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 | 4 | 5 | 6 | 7 | 8
Making Of 'Aquaman'

| Your Rating:
rating star nonerating star nonerating star nonerating star nonerating star none
(Score 0 out of 5 after 0 Votes)
| Comments 0
Date Added: 13th July 2010
Software used:

Modeling - Jewel

For the model of the pendant, I worked with polygon modeling tools in XSI. I made a UV map for the stone and then exported the whole pendant to ZBrush where I subdivided the model twice to smooth out surfaces (Fig.08).

Fig. 08

Modeling - Base

For the base model, I again did some poly modeling in XSI and then exported the mesh to ZBrush.

Modeling - Detailing

Having the base model of the bust with the eyes, the spikes and the base ready, I imported all of them as an .obj file into ZBrush, where the multiple polygroups were transformed into ztools by pressing Groups Split.

Keeping the ztool of the bust active, I selected a Clay brush, set Z intensity to 20, Draw Size 25, turned the Freehand option on, and started defining the volumes of the head, face and torso in loose strokes at first and refined portions later.

From this lowest subdivision level and up, I tried to add as much information as I could on every higher Sub-D level, using mostly a set of modified Standard, Slash and Pinch brushes, while quite often picking the Move brush to enhance the volumes and correct proportions. Sometimes I was in need of the Flatten and M-Polish brushes, to make some areas less convex and to define boney regions of the scull, or parts like the lips outline.

In this way, I ended up at Sub-D level 6, where the fine detailing of wrinkles, pores, lips surface and such was depicted, using mostly brushes with simple stamps from the ZBrush installation folder. Using layers like this during the detailing phase was a safe way to test and lock the intensity levels on the skin surface.

After I was done with the detailing, I went back to Sub-D level 1 and using a Transpose line and Rotate, I gave a rotation angle to the neck, according to the reference photographs. Climbing again up to sixth Sub-D level, and then made some minor refinements to the neck.

Among the final touches on the bust was to apply Surface Noise on a discreet scale and Depth to complete the high frequency detailing of the skin (Fig.09 - 10).

Fig. 09

Fig. 10

< previous page continued on next page >

1 | 2 | 3 | 4 | 5 | 6 | 7 | 8
Related Tutorials

Making Of 'Horned Man'

by Paul Large
published on 2009-06-22

Keywords: character, man, creature, horn,

rating star fullrating star fullrating star fullrating star fullrating star none (1)
Comments 1 Views 94232

Making Of 'Ethaus'

by Cedric Seaut
published on 2009-12-09

Keywords: character, monster, creature, armor, warrior,

rating star fullrating star fullrating star fullrating star fullrating star none (2)
Comments 0 Views 54138

Making of 'Forest Mage'

by Christophe Vacher
published on 2009-08-24

Keywords: character, woman, female, forest, scene, tree,

rating star fullrating star fullrating star fullrating star fullrating star full (1)
Comments 0 Views 64941

Making Of '30 Minutes'

by Toni Foti
published on 2011-02-22

Keywords: character, woman, snow, street,

rating star fullrating star fullrating star fullrating star fullrating star none (8)
Comments 3 Views 50495
Readers Comments (Newest on Top)
no comments!
No comments yet. Be the first to comment!
Add Your Comment..