Inspired By The Killing T Shirt - Nanna Birk Larsen First Choose a Adult T-Shirt Style... Then Choose a Colour... Then Choose a Size... £2.99 for all orders* (Royal Mail) £4.50 for all orders* (Royal Mail) Prices start at £6.50 for all orders* *excludes stickers, click for more details and express options All TV and FilmSend the BIGGEST Bear Hugs Our medium-sized Hunk is just right for making someone you love beam with a BIG smile. At four-feet tall, he's perfect for hugging and snuggling. - Stuffed with Love in Vermont, USA - Guaranteed for life 20" World's Softest Bear Baby-bunny softness makes this floppy Golden Bear extremely easy to hug and nearly impossible to put down. - Ivory satin bow can be personalized with receipient's name - Stuffed with love in Vermont, USA 15" Hoodie Footie™ Bear Beyond cute, our Hoodie-Footie Bear is among the most heartwarming gifts anywhere. A real bundle of love, she inspires ear-to-ear smiles and gently reminds people to kick back and relax.

- You can pesonalize Bear with a name - Handmade in Vermont, USA What is a Beargram? A Bear-Gram® is a heartfelt gift you send when you want to make a meaningful connection with a loved one, family member or friend. Each Bear-Gram® arrives in Vermont inspired packaging with a greeting card, Bear food & of course a guaranteed for life Vermont Teddy Bear. 15" "I HEART You" Personalized T-Shirt Bear 15" Zombie Love Bear 4' Big Hunka Love® Bear with Bow Tie & Roses 3' World's Softest Bear 15" I Love You More than Bacon 15" Baby Boy Bear 15" Happy Birthday Bear 15" Classic Bow Tie BearFor me, this piece of work is all about paying tribute to my own Nana for all the support and encouragement she has given me throughout my life as an artist. I have been working in the industry for around 10 years as a character artist for companies such as Activision, 2K, Square Enix and LucasArts. Most recently I was lead character artist on Star Wars 1313, before taking up a position at Crystal Dynamics.‘

Happy Birthday Nana’ took me three months to create in total, working using a variety of techniques including photo projections and hand painting textures. The HDR image is from HDR Labs, but I created all the other aspects of the work.As an artist, I try to take inspiration from the world around me. I’m always inspired by how far we can push artistic talent and technology, and combine them together. Seeing how far we can go with the realism of characters in 3D is hugely inspiring to me.I started by importing my generic head mesh into Mudbox. I then began sculpting the major forms and roughed in the expression I wanted Nana to have. I use the same base head for all the human heads I create.With the major forms and facial expression complete, I gradually stepped up my subdivisions in Mudbox and began sculpting in the wrinkles and pores. I only add pores at the highest subdivision – I used the standard Mudbox stencils for this step.I sculpted the major creases and folds of the shirt in the same way I did with for the head in Mudbox.

For the fine surface details, I created a greyscale fabric bump texture and displaced it in Mudbox to help break up the surface.For texturing the skin, I decided to paint it by hand in Mudbox rather than projecting photo reference. By doing this, I had more control over ensuring the final texture had no baked lighting or shadows in it – these are often present in photos. goedkoopste hoodiesI started by painting rough block colours using standard Mudbox brushes, and layering in further blemishes, moles and veins. hoodie eleveniaI then saved out my colour map and created a desaturated, slightly blue version of the map to be used as my eventual subsurface colour.ccsu hoodiesFor the reflection map I baked out a normal map and used it with a new piece of software called Knald. hollister hoodies sverige

I used Knald to extract an AO and cavity map based on my normal map, which I layered and saved as my reflection map. I used my reflection map as a base and created a blurred, adjusted version for my gloss map.Once my textures were completed, I imported my high-res head into Maya and used V-Ray to create my shaders in Maya. I used my geo rather than a displacement map. nanna hoodieI created a VRayBlend material and plugged the VRaySSS2 shader into the Base Material Slot and an additional VRayMaterial shader into Coat Material 1 to act as an additional reflection shader.north face women's denali jacket sale ebayFor my textures I used my base colour map in the overall colour slot for my SSS shader, and my subsurface map in the subsurface colour slot. hoodie obj

On my Reflection Shader I used my reflection texture map in the Blend Amount slot of my VRayBlend material.I then put my gloss map into the Highlight Glossiness slot of my VRayMaterial reflection shader. For my cloth shader I used a basic VRayMaterial with a bump map and colour.To make Nana’s hair, I created a basic hair cap by extracting geo from the lowest subdivision of my head mesh, and then used Shave and a Haircut to spawn hairs from the extracted geo.I then used the comb brushes within Shave and a Haircut to style the hair splines the way I wanted. Once complete, I converted the hair guides to NURBs curves to use with Maya Hair.Next I created three separate Hair Systems with Maya Hair, so I was able to control each of the systems separately. Once complete, I took my curves and applied the Maya Hair systems to them. For shading, I applied a VRayHair shader to each of my hair systems and adjusted the colour slightly on each of them for some colour variation.Next I built the eyes.

I kept things fairly basic, and created three separate pieces of geometry for her eyes. The outer shell is the lens, the inner concaved geometry is the sclera and the small plane is the pupil. I used the lens only for reflection and refraction.The sclera is a piece of geometry with the eye texture applied and a small hole for the pupil. The pupil geometry sits behind the sclera, and has a solid black Lambert material applied to it.For Nana’s eyes I used photo reference from www.3D.sk and textured it in 2D within Photoshop. I vacillated back and forth on colour and the amount of reflection needed for the eyes. Here you can see the final texture I ended up using.I kept the texture a bit cloudy to show some age in her eyes. I also created a small piece of geo that sits between the lens and her eyelid, and applied it to the lens material to give some wetness and reflection.I wanted to ensure that it looked as photo-real as possible, so I didn’t want to add in too much additional lighting that might take away from that.

I turned the Sampling Subdivisions on the light up to 48 to ensure there was no graininess. I wanted to give off a little more GI, so I added a couple of geo planes in the scene and made their materials white. This gave me a nice fill in my overall render.With the scene shaping up, I did some renders from different angles to ensure that it felt natural from all angles. By doing test renders from other angles you can also see how your materials work in different lighting conditions. When you are close to finishing, it’s also nice to have these alternate views of your final render saved for people to see.For this image, I enabled multiple layer passes during the final render that could be used if needed. I found it very beneficial with this project to have all the layers already rendered out separately and quickly assessable, so I could adjust elements in Photoshop. Here you can see some of the layers I rendered out and used later in post.With my final render complete, I did some small touch ups in Photoshop.