I started to learn 3D with 3ds Max in 2013. At that time modeling was a little hobby for me and until 2017 I was spending not much time doing it. Later, however, I decided that I want to become a 3D artist, so I went to Scream School in Moscow to study Game Graphics. There, I realized that I want to focus on the characters.
Concept & References
As additional references, I used Sergey Katsukov‘s works.
During this project, I wanted to practice and experiment with modeling, look for some new decision in balancing ZBrush/Maya, plus get better with ZModeler and try to create as clear geometry as possible.
I started by simplifying the concept to better understand the shapes and volumes which also helped me to block out the model later.
When I started modeling, I made the main forms symmetrically and then immediately decided to get variation in posture. In ZBrush, I worked in two ways: 1) modeling in symmetry and 2) modeling in posture. Some elements were modeled in symmetry, then exported to the file with the posture.
Blocking in symmetry:
Blocking in posture:
Now, I will try to cover some interesting parts of my modeling stage, beginning with one of the most difficult things for me, hair.
- Main volume
- I started with the main form.
- Then divided it into secondary forms (curls).
- Big curls were then divided into smaller parts based on the principle “one big curl = three small curls different in volume”. During this step, I tried to keep the secondary forms readable.
- At first, I made a piece of the needed length and exported it to ZBrush. (I followed these tips. You can use the Transform component to adjust the thickness of the curl).
- In ZBrush, I used the Bend Curve tool to get the shape.
- I applied Crease to one edge to maintain the style.
All metal parts were made with Zmodeler. The main tools I usually use are Qmesh (polygons), Inset (polygons), Bevel (edges), Polygroup (polygons), Crease (edges), Mask (edges, polygroups).
Clothes & Props
- Blouse (top part)
- I started with the main form as usual.
- Then, I made retopology with edge loops on places with the stitches and used Zmodeler to divide the parts and create thickness. I decided to make the center element with different meshes as an experiment.
- Finally, I made the posture and sculpted vertical lines with Chisel Brush.
- Blouse (bottom part)
Since the pattern space is not so big, I decided to experiment and modeled it instead of using surface noise or alphas.
- I created the base form in Maya.
- Then subdivided it once and modeled the stitches.
- Next, I exported everything to ZBrush and appointed creases.
- I sculpted the base form.
- Retopologized it in Maya. Then did a bit of modeling and sculpting.
- Next, made the posture and sculpted other details.
As my goal was to get as clear geometry as possible, I decided to model the pattern on cloak. For that, I painted a supporting pattern with polypaint and made retopology with quad-draw.
The rest of the parts were made with the same tools as before:
- Staff & Dagger
The staff was started with Zspheres, then I sculpted its form. Dagger is made with Zmodeler completely.
Polypaint & Render
For the color, I did a very simple polypaint. At first, I filled all subtools with flat color and then painted some gradients to emphasize the volume a little. It’s especially important to add gradients on larger elements in order to improve the model because, with flat colors, it looks boring.
After painting, I used Decimation Master and divided the model into different subtools depending on the type of material (metal, cloth, etc.). Then, I exported it to Marmoset.
Two different subtools (metal, cloth):