Making Of 'African Bust'
Hi everybody, my name isÂ AntoÂ JuricicÂ Toni and I am going to walk you through creation of my latest work, African Bust. I drew my inspiration from the Kenyan Masai tribe, and although I did not achieve all that I wasÂ aimingÂ to I am going to demonstrate someÂ techniquesÂ that I hope you will findÂ usefulÂ for your own work.
In the process of creating this peace I usedÂ modoÂ 401,Â ZBrush,Â Photoshop, and the first step wasÂ to gatherÂ a lotÂ of reference photos. I found thatÂ the DreamstimeÂ stock photography website was the right place.
I re-used one of the previously modeled generic heads for this project, although I do like the process of the creating an individual base mesh for every project. I've described a few ways to create such base meshes in some of my earlier Making Ofs and you can find these on the 3DTotal site.
Once I had the base mesh with allÂ the topologyÂ placed the way I like, I used one of theÂ simplest,Â butÂ most irreplaceable,Â brushes: the Move brush. This brush gives youÂ the abilityÂ to quickly changeÂ proportionsÂ of your base model and I've found that the Move brush works best at lower subdivision levels (Fig.01).
After blocking out the proportions I stepped up one level and did the same process all over again, but this time I combined the Move brush withÂ the Subtle,Â Smooth and Standard brushes. The most important thing is to use everyÂ polygonÂ or vertex to describe the form of your model and not to rush for higherÂ subdivisionÂ levels.
At the point where I couldn't grab individualÂ verticesÂ with the Move brush, I switched to the Claytube and Standard Clay brush for sculpting. Fig.02 demonstratesÂ the progressionÂ through the levels, up to 4 million polygons at level 6.
After completing this bust I decided to make newÂ topologyÂ and for that task I usedÂ 3DCoat'sÂ retopologyÂ tools, which I strongly recommend. After that I had to project details onto this new topology and I did that inÂ ZBrushÂ by using the Project All function.
After completing the sculpture I had to make cleanÂ UVsÂ and the UV MasterÂ pluginÂ forÂ ZBrushÂ was the right tool for that.
Before submitting my model toÂ ZBrush'sÂ automatic unwrapping, I made seams inÂ modoÂ 401 andÂ re-imported myÂ model back toÂ ZBrushÂ at level one. Then I chose Unwrap All with the Use Existing Seams option selected.
After that I decided that I wanted to add some more details to the skin such as micro pores andÂ wrinkles,Â but that required the next subdivision level, which in my case was level 7 at 12,000,000 polys. A mesh that dense reallyÂ slowsÂ down my PC, so I found a way around this by sculpting the details direct onto the texture.
To do this first you have to generate a Displacement map and load it inÂ ZBrush'sÂ alphaÂ palette. After that, press Crop And Fill to drop your texture onto the canvas. Now you can useÂ ZBrushÂ 2.5D's brushes to sculptÂ wrinklesÂ and other details directly onto theÂ unwrappedÂ andÂ flattenedÂ texture. Â After that press Grab Doc and you are ready for ultra-detailed displacementÂ rendering (Fig.03).
As a starting point for a Diffuse map, I used a skin sample taken from the back of aÂ male referenceÂ image I found on www.3d.sk. Then I placed the Displacement map over the skin sample and set it to Overlay blending mode. I did the rest of the details byÂ poly paintingÂ insideÂ ZBrush,Â except for the lips which I took from an actual photo (Fig.04).
For the rendering I choseÂ modoÂ 401 because of itsÂ incredibleÂ speed and quality. For the lighting I used one ofÂ the environmentÂ images fromÂ modo'sÂ assets and set it to illuminate the model with Global Illumination. NoÂ additionalÂ lights were used in this scene. As for the materialÂ setup,Â you can check out my Making Of - StarfleetÂ Officer here on 3DTotal. Â
Once I'd rendered the bust with golden rings and a piece of cloth, I switched to 3dsÂ Max to make some hairs for the head and cloth. All of that could have been easilyÂ done inÂ modo,Â but I wanted to try this greatÂ HairfarmÂ plugin. So I exported my model asÂ an FBX, did the hair andÂ combinedÂ all the passes from the hair and my main model inÂ Photoshop (Fig.05).
And with that the image was finished! I hope you've enjoyed this Making Of.