Keep up-to-date with Free tutorials!!

 

Sign up to our twice-monthly newsletter today for the latest tutorials, interviews and product information.

Sign me up to receive third-party emails from 3dtotal's partners, too!

- Latest news
- Exclusive Shop Offers
- Preview early content
- Plus much more

 

Not Ready to take that step? OK, Why not just Subscribe to the RSS Feed

 
submit tutorial
1 | 2 | 3
Digital Art Masters: V7 - Sample Making Of 'Just This Last Job!'

| Your Rating:
rating star fullrating star fullrating star fullrating star fullrating star full
(6 Votes)
| 83036 Views
| 0 Comments
| Comments 0
Date Added: 1st February 2013
Software used:
Keywords:

The moment it wasn't possible to add any more detail to the model due to missing polygons, I retopologized the model directly in ZBrush. I then projected the resulting model onto the base and could continue with the sculpting.

One of the most complicated parts was to pose the characters in a natural fashion. Because I knew this would be tricky I began posing the characters early in the process in ZBrush. Thanks to ZBrush I didn't have to deal with technical issues like rigging and could pose the characters with the Transpose Master. This wonderful tool enabled me to move the characters into their final pose, but also meant I could return to a T-pose whenever I needed (Fig.03 - 04).

1661_tid_filip novy_fig03.jpg
Fig.03

1661_tid_filip novy_fig04.jpg
Fig. 04


Texturing and Shading

The bases for most of the maps were generated in ZBrush (Cavity map and Normal map), to which various layers, details and colors were added in Photoshop in order to reach the desired result.

When I started to think about the materials and textures I decided that I would adopt the same approach as I did when modeling. By this I mean that I would adapt everything to create a visually appealing result, rather than focusing on making everything look very realistic.

The most complicated material in the scene is, without doubt, the skin and its settings, to which I dedicated a significant amount of time. You can see all of the different maps in Fig.05. In this image you will be able to see the Overall Diffuse, Reflection, Epidermal, Subdermal, Normal, Bump and two Specular maps. You can also see the final render before I did any post-production (Fig.06). I also used masks for the Subdermal and Epidermal maps. By using reflection color textures I was able to isolate the color of the Specular highlights on the skin and adjust them. I mainly used azure blue and light pink at this point as I found they worked perfectly. I also combined the Specular, Reflection and Bump maps with procedural maps to get the very fine detail.

1661_tid_filip novy_fig05.jpg
Fig.05

1661_tid_filip novy_fig05a.jpg
Fig. 06





< previous page continued on next page >
 
1 | 2 | 3
Related Tutorials

Create moody fantasy concepts in Photoshop

by Massimo Porcella
published on 2015-08-17

Keywords: Photoshop, Scene, Mood

Go to tutorial
rating star fullrating star fullrating star fullrating star fullrating star full (2)
Comments 1 Views 10292

Making a mythological character

by George Manolache
published on 2016-07-27

Keywords: George Manolache, character, medusa, making of, ZBrush

Go to tutorial
rating star fullrating star fullrating star fullrating star fullrating star half (13)
Comments 0 Views 7638

Time lapse: Getting Ahead in Goblin Town

by Brett Bean
published on 2016-06-01

Keywords: Sketchbook Pro, Photoshop, Brett bean, character, cartoon

Go to tutorial
rating star fullrating star fullrating star fullrating star halfrating star none (3)
Comments 0 Views 8098

3ds Max Character Creation - Chapter 1

by Andrew Hickinbottom
published on 2014-05-16

Keywords: character, female, pin-up, olivia, andrew hickinbottom,

Go to tutorial
rating star fullrating star fullrating star fullrating star fullrating star none (17)
Comments 2 Views 80986
Readers Comments (Newest on Top)
no comments!
No comments yet. Be the first to comment!
Add Your Comment