Jun and Volker, 2 character commissions drawn in VR for twitter user mirrrchuchu.
Jun and Volker, 2 character commissions drawn in VR for twitter user mirrrchuchu.
Hey I wrote & directed & animated a 17min VR animation short! It's called Perennials and it's premiering at Venice Film Festival next week!
I should probably make like...a good and pretty post about that at some point, but for now I just wanted to share it because I'm really stoked, and in case people have been wondering what I've been up to these past 2 years.
How do you draw basic anatomy parts for your vr work? I've tried to make faces and hands in quill but they always come out either weird looking or way too high poly. How can you make stuff that looks so smooth?
I use Daniel Martin Peixe's method of using big, clean strokes and then kind of bending them into place. It is super tricky to get faces right though, definitely takes some practice!
Hi, love your VR art! I've been experimenting with similar programs, but they always turn out odd and distorted. How are your large forms, like your figures and objects, so clean? Are there any tutorials you'd recommend?
Thanks! Honestly, as with all forms of art, it' all about practice, time, getting used to the tool ect. However, I do have links to some hopefully helpful tutorials/streams for Quill, the tool I work with.
If you're interested in drawing people/faces, the approach I'm using is largely inspired by Daniel Martin Peixe's great stream Creating Faces in Quill.
If you're more interested in drawing landscapes, Mike Khoury's stream on Creating a 3D Scene in Quill is really neat.
If you're new to quill and looking to get a grasp of the basics and all the important tools by doing a little exercise, I actually have a recording of a 20 min quill intro I do every year for a course I'm teaching, but you must promise not to judge it too harshly – it's usually accompanied by an additional in-person introduction.
Also, if I have one piece of advice about VR drawing, it's "come to terms with the fact that your brush strokes are never going to be as steady or precise as you want them to be, and if your program has a tool that lets you bend/adjust strokes, use the hell out of it to compensate for that."
All the hieron pcs (i love them all, your honor)
[VD: clips of an artist’s work in progress in Oculus Quill on four characters, followed by slow turnarounds of 3D models from the waist up of each.
1: a close up on the torso and forearms of an archer in full plate, with one hand pulling back the serving of a bow, with a red-fletched arrow on the string. The artist uses a pen tool in the same red color to draw wavy tendrils rising from the fletching, then zooms out slightly. 2: a close up on the torso and arms of a mage with outstretched hands. White motes of light connected by golden lines, looking like constellations, are floating between the mage’s hands. The artist takes a dot tool and add small dots at the end of the lines radiating from the motes, making them look like fireworks. 3: the artist opens a menu and selects an overlay mode. They close the menu to show a close up of a character in a cape and long fingerless gloves who is crossing their arms and holding out one hand, with blobs of light and wavy tendrils of light radiating from their palm. The artist enlarges a large circular brush, overlaying a lighter yellow-white color on the character’s outstretched hand as if glowing. 4: a close up on the face of a character with pale skin, long red hair, and dark brown horns. The artist sculpts more tendrils of their hair with a pen tool. 5: A slow turnaround of a 3d model of the redheaded character, who has pale skin, long red hair, and two sets of dark horns one of which emerge above their ears and follow the curve of their head and the other of which poke up from their temples. They wear a teal apron with a bright orange flower design over red armor. Their hair waves as if in wind as sunset-colored cloud wisps surround them. They hold a cookie in one hand and more cookies as well as colorful flowers in a basket hanging off their arm. 6: A turnaround of the archer, who has dark feathers and tendrils of darkness and branching twigs surrounding them. They have medium brown skin and dark hair, and they wear a dark cape pulled up over their hair as they pull back the bowstring of a purple, bramble-looking bow. They also wear dark purple-colored plate, with golden designs on their gauntlets, pauldrons, chestplate, and the edge of their hood. 7: A turnaround of a mage, with pale purple skin and almost white short choppy hair. They wear a cape fastened over their breastplate and have their arms wrapped in white bandages. All around them, including between their hands as if they are casting magic, are motes of light. Around them are also many small dark flowers. 8: The final character turnaround is a person without armor, with medium skin and dark hair tied back. They wear a shawl around their shoulders, a blue outfit, and fingerless gloves as they stand confidently with arms crossed, holding out one hand with a small blog of radiating light. Around them are brown tendrils that resemble the branches of a tree, with yellow leaves and colorful ribbons on it]
Sketch to finished VR drawing comparisons for the first two characters I did for @schnoodly’s commission! Here’s some process clips.
New friends at the table season dragged me out of my art posting hiatus. (pls tag if you prefer long hair or medium hair Cori I can’t decide)
Tighnari doodle
[ID: A digital bust drawing of Tighnari facing left with a closed smile. Behing him is a light green circle and a vine. End ID.]