Making of Wolverine

“Making of Wolverine ” by Vikram

Next came the most uninteresting, yet a very important part, the UV’s. I wanted to make sure there is absolutely no stretching in the UV’s, so I layed out the Uv’s in max, and exported the obj to headus UV layout to match texel density, and brought them back to max. The model has two id’s, one for the head, the jacket and the claws, and another for the rest. Since the head is the area of focus in all models, I gave it more UV space for better detailing. One tip to keep in mind when laying out UV’s for games is to avoid overlaps. Overlaps tend to create problems in the normal map generation process. Overlaps can be done in places where it’s unavoidable. In this case, I overlapped small objects like buttons, claws etc.  The more time you spend on UV’s, the lesser you have to worry about stretches in the end.
 

 

According to me, this is the most enjoyable part of an asset creation and the part where an artist can show his true abilities. Having a lot of references will help you a lot in detailing. I downloaded a lot of anatomy references from www.3d.sk, and started detailing Wolverine. I sculpted the entire body first, and kept conducting tests side by side to check out the amount of detail that a normal map can accommodate. Here are some snapshots from zbrush.This kind of anatomy made him tougher and more “WOLVERINE”
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I exported the lowest level mesh from zbrush, and used it as the final mesh file in max. When working on a project or a pipeline though, the low res mesh would often be taken for rigging or some other purposes. The low res mesh would be finalized before the detailing phase in these cases. So the morph target button helps a greats deal in this situation. The original low res mesh can be reverted back using this button, and then the normal map generation process can be done with this as the lowest sub-d level. 

     

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