Gothic Church

Interior Creation Tutorial eBook

Chapter 01 page 03 - 28
Modelling the Interior

Chapter 02 page 29 - 37
Sculpting a Gargoyle in ZBrush

Chapter 03 page 38 - 58
Texturing

Chapter 04 page 59 - 67
Lighting & Rendering

Chapter 05 page 68 - 76
Post-Production in Photoshop

You can find these free

items in the resources folder
that accompanies this pdf.

- Free Gargoyle Model

- 51 FREE Total Textures
- Render Passes
- 75min of Downloadable movies

Chapter 1
Modelling the Interior

This tutorial will outline some of the prominent

approaches to building the church interior.
We will cover some of the key methods and
modifiers responsible for creating the scene and
core geometry.

Chapter 1: Modelling the Interior

Gothic Church Interior Creation

Fig 01

Created In:
3ds Max

Chapter 1
In this first part of the tutorial well take care of
all the modelling tasks, and well end up having
all the geometric elements ready for texturing in
the next part.
Lets start by creating a new arc shape (Fig.01).
Set Creation Method to Center-End-End, then
click and drag to create the arc itself.

Fig 02

Switch to the Spline sub-object mode, select the

spline that composes the arc, enable the Copy
option and click on the Mirror vertical button
(Fig.02).

Enable the 3D Snap icon (make sure that its set

Fig 03

to Vertex) and use it to move one half exactly

next to the other, as shown in Fig.03. Make sure
that the top vertices are perfectly overlapped.
Once youre done, disable the 3D Snap.

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Chapter 1

Gothic Church Interior Creation Chapter 1: Modelling the Interior

Fig 04

Select both the vertices and then Fuse and

Weld them; in this way the two splines will
become one, and well have our Gothic art
prototype (Fig.04).

Fig 05

Fig 06

Go to the Hierarchy tab and centre the pivot to

the arc object (Fig.05).

Use the Extrude modifier (which can be found in

the Modifiers List) to create a mesh from the arc
spline (Fig.06).

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Chapter 1

Chapter 1: Modelling the Interior

Once again, align the pivot to the centre of the

Gothic Church Interior Creation

Fig 07

mesh (Fig.07).

Convert the extrude mesh to Editable Poly.

Enable the Angle Snap, create a copy of the

Fig 08

arc mesh and rotate it by exactly 90 degrees

(Fig.08). The two meshes must be perfectly
overlapping in their centres.

Select one of the meshes and apply a Pro

Boolean operator (you can find it in the Create

Fig 09

> Compound Objects menu). Click on the

Start Picking button and select the second
mesh. Make sure that Operation is set to Union
(Fig.09).

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Chapter 1

Gothic Church Interior Creation Chapter 1: Modelling the Interior

Fig 10

Once the meshes are put together by the

boolean operation, its time to clean up some
unnecessary vertices all over the junctions.
Select the vertices marked by red circles in
Fig.10 and then click on the Remove button to
delete them.

Fig 11

Repeat this last operation all over the mesh,

anywhere you see vertices in the middle of
polygons. You should end up with a cleaned
mesh before you can continue. Now select all
the polygons, set the Auto Smooth value to 30
and click on the Auto Smooth button (Fig.11).
This will give the mesh a more precise shading.

Fig 12

Select all the edges marked in red in Fig.12 and

use the Create Shape From Selection tool to
extract a spline from the selection.

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Chapter 1

Chapter 1: Modelling the Interior

Now create a new star shape, like the one in

Gothic Church Interior Creation

Fig 13

Fig.13.

Make it an Editable Spline, select all the external

vertices and make them Smooth (right click on

Fig 14

them and choose Smooth) (Fig.14).

Select the spline you extracted earlier from

the arc mesh and create a new Loft using the

Fig 15

star as the shape (Fig.15). If needed, you can

scale the shape sub-object for the loft to set the
correct size of the mesh.

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Chapter 1

Gothic Church Interior Creation Chapter 1: Modelling the Interior

Fig 16

With the Angle Snap still enabled, duplicate and

rotate the loft mesh three more times, until you
fill all the arcs, as shown in Fig.16.

Fig 17

Now create a new Cylinder mesh, scale it down

to fit it in the arcs centre and detail it using the
Inset and Extrude operators (Fig.17).

Fig 18

Use the same technique as before to extract

the north arc spline, and then create a new Loft
object using the star shape (Fig.18).

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Chapter 1

Chapter 1: Modelling the Interior

Select and duplicate the arc mesh five times

Gothic Church Interior Creation

Fig 19

(Fig.19).

Duplicate all the inner arcs (except for the north

arch loft) and use the Align tool (Ctrl + A) to

Fig 20

perfectly align everything in place (Fig.20).

Dont forget to align the central cylinders,

too (Fig.21). Select the north arc spline you

Fig 21

extracted earlier and create a copy of it.

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Chapter 1

Gothic Church Interior Creation Chapter 1: Modelling the Interior

Fig 22

Use the Extrude modifier on one of the spline

copies to extend the northern arc outside
(Fig.22).

Fig 23

Select the other copy of the spline, connect

the two bottom vertices and convert the spline
to Editable Poly, to create a cap for the arc
(Fig.23).

Fig 24

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Page 11

Duplicate and rotate this new mesh for all the

other side arcs (Fig.24).

Chapter 1

Chapter 1: Modelling the Interior

Repeat the operation to fill the arcs on the other

Gothic Church Interior Creation

Fig 25

side (Fig.25).

Create a copy of the arc mesh and place it

down, as shown in Fig.26.

Use the Align tool to position it exactly as shown

in Fig.27. It must be aligned to the upper arc.

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Fig 26

Fig 27

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Chapter 1

Gothic Church Interior Creation Chapter 1: Modelling the Interior

Fig 28

Select half of the arc contour and extrude the

edges outwards (Fig.28).

Fig 29

Delete half of the arc (the one you did not

extruded), duplicate the extruded side and
mirror it. Use the 3D Snap to put the two halves
together again, and weld the vertices in the
middle (Fig.29).

Fig 30

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Page 13

Duplicate this new mesh for every other upper

arc (Fig.30).

Chapter 1

Chapter 1: Modelling the Interior

Now duplicate and position all the outer arcs, as

Gothic Church Interior Creation

Fig 31

shown in Fig.31.

Repeat these steps for the other side as well

(Fig.32).

Select the northern arc loft you created earlier

(Fig.33).

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Fig 32

Fig 33

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Chapter 1

Gothic Church Interior Creation Chapter 1: Modelling the Interior

Fig 34

Duplicate, rotate and position it for all the other

flat walls weve just created. Make sure that you
do it for both sides of the church (Fig.34).

Fig 35

Fig 36

Duplicate and position the closing arc for the

side part (Fig.35).

Create an inner arc (you can obtain it by

duplicating the closing arc, and scaling it down
as seen in Fig.36) and extrude it.

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Chapter 1

Chapter 1: Modelling the Interior

Use the ProBoolean tool to subtract this arc

Gothic Church Interior Creation

Fig 37

from the bigger one (Fig.37).

Select the lower edge and extrude it down

(Fig.38). This edge should be extruded all the

Fig 38

way down to the floor of the church.

Duplicate this new mesh for all the other arcs on

the left side of the church. Use the Align tool and

Fig 39

the 3D Snap to perfectly align the new meshes

to the arcs (Fig.39).

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Chapter 1

Gothic Church Interior Creation Chapter 1: Modelling the Interior

Fig 40

Repeat these steps for the right side, too, then

create a closing arc for the back side of the
church (Fig.40).

Fig 41

Now lets take care of the pillars. As you can

see in Fig.41, the pillar was obtained using
the same techniques weve seen before. The
top part is just a box with a good amount of
subdivisions; then the Taper modifier was used
to give the mesh that shape. The middle part
was made with the extrusion of a shape. The
bottom mesh was created using a spline and the
Lathe modifier.

Fig 42

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Page 17

Duplicate the pillar and position the new copies,

as shown in Fig.42.

Chapter 1

Chapter 1: Modelling the Interior

Create some more pillars and position them just

Gothic Church Interior Creation

Fig 43

below the top arcs (Fig.43).

Duplicate the pillars for the other side of the

church (Fig.44).

Create some more pillars for the back side

(Fig.45).

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Fig 44

Fig 45

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Chapter 1

Gothic Church Interior Creation Chapter 1: Modelling the Interior

Fig 46

Duplicate one of the top objects from the pillar.

Select and delete the polygons, as shown in
Fig.46, so you have just one quarter of the
entire mesh.

Fig 47

Fig 48

Do the same with the middle part of the pillar

(Fig.47).

Put the two meshes together and scale them

down. Position this new pillar, as shown in
Fig.48. Make sure to perfectly fill the gap.

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Chapter 1

Chapter 1: Modelling the Interior

Duplicate and mirror the new pillar and position

Gothic Church Interior Creation

Fig 49

it on the other side of the arc, filling the other

gap as well. (Fig.49).

Where two arcs meet, we need to put together

two pillars (Fig.50).

Keep duplicating and positioning the pillars in

the top part of the church (Fig.51).

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Fig 50

Fig 51

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Chapter 1

Gothic Church Interior Creation Chapter 1: Modelling the Interior

Fig 52

Duplicate and extrude the northern arc. We

need it to create the main window (Fig.52).

Fig 53

Fig 54

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Page 21

Use the ProBoolean tool just like earlier, to

create the window (Fig.53).

Extrude the bottom edge all the way down to the

floor (Fig.54).

Chapter 1

Chapter 1: Modelling the Interior

Create some cuts in the mesh just like the ones

Gothic Church Interior Creation

Fig 55

marked in red in Fig.55.

Duplicate/Scale some more arcs, extruding

them just like before (Fig.56).

Once again, use the ProBoolean tool to create

the three minor windows below the big one.

Fig 56

Fig 57

(Fig.57).

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Chapter 1

Gothic Church Interior Creation Chapter 1: Modelling the Interior

Fig 58

Extrude the edges marked in red in Fig.58 all

the way down to the floor. This will create the
side walls.

Fig 59

Fig 60

Create two more closing arcs to close the walls

on the left and right of the northern wall (Fig.59).

Place a new pillar on the left side of the northern

wall, and use it as a reference to create a new
cut in the mesh. Select the resulting polygon
(Fig.60).

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Chapter 1

Chapter 1: Modelling the Interior

Create an extrusion like the one in Fig.61.

Duplicate another small pillar and position it

above the big one (Fig.62).

Select and delete half of the northern arc

(Fig.63), then mirror the remaining half and weld

Gothic Church Interior Creation

Fig 61

Fig 62

Fig 63

the vertices in the middle.

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Chapter 1

Gothic Church Interior Creation Chapter 1: Modelling the Interior

Fig 64

Duplicate the two pillars on the other side

(Fig.64).

Fig 65

Create a new plane for the altar. Cut it like

shown in Fig.65 and extrude the central edge
six times. Well use this mesh to create the stair
steps.

Fig 66

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Page 25

Extrude the steps as you can see in Fig.66.

Chapter 1

Chapter 1: Modelling the Interior

Create a big planar mesh for the floor (Fig.67).

Now we can concentrate on the altar part.

Select the mesh you created earlier and hide

Gothic Church Interior Creation

Fig 67

Fig 68

everything else (Fig.68).

In Fig.69 you can see the complete altar mesh.

Its really simple: most of all, its composed by

Fig 69

box meshes of various sizes.

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Chapter 1

Gothic Church Interior Creation Chapter 1: Modelling the Interior

Fig 70

The circular friezes were obtained as usual with

ProBoolean, subtracting an extruded shape from
a box. Then the resulting mesh was cut and
some inner extrusions were created (Fig.70).

Fig 71

The meshes marked in red in Fig.71 were made

by simple splines with a thickness (you can set it
in the Rendering tab of the Edit Spline modifier).
Then they were converted to Editable Polygons.

Fig 72

The same goes for the windows: they were

subtracted from the box with a ProBoolean
operation, and then the frame was created by
renderable splines converted to Editable Polys
(Fig.72).

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Chapter 1

Chapter 1: Modelling the Interior

Half of the altar was created, then duplicated

Gothic Church Interior Creation

Fig 73

and mirrored for the other side (Fig.73).

Once the altar is done, we can import the

gargoyle mesh into the scene (Fig.74).

Fig 74

Scale it down if needed (in case the scene size

is different) and position it as shown in Fig.75,
exactly over the second pillar on the right side of
the church.

Fig 75

In the next part of the tutorial well create the

texture set for this scene.

Gothic Church
Interior Creation

Chapter 1: Modelling the Interior

Luciano Iurino
For more from this artist visit:
http://www.pmstudios.it
Or contact:
iuri@pmstudios.it

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Page 28

Chapter 1

Chapter 2

Sculpting a Gargoyle in ZBrush

Will focus on the creation of the gargoyle
which will be mounted on one of the columns.
This tutorial will orientate around ZBrush and
its powerful sculpting tools and show how
a detailed model can evolve from simple
ZSpheres.

Chapter 2: Sculpting a Gargoyle in ZBrush

Gothic Church Interior Creation

Created In:
ZBrush

Introduction
For my portion of this multi-artist effort, I was
called upon to produce a tutorial that explained
how to create a high quality gargoyle that
would grace the side of one of the columns in
the architectural scene. When I first looked at
the concept art provided by Richard Tilbury, I
was instantly excited because of the style and
emotion he wanted to convey with the sculpture
and overall scene. I recognised right away that
this was going to be a big anatomy exercise
and it was going to further my knowledge of
musculature and inherent forms. The legs and

with and not have to worry about creating it in

topology so that it subdivides more cleanly. I

feet especially would prove to take a bit more

3ds Max. So start by selecting ZSphere in

tried adding some eyes and a mouth at this

research and caution because of the pose. I

the Tools rollout, turn on X-axis symmetry, and

point, but I wasnt satisfied with the results so

really wanted to keep this sculpture entirely in

start drawing the ZSphere on the canvas. Then

lets just carve that in later on instead, and

ZBrush so I could keep it free-flowing and to

simply click and drag on more ZSpheres to add

maybe do some retopologization too.

hone my own production pipeline.

more topology and extrude appendages. By

using move, rotate, and scale, we can move

Once youre happy with the ZSphere layout,

To make things easier, I decided to separate the

these new ZSpheres around and flush out the

click on Make Adaptive Skin and it will crank

project into several phases. Lets get started!

design very quickly. To add more, go back to

out another ZTool in the Tools rollout (Fig.01).

ZSpheres
Free movie 01 download here

the draw mode. To check the skin thats being

created, hit the A key and get a quick preview

Rough Blocking

of where the sculpt is going.

Free movie 02 download here

Using ZSpheres allows us to quickly mock up

So after quickly laying in the basic joints (dont

With the new ZTool, subdivide it a few times

the form of the whole body and to give every

forget about those clavicles!), add some extra

and then go back down to the lowest level of

part of the sculpture some topology to work

ZSphere joints in between to give it enough

subdivision and start the rough blocking phase.

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Chapter 2

Gothic Church Interior Creation Chapter 2: Sculpting a Gargoyle in ZBrush

In this phase, the design, form, and silhouette
are the only priorities. Using mainly the Move
and Clay brushes, push and pull the major lines
and flow of the sculpt as you further define the
model to match the art. To make the work flow
more easily, clean up the polygroups on the
model so you can isolate the main parts of the
model. This way you can get under those arms,
or focus only on the face for a moment. Its also
great for creating quick masks of a certain part
of the body.
So as you block out the forms, keep adjusting
the lines of action so the pose fits right and feels
weighted correctly. The pose is rather unique
so it might take some fudging to get it right. Its
important to spend plenty of time on this part of
the project because if its wrong then we end
up having to try and fix it later, when were just
trying to detail things out.
Once all of the major areas of his body have
good enough blocking, its time to move onto the
next phase (Fig.02).

Primary Blocking
Free movie 03 download here
In this session, work an iteration up and start
laying in more structural elements, like facial

(created by Damien Canderle). Remember to

bone structure and head forms. Start laying in

spend a good amount of time rotating the model

the large muscles with the clay brush and cut

and checking the draft of the forms to make sure

in other features with the Dam standard brush

nothing feels flat (Fig.03)

Upper Body
Blocking
Free movie 04 download here
Continue to lay in more primary forms for
the upper body muscles. I would suggest
exaggerating the transitions and lines of the
muscle at first and then toning them down
later on in the process. Give the hands some
attention as well and start to block in the
individual fingers and thumbs, and cut in palm
muscles and tendons. Hands can be quite
difficult so we will spend a good amount of time
refining then later on in the project.
Extrude the arms, chest, shoulders, back, and
abs using the Clay and Inflate brushes. Its

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Chapter 2

Chapter 2: Sculpting a Gargoyle in ZBrush

Gothic Church Interior Creation

always a good idea to have a couple of anatomy

books open at this point, so you can use them
as references. Decent images of bodybuilders
can also help you to understand how some of
these muscles flex without too much fat in
the way. Theyre also great for vein placement
which well cover later on too (Fig.04).

Lower Body
Blocking
Free movie 05 download here

Now hammer out the flow in the legs and feet

so that all the compressed muscle and mass
works well together. Next start to identify where
the bony marks (called condyles) of the knee
are located and start to attach the muscles and
tendons in a more defined way to those bones.
Separate out where the quads on the top part
of the thighs go and indicate their relation with

watchful to me, so thats what I am going for in

Give the ears some folds in the surrounding

some cuts with the Dam standard brush. Then

this part of the process. So lets start by nudging

skin and add some muscles and striations in

clean all of that up with some Clay brush strokes

the eye sockets, nose, mouth, and ears around

the jaw-line to give him a strong and powerful

and smoothing. Even though you cant see the

until were happy with their location. Use the

look. Use the Dam standard brush to add ribbed

hamstring area, its still important to give it a

Dam standard brush to cut out the lips, nose,

inflations to the ears. Add eyebrow hairs with

bit of work so that the part that bulges outward

ears, and cheeks. The eyeballs are bulged out

the HairBrush_Two brush (created by Fatmir

relates properly to the calf muscles (Fig.05).

with the Magnify brush. Then go over the top

Gjevukaj) and continue adding small details

and bottom parts of the bulge with the Claytubes

along the forehead and temple areas (Fig.06).

Head Refining

or Clay brushes to layer the eyelids on.

At this point, try to give everything on the face

Upper Body
Refining:

This is usually my favourite part of any project:

and head a once-over and then go back and

Free movie 07 download here

defining the facial characteristics of the subject.

continue layering on more detail as you go

It really gives your character its identity, as

along. This way you dont get too attached

At this point in the sculpt, start to add more

well as the emotion thats to be conveyed. This

to any one feature or spend too much time

cuts in the skin to indicate muscle flow. Using

gargoyle happens to look a bit solemn and

detailing something that may change later.

primarily Clay and Dam standard brushes, go

Free movie 06 download here

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Chapter 2

Gothic Church Interior Creation Chapter 2: Sculpting a Gargoyle in ZBrush

along the neck muscles and trapezius to pop

skin overlaps. Of course, remember to keep

Further define the gargoyles bony knee marks

them out a bit more. Then cut some striations

checking your anatomy references to see where

and check the flow of the tendons and muscles

into the clavicles and chest. Refine the abs and

insertions and overlaps take place (Fig.07 -

connected to them. Do some additional muscle

clean up the obliques and serratus muscles.

Fig.09).

cutting and add more skin overlaps. The femur

Add some armpit folds and tension to where his

arms are clinched.
To give a better skin look and break up the

Lower Body
Refining:
Free movie 08 download here

muscle lines, its a good idea to use Claytubes

should have a bit of a curve to it, so check

that both that and the tibia bone have this
characteristic swoop. Finally, separate the feet
via polygroups so that we can work on them
separately.

that go perpendicular to those lines and

The same practice that weve just applied to

connect the muscles with a few strokes. It

the upper body, also applies to the lower body.

Feet Refining:

gives a subtle hint of stretched skin going

Keep referring to your references here so that

Free movie 09 download here

over the muscles. Its also time to focus on the

everything looks more or less believable. Since

arms a bit more by breaking out all the major

everything is compressed and tense in different

Since we havent given a whole lot of attention

muscles and connecting them with some more

places, add more skin folds where appropriate.

to the feet so far, we need to start by refining

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Chapter 2

Chapter 2: Sculpting a Gargoyle in ZBrush

Gothic Church Interior Creation

the ankle bone and muscle relations right off

the bat. Its important to finish off the pose of
the feet so that we can work on the details
expeditiously. So get those references ready!
To pose correctly, its important to have a rough
idea of where each of the toes are, so start by
laying those in, working in somewhat broad
strokes. Then you can start to refine the toes a
bit further.
At this point youll probably find that youre
starting to fight topology and stretchy faces
that you want to try to flatten and work around.
In the end, because youll need clean low res
geometry for the next part of this tutorial, its
probably a good idea to retopologize the feet

that attach to the toes. Then work on the heel

hunk of mass in front of us to work with, start to

later on. So for now, just focus on getting the

a bit and cut in some folds on the skin over the

mold out the basic form of the whole fist.

sculpt working as best you can and then well

Achilles tendon (Fig.10).

look at cleaning up the retopo later on.

Continue by cutting in between toes and adding

Using the Dam standard brush and Clay brush,

Hands Refining:

rough in the fingers and thumb - paying close

Free movie 10 download here

attention to where the thumb should lie across

the index and middle fingers. Then stroke in the

toenails. For the toenails, mask off the skin

areas surrounding the nails and then use the

Again, separate out the hands as another

tendons on the top of the hand, as well as the

Move brush to pull them out a bit. After this

polygroup so that we can quickly isolate them

meaty masses in the palm that bulge and flex

effort, pop out the tendons on top of the feet

while we work. Since we basically have a big

in this fist position. The tricky part is getting the

folds of the skin to look right since theres a lot
of action going on, especially between the index
and thumb, as well as the pinky. This is when
its good to use the Inflate brush.
After cutting in the folds with the Dam standard,
just puff out the skin a bit with the Inflate until
you have the desired bulge effect. Also, pay
attention to where you should be seeing bone
against skin versus where you see bulgy skin
folds and meaty masses. There should be a
lot of tension in the knuckles and the tendons.
The area where the fingers smush together
and press up against the palm should have the
appropriate indication of pressure and energy.
Give the knuckles some wrinkle cuts across
the joints and also sculpt in the thumbnail using
the same technique we used on the toes. Then
take a little bit of time to go over the whole
hand and tweak areas and put in more small

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Gothic Church Interior Creation Chapter 2: Sculpting a Gargoyle in ZBrush

details like wrinkle cuts. At this point, I suggest
you keep checking your work against anatomy
reference, as well as your own left hand
(Fig.11).

Head Detailing:
Free movie 11 download here
Time to add some more details to the head!
Lets add things like crows feet wrinkles next to
the eye, folds across the nose, small muscular
bulges around the mouth, eye bags, forehead
wrinkles, brow definition, and so on.
We havent spent a lot of time on the horn area
yet, so lay in a mask around the horn (holding
the ctrl key), invert it (ctrl key on the canvas),
and then begin to inflate the skin surrounding
the horn. Inverting the mask again, lay in some
cuts on the horn using the Dam standard brush.
Its important to do all this with symmetry turned
off, to give your sculpt a more random look.
Do a bit more cleaning up on this area and then
work on getting the horn design to transition into
the rest of the head by laying in more lateral
wrinkles that circumscribe the horn. Then its a
matter of cruising around the rest of the head
and finding areas that need fine wrinkles and
design clarification. This is when your sculpt can
really come alive so I encourage you to spend a
good amount of time honing the head. However,
try to stay away from noodling or overworking

your piece because it can tend to start to

This is the phase of the sculpting process

degrade your models design and make it look

that can be a lot of fun if you take your time.

noisy (Fig.12).

Identify areas that need more clarification or

Final Detailing:
Free movie 12 download here

design indication and work those out. Add more

wrinkles, folds, fine lines, subtle underlying
forms, etc. and make sure you have enough
skin overlaps and surface randomness. Since

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Chapter 2

Chapter 2: Sculpting a Gargoyle in ZBrush

Gothic Church Interior Creation

the major form is pretty much done by this point,

its a good idea to hop around the whole model
and avoid overworking any specific areas. Just
keep rotating the model to find spots that seem
plain or too defined - which is something that
can be easy to do with muscular sculpts such
as these.

Adding Veins:
Free movie 13 download here
For veins its back to the bodybuilder references.
Start a new layer in ZBrush and use the
StandardTwo brush (also created by Fatmir
Gjevukaj). It can also help to use the lazymouse
feature to keep the strokes smooth. Pen
pressure is also important when youre doing
vein work.
Smooth out some parts of the veins, as they
dont completely protrude all over the surface.
Since this character is pretty ripped musclewise, youll probably end up with lots of veins,
but I think that works well. Dont forget about the
forehead, temples, ears, or the neck, which is
where youll find some really good vein action
going on.
At the end of the vein process, tone down the
layer to about 0.75 (down from the default of

1.0) to trim back the effect. You can also go

Now Im not going to go into all the details of the

ahead and add pupils to the eyes during this

retopo process, but it should definitely help to

session to give them a little more pop.

save some time by adding more base polygons

and giving you a better flow to the toes, eyes,

Final:

mouth, and nose.

After all the sculpting, its now time to do a

retopologization of the mesh for the feet and

Once the retopo and projection processes are

some for the face. Its probably best not to

complete, finish the sculpt by cleaning up the

subdivide the mesh again, because this might

new mesh a bit in those same areas and you

lead to a slow mesh, a lagging response and

can call it done!

millions of polygons!

www.3dcreativemag.com

page 36

Chapter 2

I hope youve enjoyed this tutorial! All in

all, this was a great experience for me as it
allowed me to create such a cool character,
as well as test my knowledge of anatomy. I
found new ways to push myself and tried new
techniques for sculpting in general (Fig.13 Fig.16).

Note from the Editor:

Jesse Sandifer has kindly provided 13
movies to accompany this tutorial, which you
can download individually from the links at
the beginning of each modelling stage, or
as a group by clicking on the free movies
icon at the end of this tutorial. So for a real
insight into Jesses working practice, click to
download now and enjoy! Please note that
the movies have been supplied as .wmv files
of up to 40MB each, so please be aware of
their sizes when downloading the files. And of
course: enjoy!

Jesse Sandifer
For more from this artist visit:
http://www.jessesandifer.com
Or contact:
jessesandifer@gmail.com

Chapter 3
Texturing

This part will detail the texturing phase of the

series and deal with mapping and unwrapping
key areas of geometry alongside the gargoyle.

Gothic Church Interior Creation Chapter 3: Texturing

Created In:
3ds Max

Chapter 3
In this part of the tutorial well cover unwrapping
and texturing techniques, and as usual well use
3ds Max for the 3D stuff and Photoshop for
the texture creation. Well also use the 3DTotal
textures collections as a starting point to create
the textures for our scene.

Lets start with the columns. Select one of them

and hide everything else. Since the columns

Fig.01

body will be occluded by other objects in its top

and bottom parts, we can just select and delete
the polygons marked in red in Fig.01. This
will help us to gain more space for UVs, thus
resulting in a more detailed texture.

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Chapter 3

Chapter 3: Texturing

Gothic Church Interior Creation

Fig.02

Apply an Unwrap modifier to the column, select

all of its faces and use a Cylindrical projection,
as shown in Fig.02. Make sure to adjust the
UVs to make them fill the texture square.

Fig.03

Now we can export the UVs template to

Photoshop. Use the Tools / Render UVW
Template in the texture editor; set the size
to 1024 by 1024 and click on the Render UV
Template button. Save the resulting picture in
any format and give it a meaningful name (for
example, Uvs_Column) (Fig.03).

Fig.04

Open the picture you just saved in Photoshop,

double-click on the Background layer and
rename it UVs (Fig.04).

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Chapter 3

Gothic Church Interior Creation Chapter 3: Texturing

Create another layer and name it Color. Put it

Fig.05

just below the UVs layer, as shown in Fig.05.

Go up to the UVs layer and change its blending

mode to Multiply. Also, set its Opacity down to

Fig.06

about 50% (Fig.06).

Search through the 3DTotal texture collections

to find a good texture for the column. Try to find

Fig.07

a nice stone texture, and import it in the Color

layer (Fig.07).

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Chapter 3

Chapter 3: Texturing

Gothic Church Interior Creation

Fig.08

Use the Rectangular Marquee Tool to select the

area shown in Fig.08.

Fig.09

Pick another texture from the collection; this

time search for a nice overlay texture. We just
need it to create some dirt in the selection we
made. With the marquee selection still active,
use the Shift + Ctrl + V shortcut to paste the new
texture in a layer mask. Once youve finished
adjusting the size, blending mode and opacity
for this layer mask, you can right-click on it
and make it a simple layer, calling it Overlay
(Fig.09).

Fig.10

Put in some more horizontal overlay lines; use

the UVs as a reference to simulate the dirt effect
in the indentations on the column body (Fig.10).

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Chapter 3

Gothic Church Interior Creation Chapter 3: Texturing

Import some more overlay textures over the

Fig.11

Color layer; this time well make some dirt on the

top and bottom parts of the column (Fig.11).

Try to play around with blending modes and

opacity values until you get the amount of dirt

Fig.12

you desire. Make sure that the overlay textures

are always nicely integrated over the Color
layer. If you notice some problematic spots, just
blur them out (Fig.12).

Repeat the process for the bottom part (Fig.13).

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Fig.13

Page 43

Chapter 3

Chapter 3: Texturing

Gothic Church Interior Creation

Fig.14

Now hide the UVs layer and save the color

texture for the column. Go back to 3ds Max and
assign this new texture to the diffuse slot of a
new material. Finally, assign this material to the
column (Fig.14).

Fig.15

Now lets create the bump map for the column.

Pick the bump version of the texture you chose
for the column (Fig.15).

Fig.16

Add some dark horizontal lines where the

column has its indentations (you can use the
UVs template as a reference) (Fig.16).

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Chapter 3

Gothic Church Interior Creation Chapter 3: Texturing

Assign the bump texture to the Bump slot in

Fig.17

the 3ds Max material editor, and do a quick test

render (Fig.17) to choose the right amount of
bump.

Repeat the process for the specular map; use

the template to decide where the specularity

Fig.18

should go (Fig.18).

Assign the specular texture to the Specular

Level slot in the material editor, and do another

Fig.19

quick render to see how its going (Fig.19).

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Chapter 3

Chapter 3: Texturing

Gothic Church Interior Creation

Fig.20

Now lets take care of the columns base. Delete

the polygons which wont be visible at all (in this
case, the one at the base of the cylinder), to
save some room for the texture space (Fig.20).

Fig.21

Assign an Unwrap modifier to the object, open

the texture editor and select everything but
the top circular polygon. Assign a Cylindrical
projection to the selected faces (Fig.21).

Fig.22

Select the top circular polygon and assign a

Planar projection. Arrange the two chunks in the
texture space, as shown in Fig.22.

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Chapter 3

Gothic Church Interior Creation Chapter 3: Texturing

As usual, use the UVs template saved from

Fig.23

the texture editor to create the texture itself.

Create dark areas where the object is occluded
(by other objects or by its own indentations)
(Fig.23).

Create a specular and a bump map just as we

saw earlier (Fig.24).

Lets go on with the columns top. This object

needs to be split into different UV chunks, as

Fig.24

Fig.25

shown in Fig.25. Try to dedicate more UV space

to bigger pieces, or pieces which are more
visible or particularly important.

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Chapter 3

Chapter 3: Texturing

Gothic Church Interior Creation

Fig.26

In Fig26 you can see the final columns top

texture.

Fig.27

Fig.28

Now the ceiling arcs. Select one of them and

hide everything else (Fig.27).

Select one half of an arc and apply a Planar

projection to it. Then adjust its size and position
to make it perfectly fit the texture space (Fig.28).
Keep unwrapping all the other halves (you can
try and use the Copy/Paste UV features in the
texture editor to speed up the process).

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Chapter 3

Gothic Church Interior Creation Chapter 3: Texturing

Choose a texture from the 3DTotal collection

Fig.29

and try to reduce spots which are too evident.

We need a nice, uniform texture (Fig.29).

Use the UVs template to darken out occluded

areas and to add some dirt here and there.

Fig.30

Finally assign the texture to the Diffuse slot of a

new material, and assign it to the arc (Fig.30).

For the smaller arcs, we can use one of the

Loft features to achieve a good mapping in a

Fig.31

totally automatic way. Make sure that Apply

Mapping and Normalize are enabled. You can
use a procedural checker texture to see how the
mapping is behaving on the object (Fig.31).

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Chapter 3

Chapter 3: Texturing

Gothic Church Interior Creation

Fig.32

In Fig.32 you can see the texture that was

created for the smaller arcs. Its a tileable
texture, which combined with the auto-mapping
feature of the Loft object will allow you to texture
your object in a matter of seconds.

Fig.33

Changing the Length Repeat value in the

Mapping rollout of the Loft object, you can set
the amount of repetitions for the tiles (Fig.33).

Fig.34

Now lets create the texture for the central

cylinders that can be found on every ceiling
arcs crossing point. As usual, pick a texture
from the collection and mark out dark and
occluded areas. Use the UV template as a
reference (Fig.34).

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Chapter 3

Gothic Church Interior Creation Chapter 3: Texturing

Select one of the walls and hide everything

Fig.35

else. Just apply a Planar projection to the bigger

surface of the wall, as shown in Fig.35.

Mark some dark areas around the window and

all around the walls perimeter, where it will be

Fig.36

occluded by arcs and columns. Save the texture

and assign it to the diffuse slot of the walls
material (Fig.36).

Add some more dirt on the top and bottom areas

of the wall texture. You can see the final texture

Fig.37

in Fig.37.

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Chapter 3

Chapter 3: Texturing

Gothic Church Interior Creation

Fig.38

Select the altar base and hide everything else.

Select and delete polygons that wont be visible
at all (Fig.38).

Fig.39

Divide the UVs into chunks, just like in Fig.39.

Export the UVs template into Photoshop and
create the texture for the altar base.

Fig.40

In Fig40 you can see the final texture applied

to the altars base. Also, take some time to
duplicate and substitute the textured objects
with the original ones without textures (columns,
columns tops and bases, bigger arcs, smaller
arcs, walls).

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Chapter 3

Gothic Church Interior Creation Chapter 3: Texturing

Select half of the altars front wall and delete it

Fig.41

(keep the sun shape intact, do not delete half

of it). Divide its UVs into chunks in the texture
editor, export the UVs template and create the
texture in Photoshop (Fig.41).

Once its done, mirror/duplicate the half of

the altar and attach the two halves together.

Fig.42

Make sure to weld all the vertices in the middle

(Fig.42).

Select the back altar wall and hide everything

else. Select the inner border of the window and

Fig.43

use the Create Shape from Selection tool to

extract a spline for the contour. Then just right
click in the viewport on this spline and convert
it to Editable Poly. The spline will turn into a flat
polygon, which well use as a window (Fig.43).

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Chapter 3

Chapter 3: Texturing

Gothic Church Interior Creation

Fig.44

Repeat the process for the three lower windows,

and then create a texture for them. You can
create one from scratch, or maybe you can
just search on Google for a nice stained glass
picture (Fig.44).

Fig.45

Fig.46

Now select the gargoyle mesh, and hide all the

rest (Fig.45).

Well use Pelt Mapping to create the UV

template for the gargoyle. In Fig.46 you can see
where the pelt seams were put on the gargoyle
mesh. Try to divide the whole object into
significant chunks (ears, head, chest, upper leg,
lower leg, etc.).

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Chapter 3

Gothic Church Interior Creation Chapter 3: Texturing

Then select the chunks one by one (in Fig.47

Fig.47

you can see the chest chunk selected) and

unwrap them with the Pelt Mapping tool.

Once you have pelt-mapped all the chunks, try

to arrange them in a nice way. Use the Packing

Fig.48

UVs tool in the texture editor if needed (Fig.48).

Export the UVs template in Photoshop and

choose a nice stone texture from the 3DTotal

Fig.49

collection. Darken out the occluded areas as

usual (Fig.49)

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Chapter 3

Chapter 3: Texturing

Gothic Church Interior Creation

Fig.50

In Fig.50 you can see the final texture applied to

the gargoyle mesh.

Fig.51

Now lets create the normal map for the

gargoyle. Import the high-resolution mesh, and
make sure that it perfectly overlaps the lowresolution one (Fig.51).

Fig.52

Select the low-resolution mesh and open the

Render to Texture dialogue. Set the output
for the normal map, then enable Projection
Mapping and click on the Pick button to start
a picking session. Select the high-resolution
mesh. You can leave all the other parameters
as they are (Fig.52).

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Chapter 3

Gothic Church Interior Creation Chapter 3: Texturing

A new Projection modifier will be applied to the

Fig.53

low-res mesh. Make sure that you are using the

Existing Channel (1, in this case), since we dont
want to use another UV set for the normal. Click
on the Add button and add a Normal Map from
the rollout that opens. Choose the filename
and type for the normal texture and set its size
to 2048x2048. Finally, hit the Render button
and wait for the normal map to be generated
(Fig.53).

You can see the final normal map generated to

the Projection Mapping in Fig.54.

Select the gargoyle material in the material

editor and assign a new Normal Bump map in

Fig.54

Fig.55

the Bump slot. In the Normal Bump parameters,

assign the normal map you just generated
(Fig.55).

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Chapter 3

Chapter 3: Texturing

Gothic Church Interior Creation

Fig.56

Choose the right amount of bump for the Bump

slot and do a quick render test (Fig.56).

Fig 57

The scene still lacks one more thing: a nice floor

texture (Fig.57).

Choose a nice texture from the 3D Total

collection and assign it to the floor. Make sure
that its perfectly tileable, and also create
specular and bump maps for it (Fig.58).
Fig 58

Next time well see how to improve our shaders
and set the lights and rendering options with
Mental Ray.

Gothic Church
Interior Creation
Chapter 3: Texturing

Luciano Iurino
For more from this artist visit:
http://www.pmstudios.it
Or contact:
iuri@pmstudios.it

www.3dcreativemag.com

Page 58

Chapter 3

Chapter 4
Lighting & Rendering

Lighting and rendering will be the focus in this

tutorial. Light rigs and a variety of render passes
will be explained in readiness for part 5; the post
production.

Chapter 4: Lighting & Rendering Gothic Church Interior Creation

Created In:
3ds Max

Chapter 4
In this forth part of the tutorial well set up the
scene for the final rendering. Well end up
having different passes for compositing. First of
all, lets take care of the light rig.

Create a Sphere mesh surrounding the whole

scene. Delete the lower half of the sphere and

Fig.01

select all the remaining polygons (Fig.01).

Flip the polygon selection using the Flip

Fig.02

command in the Editable Poly panel (Fig.02).

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Chapter 4

Gothic Church Interior Creation Chapter 4: Lighting & Rendering

Fig.03

Now create an Omni light and position it above

the candles, as shown in Fig.03.

Fig.04

Fig.05

Assign a pale orange (almost white) colour to

the Omni light (Fig.04).

Enable RayTraced Shadows for the Omni

light, set its Multiplier to 0.6 and also enable
Far Attenuation Use and Show, setting its
parameters to about 0.7 and 4.3 (Fig.05).

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Chapter 4

Chapter 4: Lighting & Rendering Gothic Church Interior Creation

Now for the most important light in the scene.

Fig.06

Create a new mr Area Spot light and position

it exactly as shown in Fig.06. This light will
illuminate the gargoyle statue and will largely
contribute to the overall look and mood of
the final rendering, so try to be precise while
positioning it and setting its parameters. You
can just copy the values for the lights body and
target positions from Fig06.

Make sure that Raytraced Shadows is enabled

Fig.07

for the spot light, and set its colour to a pale

yellowish shade. Set the Multiplier value to
about 1.2 and the Far Attenuation Start / End to
respectively 10 / 20. Also, make sure to set the
Hotspot and Falloff values to about 50 and 100
(Fig.07).

Now duplicate the spot light and position it to

Fig.08

make the light pass through the other window.

You can copy the lights parameters from
Fig.08.

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Chapter 4

Gothic Church Interior Creation Chapter 4: Lighting & Rendering

Fig.09

Keep duplicating the spot lights and positioning

them for each window (Fig.09).

Fig.10

The last spot light is quite important, too, since it

must light the altar zone of the church. Copy the
position and the parameters from Fig.10.

Fig.11

Go back to the first spot light (the one near the

gargoyle area) and make sure to set the Area
parameters as shown in Fig.11. You can use
the same values for all the other spot lights,
its just up to you and the final look youre after
(Fig.11).

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Chapter 4

Chapter 4: Lighting & Rendering Gothic Church Interior Creation

Now that the lights are done, we can create

Fig.12

a new Mental Ray shader for the floor to add

some realism. Mental Ray will just render any
standard 3ds Max shader, but if youre looking
for some advanced effects, you need to use
Mental Ray proprietary shaders. In Fig.12 you
can see the shader used for the floor. Create
a new Arch & Design type shader, assign the
same texture you were using for the standard
shader (colour, specular and diffuse) and then
set the shaders parameters just as in Fig.12.
This will create glossy reflections for the floor.
You can do the same with any other material in
the scene (for example, the columns), but keep
in mind that glossy reflections are heavy for
rendering times.
Now lets take care of the Indirect Illumination

Fig.13

setup. Open the Rendering tab (F10) and

enable Final Gather in the Indirect Illumination
tab. Set the preset to High and increase the
Multiplier value to 10 and the Diffuse Bounces to
5 (Fig.13) .

Switch to the Renderer tab and set the

Antialiasing values as shown in Fig.14. Dont

Fig.14

forget to set the rendering picture size in the

Common tab to any size you want.

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Chapter 4

Gothic Church Interior Creation Chapter 4: Lighting & Rendering

Fig.15

Now since the rendering will take a while to

complete (the Indirect Illumination and AA
parameters were set quite high in quality) we
can also any other passes that we need, so that
all the rendering tasks will be at once. Go to the
Render Elements tab and add a Specular pass
to the list. Click on the icon with the three dots
and set a file name for this pass (Fig.15) .

Fig.16

Repeat the last step, but this time add a Z

Depth pass. Set the file name for this pass too
(Fig.16).

Fig.17

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Page 65

In Fig.17 you can see the final colour pass.

Chapter 4

Chapter 4: Lighting & Rendering Gothic Church Interior Creation

Fig.18 shows the Specular pass.

Fig.19 shows the Z Depth pass. Now we have

the three major passes done.

We need a couple more passes for compositing.

Lets move on with the Ambient Occlusion pass.

Fig.18

Fig.19

Fig.20

Create a new Mental Ray shader and assign

a Ambient/Reflective Occlusion shader to the
Surface slot. Assign this material to every object
in the scene: Select All (ctrl + A) and assign the
material to the selection. Set the AO shaders
parameters as in Fig.20.

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Gothic Church Interior Creation Chapter 4: Lighting & Rendering

Fig.21

Fig.22

Here you can see the final AO pass (Fig.21).

The last render pass we need is the Volume

one. Go to the Environment section and assign
a new Volume Light effect. Pick the first spot
light as a source and copy the parameters for
the volume effect from Fig.22. Dont forget
to change the shadow type from RayTraced
to Shadow Map, and set the Shadow Map
parameters to 2048 for the Size and 8 for the
Sample Range.

Fig.23

The final Volume pass can be seen in Fig.23.

Gothic Church
Interior Creation

Chapter 4: Lighting & Rendering

Luciano Iurino
For more from this artist visit:
http://www.pmstudios.it
Or contact:
iuri@pmstudios.it

www.3dcreativemag.com

Page 67

Chapter 4

Chapter 5

Post-Production in Photoshop
This the final part of the series will show how
the various render passes are composited in
Photoshop to create a final render. An account
of some of Photoshops tools will show how
versatile this approach can be and show the
value of multiple passes for post production.

Gothic Church Interior Creation Chapter 5: Post-Production in Photoshop

Created In:
Photoshop

Introduction
Rendering into render passes makes it possible
to modify tones, colours and certain effects in
the rendered image using Photoshop. Usually
the most basic passes rendered for an image
are as follows (note that the names might be a
little different in certain software programs):
Final Render or Final Colour: This pass
is the render containing all the final effects,
lighting, etc., which we will use as a
reference for putting all the passes together
Colour or Diffuse Colour Shading: This
contains the colours of the materials in the
scene, and the shadows (it can be unshadowed, though), but it contains no other
effects. The diffuse colour pass can be Direct
or Indirect, or Total or Un-shadowed; the
Diffuse Shading Direct contains the diffuse
amount and the raytraced shadows of direct
lights as well as the diffuse colours in the
scene. Diffuse Shading Indirect besides
the colours contains indirect lighting and its
diffuse shadows, and the luminous material
lighting, too (in case of Global Illumination).
Diffuse Shading Total contains direct and
indirect lighting and their shadows
Specular or Specular Shading: This
contains the specular effects of the materials
in the scene caused by the lighting
Ambient Occlusion: This contains the
ambient occlusion effect; it displays the
areas hidden to the ambient light shaded; It

www.3dcreativemag.com

shades the more obscure parts of the models

Other available passes can be utilised too, in

in the scene. Using this pass gives the

order to achieve finer effects (e.g. Fog render

details more depth

pass, Global Illumination render pass, Specular

Colour render pass, and so on).

Object Glow: This contains the glow effects

in the scene

Monitor Calibration
Before starting the work, its strongly

ZDepth or Depth: This contains the depth

recommended that you calibrate your monitor,

map of the scene measured from the

if you havent already, so well be able to work

camera; we use this pass in Photoshop to

at a default setting that eliminates possible

create a lens depth of field effect, amongst

colour or tone distortions caused by the monitor

other things

being too bright or dark. You can calibrate your

CRT monitor using Adobe Gamma Monitor

Volumetric: This contains the volumetric

Calibration Utilities (its automatically installed

lighting effects

along with Adobe Photoshop). LCD monitors

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Chapter 5

Chapter 5: Post-Production in Photoshop Gothic Church Interior Creation

Fig.01

can be calibrated using their own calibrator or, if

thats unavailable, by setting them to the factory
defaults.
Other colour space dependant settings can
be found in Photoshop under the Edit/Colour
Setting menu option (Fig.01). Usually the
default setting is ideal for a standard monitor
(Settings/Monitor Colour), but if the final image
is created for a given technological display, e.g.
European Standard CMYK offset printing, then
its recommended to select the most suitable
option (e.g.: Settings/Europe Prepress Defaults)
so that the visuals will be as similar to the final
image as possible.

Fig.02

We will now try to put the given render passes

from the 3ds Max artist together so that the
finished image resembles the concept design as
closely as possible (Fig.02).

Fig.03

Existing Passes
We have the following passes:
Colour pass (Fig.03)

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Chapter 5

Gothic Church Interior Creation Chapter 5: Post-Production in Photoshop

Ambient Occlusion pass (Fig.04)

Specular Pass (Fig.05)

Volumetric Pass (Fig.06)

www.3dcreativemag.com

Fig.04

Fig.05

Fig.06

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Chapter 5: Post-Production in Photoshop Gothic Church Interior Creation

Fig.07

Fig.08

ZDepth (Fig.07)

Step 1: Putting all the

Pass Layers together in
a Document
First we need to put the render passes together
in this order, and with these Layer Blending
settings (to set the Blending Mode, choose an
option from the scroll down menu on the Layers
palette) (Fig.08):
Colour pass (Normal blending)
Ambient Occlusion pass (Multiply blending)
Specular pass (Screen blending)
Volumetric pass (Linear Dodge blending)

Fig.09

Fig.09 shows the Colour pass with the Ambient

Occlusion pass.

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Gothic Church Interior Creation Chapter 5: Post-Production in Photoshop

Fig.10 shows the Colour pass with the Ambient

Fig.10

Occlusion and Specular passes.

Fig.11 shows the Colour pass with the Ambient

Occlusion, Specular and Volumetric passes.

Step 2: Fine-Tuning

Fig.11

Fig.12

With this picture at the default settings, the

volumetric light beams coming in from the
windows are far too strong; too cotton-like. This
strength can be turned down by adjusting the
opacity of the layer containing the Volumetric
pass (the Opacity slider can be found on the
Layers palette). Fig.12 shows the opacity of the
Volumetric layer set to 62%.

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Fig.13

The tones are weak in the dark parts now. This

can be corrected by setting the Blending Mode
of the Ambient Occlusion layer to Soft Light from
Multiply (choose Soft Light from the scroll down
menu on the Layers palette). Fig.13 shows the
layer blending mode of the Ambient Occlusion
layer set to Soft Light.
Now the different tones are visible in the dark
areas, but the bright areas have become too
bright; for example the bright tones of the
gargoyle are burned. These parts can be
corrected with a simple trick. Simply duplicate
the Ambient Occlusion layer; set its Blending
Mode to Multiply and the opacity to 50%. Fig.14
shows the image with the Ambient Occlusion

Fig.14

layer duplicated and set to Multiply.

Changing the order of the layers changes the
strength and the product of the layers with
different blending modes, which we can use to
change the effect of the image. For example,
changing the order of the Volumetric and the
Specular passes causes the Specular effect to
become less intense on the dark values, so it
fits the image better.

Step 3: Adjusting
Colour and Depth of
Field
After making corrections to ensure the tonal
values show on both the dark and light parts of
Fig.15

the image, we can now use a Colour Balance

adjustment layer to set the colours of the image
to those of the original concept art. By applying
colder colours to the parts farther from the
camera, the feeling of depth can be increased.
These tasks can be done using the ZDepth pass
as a mask. First, create a new Colour Balance
adjustment layer (on the Layers palette, go
to the Create a new fill or adjustment layer
icon), and then set the value of Midtones Colour
Levels to -10 Cyan and 10 Blue (Fig.15). Select
and copy (Ctrl + A, Ctrl + C) the opened ZDepth
pass. Select the Colour Balance adjustment
layer, turn on the Colour Balance mask on the

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Page 74

Chapter 5

Gothic Church Interior Creation Chapter 5: Post-Production in Photoshop

Channels palette, and paste the copied ZDepth

Fig.16

pass (Ctrl + V). This way, the effect of the

Colour Balance adjustment layer appears on the
image masked out with the ZDepth pass. But
now the Colour Balance adjustment layer affects
the parts closer to the camera, so we simply
invert the mask (Ctrl + I).
Fig.16 shows the inverted ZDepth map used
as a mask for the Colour Balance adjustment
layer. The red colour is the colour of the layer
mask overlay, which appears when the visibility
of the mask is turned on. The Colour Balance
adjustment layer affects the image on these
parts. Fig.17 shows the image with the final
colour setup.
The atmospheric effect can be further

Fig.17

strengthened with an additional depth of field

effect, also using the ZDepth pass. First, merge
all the configured passes into one layer, then
create a mask for it (Layers palette > click on
the Add layer mask icon), and copy the ZDepth
pass into it. The blur effect can be achieved
using the Photoshop Lens Blur filter (Filter >
Blur > Lens Blur).
The dialogue for the Lens Blur filter contains a
preview window, where a preview can be seen
with the current settings, and a settings panel.
The Preview section can be found on this panel,
where the preview can be turned on and off, or
switched to Faster or More Accurate (Fig.18).

Fig.18

Select the ZDepth map (Layer Mask) from the

Source scroll-down menu of the Depth Map
section; the filter will generate the Lens Blur
based on this map. The focal distance can be
adjusted either by using the Blur Focal Distance
slider or by clicking the part on the preview
image onto which we want to focus. In this
case, this is the gargoyle. The Iris Shape can
be adjusted under the Iris section; use Square
shape with Iris Radius with the value of 7, and
Blade Curvature and Rotation both with the
value of 0.

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Chapter 5

Chapter 5: Post-Production in Photoshop Gothic Church Interior Creation

The Brightness and Threshold of the specular

Putting the layers into sets makes them

scene rendered in multiple passes can be

highlights of the image can be adjusted under

easy to duplicate, so you can always leave a

adjusted more easily and finely than in the

the Specular Highlights section. In this case set

backup copy of the arranged layers in the

rendering software itself. The more passes

Brightness to 7, giving the stained glass window

file. This can be useful if you merge a copied

available, the more finely the certain effects can

a glowing feel.

set for using lens effects

be adjusted; however, its enough to use only

those passes which are sufficient for fine-tuning

The noise the blur effect has can be set up

A layer or layer set can be easily duplicated

under the Noise options in the Specular

by grabbing it on the Layers palette and

Highlights section; leave these at their default

dragging it down onto the Create new layer

values for this task. After using the effect, delete

icon on the bottom of the palette

the effects in the scene.

Originally designed & modelled by:

Richard Tilbury

the mask.
A new layer set can be created by clicking
In this example, the composition of the image

the Create new set icon, which can be

was suitable for a depth of field effect, but this is

found on the bottom of the palette. You can

not always the case. Sometimes using depth of

then simply drag the layers into it. Another

field makes the scene look like a model (Fig.19).

option is linking the layers belonging to one

Tips for Handling

Layers
The mask of a masked layer can be easily

Interior Creation

Chapter 5: Final Chapter PostProduction in Photoshop

set with the currently selected layer to it, and

then selecting Layer Set from Linked on the

Zoltan Korcsok

Layer palette

For more from this artist visit:

switched on and off. Just left-click on the

Conclusion

mask while holding down the Shift key

The examples show clearly that effects in a

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Gothic Church

Page 76

http://trurl.cgsociety.org/
Or contact:
zoltankorcsok@gmail.com

Chapter 5

: volume 4

Features 50 of the finest digital

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indusrty today, from the likes of:
Loc e338 Zimmermann | James Paick
Craig Sellars | Jelmer Boskma
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Kekai Kotaki | Andrew Hickinbottom
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Raphael Lacoste | www.raphael-lacoste.com/

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Introduction:

Michel Rogers famous Joan of Arc

tutorial re-written for Maya by Taylor
Kingston, Cinema 4D by Giuseppe
Guglielmucci & Nikki Bartucci,
Lightwave by Vojislav Milanovich and
Softimage by Luciano Iurino and
3DCreative Magazine.com.
If there has been one single tutorial
that has educated and inspired more
budding 3d artists than anything else,
this complete step by step project by
Michels must be it. The community
is in debt to him.

These 120 plus page, Downloadable PDFs are

designed for ease of use to help beginners and
intermediate level of artist alike in the creation
of a female character. The tutorial takes you
through the process of modelling, texturing and
mapping to finally adding bones.

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Image by Michel Roger

Chapter 1: Modeling of the Body

- Body
Chapter 2: Modeling of the Head
- Head, Ear & Assembly
Chapter 3: Modeling of the Accessories
- The Sword & Armour Legs
Chapter 4: Modeling of the Accessories
- Armour Bust, Hair & Glove
Chapter 5: Modeling of the Accessories
- Accessories & UVW Mapping
Chapter 6: UVW Mapping
- Sword, Clothing, Armour & Body
Chapter 7: Texturing & Hair
- Eyes, Skin & Hair
Chapter 8: Bones & Skinning
- Bases, Hierarchy & Skinning

Downloadable Tutorial EBook

Introduction:

The original character of the Swordmaster

was created by Seong-wha Jeong and we
had 3DTotals in-house 3d artist Richard
Tilbury, re-create the character in 3dsmax
as well as create the textures in Photoshop,
in our new precise, step-by-step tutorial for
highly polished, low polygon game character
with detailed texturing for real-time rendering. We have also converted the tutorials into
Cinema 4D, Maya, Lightwave and Softimage
platforms. Even if you are not a user of one of
them, the principles should be easily followed
in nearly all other 3D applications.
The Swordmaster tutorials is spread over 8
Chapters which outline, in detail, the process
for creating the Swordmaster below are the
details.

image by Seong-wha Jeong

Chapter 1: Modelling the Head

Chapter 2: Modelling the Torso
Chapter 3: Modelling the Arms & Legs
Chapter 4: Modelling the Clothing & Hair
Chapter 5: Modelling the Armour
Chapter 6: Mapping & Unwrapping
Chapter 7: Texturing the Skin & Body
Chapter 8: Texturing the Armour & Clothing

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