Roman Porozov is a production art lead and lead level artist at WarGaming.net. Roman's incredible work has its own unique style, and his passion and attention to detail is shown throughout each piece he posts. Roman has kindly taken some time out for us and provided an in-depth breakdown of how he created his highly realistic sculpts and concepts from start to finish! Check it out below:

When starting your High poly terrain sculpts for concept art of asset production, how often do you sketch to get to the finished design?

In most cases, I use references of real landscapes, so it is enough to have a general understanding of what type of tectonics you'll model and how to use erosion in the 1st iteration of creating terrain (procedural generation). Supporting work by sketches is required for the submission of exceptional surfaces; if we are talking about games, these are natural landmarks. Unique rocks, hills, crevices, which are outstanding from the point of view of geometry or of the color.



The terrain sculpts you did are incredible to say the least! So how do you actually begin when sculpting theses high poly terrains?

Work always begins with idea. At the stage of pre-production going references, mood-boards and anything that can help of realization of artistic intent. If the landscape is fantasy\fictional, you just can not do without drawing concepts and sketches.


The sculpts actually feel real and believable! How do you achieve those details when sculpting terrains and keeping it realistic without over-doing it?

I spend a lot of attention to details, perhaps more than required. The main idea is detailing the surface in places that will be the most visible. If we do terrain for background, which is important to fill space in the scene, it is important not so detailed how much importance of the large form, the play of light and shade and outline. If our goal is a surface, which are located close enough in the frame, it doesn't matter what is it, video game or shot from a movie, the uber-detailing will definitely not go unnoticed.



So I notice you use World Machine and Mudbox, What specifics do you use these two software packages for?

World Machine is a great tool to create procedural algorithms and fractal noise. If used correctly (the resources of this program), you can quickly create a unique surface, using macros, masks, and various techniques. Sometimes terrain in World Machine is obtained so good, that it is almost not needed to make any manual improvements. It's a good indicator of setting mathematical sets and their properties of self-similarity, the active use masks for split vertices.



The tool is ideal for creating such content. Mudbox mainly used for work with generated terrain - baked maps and instruments of stencil texturing, as well as for blackout-scenes before transferring to game engine.



Now the High Poly Zombie head looks incredible without any textures at all. When creating it how did you start your process?

This work was done because of love to the theme of classic films about zombies, for a long time I desired to make a series of such concepts with organic sculpting. The goal was to try to work out the details and various irregularities and micro-details. This is the first work in such thematics and with organic materials. I've made a few sketches that gave a conceptual understanding of the final result. The texture was not baked, I did that on purpose. It was planned as a "traditional clay" (clay-render)



How were you able to achieve the fine wrinkles textures for the damage around the mouth in Zbrush?

Here's the workflow, destructive and noise techniques I that used:


Do you often create your own alphas for all of your sculpts from terrains to humans?

If I have enough time, I consider good form to do preparatory content: alphas, base geometry, procedural generation. The fact that some tasks are specific, requiring a unique approach, where it is easier to do yourself than to find "that perfect alpha". ?Besides, it's also nice to do the whole job from concept to render with auxiliary content. But I do not exclude using of good libraries with alphas.There are many Gumroads with them, and it saves a lot of time.


Are there any Gumroad tutorials you have coming up to explain your process for high poly sculpting for visual development?

I have plans, yes, and this will be not only high-poly sculpting of particular model. Rather the workflow of developing of environment and content in locations. With pre-production, concepts, and pipelines.


For those looking to learn to do extremely detailed modeling for games and film. what the best way to practice these techniques you are sharing with us?

It is necessary to further explore details and shapes in the world around us. To notice things that shape the character of the subject. Think about the surface what time has done to it to achieve a specific feel of it. Our task is to capture and convey the most typical and delicious of them, with a share of possible exaggeration which will help to show this feature brightly. An important rule as well is to work from the larger to the specific. The vision of the wholeness of subject, avoiding details in the initial iterations. It helps approve the framework at a basic level, because any detail and micro-detail will be an internal design.


We would like thank Roman for speaking with us about his process when creating amazing 3D sculpts!