(Nudity Warning) Hello Zbrush, I'm Cherub rock, pleased to meet you

[LY]

Might be okay for stills; never going to work for facial animation. People's faces are just far too different and require different topology, especially if you want to animate skin folds and wrinkles (yeah you can use animated displacements for those but it's never going to be as good). Most of the face models I work with are far more detailed, too - about 3500-5000 polygons.

[SpiritDreamer]

What,..Your not into takeing time out to knit a sweater while your trying to CREATE..LOL Neather am I ..Maybe a seamtress does that down the hall in the sewing department..It certainly is something that shouldn't belong in the creative department LOL
Maybe it's time to have a talk with the UNION REP. to get this matter straightened out...
CHEERS

[cherub_rock]

Might be okay for stills; never going to work for facial animation. People's faces are just far too different and require different topology, especially if you want to animate skin folds and wrinkles (yeah you can use animated displacements for those but it's never going to be as good). Most of the face models I work with are far more detailed, too - about 3500-5000 polygons.

Hey, thanks for your interest. I'm not saying it would be intact for every model, I'm saying it would be re-tailored, I just figure it's easier than doing it from scratch every time. It's my work flow, which I see all the sense and possibility in from animation to anything. Just helps me to have all the areas and lines in the right directions layout from the start and I use it almost as a base for the retopo. Certainly everyone has different topology, but it has very little variation as far as vertex goes. If you need more you add a line, if you need less you remove a line and so on. If you need it more round you change the flow if you need it to be straight just straighten it - I base this theory on the fact that human face normally has the same muscles, same bones, just they vary in size and spacing. But never worry where does this line from nose or this one from the ear going to...at least never worry about that twice

I know it doesn't make any sense to someone accustomed to topology. It just takes away a lot of pressure from me not having to think it would come to retopo eventually while sculpting hehe

Btw, are you from digic? Love the work done there, and you obvioulsy know what you're talking about, but I can't see a flaw just now. When I do I'll admit it.

Hehehe SpiritDreamer!

[Disco Stu]

Check out topogun it makes life a lot easier.
You build very rough shapes and then simply subdivide those and they snap onto the surface.

[cherub_rock]

Hey DiscoStu! Haha, you're one evolution step ahead of me..at least Thanks for that!

[cherub_rock]

I've started to portrait a friend of mine earlier. wip

[cherub_rock]

Sorry, bogus post.

[Ecthelion]

Hi,

my favorite one in your thread is your fell beast. Great work on that one, also for the texturing (scales etc.).
A lot of your pics show up quite dark (or is it my monitor ?). They are worth to be shown more clearly (just my 2 cents ).

Cheers

[genc]

You'r improving alot man,really like your latest works!

[LY]

I base this theory on the fact that human face normally has the same muscles, same bones, just they vary in size and spacing.

What we're really interested in is the skin above these components, because that's what matters in the end. You don't see actual muscle and bone, they're only implied through the deformations, the push and pull and stretching and folding of the tissue above them. And the facial wrinkle structure is as personal and unique as fingerprints - of course there are similar patterns and such, but in the end every single person is very, very different.
Just try to google some images about the wrinkles of the forehead for angry and surprised shapes... everyone's different. 3 lines, 4 or even 6-7; symmetrical or not, sometimes they even criss-cross (Christian Bale is an easy example) so you should always have to rework that part if you want to animate the wrinkles.
And it's pretty much the same for the wrinkles around the lips, eyes, the crow's feet, and so on. Then you also have different shapes for the nose, eyelids, ears...

I know it doesn't make any sense to someone accustomed to topology. It just takes away a lot of pressure from me not having to think it would come to retopo eventually while sculpting hehe

Again, if it's for stills then everything goes, really, and you can consider everything I've posted irrelevant.
But when you want to do facial animation you'll quickly realize that generic topology just does not exist.

Btw, are you from digic? Love the work done there, and you obvioulsy know what you're talking about, but I can't see a flaw just now.

Heh, thanks, it really is a nice team and it's good to be a part of them.

And honestly, I wouldn't go to any length with this issue if it wasn't for our experiences so far. The most important thing we've learned about the facial geometry structure is that it has to be unique every single time; the other is to use lots of geometry so that you can use proper falloff ranges for all deformations.

[cherub_rock]

Echtelion thanks! I was just looking at it today and I'm pretty please wit +h it all in all. I wasn't back then

Thank you genc! Hvala ti

LY, thank you very much for sharing your experiences with us, I'll keep it in mind. Best of luck to you and Digic!

[genc]

np man, btw i don't speak bosnian lol
It's either albanian, english or italian with me

[cherub_rock]

Oh, ok English it is then

Ibegan working on my own version of Kerrigan, since I felt I needed to study a female body inside zbrush some more, and I've been in love with here since 1998

This is just the blocking stage on few extrudes from the female body I'm studying with a quick polypaint just to get the idea.

[filoppo]

[cherub_rock]

Thanks man! I'm gonna make it a whole lot different once I lay down the the forms and the designs.