Hey guys!
I did this image for the GNOMON Gallery Show: COGNOSCO. Feel free to find out more information about the gallery here:http://www.gnomongallery.com/current_show.php

So I used my old “Angel” model and just re-rendered it. Here is the final image:

I’ve also created a showcase tutorial article about how to create cool renders using ZBrush and Photoshop.
Let’s get started.

Preparing model and document.
Create new document with size twice as bigger as image you want in result. I do that every time I render any model in ZBrush because in the end I shrink the image at half size to get rid of “jagged” lines. I also press AAHalf button to see a preview for smooth-rendered antialiased image.

Set up your model on the canvas as you want to see it rendered. You will need masks for easier selections at further comp stage. So just go through all subtools one by one and export image with Flat render turned on.

As result you get bunch of images with masking for each separate subtools.

Information:

I created this piece as a tribute to Metal Gear Solid. Base modeling in Lightwave, detailing and texturing in ZBrush, and post work in Photoshop.

The process:

I used Grey Fox from Metal Gear Solid as my main reference (Konami): ->

I decided to start with a sporty body type (Lightwave). There were no ears in the base model since they wouldn’t be seen under the helmet, and I didn’t want the extra polys. Then I exported the base mesh into Zbrush, subdividing and refining the body.

Next I began modeling the helmet. In ZBrush, I squeezed a transparent sphere around the head using the move tool. I masked out the areas I wanted to indent, and then used the negative inflate:

WARNING! This Making of Contains Nudity.

Software Used :

ZBrush

The original idea for this image came out of the references I’d collected. Whenever I start a new artwork, I do a lot of research and then I start the modeling (Fig.01).

Fig.01

With these references, I blocked the model with a simple base and I did some primary tests with the composition of the model (Fig.02).

Fig.02

As the idea matured, I really needed some specific references for the towel on the head and how its drapery would work. So I took some pictures of a relative of mine doing the exact pose with a towel (Fig.03).

Fig.03

I used the same real-life reference for the towel in the model’s hand (Fig.04).

Fig.04

This tutorial will briefly describe how I created my blind warrior from a paintingFirst of all, the Painter (Park Jea-Yeon) creates the concept in detail. Why doesn’t he have eyes, How can he live in battle. all of the smaller details can make a realistic character

( 3d adaptation of some great concept art by Park Jae Yeun from Korea.)

Then I moved to Maya. By the way, the picture doesn’t have any side view and front view, so It’s little bit hard to make full figure. so I used a proxy model before I made character. I can think of how tall he is and how defined his muscles will be.

I used reference from various similar people for his face to get a better idea of what he would look like.

the wireframe is fairly low polygon so that I can use Zbrush to add the smaller details, so I only have to think about the models proportion and pose at this stage

MODELING
Making realistic character even fantasy character is not an easy task so the step by step tutorial is almost to impossible to write. But making of article can be very useful as the example of different tasks that has to be done in order to complete such project.
In this making of I will show you one of common workflow used in game and movie industry.
First thing to do is gathering reference images an studying the character, more you get your self familiar with the subject you are modeling more successfully final model will be.
Next thing to do is building solid base mesh.
There is many techniques for building base mesh but I found that most easy and artistic way is to sculpt hi rez mesh and than retopologize it. For this task i use Zbrush.
Next image show retopologised mesh that can be used later for many projects.




After building base mesh it is time for hi rez sculpting, that is where the real fun start.
Using Zbrush standard tools in the few hours a have build hi rez sculpt containing over 12 million polygons.
Most important advice I can give for sculpting is to stay patient and not to rush with dividing your model to soon but focus on the overall form of sculpture, wrinkles and pores are last thing to do.

TEXTURING
After completing hi rez mesh I have exported model as obj file at lowest division level for generating uw maps. I often use Headus UWLayout for this job because is gives me more results in less time.
After generating UW’s model is ready for generating normal maps (1) that is important for transfer hi rez details to lo rez mesh. I also use normal map as template for other maps.
Zbrush also can generate cavity maps (2) that makes some kind of fake occlusion map useful for shading some parts of the model.
Details extracted from cavity map can be used for making spectacular map(4).
I render my maps at 4k resolution so it can hold al details necessary for skin pores and wrinkles.

Using generated maps as template I have painted color map also (3).

RENDERING
For rendering I like to use Mental Ray because of great SSS shader possibilities.
I just load up maps to appropriate slots in fast skin shader that already comes quite tuned.

Besides that I have rendered few more passes like extra spectacular/reflection and ambient occlusion so I could have more control over this things later.
When it comes to lighting i like to keep it simple. In this example i use four lights setup, two back light slightly blue and two front lights also colored but with warmish yellow.

With this kind of setup image was rendered in 5 to 6 minutes at 3000 px in height.
Last step is to compose all renders using Photoshop.
I hope you will find this tutorial useful and feel free to contact me for any farther explanations.