Here is another concept by my friend Lane Garrison. When we met up at CTN, he liked my sculpt of his tree house and so he asked me what I wanted to model of his next. He drew a pretty sweet buck and clearly this isn't it. Don't worry Lane, it's on the way, I just did things a but out of order.
To model this uptight aristocrat, I used Maya for the base and then added details to the fabric with Mudbox. You can watch how I did it in the Making Of below.
So the Making Of is sped up pretty fast, but most of the project is on display. I did however, spare you about ten hours of weight shifting during the last 1% of the production. It would probably be interesting, but I didn't record it since the footage would just be me shifting chunks of vertices pixel by pixel so that the pose is as interesting as possible.
I am glad I make these because for every model I create, the first 60% of the process shreds my confidence and makes me want to sell my computer and live in the woods like a crazy mountain man. Fortunately around the last 40%, I start to see the character and gradually believe I am doing good work. I have to remind myself sometimes that I am in charge of literally thousands of little dots that when connected in a certain order, make a brilliant character. Arranging those vertices takes a long time and these 'Making Of' videos are evidence; the final result is always worth every second spent doing what I love.
Hopefully you can see what is happening in this sweet GIF. So the turntable on the left is a comparison of the before and after adjustment I made to the model to add more contrapposto [ contradicting curvature / when the hips and shoulders lean opposite / interest ]. Every other frame belongs to the before and the after version. The turntable on the right is the difference between the two. The changes are subtle in the end, but the work put into meticulously nudging verts is very valuable. The last 20% of the work takes 80% of the time as Sam Nielson says.