Digital Art Masters: V7 - Sample Making Of 'Hoshi'

This model was inspired by the Mass Effect game universe. My first idea was to create a new character for an online challenge, so using ZBrush I tried to sketch a few ideas in 3D.

I started to sketch with a simple base mesh in ZBrush trying to find the overall idea for the design. At this stage I just used simple brushes in ZBrush such as the Move and Standard brush. I try to keep everything within one Subtool until I have found the design that I like. During this stage I usually change my mind a lot!

After I had found a good shape I started to refine the model by breaking it into many Subtools and adding new pieces that completed the main idea. I try not to go crazy with details at this stage, because everything will have to be redone from scratch later. As soon as I have the main idea and the overall shape of the design I stop using ZBrush (Fig.01 - 02).

Fig. 01 id_rafael

Fig. 01 id_rafael

Fig.02

Fig.02

Once the sketch is ready I use the decimation master and import the model into 3ds Max to be used as a guide to create the final model. I generally use new objects to build everything but some things are faster using retopology tools in 3ds Max and ZBrush. In this instance I created some simple geometry and retopologized them to build the shoulders and legs, after which I refined and finished them in 3ds Max. At the end of this stage the entire model was done (Fig.03).

Fig.03

Fig.03

When the model was complete I opened the final model in 3ds Max along with the UVs and organized them into a basic layout, one for head and eyes, one for the torso, one for the skin and one for the legs and hair (Fig.04).

Fig. 04 id_rafael

Fig. 04 id_rafael

For the head I used 3ds Max to create a base mesh and ZBrush for the final sculpt. I used references from a few Asian actresses like Lucy Liu and Bai Ling. It's really important to break the symmetry at this stage, even if it's subtle (Fig.05).

Fig.05

Fig.05

With the modeling and UVs finished it was time to go back into ZBrush and add detail. This time I used some specific brushes in ZBrush to create the cloth and metal scratches. This is a fast and easy stage of the project, because on this character almost everything had already been built in 3ds Max.

Following on from this I added a few colors in ZBrush using Polypaint which I would use later as a guide to create the final textures in Photoshop. I re-imported the model from ZBrush into 3ds Max again and exported the Normal and Displacements maps from ZBrush. It's important to create as much detail as you can on the topology of the model in this kind of project in order that the Displacement and Normal maps are reserved for the small details. This way the final model will be ready for production. I usually use a mix of Displacement and Normal maps. I use Displacements maps with the Displacement modifier in Max to add small changes to the topology and Normal maps for the small detail enabling a faster render at the end.

I used the color guides from ZBrush to create the final textures in Photoshop using a combination of hand painting and photos. A Diffuse, Specular and Bump map were created for each layout. ZBrush was used again at the end to fix seams and make a few color corrections. When not making models for games I usually don't bake any shadow or light information onto the textures (except for an Ambient Occlusion map that I generate in 3ds Max). I create the realistic final effect using shaders, lights and render settings.

I created the hair using planes that incorporated Diffuse, Opacity, Specular and Bump maps, commonly seen in game models (Fig.06). The shader and modeling in this case helps to create a realistic look. I usually create six plane variations in one UV layout and organize the planes on the head, always using hair references as a guide.

Fig.06

Fig.06

After this I add a new Edit Poly on top of all the objects and worked on her pose (Fig.07). I usually do this in ZBrush, but in this case I achieved it by way of max pivots.

Fig. 07 id_rafael

Fig. 07 id_rafael

The lighting in this scene involved four simple point lights, one main light, two fill lights (with cold and warm colors on each side) and one big backlight for SSS.
The model was rendered in V-ray.

To see more by Rafael Grassetti, check out ZBrush Character Sculpting
and Digital Art Masters: Volume 7

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