sketch part 2

I have extracted some of the darker elements of the painting so I could see what was there more clearly. I sketched the main character so that I can follow all the flowing parts and have an absolute reference for details. It was staining to say the least, I have yet to bring the up the bottom half. I will be able to fill in all the areas now that are not on the painting. I plan on moving back to the character sheets tomorrow and gathering photos for reference material on the hands and pose.

Front profile sketch

This is my quick rough attempt at defining the front of this robot that is not seen in the actual painting. I will use this to create all the basic construction in proper proportions and then work back and forth with the original to get the exact surfaces. The most difficult part will be getting all the limbs to translated into position with the existing camera angle and still be correct in 3D space as it rotates.

robot sketch

I was tying to roughly define boundary elements of the robot to more accurately create a sketched rotation. The painting is dark so it was very important that I better understand the visual break down of the underlying structure before attempting any modeling. This character is in a funny perspective and a very dynamic pose so there will be many added difficulties in positioning him correctly in a 3D environment.

Brom Wrecker

My newest 3D modeling challenge for my upcoming demo reel. I wanted something with a lot of depth and refinement to create a fully rotational 3D model for digital display. This is an original Brom painting from 1996. It was tucked away in a lower corner of one of his painting books called Darkworks originally published in 1997. In my eyes, Brom’s paintings push the envelope as far as I would like when it comes to brush strokes. I am drawn to paintings that are roughly refined. I feel that the blotted color expresses better than over blending and absolute beauty. I always feel the characters are so well conceptualized, sketched and painted. That is why his work was an obvious choice for my own 3D practice. These models will be re-created in multiple sketched poses and then constructed and developed in 3D. Refining the digital sculpting in z-brush and accurate digitally painted textures interests me the most on this particular piece.