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As well as the sculpting tools, the painting tools allows you to use the "steady stroke" option, which comes in very handy when painting wrinkles for instance.

I created a stamp for the pores (Fig.08), but used the inbuilt ones for all the rest. Here, you can see the result of the bump map painting inside the view port (Fig.09).

Fig. 08


Fig.10 shows the painted bump and the last level of sculpting, so you can see what's geometry and what's not.


Then I exported this channel to Photoshop (Fig.11) and converted the grayscale bump map into a normal map using the Nvidia filter (Fig.12). Mudbox can also convert the bump into a normal map, but exporting the channel to Photoshop allows you to make some color adjustments if needed and the Nvidia filter offers some interesting options to tweak the depth and orientation of the normal map.


Modelling the pullover was based on the same workflow, but I didn't use any normal maps this time, only displacement, since the level of details was a bit lower (Fig.13 - 14).


Fig. 14

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Readers Comments (Newest on Top)
Kelviking on Wed, 16 April 2014 3:24pm
very masterpiece can you do tutorials on you tube??
Mois├ęs on Tue, 03 December 2013 6:41pm
Congratulations, your work is fantastic. I started learning Mudbox, I'm an artist, but all the tools of Mudbox are new to me. Your work is very inspiring. Congratulations.
Andy on Wed, 23 October 2013 11:12pm
Hi, great mof!! i don't understand when you say "I started playing with the individual RGB parameters of each layes, to see how it influenced my shader at rendering. You can get some quite interesting red color bleeding in the areas where light meets shadow if you keep using values that are multipying by 2 from right to left (e.g., 24, 12, 6 or 8, 4, 2)." Can you explain this better please? You the subdermal scatter color?
Peter on Wed, 10 July 2013 7:31pm
I guess you've also found some inspiration from 'Making if the Young Girl' by Viki Yeo. Nevertheless, great to see another nicely detailed walkthrough. Cheers :)
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