Whether you decide to take high res photos of yourself or keep a mirror at your desk, frankly you’re an unlimited resource of ideal nature. The reason being that you can serve as your own reference. Just someone with similar skin color, complexion, hair type, eye color, etc. Not necessarily a self-portrait, because I’d rather avoid the pressure (and potential frustration) of likeness from the beginning. Which brings me to my second answer: For those undeterred by one more layer of challenge, I recommend creating a portrait that looks similar to yourself. Personally I would love to see portraits of all ethnicities, genders, facial structures, and hair styles be created out of this course! This is totally fine and valid, especially for first-timers. For some it’s more effective for learning to try and match exactly what’s happening in a tutorial course. I’ll answer in two ways: First, of course you can consider matching the kind of head I create in the course. It’s a fun question but one without a perfect answer. If you’re interested in HUMAN you’re probably already imagining the endless possibilities of characters you could create with these skills! So which one do you do first? Nothing wrong with using previous versions!įor more about learning from various versions of Blender, please read this article! So you can always use the specific version of Blender featured in each video to avoid inconsistencies. maintains previous version downloads.It's a bit annoying when facing inconsistencies between versions but in the end it's mostly just an annoyance that can navigated easy enough. The vast majority of features remain the same between major Blender releases (like the 2.8 series).Essentially you have 2 options for working around this: This is a common problem with pre-recorded courses since Blender updates much faster than the time it takes to record in-depth content. These videos were recorded with an older version of Blender. This is both entertaining as well as informative for comparison.ġ. We’ll start each context with the man’s head and sculpt it into a given context as a shapekey, which allows us to morph back and forth. The third and final phase of chapter 1 explores facial contexts like age, weight, gender, and ethnicity. This will leave us with a fully formed, anatomically correct man’s head. The second phase focuses on sculpting each facial feature individually: Mouth, nose, Eyes, ears, neck, and everything in between. If this will be your first time opening Blender, I highly recommend watching the Blender Basics and Fundamentals of Digital Sculpting courses first. So long as you have a basic experience with Blender’s sculpt mode, you should get along fine. ![]() Andrew Loomis is famous for teaching people how to draw faces in 2D and I’ve essentially translated the spirit of that method over to 3D for Blender. The key is employing a step-by-step Loomis-inspired formula to sculpt a simplified “planes of the head” bust. So the stakes for success are high but I think this first chapter makes the goal as accessible as possible to all skill levels. In other words everyone is an expert when it comes to identifying an incorrect face, whether they’re an artist or not, which significantly raises the standard for achieving correct facial structure. But it’s extra challenging because our faces are socially foundational to our species. Human facial structure is a challenge to achieve in general, due to its complex organic anatomy. ![]() We’re going to start this whole portrait process by digitally sculpting the human head. This course is a detailed guide through my specific workflow. As with any complex art form, there’s numerous ways to achieve the end goal. The beginning of a journey into the depths of achieving photo-realistic computer-generated portraits.
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