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The making of 'The Blue Monkey'

By Thales Simonato de Oliveira
Web: Open Site
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Date Added: 20th August 2014
Software used:
Photoshop, Maya, ZBrush, Misc
1904_tid_008.jpg

Thales Simonato de Oliveira describes the process he used to create his version of Goro Fujita's The Blue Monkey – coming 2nd in June's cartoon gallery competition...


1904_tid_z01ab.jpg

With this tutorial I'll show you something about the process for creating The Blue Monkey, as well as some tips about the still procedure. It took 2 months to complete the image, focusing especially on the fur and the render, and keeping the modeling, UV and texture very simple. I hope you guys enjoy this making of. The Blue Monkey was based on the image Long Tail Creature by Goro Fujita.

Before deciding on the project to be done, I always think about an aspect that I want to explore. In this case the project began with a study of body hair. Navigating through Pinterest, I found an image by Goro Fujita that interested me a lot. It featured a single character, the background was basically one image, and it was possible to dedicate myself to developing the fur.

Since I had a still image in mind, all the modeling and UV steps were specific to this – the character has no loops or planned UV.

1904_tid_000_concept---goro-fujita.jpg
The original 2D concept by Goro Fujita

Modeling

The modeling process was extremely simple, since there would be no animation. The base was made out of a zSphere, and crafted while considering the silhouette and the main volumes.

After it was complete, I detached the head from the body to make it easier to work with. The body was modeled following the concept, but I didn't like the final result. So I created something from scratch. The hands and feet were
modeled later.

1904_tid_zfeature_artist_profile.jpg
The body model was created from scratch

UVs

There is no retopology on the body, only decimation, and the UVs were opened in ZBrush using UV master.

1904_tid_002_model_uv.jpg
The UVs for the model

The texture

In order to create the textures, I used MARI. All of the textures from the body and the head were painted, and the body features texture projection. For the body, I used multiple textures to obtain the look I wanted. From the completed diffuse map, I followed this process below to create the surface distortion.

01. I imported the diffuse in black-and-white and applied it to the texture
02. I made a mask from the texture's intensity
03. I disabled the texture to view the mask better
04. I used Inflate to dose the quantity and roughness

After that, I exported the normal, cavity, bump, and displacement maps.

1904_tid_003a_texture_trunk_mari.jpg
The body model was created from scratch

1904_tid_003b_texture_trunk.jpg
The exported maps for the tree textures in the scene


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