That's why I think the retopology phase is one of the most important steps to pay attention and not rush it.Īfter the UVs are ready, I imported those meshes with UVs to ZBrush and started the detailing process. If you plan the retopology you're not going to have any problems to unfold them. I exported a decimated version of the mesh from ZBrush to Maya, and using the Quad Draw I started to recreate the surface of the mesh on top of the decimated version.Īfter I finished the retopology of the entire character, I used Maya to unfold the UVs. Once I'm happy with the character in general, it's time to do the retopology, some people are used to use zremesher but my personal preference is to do it all by hand, this way I have total control on how the quads will be distributed over the mesh. Quick Tip: in Marvelous Designer it is always good to work with layers, this way your garment will be more organized and the simulation will be more successful avoiding artifacts. Once I'm happy with the base, I clone the pattern and paste it as a second layer of fabric, decreasing the particle distance and adjusting the shrinkage value to a number higher than the first layer of fabric. The measurements must match to each other so when you simulate the cloth, you will not get a weird looking stretched fabric. The key to achieving good-looking clothing in Marvelous Designer is to see how real garments are sewed together.
CREATING GAME CHARACTERS WITH 3DS MAX 2011 AND ZBRUSH 4 SOFTWARE
I decided to experiment with Marvelous Designer and see if I could use the software in my favor to extract a very solid base for the clothing. For the accessories such as belts, chains, lamp and other small features, I poly modeled in Maya.
At this point, I'm not concerned about details. The method that I use here is very simple, basically masking, extract, move and zremeshing.
When I'm satisfied with the base mesh, I jump into the secondary elements such as the clothing and accessories. Do not rush this step, take your time and it is always good to check your silhouette in a solid color, this way you will not be distracted by the details. I used a base model from ZBrush and with the move tool and Clay Buildup brush, I started to pose the model until I get a nice silhouette that matches with the posture of the concept art. In this step we are going to start blocking a base mesh for the character. Here for example, as you can see in the concept art, the character is covered by clothing, so take your time to analyze the various types of materials to collect the right references. Gathering references is one of the most important steps of any creative process in this case we are going to look at some real photographs that will help us to reproduce a believable representation of the concept art. The character is based on the concept art by Boris Rogozin. I've been doing 3D art for about one year and a half now, and in this making of I'm going to take you through the process that I use to create a 3D character that could be used for animation. Hello everyone, my name is Michael Robson and I'm a 3D artist living in Curitiba, Brazil.