The Secrets of Diablo Bosses Creation
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Latest comments
by serkan_buldan@yahoo.com
4 hours ago

Derjyn it is really hard to understand your motivation of commenting. I bought the material and it *highly* satisfied my needs. Also the seller is really helpful, I was'nt able to run it in 4.18 he fixed it in minutes. If you really want make something really productive create your material and than release an article here.

by Alex
4 hours ago

So uhh.. What's happening at Machine Games then?

by rlawsfamily@gmail.com
5 hours ago

Great article but the link to the artist's Artstation portfolio is no longer working?

The Secrets of Diablo Bosses Creation
3 May, 2016
Interview

Character artist Svein Yngve Sandvik Antonsen gave a detailed look into his amazing series of great 3d models of the most iconic Diablo bosses. He gave a short description of his production process and gave some advice on modeling some of the most horrible monsters you can imagine.

Introduction

Hi, my name is Svein Yngve Sandvik Antonsen, I am a Character artist from the cold ass country Norway. I studied at Idefagskolen, a really great school for learning the basics, but of course you have to work in your free time and really push yourself to achieve a career in game industry.

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I worked for Interceptor Entertainment and have done freelance for companies like Digital Cybercherries and worked on games like Bombshell and Hypercharge.

Diablo Bosses

It all started out with just a 3D version of the fan art of Mephisto by Matt Robinson, who is a great artist.

When I was done with that model I got such a nostalgic kick by it I wanted to continue doing the 2 other brothers Diablo and Baal so I continued with Diablo in a contest on facebook arranged by Jon-Troy Nickel and after that it just escalated to Andariel, Duriel and at last Baal.

Production Process

It starts most of the time in Maya with blocking out a quick block out of the body I want, then I go into Zbrush to sketch out all the anatomy, I always try to sculpt the anatomy from the scratch for each personal character I do, since practicing anatomy and silhouette is extremely important.

When I’ve gotten the right type of shape of the body and nailed the anatomy then I start out blocking out gear part by part, after most of the gear is looking decent, I jump back and forth from making details on the body and the gear until I nailed the look I want for the high poly.

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Andariel_WIRE

When the high poly is done I continue with the retopo in Zbursh and cleaning it up in maya from there I bake it in Knald and make textures in either Photoshop or DDO.

Materials

I use Uvlayout to uv my models and from there I bake in Knald. For texturing I used to do all my textures in Photoshop but after using DDO on Baal I will use that from now on when it comes to texturing.

Adding the Details


It’s all about references.

I use a lot of time before I start on a project to gather a folder full of references from other artists and real life, so I can be inspired how the character should look and what kind a details I will make for it.

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Color Scheme

I usually choose colors based on references like if I want some creepy skin for a monster I look a lot at reptilian references since they have a lot of great color in their skin like dark purple where a lot of blood veins are etc.

Great Monster Design

A great monster design is all about getting people to remember it either from how scary or freaky it was looking such Xenomorph that H.R. Giger made, and remember you never go wrong with bunch of teeths and glowing eyes.

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Mephisto_WIRE

Svein Yngve Sandvik Antonsen, Character Artist

INTERESTING LINKS

APPROACHING MATERIAL PRODUCTION

WORLD & CHARACTER CREATION IN AAA AND INDIE GAMES

INTERVIEW WITH MAKEHUMAN: THE FUTURE OF 3D-CHARACTER CREATION TOOLS

Interview Conducted By Dmitry Burkovskiy

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