Patrick Jamaa – Rockstar Studio





I started a first version of the sculpt that would allow me to adjust the proportions. This very basic mesh was created in 3DS Max and sculpted in Zbrush 3.1.





From there, I can start to think about the way I’m going to cut my character. Every piece of armour (in red) is made to hide a texture seam and let me separate the sculpt in several Subtools, in order to have a better resolution for each of them.





I spent more time on the face than on any other part of the model. Once again, I tried to mix sensuality with the menacing aspect of a terrible foe, which would be later emphasized by the fins on top of her head.





The rest of the body was sculpted a bit faster since I already had the proportions blocked. I added subtools for every accessory, and the final High res model of the mermaid was then finished. I didn’t spend a lot of time on the caudal fin, knowing that it was too thin and that it would be a simple alpha plane at the end.





For the fish (who became the mermaid’s companion instead of the invocation in the concept), I tried to reduce the “Chinese dragon” look and get closer to an abyssal creature. With such a body length, I was planning to make it wrap around the mermaid body, and I later regretted that it was not even longer than that!





Then I started to work on the magical artefact and tried to give it a more interesting design than the spear of the concept. To give a little bit of background story to it, I decided to make 4 twisted eels which represent the 4 oceans of R’Zalka’s world.





Like for the rest of the high res sculpt, I don’t spend too much time on micro details or skin pores, wrinkles (…) because it can be very painful to match the diffuse map afterwards. Instead, I keep this micro-detailing work for Photoshop, where I’ll be able to create a layer especially for this, and duplicate it for the other maps (specular, normal, etc).




Having my High res mesh done, I had then to create the matching low res within our polycount constraint: 9000 triangles. I established a quota for each element depending on its complexity and importance: 6000 for the mermaid, 2000 for the fish and the 1000 remaining for the harpoon. I made the retopology with Polyboost in Max, and then used Unfold3D to unwrap the Uvs.



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