I'll often find that even after trying several times it doesn't end up as cool as I imagined it would be, but it's good to have some options in mind and test until you feel satisfied about the result. The character was retopologized using ZRemesher Step 5: Textures and MaterialsĪs I had already searched for and found references at the beginning of this project, I already had something in mind about what to use. After the mapping was finished, I added the final details and made final adjustments in ZBrush. I then passed it back into 3ds Max to map. When I thought the mass and volume of the sculpture were the way I wanted, I began retopologizing the mesh using ZRemesher on each item (without worrying about edge loops and animation).

At this point, I really started to see the general shape and atmosphere of the project better, and was glad to see the character become more real.Įmerson's model started to gain a distinct character Step 4: Retopology This shows the simple blocked 3D base Step 3: SculptĪfter I made the base mesh in 3ds Max, I began the sculpture in ZBrush.

In this project, my base ended up by being very simple, so I could see good balance and proportion between elements. I use the symmetry as much as I can and then I make the pose, so I don't need to worry about setting up a rig. The original 2D sketch by Edil Araújo Step 2: Base MeshĮvery time I create a 3D illustration, I make the base mesh in 3ds Max. With his 2D concept in my hands, I analyzed and searched for references that would help me determined the types of textures I would work with.

It all begins with choosing the concept, and this time I chose a concept made by the great artist Edil Araújo from Ilustractor Studio. The Counterattack Emerson Silva takes us through the processes behind his creation, The Counterattack, inspired by Illustractor Studio artist Edil Araújo.

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