3d art

Modelling the monster
Bringing out the details
The best advice I can give regarding sculpting is to
04 not rush in too soon with the details. Overall shape and
form is more important than skin pores and a few wrinkles, so
make sure that you have used every polygon before stepping up
to next SDiv level. Again, for this step I used the Move brush, Clay
brush and custom Standard brush.
Shave and Haircut is also powerful
07 for simulating dynamics, so first I
simulated some freefall of hair over the head
geometry. Combing hair was really fun with the
many brushes integrated in this tool and I found
that using the Translate and Puff Hairs Up
brushes alternately worked best for me.
After a couple hours of sculpting, I was happy with
05 the results and I added some clothes which I modelled in
Silo. Making the facial expression really gave life to this work and
for that task I mostly used Move and Nudge brushes and
Transpose tools for posing. I also added some simple geometry
for the eyes and metal parts on the neck.
I have tried a few different solutions
06 for hair and the one that works best for
me is the Shave and Haircut plug-in for Maya.
If you are working in 3ds Max, that plug-in is
already implemented as the hair and fur system.
Basically, workflow is simple: I made a scalp
geometry which I populated with hairs.
Artist
Showcase
Anto Juricic
I am a self-taught and highly
motivated 3D artist
specialising in modelling and
texturing. I’m very passionate
about modelling and
texturing characters and
creatures. I currently live in
Bosnia and Herzegovina and
I work in the Prime Time
production studio in Sarajevo
as a character modeller.
The Incredible Hulk
ZBrush, 3ds Max,
Photoshop (2008)
This was one of my first
fully completed 3D
renders and I still like it
today. The main goal
was to test and set up
a pipeline and workflow
for future works. I made
the base mesh in 3ds
Max, sculpted in ZBrush
and rendered back in
3ds Max.
Rendering of hair was a bit difficult and after much
08 trial and error I decided to render hair with Maya
software render, which is quite fast for this task. I also rendered
one additional pass to improve the overall look of the hair, by
adding ambient occlusion rendered with mental ray.
Obama Maya, ZBrush, Photoshop
(2008)
This was my first Maya render. I chose
Mr Obama because of his characteristic
facial features. I’m fairly happy with the
likeness, but mostly I am satisfied by the
overall look, especially the lighting and
shading. I reused this lighting later on the
Frankenstein’s Monster image.
The Greatest ZBrush (2009)
This is a digital sculpture, made entirely
in ZBrush, which served as a great
opportunity for practising the anatomy
of the male torso. I also tested some new
features in ZBrush 3.5 R2 on this project
and it was great fun.
122