Making Of 'Gunslinger Spawn'
Hi, my name is Bondhan Kimbalazani. I'm gonna share with you how I made my Gunslinger Spawn character. It's not however gonna be a step by step tutorial, it's more of an overview approach. In this project, I have used 3DSMax for modelling, ZBrush for detailing and texturing and also Photoshop for compositing.
I started off by looking at a lot of reference images of the Spawn character by Todd McFarlane. This guy has a lot of different variances, so I'm planning to make the Gunslinger variant but I did also look the other variants (more reference is better than less I think).
I began with modeling the head; it starts from a 1x1 plane. The body is built from a cylinder mesh. One thing that is fun about making this character is you don't need a specific blueprint; you only need a generic body, and body part orthogonal as a blueprint, and the rest is built based from the reference. I individually modelled the body, head, torso, hands and the arms, then joining them together to do further detailing.
Next up are the leg. The way that I have done these is to not model the organic leg but to instead model the trousers directly. In building the trousers, I start by building the proxy first, and then do further detailing afterwards, one mistake that I occurred when modelling him was that I did not make the wire animatable, because I had model the detail directly in a pose.
The cape and other accessories are built next and then I simple do a rig, then freeze the geometry and refine it.
This is the final geometry
Most of the parts aren't unwrapped, the only unwrapped part is the trousers (thanks to 3DSMax pelt mapping, it takes less than half an hour). The other parts use simple UVW or not at all. For the parts textured using ZBrush I use GUV, it's easy to use and will render well in 3DSMax. I also use some of the default 3DSMax procedural maps, combined with some bitmaps.
Rendering & Lighting
For the lighting, I've used 3 point lighting, with 2 Vray light as key and fill light, and 1 direct light as the rim light. This is all then rendered using Vray. The ambient occlusion pass is also render out so that it can be added in compositing stage later.
In Photoshop I added the background and then did a lot of touch ups, to get the final image.