Software Used:

Maya, ZBrush & Photoshop

References:

Fig.01

Modelling:

The general base of the model was blocked out and unwrapped in Maya. It is always a good idea, when constructing the base, to strive for 'square' quads and keep the 'flow' as clean as possible – it will make it much easier when doing the unwrap and deformation if needed later on. Once I captured all the key features, I took the mesh into ZBrush as my starting point (Fig.02).

Fig.02

Using a Subtool and the basic sculpting tools in ZBrush, I began to establish volume and fine details at each level of subdivision. Once I was satisfied with the results, I exported the mesh at a subdivision that would maintain the overall silhouette, but would not be so heavy as to hinder the render time in Maya Fig.03 – 04). The rest of the details were later handled with normal and cavity maps exported from ZBrush (Fig. 05).

Fig.03

Fig.04

Fig.05

Lighting:

The lighting setup for this piece consisted of a main, specular and a back light (Fig.06). The main light cast the major shadows, whilst the specular light had an orange light with low intensity.

Fig.06

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