materials for the glove, and it’s because the hair material has this nice anisotropic and specular going over the surface. Step 3: Accessories – Gloves, Dress, and the Shoes But I just wanted to be flexible and sometimes it doesn’t really work well when you export because when you hide stuff in the meshes inside of Reallusion (software), then you get a triangulated export so this is not really perfect. Now there’s an option to actually hide clothing, or hide stuff under the clothing. With me following the meshes, the deformation and the weight painting are pretty solid as well. It’s a basic approach that allows me to get some proper cloth UVs out there. The dress was poly-modeled in Cinema 4D, and I changed the breasts a bit, pulling them closer together. It’s pretty handy and you can use this as a window to drop in all your reference materials, or just let it lid somewhere else on your screen. ![]() The program that I use here is called PureRef. It was difficult to find some images from the side of the head, so I really need to guess what it’s gonna look like. Some are actually original still frames from the movie without all the character poses, and I also had very nice finds from some fan art. References are very important – I think a lot of people usually forget about them. But I think, in the end, the ultimate goal of this is to test my creativity while having fun! How I do it with iClone During the competition, I thought my 3D skills would be a good asset and help me bring my A-Game. With the use of my talent and paying details to capture her likeness, I hope my submission can be seen as a tribute to the iconic film “Who Framed Roger Rabbit”. Her charm and radiant character are something really special that I wanted to present to the competition. I am a fan of Jessica Rabbit since I was a child. ![]() Originally my background is in motion graphics but I transitioned to 3D art and animation because therein lies my passion. From traditional 3D model and sculpting to texturing, rigging, and animation, I am an all-around 3D artist that understands how to leverage the advantages of each 3d tool and assemble them into the ideal animated character pipeline. Mayonnaise as a name came up because I sometimes have the feeling that I create the visual sauce for concepts and ideas next to the fact that it is a very popular sauce in the Netherlands to emphasize my roots. ![]() Based in Utrecht the Netherlands, I create under the name “Mayonnaise”. I’m a solo 3D artist for more than 15 years. ![]()
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