Keep up-to-date with Free tutorials!!

 

Sign up to our bi-weekly newsletter today for the latest tutorials, interviews and product information.

 

- Latest news
- Exclusive Shop Offers
- Preview early content
- Plus much more

 

Not Ready to take that step? OK, Why not just Subscribe to the RSS Feed

 
submit tutorial
1 | 2 | 3
Making Of 'Monk'

By Zoltán Mányi
| Your Rating:
rating star fullrating star fullrating star fullrating star fullrating star full
(31 Votes)
| 94244 Views
| 2 Comments
| Comments 2
Date Added: 4th November 2011
Software used:
3ds Max, Photoshop, ZBrush

Making the Reliefs on the Front

First I threw some skulls and bones on a plane in 3ds Max with the Paint Object feature. Then I modeled a very simple guillotine and gallows (Fig.05).

1385_tid_fig05.jpg
Fig. 05

After I exported these to ZBrush I used the MRgbZgrabber to capture alphas from these models. Later I combined those in Photoshop and got the result you can see in Fig.06.

1385_tid_fig06.jpg
Fig. 06

These were the alphas I used to make the reliefs on the front with Projection Master. After these were applied to the model I used the Inflate and Clay brushes to add more depth to them and made the cuts deeper with the Dam Standard brush. The high poly part was done (Fig.07).

1385_tid_fig07.jpg
Fig. 07

Texturing Part 1: Base Texture

I wanted the armor to look worn and very old, and the skin to be undead-like. I always start the texturing by defining the main colors and materials. In ZBrush I used materials similar to what I wanted my end result to look like. With a soft Standard brush I established the base colors for the face and armor. I painted the mouth and nose areas using more red because of the blood and veins and the bony parts using more yellow. I used Cavity masks to fill the crevices with darker colors. With this method I had a solid base to start from.

I painted the skin to be a natural color first and later changed it to "undead" in Photoshop. I just dragged textures of metal on the armor to give it a base color. After this I added textures from photos with Spotlight to add details and break up the surface. When I wanted to work on the whole texture at once - to adjust the levels or the hue, for example - I created a texture from polypaint, exported that to Photoshop and made the adjustments there. After that I re-applied the modified texture. If the resolution of the texture is high enough it stays the same quality.

I used Zapplink to add small details and project photos on areas like the lips. On the armor I used brushes with scratch alphas and the lighten paint mode in ZBrush to add wear and tear to the texture. Where the different subtools connected to the main mesh I painted rust drips and colored it darker so they connected better to each other.

This was the base texture I used to make all the other maps (Fig.08).

1385_tid_fig08.jpg
Fig. 08


Low Poly

After the high poly mesh was done I decimated all the subtools with Decimation Master so they had a lower poly count while keeping the details. I used this mesh as a reference for my low poly. I started from scratch rather than refining the geometry. My high poly geometry's topology usually becomes a mess at the end of the sculpting session since I like to use the Pinch tool a lot. I used Topogun to get a base geometry for the low poly. When this mesh was done it needed to be optimized and cleaned up. I prefer to do this in 3ds Max. I removed edge loops, collapsed edges to reduce poly count. I kept in mind however that the face has to deform correctly in animation, so I set up the edge loops there properly.

My goal was to create a very detailed model so I was not worried about the poly count that much, but I wanted to put it into a game engine so it had to be reasonably low. When building the low poly mesh the most important thing I had to keep in mind was the silhouette because the normal map can't simulate the outlines of the model, only the inner details. A handy trick I often use is to make a material animation: on the first frame the material is normal and on the last one it's completely black so I can swap between silhouette and the normal view. When I reached about 16,000 triangles, including the chains, the low poly was done (Fig.09).

 
1 | 2 | 3
Related Tutorials

Tutorial

Modeling A Retro Sci-Fi Female Character



Keywords: character, human, female, retro, sci-fi,

Go to tutorial
rating star nonerating star nonerating star nonerating star nonerating star none (0)
Comments 0 Views 94802

Tutorial

Making Of 'Who is Spock?'



Keywords: character, male, human, spock, star, trek,

Go to galleries 1
rating star fullrating star fullrating star fullrating star fullrating star full
Comments 0 Views 37875

Tutorial

Making Of 'Warrior'



Keywords: character, human, male, warrior, knight,

Go to galleries 1
rating star nonerating star nonerating star nonerating star nonerating star none
Comments 0 Views 56593

Tutorial

Making Of 'Natalie'



Keywords: character, human, female, woman, natalie, room,

Go to galleries 1
rating star nonerating star nonerating star nonerating star nonerating star none
Comments 0 Views 28032
Readers Comments (Newest on Top)
avatar
(ID: 83137, pid: 0) Battore Haraszti on Tue, 31 January 2012 8:48am
same like this: http://www.alicia-logic.com/capsimages/5e_015Police.jpg
avatar
(ID: 79106, pid: 0) Martin on Mon, 16 January 2012 2:32am
I just started learning how to use 3D software and all I can say is I don't understand half of the jargon being used. Also, what am I doing looking at advanced tutorials.
Add Your Comment