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Making Of 'Demon Hunter'

By Brahim Azizi
Web: Open Site
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Date Added: 24th October 2013
Software used:
Photoshop, ZBrush

Step 4: UVs in Unfold 3D

I used Unfold 3D to cut out the edges to get the job done nicely. I started the refining, relaxing and tweaking after posing because I needed my UVs to be symmetrical and after posing it was harder to unwrap.

After cutting out, I took the model back to ZBrush to project the high level from my DynaMesh sculpt (always keep your DynaMesh sculpt). I then had a new model with 5 subdivision levels and PolyGroups with UVs ready for more levels and detail.

1796_tid_fig04.jpg
Using Unfold 3D to cut out the edges of the UVs

Step 5: Posing and sculpting the anatomy

The pose, of course, was based on Mike's design. It was done in ZBrush with Transpose Master, which was simple to do, but then I had to work on the anatomy.

The hardest part was the anatomy, so to make it easier I started to do some studies of references and work on some sketches to understand the pose and how the body should look in that position. For me, doing some practice beforehand is a great way to improve my anatomy skills (though I'm still learning!)

1796_tid_fig05.jpg
Working on the anatomy with the use of references enabled me to create these poses


Step 6: Posing and sculpting the hair

I created the hair using FiberMesh in ZBrush, but my way of working with that is by masking small areas so I can handle the style I want for the hair. This takes some time but you get some nice results.

I used specific brushes for that process: GroomHair Short and Toss, the Move brush, and the Pinch brush.

1796_tid_fig06.jpg
Using a set of specific brushes and masks to create the hair style

Step 7: Textures in ZBrush and Photoshop and rendering in Keyshot

Texturing was done with PolyPaint in ZBrush. I started with a clear blue as the base color for my model, and then I started to paint with a Standard brush using different Alphas (like alpha 22, alpha 58...). I also start adding some more colors; dark blue, clear red, etc on specific areas of the body (looking into references can help a lot here). I also added a Surface Noise with 0 strength because I just wanted another color to mix with the base color.

After finishing with PolyPaint, I took the Diffuse and Displacements maps into Photoshop. Here, I overlaid the Displacement map over the Diffuse map (as gravity), and also added some hand-painting over my texture just to add some more detail. I left the tattoo until the post-production stage because I didn't know what tattoo design would fit him.

This was the first time I'd used Keyshot in a project like this, as I used to work with Maya/mental ray, but wasn't all that good when it came to parameters and render options. Keyshot allows you to put more focus on the artistic side more than the technical side, and is very easy to use, which is a good thing because all you want is your final image to look great.

I imported my model in a high subdivision level with the maps, as Keyshot can handle huge amount of polygons and still works really well.

For the shading I used Translucide (Human Skin 2) material for the body and did some edits (translucency, specular, contrast, luminosity etc) to get a convincing look while looking at some references.

For the lighting I used the two Panels and rotated them to get a back and fill light.

1796_tid_fig07.jpg
Using ZBrush and Photoshop to texture the model, and Keyshot to render the figure

Step 8: Compositing in Photoshop

After everything was done in Keyshot (including the knife, fibers, pants, and so on) I then moved onto the final stage in Photoshop. I used some dirt textures on top of the render layer in SoftLight and Overlay mode and made some adjustments in different areas such as the brightness, shading, and contrast. I painted over the hair fibers, added some hairs over the body and also added the tattoo after trying a lot of different dragon designs.

Finally, I added a Dirt on Glass texture on my layers as the background, and with some light color correction I got everything done.

I've learned quite a lot from the project as it gave me more confidence to make better art in the future. I just want to mention that everyone can learn the technical side, but the hardest thing is the artistic side; to achieve that you need to do more studies and practice and learn from your mistakes – those people who can't progress are the ones who believe that they don't make mistakes.

1796_tid_fig08.jpg
The final image of the Demon Hunter

Related links
Brahim Azizi
Mike Butkus
ZBrush
Photoshop



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