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
Making Of 'Grandma'

| Your Rating:
rating star fullrating star fullrating star fullrating star fullrating star full
(Score 5 out of 5 after 44 Votes)
| Comments 2
Date Added: 23rd January 2012
Software used:


When I was done laying the UVs I tried to pack them by material. Doing this helps me adjust the colors and make major-minor changes in Photoshop later on when I start rendering. You can see some of the texture maps in Fig.05.

Fig. 05

I wanted the fabric, the chair and basically the whole scene to look worn but not very old. I also wanted her skin to look aged. Since I was playing around with colors on the shaders in the meantime I had an idea about which colors to use as base colors for the desired look. There are a lot of different maps for the piece so I will not explain the whole process one by one, but I will try to explain the workflow instead.

For the wood, iron and leather materials I used high resolution images to use for projection in Mudbox (Fig.06 - 07). Before painting the base textures I had to bring the displacement maps into Mudbox, so I could paint on the high detailed mesh instead of the base mesh. To bring your displacement maps into Mudbox you can go to Maps > Sculpt Using Map > New Operation. In the new window that pops up, select the related mesh and path to the displacement file.



In both the hand-painting and projection approaches I always paint a base texture first. After painting the base I start adding some color variety and detail to the texture using the Mudbox layers. If you've sculpted detail on a certain mesh or area in ZBrush (Fig.08), you can export a cavity map and apply it on top of your texture layers in Mudbox to get some detail fast. I also like to separate certain things with layers to be able to tweak them further when I export all of the layers into Photoshop. The main reason I use Mudbox for texturing is because it is fast and it has layers that I can export for Photoshop.


When I start working on the textures in Photoshop I export a couple of maps and apply them to the related mesh to see how it looks in render. Sometimes, especially with subsurface scattering, the texture maps do not look like you painted them when you render, so I go back and forth between Maya and Photoshop to adjust the colors and layers I kept separate earlier until I feel happy with the results.


As I mentioned before, I start working on the shaders at the early stages of the whole process. I also keep tweaking them while I work on the textures. Here are some of the shaders used for this image.

Fabric / Velvet

When creating the shader for clothes I used the additive (shellac) mode of the VrayBlendMaterial (Fig.09). To blend I created two VrayMtls, one for the pattern and the specs and the other one for the velvet effect (Fig.10).

Fig. 09 - Click to Enlarge

Fig. 10

I used the fabric shader to procedurally tile the pattern. To be able to do that I created a seamless pattern in Photoshop first. Then I adjusted the color and plugged the files outColor value to the shader's diffuse channel. I also included the reflections in this shader as well. For the reflections I created a samplerInfo node and plugged its facingRatio to the uCoord and vCoord of a ramp. Using the ramp's values I adjusted the reflection on the surface.

For the velvet shader I used pretty much the same trick, but this time I adjusted the diffuse of the material instead of the reflection using a samplerInfo node and a ramp.

If you are using mental ray, you could try using Puppet Shaders to get this effect. p_MegaTK has a pretty decent fabric / velvet preset.

< previous page continued on next page >

1 | 2 | 3
Related Tutorials

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

by Arda Koyuncu
published on 2013-10-29

Keywords: character, female, grandma, smoke, chair,

rating star fullrating star fullrating star fullrating star fullrating star half (6)
Comments 3 Views 77959

3ds Max Character Creation - Chapter 1

by Andrew Hickinbottom
published on 2014-05-16

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

rating star fullrating star fullrating star fullrating star fullrating star none (18)
Comments 2 Views 106982

Mastering the 12 principles of animation

by Digital-Tutors
published on 2015-02-20

Keywords: Animation, character, rules

rating star nonerating star nonerating star nonerating star nonerating star none (0)
Comments 1 Views 23147

Making Of 'Dante Alighieri'

by Marco Menco
published on 2009-12-09

Keywords: character, human, male, hood, dante,

rating star fullrating star fullrating star fullrating star fullrating star full (4)
Comments 2 Views 172523
Readers Comments (Newest on Top)
Onur Bykylmz on Thu, 09 February 2012 12:55pm
nice rendering and compositing mate.tebrikler
Albeat on Mon, 23 January 2012 12:21pm
Marvellous choice of subject and image rendering.
Add Your Comment..