Total Textures Making Of 'The Warrior'

For the concept, I started doing a quick sketch in Photoshop (Fig.01) (A); I wanted to make a warrior without a clear idea about the style, and I decided with a mixture of a Viking and Samurai.
 
Once the sketch was finished, I started directly on a 3D model to establish the forms. This allowed me to test various components and templates fairly quickly (B). Once satisfied with the forms and volume of the model, I created a render of the front view of the character for use back in Photoshop (C).
This last phase allowed me to sketch a rough final design. I began by studying the silhouette of the character, then doing colour tests and finally added the components and details (D).

Fig. 01

Here's a little more detail concerning the method used in Photoshop. I begin with a solid colour and then add the shadows and lighting effects. For this I used the smudge tool to mix the colours and finished by superimposing different textures producing a subdued light across the materials. (Fig.02)

Fig. 03

For the background I have mixed and superimposed several textures from the 3DTotal Collection.
These are the same textures that I used for the final 3D render. (Fig.03)

Fig. 05

Highpoly

For the high-definition model, I am leaving my "3D Template" as it is in certain areas, and fully remodelled other elements from a cube (Polymodelling). The aim is to obtain a suitable model appropriate for ZBrush. Regarding modelling, there is nothing special here; I made a model without too many faces and a Turbosmooth applied to see the behaviour of smoothing. (you must avoid the maximum detail to have  good smoothing)) (Fig.04)

Fig. 07

Once the model is ok, I separated it into different parts and exported it as an OBJ. I export everything into ZBrush and I begin to create all the details until the model has enough definition to extract the normal maps in 3dsmax. (Fig.05)

Fig. 09

Lowpoly

For the low poly version I re-imported the Zbrush meshes at a level sufficient for subdivision in order to rebuild a mesh over the low poly version. Then I need to arrange the UV's, and this is why I unwrap the basic mesh, in order to reorganise all my UV's and flatten them onto a 2048x2048 template (the size of my final texture.) (Fig.06)

Fig. 011

The Normal maps were obtained in 3dsmax using the Render to Texture tool. For each part or group I imported the high definition Zbrush model into max, and then linking the low res parts to the corresponding components I rendered the normal maps. By default, the global super sampler in max is set to 'NONE', so I first enabled it and then set it to Max 2.5 star in the options under the Renderer tab. For some parts I decided to make the normal map size 4096 which I would then reduce in Photoshop. (Fig.07)

Fig. 013

At the same time as making the Normal map I also took the opportunity of creating the occlusion map, to be combined later with the Diffuse and Specular map. For occlusion map I used the High Pass filter in Photoshop coupled with the light map. I overlayed the latter map with an opacity between 5 and 20% depending on the result. It serves just enough to create a bit of depth. (Fig.08)

Fig. 015

Textures

The Diffuse map: I re-used my UV's from 3dsmax, then filled all the elements with a basic colour. At this stage we can easily make colour tests for the character. Then all that remains is to add details, material, dirt, wear, etc.... (Fig.09)

Fig. 017

Here are some stages for some of the Diffuse elements:
All textures are from the 3DTOTAL collection.
Fabric and clothing(Fig.10) :

Fig. 019

Head (Fig.11):

Fig. 021

Armour and metal (Fig.12):

Fig. 023

Boards of textures

Four 2048x2048 textures have been used: Diffuse (colour), Specular, (colour and intensity of light), Normal map (I have grouped the bump map with the normal map) and also the map for the self illuminated parts. (Fig.13)

Fig. 025

Records

For the final rendering, I used the Scanline renderer in Max. 3 Light sources were also refined in Photoshop and lastly I made a colour adjustments to refine some of the contrast and colour.
 
Lighting (Fig.14):

Fig. 027

Viewports 3ds Max:

Fig. 029

Final Image