For example some colorists choose to make the "X" across the helmet as a set of lenses, while other colorists color the whole shebang as if it's all metal, which is fine for Professor X because he can use his powers to "see". You only have what the artist chooses to draw in those panels.Įven more, you have different interpretations from different artists. Yet another issue when dealing with these comic book projects is that getting all the angles of a certain thing can be a hassle. I've resolved to work more on retopology in the future, as it really slowed my progress on this piece.
It technically worked, it made some nice looking quads out of the Frankenstein mess I had created, but they were not *ideal* quads, and the topology didn't really flow the way I wanted. To fix this I used the remesh feature built into Blender. After all my futzing around, I managed to make a decent representation of the helmet, but the topology was hideous.
#PROFESSOR X CEREBRO PLUS#
It was more difficult than I expected, but on the plus side it forced me to finally start learning and using the HardOps/BoxCutter bundle I had bought but had not even installed.Īnother thing I had to deal with was all sorts of retopo issues. Professor X of the X-Men and his Cerebro helmet, made in Blender, as seen in the current "Krakoa Era" issues of X-Men.įor some reason the look of the helmet really grabbed me and I decided to model it.
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