![]() ![]() ![]() ![]() To create my reflection map, I exported my model to Substance Painter to bake an ambient occlusion map, and I used the exported AO Map as a Reflection Map in Maya. When I created the Diffuse Map, I first painted on my model by using Albedo texture in Mari, and used various textures and Mask Map to improve the detail of diffuse colour. I adjusted the SSS Radius to control the intensity of the SSS color. I wanted to express the red SSS color more strongly in the ears, mouth and eyes, and did so by creating a mask map in Mari and connecting the mask map to the weight of SSS2 to create a region to mix with SSS2. In my case, I was able to express the overall skin texture by mixing SSS1 and SSS3 in the face model. Alsurface has three levels of depth map, and each level has a weight control to mix different colors of SSS. In Alsurface, the diffuse Lambert colour is defined in the same map as diffuse. In the coming paragraphs, I will explain how I worked with Displacement map, Normal map, Diffuse map, and more. I worked with Varian using nodes differently than how I approached Durotan. I tried to make the scars look as realistic as possible by using actual photo references as well. The pores and face wrinkles were created similar to what may be expected of a man in his forties. I also referenced Varian fan art and the Blizzard cinematic Video. I sculpted the face in ZBrush with references from anatomy books. Lastly, I made a topology on the modeling of patterned scales armor, dividing the topology to a high polygon, and then working on the project from there. In my experience, if you set the values as shown in the image below, a better model will come out. I then set the Nanomesh option for patterned objects to be placed naturally. ![]() Using ZModeler's insert brush on the body-based topology model, I created the scales to be repeated. To create armour that needed a pattern, I made a body-based topology model and a scale-model that was used as a repeating pattern. When creating ornaments on the armour, at first I used curves and curve warps in Maya.Īfter that, I sent the objects in Maya to the ZBrush to create more detailed shapes and I expressed scratch and damage descriptions. Using the same process I described in Part 1 of my workflow, I created armour and other props using ZBrush and Maya together. In Part 2, Tyler shares with us how to create iconic World of Warcraft characters using ZBrush. A recent graduate from the SF Film School, Tyler realised very early on he wanted to work in the entertainment industry and now he is realising his dreams. When Korean born Tyler Lee was younger, watching movies like The Avengers, Transformers, and Terminator, inspired him to seek out the knowledge to make the visual effects that made him love those movies so much. ![]()
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