Hi guys!
I joined the Arcane contest by ZugZug Studio and here’s what I’ve been working on. Since we can’t copy any existing models 1 to 1 and I ALWAYS wanted to do Jinx in 3D, I decided to create a different version of her. All feedback is appreciated 
Hope you guys like it!
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This is great to see! Loved Arcane too 
Can’t wait to see how this piece progresses.
Be sure to post some “making of” shots of any particular part of the proccess. I’m curious to see how you’re going to tackle this subject 
Thank you for sharing 
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One thing about me is I love my IMM brushes! I always use the IMM workflow whenever I can. Basically all I do is create a strand of planes, insert an edgeloop in the middle, crease, frame polymesh by using crease edges and boom, everything perfectly in place. You can control size and spacing, which is very useful. A few examples of how I use IMM brushes to speed my work, like chains or repeated objects along a specific surface. 
Plus, IMM brushes keep UVs! !!!
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Progress shots for the face. This was really a big challenge for me. Stylized art is very difficult, let alone Fortiche’s signature style. A lot of back and forth, letting go of subdivisions early in the process (a lot of ZRemeshing), and a LOT (I mean a LOT) of references. Measuring lines, distances and angles. One thing I learnt from one of Shane Olson’s ZBrush live streams is, the less you touch your sculpt, the better it will look. Keep your geometry low in the beginning. It’ll work out in the end.
A little tip I can share is use Michael Vicente’s orb clay materials (I use the glossy one) while doing this part of the process. It’s the best material to see every nuance in the model’s surface.
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This is awesome!!!
Love these breakdowns! Keep em coming.
Zou mentioned UV’s. Are you planning on making this a game-ready character? or just posing and render?
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Thank you!
Yes, one of the rules of the contest is for the character to be game ready. There aren’t any polycount or texture restrictions but the judges will be evaluating that and other technical aspects such as topology, UV Maps and so on
I will share more about this part too.
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After an extensive process of refining and corrections (with the incredible opportunity to receive feedback from the one and only Phillip Zhang 
), I’ve successfully completed the retopology and UV mapping process. After that, I went on with the usual baking workflow inside Substance Painter. I also used Substance to create all my base materials, using a combination of a lot of generators to create a solid handpainted look base and speeding my worflow. Now, I’m enjoying the creative process in 3D Coat—just painting, painting, and more painting! Meanwhile, I created a very basic lighting setup inside Blender with a few lights and an HDRI to see how my textures look on a lit environment. This allows me to constantly check my textures as I’m working 
.
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Amazing progress on this piece! Keep it up!
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