3D Creative December 2015

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3DCREATIVE MAGAZINE | Mastering displacement details The Artist Roumen Filipov roumenfilipov.com Software Used: 3ds Max Roumen Filipov is a 3D generalist born in Bulgaria, currently living in Brazil. His specialty is making 3D characters for film and the advertising agency. Mastering displacement details by Roumen Filipov Roumen Filipov shows us how to add fine skin and clothing details to a character model, from skin pores to fabric stitches, 3DCREATIVEMAG.COM using ZBrush and 3ds Max
3DCREATIVE MAGAZINE | ISSUE 124 See how Roumen Filipov brings a character to life with small details… This is the third of a series of four tutorials covering the production of a stylized 3D character of a steampunk pest exterminator girl using ZBrush and 3ds Max, from the initial blocking to the final render and postproduction. In this third phase, we will sculpt the displacement details like pores and cloth wrinkles, then finish the texturing process using Photoshop, with some composite and mask blending tricks in 3ds Max. During the process, I’ll be showing how to reproduce fine details in ZBrush, then I’ll show how to correctly set up and export displacement and normal maps to reproduce the same information on a low-poly mesh in 3ds Max. This tutorial will also show you how to quickly create textures and other maps like specular, bump and dirt masks in order to set up semi-realistic materials in V-Ray. Creating skin pores and wrinkles in ZBrush Now let’s have some fun! Sculpting the skin details: Now that 01we have our model fully retopologized and with proper UVs, it’s time to send it back to ZBrush for some displacement detailing. I always start with the skin since it’s the most tricky and delicate surface to work with. At first, you should look out for imperfections left from the sculpting process and even re-sculpt some detail that has been lost in the new topology. Multi Map Exporter setup and differences between displacement bit depth Detailed cloth in ZBrush and stitch alphas As soon as I have my model subdivided and ready, I start to sculpt the most delicate wrinkles around the eyes, mouth, hands and neck. Finally, I use the Standard brush with the stroke on DragRect to spread some pores and very fine wrinkle alphas all over the body. It’s important to look very carefully at how you distribute the size and direction of pores. One thing that’s good to remember during this whole process is that every detail needs to be twice as strong as the other surfaces, because SSS (subsurface scattering) kind of ‘eats’ a large part of it, even with good reflections in the shader. Detailing cloth in ZBrush: Clothes are 02 usually tricky to make. You’ll see a lot of artists using different workflows nowadays in order to avoid having to sculpt folds and wrinkles, but not all of them are very practical and production-friendly, so I keep with sculpting the old way. The secret for me is to always observe what places in the body inflict more tension on the cloth and try to sculpt all the folds coming from those spots. The result is always some kind of generic but believable fabric behavior over the body. If the character’s clothes are too loose and hanging from the body, I usually pose the base mesh first and then sculpt the folds according to the pose, but in this case, the generic cloth over the body will work fine, even in more extreme poses. The stitches are all made using the stitch brush with the alphas shown in the picture. Exporting Maps from ZBrush: I 03 see a lot of people discussing correct displacement map exporting in ZBrush, and I’ll show you what I’ve found to be the best workflow regarding quality and rendering speed. 53
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