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tdw72_t_zbrush

tdw72_t_zbrush

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Published by: D0gmeat on Apr 20, 2010
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07/12/2013

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T
 
he world of visual effects has beenrevolutionised by tools like
ZBrush 
. Farmore accessible than the first generation ofmodelling software, this organic sculptingpackage enables artists with limited technical expertiseto turn their designs into 3D models, bridging the gapbetween concept art and final digital product.
Zack Petroc is Art Director atUnit Eleven, and was ModelSupervisor on the film
Sky Captain and the World of Tomorrow 
www.zackpetroc.com
ACTFILE
FOR
ZBrush 2 
DIFFICULTY
Advanced
TIME TAKEN
1-2 days
ON THE CD
ZBrush 2 
(demoand plug-ins)
ZBrush 2 
ideo tutorials• Full-sized screenshots• ZTL scene files atarious stages ofmodel development• Full-sized finalrendered images
ALSO REQUIRED
aya 
(or other polymodelling software)
 
BY ZACK PETROC
with
ZBrush
Sculpt
 
 | TUTORIALS
ON THE CD
Brush 2 
demoplus plug-ins andvideo tutorials
SEE PAGE 114
 
042 |
WL
 
3D ORLD
Christmas 2005
TUTORIALS |Sculpting in ZBrush
First, create a low-resolution ‘block’ mesh of theharacter in your preferred poly modelling package:I’m using
Maya.
Working in this way has threeadvantages. First, it enables you to check that the scale iscorrect. Second, you can build the mesh in separate sections.Third, it gives you the freedom to change proportions oradjust the placement of any form you later refine in
Brush
.Combine your poly groups into one mesh and exportas a single OBJ file. Import this low-res mesh into
ZBrush
. The only interface setting you’ll need toadjust is Mouse Avg, under Stroke. Set this to 4 to keep yourbrush strokes from skipping across the surface. Also, click theAuto Groups button under Tool > Polygroups. This enablesyou to view, hide and mask individual objects in your sculpt.
03
STAGE ONE |
 
Creating and using a low-res mesh
nce I have a rough idea of the character’spersonality, I create a handful of quick sketches.Depending on the amount of time available, Iexplore elements such as muscle tone, facial features,expression, proportion, costume and props. If I’m alsodoing the design sculpt, I tend to keep my sketches moresuggestive, like the ones shown here.
010
2
Export your mesh from
Brush
at its lowest levelof division, import into
Maya 
and try re-posing yourcharacter. When you’re happy, re-import it into
Brush
. You’ll still be able to step up and down through thedivision levels. My low-res mesh can be found on the CD asan OBJ file. If you’re using the demo of
ZBrush
, you’ll need toload in the first ZTL file instead (see page 114).
08
o help acquaint yourself with the potential of thisorkflow, hide individual sections of the modelby double-clicking on them. You can now exploremasking and try moving individual parts. (More informationabout the
ZBrush
interface can be found in the videotutorials on the CD.) One common use of this technique is tomask the eyes so you can sculpt facial details around them.
0
4
Explore taking your mesh from
ZBrush
to
Maya 
andback again. When importing a mesh back into
Maya 
 et Create Multiple Objects to ‘False’ under .objImport Options or your point order will change. Don’t performny actions that will change your mesh’s point order or iton’t function properly in
ZBrush
. We’ll explore the benefitsf transferring your mesh between the two packages later.
05
You can also add elements to your mesh after it hasbeen subdivided in
ZBrush
. If your
ZBrush
mesh wasivided three times, divide the object you want todd in
Maya 
three times as well. Combine the objects intone mesh in
Maya 
re-import into
ZBrush
and use Reconstructubdiv Surface under the Tool > Geometry tab. You’ll now beble to step up and down through division levels.
 
06
I also use
Maya 
to evaluate proportions and designthroughout the sculpting process. As an example,I’m using a more refined head from a later step inthe walkthrough. Select a portion of your divided sculpt andexport it from
Brush
. After importing it into
Maya 
you canuse different cameras and lights to evaluate the form, orcreate quick test renders.
 
07
EXPERT TIP
Think before you sculpt
I typically base my character designson a narrative. Before I begin todraw or sculpt, my first step isto understand the story that mycharacter will be part of. Duringthis process, I try to visualise thecharacter in relation to all the otherelements in its world. Next, I gatherreference images from a variety ofresources, including books, films,the internet and photos. I use theseto think through ideas and generateinitial concepts. In the case of thistutorial, I used a shamanic characterfrom a project I’m currently workingon as my starting point.
i

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