Ok! I included images for “base” & “modeling”, ( I’ll finish to including images for the other chapters this weekend, don’t worry about that! 
Maybe it 'll be better to focus on finest translation, or a personal improvement of this tuto (at start, the 2 parts who include images).
I think It’ll be really nice if it can became à real collective and evolutive project! 
Your english doesn’t seem bad to me, you can always use online translators. But looks nice 
Now that’s a portrait
digiman
love the jacket!
.b
Awesome job! Sweet tutorial as well, had a look at that. Looks quite complex.
Very nice Alt
Réalistic mode 
5star for you
Wow, looks excellent. One question, how did you texture the clothing?
y’know really the only thing i would complain about is the “point” in the hair at the top left…but i only just noticed that and it doesn’t really hurt it much.
If You want to see an english version of the tutorial, go to google and search for terrier.infographie.free.fr/work/tuto_portrait/index.htm
When it comes up with the result, click, (Translate This Page)
and you will have english version.
If this is a double solution, im sorry, Just trying to help.
-=Scepter1987=-
Somhow this great image reminds me a bit of the Half life 2 stile characters!
Looks absolutly superb!
Lol, that is exactly what i though too.
Still excellent, is I have already said.
Very cool. I’d translate but I have very limited french 
Well, here’s my rough cut at translating the first two sections. It’s pretty much a line by line translation, so there shouldn’t be too much trouble matching it to the images.
Great tutorial, by the way. The bezier curve outline is a stroke of genius.
1 – PREPARE TO BUILD THE MODEL
First off, you’ll need several views of the subject as references for building the model. You’ll want at least:
a ¾ view, which will be an approximation of the final image
two reference images, side view and front view, which will be references for modeling
[Note: when photographing these two images, place the camera as far as possible from the subject, use a zoom lens, or better still, a telephoto lens. The goal is to make an image as close to an orthographic view as possible. ]
A small side note regarding reference images in the 3D window:
The image or blueprint can be placed directly in the 3D window by using background image. The blend slider controls the transparency of the image, and Size/XY Offset controls the size and position of the image within the 3D window (The background image will not show up in the rendered image.)
To start off, we will make an approximate outline from the front and side views using a bezier curve.
This outline will not be incorporated into the model itself, instead it gives us the contours and principle landmarks of the subject’s face, before we begin to make the actual model, something like a 3D mock up (this little trick saves an enourmous amount of actual modeling time.)
For bezier curves
press E (Extrude) to create a new point
press S and R (Scale, Rotation) to adjust the curve
(select the 3D option to allow a 3D curve)
A look at the final outline
2 – MODELING
We are going to start making the actual model.
In what follows, I want to make clear that this is not the only way to model, this is more of a description of one way to work, rather than a univeral technique. Everyone will work according to personal preferences and taste.
For this model, we will start with the right side of the face, later we will duplicate this half then join the pieces to make the complete head.
So, place a vertex (add a plane and delete three vertices using X) and extrude it following the contour (the bezier curve) of the eye in front and side views. Close the loop by merging the first and last vertices (Alt+M) (merge)
This is how we make the first edgeloop for the eye.
Next, switch to edge select (Ctrl+Tab), then select the whole edgeloop using Alt+LMB, then extrude (E) toward the outside, and here is the beginning of our mesh.
After this, we will do two operations:
apply a subsurf modifier
Recalculate the mesh normals toward the outside (Ctrl+N) if needed (to draw normals, switch to face select mode (Ctrl+Tab) and select “Draw Vnormals”)
The subsurf modifier will automatically reposition vertices. We choose to do mesh modeling with this modifier turned on. Be aware that moving each vertex has an automatic effect on neighboring vertices. This requires constant repositioning of vertices to stick close to the references (the mock up and/or the background images)
Repeat the operations (Extrude and Adjust) as many times as needed to get the contours of the eye and mouth.
The technique of using concentric edgeloops, basically for the orifices in the head, allow modeling that fits the subject and has no triangular faces, which eliminates problems of distortion or irregularities in the mesh, especially when working on facial expressions, and/or eventually animating the model.
We continue modeling by adding the bridge of the nose and the cheeks, following the mock up. For this we use, among others, these tools:
make face (F) makes a face from four selected vertices
Rip vertices (V) detaches faces from each other
Extrude (E) for extruding edges, faces or vertices.
The goal is to get close to the general form of the subject’s head while using as few four sided faces (quadrilaterals) as possible.
The next image shows modeling the nose (and an edgeloop for the nostril)
Then the attachment of the upper lip to the cheek.
In this type of modeling, it helps to pay attention to the number of vertices in each edge loop in order to avoid holes or mismatches when attaching different parts of the mesh.
Next we look at modeling the back of the skull
Then the ears, always following the edgeloop principal, but this time working from the exterior of the ears toward the interior auditory canal. (Note that to follow the forms of the cartilage, you may have to add or remove faces, but always try to avoid making triangular faces.)
We now have half of the complete portrait
Now, (in Edit mode/Vertex select (Tab/Ctrl+Tab)) duplicate this half of the portrait.
select all (A), duplicate (Shift+D) then mirror along the x axis (Ctrl+M, choice 1)
Move the duplicated half of the head to the original half so it touches along the center line (G + X) then select all the vertices along the joint on both sides (Alt+Shift+RMB), then use the scale X tool (S+X) moving from the outside towards the joint, in such a way as to exactly superimpose the vertices on each other.
All that’s left is to stick the two parts together using the command “Remove doubles”.
Duplicating and mirroring will invert the normals of the second half of the portrait (you’ll see a black line after the remove double operation) so you need to recalulate normals outside using the command (Ctrl+N)
Here is the completed portrait model
anyone have a mirror for all of the images? a bunch wont load
Orinoco, thank you for your translation, It has helped a lot, I’ve already incorporated it the document.
youngbatcat, try by reloading the page.
yeah the bezier curve thing is much better than trying to draw in edgeloops in the reference pics…
but i don’t know why i haven’t heard of the weight-painted particles method until now…! that’s just awesome and a great help.
Glad to help. Here’s section 3
3 – TEXTURES
Now let’s put some textures on the model
Before we get into UV Mapping we want to cut the mesh using the command Mark Seam (Ctrl+E choice 1)
Once that’s done we go on to the UV Image Editor and UV face select mode and unwrap the mesh using the Unwrap command (U)
We then set out to arrange the UV net to cover the surface that we will use for textures later on.
Some useful tools for working with UV nets
(V) join adjascent vertices
(O) plastic deformation of the UV net
(P) Pin, allows fixing vertex locations, and deforming the entire UV net proportionally (Select “live Unwrap Transform”)
Once this is done, take a screen shot of the UV Image Editor window, or use the script that saves the wire frame as an image file.
This image will be used as a base to make the color map texture.
We can go directly to making the actual color map texture.
To do this, we need an image editor such as Photoshop (or Gimp) and a series of detailed photos of the subject from as many different angles as possible, to get as much detail as possible down to the level of skin pores.
We assemble these images in our image editor using the UV mesh image to position the pieces correctly.
There are no magic formulas for this operation, just painstaking cutting, assembling, fitting and filling in missing pieces, erasing shadows, toning down the hair, until we get a usable texture.
Then it’s back to Blender, and we put the texture on the model using the appropriate mapping coordinates.
The UV net may need some tweaking to fit the texture to the mesh perfectly.
One the color map is in place, it can be used as a base to make both the Normal map and the Specularity map
As before, there’s no magic tricks, just close observation of the subject and a lot of testing to see what looks the best when rendered.
A little peek at the button panels
Regarding SubSurfaceScattering SSS for the semi-transparent spots such as ear cartilage, we use vertexpaint using a very dark (almost black in fact) red color with a very light touch of red that’s a bit more intense on the translucent spots.
Don’t forget to select VColLight in the materials editor panel (and in XML if you’re going to render in Yafray)
Big thank’s to you, I updated the wiki
hu! hu! ^^ love that! :rolleyes:
same, half-life 2 likeness, very good!
i might do one myself
