Making of Guerriero

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Concept For my concept on this character I just wanted to do a mix of a Gears of War/Unreal and Starcraft. I had a basic idea in my head when I began modeling the character. As I went along I changed and added things to the character. I implemented ideas into the model that were interesting to me from various characters I see in games today. I had to keep in mind that what I chose to put on the character had to be consistent throughout the entire thing. Right from the beginning I wanted to create a segmented character. A segmented character means that the character is made up of several different objects. This means that both the arms are combined to make one object. Both boots are one object. The thighs are one object. The torso is also a separate object and lastly the head is a separate object, and the shoulder pads are separate as well. The entire character is made up of 6 separate objects. Name Choice For those who don’t know Italian, the word Guerriero is an Italian word that means “Warrior”. I’m Italian and I wanted to give him a strong Italian name and that’s why I choose it. I like to use Italian words for several of my art pieces.

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Modeling the Head I used the plane by plane/edge extruding technique to model the head. I modeled the head in 3ds max. I wanted to keep the head around 1200 polygons and keep it in quads as well. I did this so when I subdivided in Zbrush the divisions were more even, rather than subdividing tris. I try to stay away from subdividing any tris in Zbrush. In the past I’ve had problems with tris. The head of the character is based off of Dominic Purcell. He is the older brother in the tv series Prison Break. I liked he facial structure. I used reference pictures of him to model my head in max. Sculpting the Head When I sculpted the head I first laid out the form in the first level of subdivision. I used a black and white image similar to a bump map to mask out areas on the head to apply deformation to the head. I used this to create facial hair, the eye brows, and the hair. Modeling the Body At this stage I began blocking out the models main volume and forms. I used a base human model I had for reference on the proportions. I modeled this character in 3ds Max. I used a mix of box modeling and plane by plane modeling. I constantly checked the characters silhouette to make sure the bulkiness and weight were staying consistent throughout the entire character. To do this I just added a flat black standard shader to the character and made the self-illumination 100% black. Since this was a game character I set my poly limit roughly around 10,000 give or take a thousand. A couple characters in the new Unreal are around 15,000 but the majority is around 10,000. I ended up with 5,324 polys, which is 9,948 tris. Considering this is a game character, every poly is important. For example if you look at the arms on the character, they are one solid piece. There are no elements within the object. You can look at the picture and see the armor is built right off of the arm. This is a bit difficult because if I were to make a high poly character I would build the arm separate and then build the armor around it. Since its one piece, the edge flow of the polys is very important

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Sculpting Body Parts When I sculpted I tried to keep things simple. I worked from the lowest subdivisions to the highest. I sculpted one level at a time making my largest deformations at the lowest subdivision. I didn’t do too much high poly sculpting on this character. My theory is to use Nvidia’s normal map generator in Photohut (Photoshop) for any details that are thinner than a quarter of an inch. I did however sculpt wrinkles in the pants, some muscles in the arms, and mud on the boots. Texturing the Head When I went to texture the head I tried a few different techniques that would make seem painting easier. I laid out my basic colors in Zbrush first. Secondly I added color variation to the face using random colors and the noise filter in photohut. I kept it pretty basic and let the normal maps do their job. I used photos for reference on the facial hair. I was very pleased with the results. I textured the head and marked where I wanted to wrinkles and crows feet in photohut. Then I changed the colored image into a black and white image and used the intensity of it to create a mask in Zbrush, and from there I made my deformations. I did this to make texturing line up perfectly with the normal mapping. Again at this stage I used reference pictures of Dominic Purcell to texture the head. However I stayed away from projecting or baking any real pictures into my texture maps. I tried to stay away from that because for this project I wanted to hand paint the entire face texture. In return I found it was a lot quicker and easier then using pieces of real photos to texture. I did not hxxe to worry about matching color values and lighting. Each way has it advantages and disadvantages though. The eyes were textured using a simple image with a few photohut tweaks, nothing to drastic. I used the normal map to make an additional bump and spec maps. I just desaturated the image and tweaked its levels. For the hair and facial hair I created 3 photoshop brushes. The first one was very dark and was the xxallest in size in the shape of a dot. The second was larger and in the shape of a blade of grass. The third was also the shape of a blade of grass but thicker. All the brushes colors were variations of brown.

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Texturing the Body/Armour When it came to texturing the armour I first laid out my color scheme, which was blue, orange, yellow, and black. I ended up hxxing around 300 layers in photohut, I like to keep everything as separate as possible because it lexxes me more control to go back and change things. It also makes it easier for me to create spec maps, bump maps, and generate normal maps. Everything was hand painted on the character. I used photos for reference on the mud. But I ended up creating brushes to simulate the mud. I used three different values of brown to create the layered look of mud. For the gloves I used a honeycomb pattern. Once I finished up laying down all my colors I placed all those layers into a folder in the layer manager. Under that folder I created a metal texture. Then applied a mask to that folder and colored the mask that would reveal the metal texture underneath it. By doing this, it helped to achieve the metal-layered look, also to give the look of chipped metal paint. I also baked my ambient occlusion map into my texture for the armour. I created a luminance map to give the glow effect on the lights. The entire character is textured using only 2 texture maps at 2048 x 2048. The first map has the entire body texture and shoulder armor on it. Then second texture map has the head and eyes on it.

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Posing, Lighting and Rendering After rigging and skinning the character I posed him in a relaxed pose and placed him on a basic statue base. (platform) The lighting is made up of a total of 6 lights. I used default scanline for my renders. I used Mental Ray for a few other renders, along with Final Gather. Most of the lights were used for rim lighting and a few were used for fill lights

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Conclusion Well thanks for reading my Making of Guerriero. I’ve learned a lot from this project. I’ve acquired a better understanding of the use of polys and where those polys are used. I also got a better understanding of what should be modeled and what should be put in the texturing. In the end I had a lot of fun creating this character from beginning to end and I learned a lot doing it. This was a game character I’ve created for the Unreal Engine. I’ve rigged and skinned the character as well. You can check out my webpage to see in game renders of the character. Thanks for reading. Thanks CGArena for providing me and many others with great resources. If anyone hxxe any questions be sure to email me.

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