Wolfwind by wayouteast
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Description
This is an illustration to a short story of the same name. The story is from a planned suite of four stories, all set in different parts of the same fictional continent - Shymeria - and representing each of the four seasons. Wolfwind is the winter story, set in the harsh northern country of Iryleer, a tale of redemption after loneliness and long estrangement. The original spark for the story was a desire to write a werewolf story where the werewolf was the 'hero'. This led to the human population being peripheral at best and the story becoming a tale of small-scale 'werewolf politics' if you like. I have always been fascinated with the 'outsider' - the individual who, for whatever reason, doesn't fit in - and Averyl, the central character in the story, depicted here, as an outcast in two societies fits that description exactly.
Dax 3D's Victoria 3, rendered in Poser 4. Messy hair by Kozaburo. All texture, bump and transparency maps mine, created in Photoshop. Post-work in Photoshop.
Comments (7)
A_
woah, very good! wonderful effects.
Odrah
overwhelming! uve done a pretty good job!~V~!
elvenesque
Brilliant body texture and composition. Keep up the great work :)
fiction2002
Amazing! How did you do the fantastic body hair? Is that hand painted?
Mahna
Fantastic image, excellent! ;-)
wayouteast
Thanks ever so for the comments. To fiction2002 - the body hair is done with a combination of things. On the original Poser set-up and render(s) there are actually two figures - both Vicki. One has the 'normal' flesh-toned texture map. Then there's another figure re-sized to 102% and conformed to the original, thus forming a sort of 'second skin' slightly 'outside' the original figure's surface. That figure (with the head made invisible) has no texture map, a base colour of dark brown, and a hand-painted transparency map of the body hair. This allows the body hair texctures to 'float' closely over the main figure. This technique isn't 100% perfect (you get some poke-through occasionally) but it gives a much more realistic effect than painting the hair directly on to the 'skin' as it gives shadows and a three-dimensional texture. I actually use it on all my figures now to give a very realistic skin texture (though not usually quite so profuse obviously!) Of course, there's also a lot of hand-painted enhancement in the Photoshop post-work too, especially at the 'edges' of the figure. I have a 'hair' brush that I use with constant changes to the rotation, angle jitter and scattering of the brush to follow the contours of the body and the growth pattern of the hair. There are probably two or three layers of 'painting' over the basic rendered texture. 'Multiply' and 'screen' layer blending also helps give depth. Thanks again for the nice comments!
Gweneseth
I'm adding this to my favorites. It is touching and wonderful. Thank you for creating it.