In the post-production work, I worked with the great artist Carlos Sá in Photoshop, and we tried to see if it was necessary to have more vivid colors. This image shows the effect of those settings in the previous image Step 11: Post production This shows the settings used to create a good render Well, now it's time to render to get to the final result! I usually give the GI Environment a low value. I used it with a Gamma setting of 2.2, with the Frame Buffer and GI activated. This image has three V-Ray lights to create a well-lit environment Step 10: Renderįor rendering, as you might have noticed, I used V-Ray again. In the light settings, the biggest challenge is to control the intensity of light without losing the shadows you want. Whenever I can, I also use a Back Light, because I really like the effect. Something I really like to do is use three or more points of light. The grass was made with the Auto Grass plug-in Step 9: Light I added some more elements like trees, rocks and grasses into the scene. I'm still not good with hair, but now I can make characters that aren't bald!Įmerson uses Ornatirix to create the hair for his character Step 8: Grass Making the hair was always a big problem for me, but after a lot of studying I started to adjust to Ornatrix, and now I always use it in all my projects. This is the texture and shaders ready at this point After some trials and test paintings, I had my finished model ready to go to the next step.
ORNATRIX FOR MAX TUTORIALS SKIN
These show the character's skin shader and texture Step 6: Textures and Materials 2įor all the others objects I used VrayMtl, and always with a bump map. For the skin, I painted a texture in Photoshop mixed with some photo textures and I used the shader VrayFastSSS2, using the Normal map generated in ZBrush. I'll often find that even after trying several times it doesn't end up as cool as I imagined it would be, but it's good to have some options in mind and test until you feel satisfied about the result. The character was retopologized using ZRemesher Step 5: Textures and MaterialsĪs I had already searched for and found references at the beginning of this project, I already had something in mind about what to use. After the mapping was finished, I added the final details and made final adjustments in ZBrush. I then passed it back into 3ds Max to map. When I thought the mass and volume of the sculpture were the way I wanted, I began retopologizing the mesh using ZRemesher on each item (without worrying about edge loops and animation).
At this point, I really started to see the general shape and atmosphere of the project better, and was glad to see the character become more real.Įmerson's model started to gain a distinct character Step 4: Retopology This shows the simple blocked 3D base Step 3: SculptĪfter I made the base mesh in 3ds Max, I began the sculpture in ZBrush.
In this project, my base ended up by being very simple, so I could see good balance and proportion between elements. I use the symmetry as much as I can and then I make the pose, so I don't need to worry about setting up a rig.
The original 2D sketch by Edil Araújo Step 2: Base MeshĮvery time I create a 3D illustration, I make the base mesh in 3ds Max. With his 2D concept in my hands, I analyzed and searched for references that would help me determined the types of textures I would work with. It all begins with choosing the concept, and this time I chose a concept made by the great artist Edil Araújo from Ilustractor Studio. The Counterattack Emerson Silva takes us through the processes behind his creation, The Counterattack, inspired by Illustractor Studio artist Edil Araújo.
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