Making Of 'Italian Food Shop'

The 'Italian Food Shop' artwork came about from the concept of videogames carrying out Italian cooking, and the project was realised in 3ds Max.

First of all I created the food shop, shelves, refrigeration counter and the other different objects in the scene. I then modelled the boxes, bottles, sausages and the different kinds of cheese (Fig.01).

Fig. 01 d_fig.

Fig. 01 d_fig.

Most of the textures were created in Photoshop and with Illustrator - here are some examples (Fig.02).

Fig. 02 d_fig.

Fig. 02 d_fig.

In Fig.03, I have detailed a close-up of the basket of vegetables that the shopkeeper holds in his hands.

Fig. 03 d_fig.

Fig. 03 d_fig.

I then started work on creating the shopkeeper, whose character was designed by Mauro Baldissera (www.maurobaldissera.it) (Fig.04). I used the biped of Character Studio for the rigging and skinning phases (Fig.05). I then unwrapped the high poly model, and here you can see the process of creation of a physically correct skin texture with a sub surface scattering effect (Fig.06 - 07).

Fig. 04 d_fig.

Fig. 04 d_fig.

Fig. 05 d_fig.

Fig. 05 d_fig.

Fig. 06 d_fig.

Fig. 06 d_fig.

Fig. 07 d_fig.

Fig. 07 d_fig.

Fig. 08 details the distribution map of the beard, eyebrows and hair, which was based on the face's UV.

Fig. 08 d_fig.

Fig. 08 d_fig.

Fig.09 - 12 show all of the passes which were used to create the shopkeeper's clothing. Normal maps were created in ZBrush, and the jeans and shoes were created by combining photographs on the UV layout.

Fig. 09 _fig.

Fig. 09 _fig.

Fig. 10 _fig.

Fig. 10 _fig.

Fig. 11 _fig.

Fig. 11 _fig.

Fig. 12 _fig.

Fig. 12 _fig.

In Fig.13 you can see the high poly model in a T-pose, and in Fig.14 I have detailed the wireframe of the model. The hair was created with Ornatrix for 3D Studio Max.

Fig. 13 _fig.

Fig. 13 _fig.

Fig. 14 _fig.

Fig. 14 _fig.

I included the character model in the "food shop" scene file and used the low poly model to find a nice pose in which to put him (Fig.15). I applied the skin wrap modifier to the high poly model so that it corresponded with the low poly model.

Fig. 15 _fig.

Fig. 15 _fig.

About the lighting, I used sunlight, some sky portals at the windows, and some omni lights to add a specular effect. I then composited the outline level (Fig.16), in multiply, over the final render (Fig.17) in order to achieve that cartoon effect!

Fig. 16 _fig.

Fig. 16 _fig.

Fig. 17 _fig.

Fig. 17 _fig.

The hair was rendered separately with the scanline engine and then later composited over the final image (Fig.18 - 19).

_fig.

_fig.

_fig.

_fig.

And finally, I concluded the post-production work in Photoshop (Final).

Final Image

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