How to Make a Viking Warrior in Maya and ZBrush(1)
Fox Renderfarm, the best CPU and GPU cloud rendering service provider, will bring you a tutorial about how to make a Viking Warrior in Maya and ZBrush from 3D Character Artist Yuyong Jie. In the following production, he'll show you how to use ZBrush and Maya to make a Viking-style female warrior. The main process is divided into several parts, including finding references, modeling, baking and texturing, and light rendering.
Reference and modeling
I looked for a lot of concept maps on the internet and finally decided on one of them. Then follow the concept map to find different references, such as a large number of references to bodies, clothing, Armor, etc. I think these references are very useful.
I then found a basic female model of ZBrush, which can also be carved directly into ZBrush, of course, but using the basic model modification saved me a lot of time. After adjusting the scale and structure, I copied a copy of the model, and to save the number of faces, I deleted the parts that were blocked by the clothes. Keep the original model and use it to do MarvelousDesigne's cloth solving and build equipment.
When I carve the model, I carve the face and other exposed parts in detail. The difficulty of this part is mainly the muscle structure. In addition, I can carve the outline of the hair as a guide to making the hairstyle. After making sure the character's image is consistent with the concept map, I import the model with the lowest number of faces into Maya, split the UVs, and then import it into ZBrush, without changing the model. And all the subdivisions are there, and the technology adds the subdivision to the model with the split UVs, ready for the skin texture projection later.
Next, I started to prepare to project the XYZ skin texture map in ZBrush. First, I created a rectangular patch in Maya with the aspect ratio close to the XYZ texture map that needs to be projected. Then I imported the patch into ZBrush and used the ZWrap plug-in. Carry out the topology and have completed the UV model, and then paste the XYZ displacement map on the model Topological with the ZWrap plug-in of ZBrush just now, and then use the ZWrap plug-in of ZBrush to transfer the textures on the topological model to the original model and export Stickers. Finally, link the MAP to the displacement map, and use the skin texture Alpha for the details of the hands and legs.
Adjusting the number of model faces
I finished the details of my face, hands, legs, etc., And then began to work on Armor accessories and clothing. First, I'll make a medium-polygon model in Maya, and then import it into ZBrush to carve. The medium polygon model is mainly to make the main concave-convex structure out, and then add lines appropriately, or directly reduce the subdivision to get a relatively matched low polygon model, and properly arrange the model to make the lines more reasonable and the matching degree better.
Once a polygon model with a medium number of faces is made, we can deeply sculpt the model. For part of the metal pattern, I use pattern Alpha production, first, reduce the model subdivision export split UV, and then use Photoshop to align Alpha to UV, paying attention to the head and tail of the pattern connection. Then import the split UV model into ZBrush, then use the Alpha mask, and then expand the height to get the pattern effect.
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