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Digital Art Masters: V7 - Sample Making Of 'La Pause'

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Date Added: 1st March 2013
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There were no special techniques used when I was modeling the scene. When I started the character I went to my library of basic meshes, which I often use as a starting point when I begin modeling. I then simply reworked the model in ZBrush by adjusting the proportions. I usually start using the Move and Scale tools after masking some parts of the mesh with the Lasso tool. As soon as I had the desired result I imported the model back into 3ds Max.

Once I was in 3ds Max I began work on the accessories and clothing. I selected parts of the mesh that interested me and once they were detached I applied the Push modifier. I modeled the fungus using standard primitives (spheres, cylinders, etc.,) and then went back into ZBrush where I imported the model with the clothing. I then applied Group Split and continued to work on the volume in a low level of subdivision in each of the subtools (Fig.05).

1677_tid_david arcanthurry_fig05.jpg


For the UV mapping I used the UV Master. It's a simple and effective tool that provides good UVs. The next step was to address the textures. I wanted to achieve a realistic look as if I had met this little guy during a walk in the woods, so I used the polypaint feature in ZBrush along with my store of reference images. The textures were also slightly retouched in Photoshop to resolve some defects and add detail. This also allowed me to generate a map to use as a mask in ZBrush for the detailing work. This technique allows you to quickly achieve a good level of detail and consequently refine the image using alphas. I used the same techniques for the other elements in the scene as it was useful in obtaining each and every map (Fig.06).

1677_tid_david arcanthurry_fig06.jpg

For the character and fungus materials I used V-Ray SSS2 as it creates good results with very few input maps. I also made some color corrections to some of the maps. For the other elements in the scene I used a V-Ray material with different maps in the input (Diffuse, Bump, etc.). I always use Color Correction to contrast or decrease some of the values. For the ground I used a VraydispMod associated with a map made in Photoshop that allows the possibility of adding more detail when rendering.

At this stage of the project the scene seemed a little empty. Because of this it was necessary to add some elements to make it look a little more real. I wanted something that resembled the woods near my home and to achieve this I created some grass and pine needles from standard primitives, and then populated the scene using Particle Flow, which is quite simple. I used the shape instance with the needle as a reference and the ground plane as the object position. After I had done that I added some random rotation to create a little chaos (Fig.07). To manually adjust the position of the particles I used the script

1677_tid_david arcanthurry_fig07.jpg

As I knew I would use an intense depth of field, I only modeled the background elements roughly. I also placed some of these items in the far background to simulate depth.

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