In Art Spotlight, we invite Sketchfab artists to talk about one of their designs.
Hey everyone! My name is Henry Rietra. I’m a Brazilian 3D artist passionate about everything related to 3D. I am living in Abu Dhabi working with Hybrid Humans game studio. I specialize in modeling and lighting. I have worked in several areas previously, in architectural visualization, advertising, TV animated series and now I’m focusing on 3D game art. I’m here to show the processes behind my diorama of “Snail Fantasy World”. I hope you enjoy it!
Inspiration and References
he snail came from being inspired by the art of Ali Cheneari. I loved the way he represented this animal, so I decided to do something similar.
Before I start something, I always look for some references on the Internet, from simple drawings to something more realistic. I like to mix the real with the cartoon and I always try to do this on my personal projects.
My first attempt was to create an old snail living in the old west, a “cowboy snail”, if you will.
However, I was not satisfied with the results because it looked strange, so I decided to simplify it and make it more like a normal snail but without losing the charisma of the character.
In 3ds Max, I created a simple base mesh for the shell and the body and inside ZBrush, I started to sculpt the details.
After finishing the model in high resolution. I used the ZBrush retopology tool (ZRemesher) to create a low poly version of the snail’s mesh. So, I imported the low poly mesh for UV mapping in 3DS Max, then with the objects mapped (eyes, body, and shell), I took it to Substance Painter for texturing.
In Substance Painter, I used the PBR-spec-gloss template, then I imported the low mesh into the software and baked it using the high poly mesh of the models. This process is to create the maps to ease the painting process, then with this maps, I can now easily use the magic tools of Substance Painter.
Normally I use a fill layer with a color, then I apply a black mask on this layer and use a Smart mask into this mask. I can customize the texture as I want. So, I have the control of color and material adjustments (specular, glossiness, height). Now, I just created some layers by mixing them and some manual retouching and the texture is ready.
The base mesh was created and mapped in 3DS Max and detailed in ZBrush. Following a similar process of the snail character, only the model of the plant was done with a script in Max (Vegetation Maker).
To texture this assets I followed the same process of the snail character using Substance Painter.
Posing and Composition
For the face expressions I created some morph meshes, then I adjusted it as I liked in the scene.
To pose the snail, I rigged the character using CAT system of 3DS Max, that way I can have more control to adjust the character.
Scene adjusted and in the pose, I created a variation of colors to break the artificiality of the nature of the scene. I returned to Substance Painter and with some simple adjustments, I made color variations.
To give a fantasy atmosphere in the scene I used some internal particles of 3DS Max, using the SuperSpray system and the Snapshot tool to create a static mesh of this particles.
I uploaded the finished model and using the light of three spots of Sketchfab standard lights, I reached the lighting that I wanted to the scene, and with the help of the post-processing filters, it brought more life and brightness to the scene.
For the creation of the thumbnail, I used the SketchFab guidelines to follow the rule of thirds.
Thank you, SketchFab team for support 3D art and for developing this amazing outreach tool that freely available to us artists. Easy social sharing, compatibility with mobile phones and tablets, and what is more exciting is the possibility of visualization in virtual reality. You are awesome guys! And thank you for giving me the space to show my work!
Thanks for your attention guys, I hope you liked it and feel free to contact me or add on Facebook!