Personal project to study about 3D character design for games.

My role: Character design, modeling, re-topology, UV layout, texturing, render, post-production, logo design.
Total tris: 14.376.
Tools: Zbrush, Photoshop, 3DSMax, TopoGun, xNormal, Marmoset Toolbag and Verold Studio.

InCG Magazine – 2014 . Issue 18

Location: Taiwan | Published: March 2014 (Issue 18) | InCG Website | Magazine CoverVerold Studio
My artwork and website were featured in an awesome article about 3D Tools For Web with Verold Studio in the InCG Magazine, issue 18 (March 2014). Thanks Verold and InCG Magazine!

Eye For Games Magazine – 2013.1

Location: Amsterdam – Netherlands | Published: Apr 16, 2013 | Online magazine link | EFG Website
My work was featured in the cover of the Eye For Games Magazine 2013.1. Also, I had the opportunity to give an interview in the pages 29 and 30.

Bob Bump Turntable



 

Breakdown

High-Poly model

I modeled and painted the high-poly version inside Zbrush.

Low-Poly Model

I did the re-topology inside the TopoGun to create a low-poly version and tweak the mesh inside 3DSMax. Total triangles: 13.736.

UV Layout

I did the UV layout inside the 3DSMax. While this model is symmetrical the texture is not. So, I just shared the same UV space for the arms and legs. Also, I mirrored some parts of UVs 0-1 out of the UV map just in case to help bake textures like Normal map later on.

I have used a Checker map to see the resolution sizes and check if it has any distortion on UVs. I let more resolution for focal points like the head and the cap.

Textures

I did the Polypaint in Zbrush for diffuse texture. Also, I did baking textures with Topogun to create Color map, Normal map and AO map. After, I finished the textures with Photoshop.

Body texture maps

Here are all the maps that I used for the body. To have better details I created first at 4096×4096 resolution, but after I did tests with 2048 X 2048 resolution and it worked just fine.

Props texture maps

Here are all the 2048 X 2048 resolution maps that I used for the props, like the wooden bat and the ball.

Body – breakdown texture

I used the Marmoset Toolbag 1, to create materials, test the maps on the model and create dynamic lights in the scene. Here are the texture breakdown and screenshots from Marmoset from my firsts tests.

Posing low-poly model in Zbrush using ZSphere Rigging

I wanted to test new poses for this character, but I didn’t have enough time to learn the conventional “rigging and skinning” for this project just yet. Also, I already finished modeling and texturing. So, a quick solution was to try new poses using ZSphere Rigging inside ZBrush. You can see this technique here and here on Zbrush.

I created a step-by-step in how I have accomplished this process in my low-poly model.

If you are just starting the project that might be a good way to go to test new poses quickly.

Now, you might have drawback in this process, especially if your model already has an UV layout setup and textures created which it was in my case. Zbrush seems not export properly the OBJ file without destroying or messing it up the UV layout that I have applied before on the original OBJ file.

Using Morpher in TopoGun for transferring the UV layout to the new mesh

If your low-poly mesh has lost its UV layout when it was exported from Zbrush, this might help. I recovered the UV by using the Morpher in TopoGun.

Silhouette

I was looking for a strong silhouette that would be clearly identifiable at first glance.

Wire-frame

Wire-frame rendered inside the Marmoset. Total triangles: 14.200.

Rendering the final image

The final images was rendered inside the Marmoset using dynamic lights.

Just to give him a place to stand and bring a better mood to the scene, I created the floor and background in Photoshop.

I want thank you my mentors Fabio Doná, Cezar Brandão and for all those who have supported me in this project.