Now we can make the displace map. In the ‘Tool’ mark we move on to the ‘Displacement’ and, with the ‘Adaptive’ and ‘Displace mode’ buttons highlighted, we click on ‘Create DispMap’. Now the ZBrush generates the map, depending on the speed of your computer. When this is done, the displace map is stored in the ‘Alpha’ mark. We export it and rotate vertically (‘Flip Vertical’), and then proceed to paint the texture. Here I used several samples, pre-prepared in Photoshop - these are parts of photos of several faces. The texture creation, just as the painting of the facial irregularities was done, is done with the help of the Projection Master. The difference now is that we tick the ‘Colour’ and ‘Fade’ options, deactivating all the others. I use the ‘directional brush’ with any alpha and ‘DragRect’. The parts of the photos are loaded to the ‘Textures’ slot. In the centre of the interface I deactivate the ‘add’ option and leave only the ‘RGB’ button highlighted, adapting its intensity to current needs. This is repeated several times, exiting the PM and rotating the object in order to obtain a different view. When the whole texture is ready we export it, obviously rotating it vertically (‘FlipVert’). I make several sample renderings, and then export the object from the lowest thickness level to the ‘.*.obj.’ format (Fig.05 to Fig.11).

3ds Max

Having imported the object, I set the figure in the desired pose, using the biped bones. The shirt of our figure remains to be modelled. It is created from the figure mesh, by copying appropriate polygons and modelling the collar. We map and set the shader. I copy the ‘skin’ modifier for the shirt, dragging it from the stack straight onto the object. In order to generate the hair, I copied several polygons from which the hair was to grow. In the ‘properties’ panel I switch off the ‘renderable’ option and the object becomes invisible during the rendering. Now only the lights and rendering remain to be set. I used three ‘vray’ lights and to gain better control over the picture, I split it into several elements while rendering (‘diffuse’, ‘specular’, ‘colour’, etc.). These layers will be used to create the composition in Photoshop (Fig.12-16).

 

 

 Photoshop

The last phase of the work is composing the renderings in Photoshop. Where any errors appeared, I corrected them using the ‘stamp clone’ tools. I retouched some of the hair, using other photos as reference. For the background, I chose a picture taken during a trip to Budapest. The focus depth was simulated by means of the ‘lens blur’ filter, and through creating a suitable mask. Finally, I applied the ‘photo’ filter to the whole picture, which made the colours seem colder.