Vanicha Suwansiri: Modeling 2021
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Vanicha Suwansiri: Modeling 2021

Vanicha Suwansiri
by HaroldWang and Vanicha on 1 Jun 2021 for Rookie Awards 2021

I'm a 3D character artist from Thailand with one year of experience in a CGI print advertising studio. I am willing to learn new software or techniques as long as it could bring a good result for my team. I can work under pressure and always waiting for the next challenge. Website: https://vanicha.pb.online/

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MA PROJECT: MUSED

Sangwan is a consort in the late Ayutthaya era (1668-1767) in Thailand. This character was designed base on the traditional outfit from that century.

The environment and costumes review the golden time of the late Ayutthaya era. At that time, the Thai open the trade line with China and Indian. As seen from the scene's environment, the vase and table came from Chinese artisans and the cloth from Indians.

The research document said ladies wearing the skirt designed by Ayutthaya royals and was created by Indian Weaver. The golden patterns on the fabric are the traditional technique that strick and lace it on the surface.

The cloth was created in Marvelous Designer by flowing the traditional method to wear the fabric.

Personal modeling tools (Mandala Maker) created the jewelry in this work to decrease the working times. It can download at this link. 

[https://sdm.scad.edu/faculty/mkesson/vsfx705/wip/best/winter20

/vanicha_suwansiri/pages/PythonUserInterface.html]

This project's challenge is resolving the pattern on top that is not enough for the close-up shot. The postural texture is the solution to this. However, the design on edge needs to keep consistent. That is why I choose to use the Arnold render layer to keep the pattern on the border.

I created skin textures in Mari.  

Environment textures were created in Substance Painter. Moreover, all the displacement of this work was created in Zbrush. 


After all the textures are done, the environment and girl character were tested in Maya with Arnold's rendering. It is ready to wrap it up.

The light in this work was designed to evoke the oppressive feeling in character thought by using the light from the lamp as the primary light source. Moreover, I add the sunrise shine through the window to creates hope in this shot.

This project was grooming by Harold Wang. 

Special Thanks [Professor George (Stuart) Robertson, Professor Andres Galeano, Professor Riyad Hasan]

JEUNE FEMME

I created a 3D character inspired by "Portrait de Jeune femme" by Albert Lynch (1900). It is homework from the CGMA class (Character creation for film/cinematic: Summer2019 by Instructor: Pete Zoppi ).

I reproduce the Russain Painting "Portrait de Jeune femme" by Albert Lynch (1900). I found many helpful cloth references in that period (1900), and I designed to use pictures of "Kulakova Sonya" for the face reference.

First, I was blocking the model in Maya and low-resolution cloth in Marvelous Designer. The geometry would be useful when I need to have a curve guide for X-gen. After block and UV the model, I sculpted and detailed the face in Zbrush.  

Second, after making the model and facing it asymmetrical, I make the hi-detail cloth in Marvelous Designer. I use the blocking to design the pattern of the fabric. I project the texture XYZ for face texture in Zbrush. For the texture of the cloth, I assigned the procedural texture on the green dress and added the sample info to make it look like silk. For the hat, I used the mask to make the flower detail in Zbrush and used that mask to make the transparently on the surface.  

Last, I generated the X-gen hair from the curve that I transform from the geometric blocking. I threw my model into Maya and rendered my model in Arnold. 

MOUSE WARRIOR

I got inspiration from "Mouse Warriors" by Filipe Thomaz Capra. This project is an excellent opportunity for me to translate animal characters into 3D characters.

I block out the armor and body from Maya and cave in Marvelous Designer. After that, I add more detail in Zbrush (wrinkled on body and scratch on armor).

The most challenging aspect of this project is the character effect artist (Harold Wang), who wants to simulate the cape and fur in Houdini. However, the character is already set up in Maya and render in Arnold.

We export simulation from Houdini to Maya for the cape, but we cannot transfer the fur from Houdini for the fur part. That is why we choose to render all the fur in Houdini. The other challenge of this project is we only can render it in Mantra.

The render sequences from both software are merged perfectly in Nuke. 

This project, Grooming & Character Effects, by Harold Wang

1958 Porsche 356