Super simple and super awesome and fast results! With those maps baked, I threw them in Photoshop for some minor adjustments and refinements. With both hi-res and low-res meshes, I baked the Diffuse and Ambient Occlusion maps in Topogun, and the Normal map in xNormal, which you can grab here. On ZBrush, I took the hi-res model, decimated it and exported as an OBJ file.
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There are many, many other tools for this job, so you’re free to choose. That means it’s UV time! I brought the low-res to 3DS Max and unwrapped his UVs. Now we got our low-res model, it’s time to transfer all the work we did before on the hi-res version. We will convert to triangles later because a triangle is the true form of a polygon, and quads are only for our human eyes' comfort. Since it’s not a production model or so, we can use some triangles. In this case I tried to keep as much quads as possible, but don’t worry much about it. Also try to keep the polygons in similar size. Parts like eyes, nose, mouth and ears will require more polygons. Add polygons to smoother parts, in order to maintain the volumes and shapes.
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Pro tip: for this part, focus on the silhouette. Here’s some videos with tutorials and instructions. Time to create a low resolution version! For the retopology process, I used Topogun. Ok! We modeled, detailed, painted and posed. Just mask the bottom half, adjust the rotation axis, and rotate! In cases like this I usually rotate the base of the bust, because this way his face will keep pointing to the front view.
I adjusted and changed the color tones to what I was looking for, something more alien-ish.
Part 1, Part 2, Part 3, Part 4, Part 5, Part 6, Part 7, Part 8, Part 9. It’s a 9 part tutorial, worth every second! Again, traditional technique! To better illustrate this technique, here’s an awesome video tutorial by Scott Spencer, from 3D World Magazine. It’s also very similar to a technique used to paint models and masks for movies.
The painting technique I used is based on layer painting, sorta like in Photoshop. When you’re satisfied with your model, it’s time for painting. For fine details, use a small size for Standard, or maybe Dam_Standard, and add “by hand” the details you wish, like in traditional sculpting techniques! Use them carefully and moderately, otherwise it will be too repetitive and won’t look any natural. Standard will be very useful on the final stage, with alphas, to add fine details. Dam_Standard and Pinch will help later with details and refining some shapes. Move tool, ClayBuildup and Standard are the main focus in the beginning. I use subdivisions a lot because I can have a better control on the main shapes basically, raise subdivision to work on details, lower it adjust the silhouette, and so on.įor most parts I use only these brushes. Lastly, you can start bringing some asymmetry and fine details. If your base isn’t strong enough, details won’t add any value to your model. Don’t worry about details at this stage, you should focus on a good base. Remember to always use references! I used this one.Īfter you’re satisfied with the silhouette and proportions, you can start taking care of secondary forms.
Start subdividing it and establish the main volumes and primary forms first. To make things easier for me, I usually separate the mesh in different polygroups, so I can isolate them really quickly. With the Move Tool, I start adjusting the proportions and sizes according to my reference. I started using a bust basemesh I grabbed from ZBro, which you can find here on his blog. You can use this workflow on your own projects, as it suits you. This is my first tutorial ever, and here I’ll show you guys a little bit of the workflow I used to create this Alien bust inspired on a mask by Jordu Schell. Hey there! My name is André Mucci Nolandi, I’ve been studying 3D for about one and a half years aiming to start working in the video game industry someday.
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