![]() ![]() I treated this sculpt as a prototype to build my hair cards over.Īll the hair cards are hand placed in 3ds Max. At this stage, I’m able to iterate and drastically change the hair style. It allows me to focus on silhouette, volume, and flow with easy-to-use tools. It helps give me a better idea of the look I’m searching for as I study and try to reproduce what I see in my reference images. I always start making hair with a quick sculpt in Zbrush. As I studied my reference, I tried to identify how much variation I’ll need on my texture and how I would organize it. This method was especially useful for making a braid. At this point, I study my reference and trace over it with color to better understand where the strands start and finish, how they interact with each other, and the general flow of the hairs. Having reference from different angles helped a lot. I gathered as much reference as I could to better define the look that I wanted. For this character, I wanted thick, messy braid with lots of flyaways loosely wrapping around her shoulder. ![]() It’s even more important with hair creation, as it can be pretty complex to comprehend. When it comes to creating art, studying reference is essential. In this article, I will break down several aspects of my piece, -Sorceress-, including hair creation, lighting and presentation of the final renders using Toolbag. I am currently living in Montreal and looking for new career opportunities. I’ve spent the last 7 years working for Asobo Studio on amazing projects such as HoloLens: Fragments, and most recently on A Plague Tales: Innocence. I have been working as a character modeler in the games industry since 2010. Hello, my name is Emmanuel Lecouturier, and I am a self-taught French artist. ![]()
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