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Cedric Seauts Character Modeling Chapter 01: Concept

Chapter 01 - Concept

Fig 01

Software Used: ZBrush, 3ds Max, Silo, and


Photoshop

Introduction
There are several ways to come up with a
concept, the most obvious one being to draw a
quick shape in 2D to define the main volumes,
but you can also start from a very simple base
mesh and play with volumes in ZBrush. The
advantage of this technique is that you can
make one base mesh that you can then reuse
for many other concepts, and the second

Fig 02

advantage is that you will have a solid 3D base


to then work from to polish the character.

Part 1a Simple Base


Mesh Creation
For this character Im using an old base mesh
that I have changed slightly for this tutorial, but I
will show you the way I would usually create one
from a simple primitive so you can start from
scratch.
1. Create a box primitive in 3ds Max with the

Fig 03

parameters, as shown in Fig.01.


2. We are going to center this box at the center
of the 3ds Max scene. To do this, simply rightclick on the button in the top-left, as shown in
Fig.02; a pop-up will display just enter 0, 0, 0
for the X, Y, and Z values.
3. To be able to modify the object, convert it into
Editable Poly, just select the cube, right-click on
it, and select Convert to Editable Poly from the
Fig 04

list (Fig.03).
4. To make the modeling easier, we are going
to remove the half right of the object and work
on the left side only. In your polygon selection,
select the right side and delete it (Fig.04).

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Chapter 01

Chapter 01: Concept


5. Its time now to create an instance of the

Cedric Seaut s Character Modeling

Fig 05

active part (the left one). Apply a Symmetry


Modifier dont forget to select Flip, otherwise
you wont see anything in the scene. Because
your object is in the middle of 3ds Max scene,
everything will work fine automatically (Fig.05).

6. To test if everything is setup well, go back to

Fig 06

Editable Poly in the stack dont forget to click


on the white T-shaped icon (Fig.06), otherwise
you wont be able to see the right side and
will only be able to play around with the left. In
Vertex mode, select some and move them the
opposite side (right) will mirror what youre doing
exactly on the left, in real time.
7. Lets start with the head: We are going to
keep it very simple. The goal is to prepare a
base mesh as cleanly as possible to be used for
sculpting. This means:

Fig 07

As many quads as possible (triangles are


allowed, but avoid stars as ZBrush doesnt
work properly with polygons with more than
4-sides)
Keeping polygons as evenly spaced as
possible; youll have better results while
sculpting
In Fig.07 is a preview of the head. As you
can see, at the top of the head, some space
has been left to extrude a horn from it later on
(something I have in mind for the concept).

Fig 08

8. Select the polygon on the top and extrude it


by clicking on the Extrude button (Fig.08).

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Chapter 01

Cedric Seauts Character Modeling Chapter 01: Concept


Fig 09

9. Here are some screenshots of the head with


the horns (Fig.09). The position of the horns
doesnt need to be perfect at this stage; keep in
mind you can do absolutely everything you want
inside ZBrush they just need to be there, we
can maneuver them later on.

Fig 10

10. Now were going to move onto the torso.


Simply select all the edges at the bottom, in
Edge mode, and by pressing Shift move them
downwards (Fig.10).

Fig 11

11. It is still best to keep things straight at the


moment, so flatten them by pressing the Z
button, as shown in Fig.11, to align them along
the Z-axis.

Fig 12

12. To be able to come up with a good shape,


we are now going to add some edge loops.
Select all the edges, as shown in Fig.12, and
click on the Connect button. This will create a
new edge loop in the middle of the previous
selection. Redo the operation several times to
get more edge loops.

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Chapter 01

Chapter 01: Concept


13. Move some vertices now to get a more

Cedric Seaut s Character Modeling

Fig 13

human-like shape, but once again, dont worry if


it doesnt look perfect because this is something
we can change very easily and quickly later on
in ZBrush. Dont forget to leave some space on
the side to prepare the shoulder and the arm !
(Fig.13)

14. We are going now to close a part of the

Fig 14

object at the bottom, which will be the crotch


area, in-between the legs. Select the edge, as
shown in Fig.14, and extrude it by pressing
Shift.

15. Click on Target Weld, and one-by-one


select first the origin vertex, and then the target

Fig 15

(Fig.15).

16. In the same way as explained before (see


step 13), cut the new face with 3 edges (Fig.16).

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Fig 16

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Chapter 01

Cedric Seauts Character Modeling Chapter 01: Concept


Fig 17

17. Move some vertices to achieve something


that looks like what is shown in Fig.17.

Fig 18

18. Select the area which will be the beginning


of the thigh, in border mode (Fig.18).

Fig 19

19. As you previously did for the torso (see step


12), extrude the leg and create some edge loops
on the new extension (Fig.19).

Fig 20

20. Here are some screenshots of the legs.


Try to make it thinner at the bottom as this will
represent the beginning of the shoe (Fig.20).

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Chapter 01

Chapter 01: Concept


21. Select the border at the bottom and extrude

Cedric Seaut s Character Modeling

Fig 21

it by pressing Shift. You have now a foot


(Fig.21).

22. Once again, select the border and press

Fig 22

Cap to close the object (Fig.22).

23. Create an edge loop at the middle of that


new extension (Fig.23).

24. Select the two faces on the front and extrude


them twice by pressing the Extrude button

Fig 23

Fig 24

(Fig.24).

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Chapter 01

Cedric Seauts Character Modeling Chapter 01: Concept


Fig 25

25. Under the shoe, select both vertices, as


shown in Fig.25, and press Connect to create
an edge.

Fig 26

26. Press Cut, and then select the first vertex


and the second to create the second edge.
The edge at the middle of the vertices will
automatically be cut (Fig.26).

Fig 27

Fig 28

27. Here is a preview of the shoes (Fig.27).

28. Go back to the chest now, and select


the area you created before for the shoulder
(Fig.28).

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Chapter 01

Chapter 01: Concept


29. Extrude it, just like youve already done for

Cedric Seaut s Character Modeling

Fig 29

the legs and torso (Fig.29).

30. Make some cuts with the same technique

Fig 30

we used previously for the legs (Fig.30).

31. Move some vertices to get a rough human


shape. Scale it down a little, as the last edge

Fig 31

loop will be the wrist (Fig.31).

32. Now we are going to work on possibly the


most difficult part the hands. This character

Fig 32

will have only 4 fingers, as this is what I have in


mind for my character. So select the faces at the
extremity and extrude them twice (Fig.32).

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Chapter 01

Cedric Seauts Character Modeling Chapter 01: Concept


Fig 33

33. Select the face, as shown in Fig.33. Extrude


once, twice, and then the vertices a little to get
more of a thumb shape.

Fig 34

34. Use the same procedure for the second


finger (Fig.34).

Fig 35

35. For the other two fingers it will be a little bit


more complex, because we have to create two
fingers from only one face. So cut the face, as
shown in Fig.35, by pressing the Cut button
(see step 26).

Fig 36

36. Under the hand, select the edges and


remove them by right-clicking and selecting
Remove (Fig.36). Dont press Delete as that will
delete everything faces included!

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Chapter 01

Chapter 01: Concept


37. We are going to change edge orientation

Cedric Seaut s Character Modeling

Fig 37

now to be able to extrude some fingers. Select


the vertices and create an edge by pressing
Connect (Fig.37).

38. Now we can cut once more to prepare the

Fig 38

bases of the finger. First of all, right-click on


the Snap button in the toolbar. A pop-up will
appears tick Edge/Segment. This option is
really important as it will help you to auto detect
edges and youll be able to better manage and
make good cuts. So now, make three cuts by
pressing the Cut button (Fig.38).

39. You are now ready to select two faces and


make two extrusions from both of them (Fig.39).

40. Move the vertices to achieve a hand-like


shape (Fig.40).

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Fig 39

Fig 40

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Chapter 01

Cedric Seauts Character Modeling Chapter 01: Concept


Fig 41

41. Delete the edge as shown, to keep only


quads (Fig.41).

Fig 42

42. Connect vertices, as shown in Fig.42, for the


same reason as before.

Fig 43

Fig 44

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43. And once again for the last more-than-4sided polygon (Fig.43).

44. Here is a preview of the arm from several


angles (Fig.44).

Chapter 01

Chapter 01: Concept


45. Were now at the final stage of the base

Cedric Seaut s Character Modeling

Fig 45

mesh creation in Max, where were going to


flesh out his arms. To keep things simple,
just select the two faces, as shown in Fig.45,
extrude them, and then move them slightly to be
more face-to-face.

46. Keep the two faces selected and then press

Fig 46

the Bridge button. This will connect both sides


and close the object (Fig.46).

47. Well now add some more cuts to push the


new arm element a little further out (Fig.47).

48. As youve done several times now, push


the vertices a little to get a more rounded shape

Fig 47

Fig 48

(Fig.48).

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Chapter 01

Cedric Seauts Character Modeling Chapter 01: Concept


Fig 49

49. And finally, our base mesh is done. Its now


time to take it into ZBrush for the sculpting part
of the concept creation (Fig.49).

Part 1b Basic Sculpting


In this second part of chapter one, we are going
to see how to come up with more interesting
shape and volumes in ZBrush.

Fig 50

50. First of all, import your base mesh into


ZBrush. There are two different ways to do
this: you can either use the import option when
launching ZBrush, as shown in Fig.50, or you
press Escape and then, under the Tool tab, click
Import.

Fig 51

51. Here is a preview of what you will see on


your ZBrush canvas when you import your base
mesh (Fig.51).

Fig 52

52. When you sculpt, its important to keep 3D


world camera constraints, in order to be sure
that you have the right proportions if you decide
to then import your final model into another 3D
package, like 3ds Max, to make some renders.
You have two options: you can go to the Draw
tab and press Persp, or just press just the P
hotkey (Fig.53).

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Chapter 01

Chapter 01: Concept


53. On the left of the screen, you should see

Cedric Seaut s Character Modeling

Fig 53

a red ball which represents the Material Editor


in ZBrush. Feel free to try some of them out to
get a better idea of how it works. I usually use
a very simple one, close to a standard blinn
material in 3ds Max (Fig.53).

54. In ZBrush, you are able to preview some

Fig 54

real time shadows, like screen space Ambient


Occlusion. This can be pretty useful when its
time to make some renders, but for the brut
sculpting its nice to disable this option. You
will have more facilities to sculpt some difficult
areas, like under the shoulders. To disable
shadows go to the Render tab, and under
Preview Shadows slide the ObjShadow value to
0 (Fig.54).

55. Here is how our base mesh should currently


look on the ZBrush canvas (Fig.55).

56. In the Tool tab, under Geometry, press


Divide twice to add more subdivision to your

Fig 55

Fig 56

model (Fig.56).

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Chapter 01

Cedric Seauts Character Modeling Chapter 01: Concept


Fig 57

57. We can activate the symmetry now to save


some time, so go to the Transform tab, press
Activate Symmetry, and choose the axis you
wish to use for the symmetry. You can just
choose X (Fig.57).

Fig 58

58. We are now going to create some selection


sets, with thanks to ZBrushs Transpose
function. This allows us to sculpt some difficult
areas with many facilities. First, press the Move
button, as shown in Fig.58, or simply press the
W hotkey.

Fig 59

59. Pressing Ctrl, drag the orange edge from


the middle of the shoulder to the beginning of
the arm, as shown in Fig.59, with your graphics
tablet (or mouse). When you have something
close to what is shown in Fig.59, release your
graphics tablet first, and then let go of the Ctrl
key. The body should now be masked.

Fig 60

60. In the Tool tab, open the Masking dropdown


menu and press HidePt. This will hide the part
of the mesh you havent masked. You have
now the full body available on the canvas only
(Fig.60).

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Chapter 01

Chapter 01: Concept


61. Go back to subdivision level 0 now (Fig.61).

Fig 61

62. Press the Frame Button on the right tab.

Fig 62

Cedric Seaut s Character Modeling

This will display the wire of your object (Fig.62).

63. Open the Polygroups dropdown menu and


select Group Visible; this option will tint the

Fig 63

visible selection with a basic color (Fig.63).


Notice that the color will only be visible if the
Frame button is enabled.

64. Inverse the visible object part. To do this,


keep pressing Ctrl + Shift, and drag a green

Fig 64

square selection onto the canvas. Release Shift


(the square should then become red), release
the graphics tablet, and finally release Ctrl. You
can now see arms instead of the body (Fig.64).

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Chapter 01

Cedric Seauts Character Modeling Chapter 01: Concept


Fig 65

65. Do the same as before now: select Group


Visible once again a different color is applied
to the arms (Fig.65).

Fig 66

66. You can now display the full character by


pressing Ctrl + Shift + clicking on the canvas
(not on the object) (Fig.66).

Fig 67

67. We are now going to select the last part of


the character. Check that you are still in Move
(W) mode. Uncheck the Frame button to hide
the colors (Fig.67).

Fig 68

68. In the exact same way as before (see step


59) create a mask, this time including the body
and arms, but not the extra arm element that we
added (Fig.68).

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Chapter 01

Chapter 01: Concept


69. Press HidePt to hide the extra element on

Cedric Seaut s Character Modeling

Fig 69

the arms (Fig.69).

70. Go back to the subdivision level 0, the

Fig 70

polygonal display (Fig.70).

71. Enable the Frame button again to see the


selection sets. Now we are going to hide the

Fig 71

remaining polygons which dont belong to the


arms. Select the Lasso mode selection, just
under the Frame button. Keep pressing Ctrl
+ Shift, and drag a green circle around the
extra polygon. Then release Shift (the circle
becomes red), release your graphics tablet, and
finally release Ctrl. The polygons will disappear
(Fig.71).

72. Do the same for the other protruding


element that we want to hide (Fig.72).

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Fig 72

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Chapter 01

Cedric Seauts Character Modeling Chapter 01: Concept


Fig 73

73. Youll need to do the ones on the left arm,


too. Unfortunately you cant use the symmetry
function for this, which is why we must do both
sides one at a time (Fig.73).

Fig 74

74. Now invert the selection as explained before


(see step 64) to display only the extra arm
elements polygons (Fig.74).

Fig 75

Fig 76

75. Create the last selection set by pressing


Group Visible once again (Fig.75).

76. Unhide everything by pressing Ctrl + Shift


and clicking in the canvas. You can now see
three different colors, and therefore your three
different selection sets. Now, to isolate one of
the selection sets, you just have to press Ctrl +
Shift and click on one on the colored parts. This
will hide the ones you havent clicked on. Simply
Ctrl + Shift and click on the canvas (not on the
character) to display the entire mesh (Fig.76).

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Chapter 01

Chapter 01: Concept


77. With the selection sets done now, its time

Cedric Seaut s Character Modeling

Fig 77

now to start sculpting to come up with a better


shape for our character concept. On the left of
the screen, click on the Standard brush button.
A pop up will appears select the Move brush.
Before sculpting, we are going to move some
vertices like we can do in 3ds Max with the
soft selection (Fig.77).

78. To have a better preview of your shape,

Fig 78

disable Frame to remove the colors (Fig.78).

79. Here is a brief introduction with the brush


parameters on the top. Select Draw mode when

Fig 79

you are ready to sculpt, you can then change


the size and the intensity of the brush by sliding
the value on the right. Notice that you can also
display these options by right-clicking on the
canvas; its pretty useful when you want to limit
pen tablet movements (Fig.79).

80. With move brush selected, move some


areas to get a stronger shape (Fig.80).

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Fig 80

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Chapter 01

Cedric Seauts Character Modeling Chapter 01: Concept


Fig 81

81. Dont forget to use the selection sets


to move vertices easily without moving
unconcerned parts, for example under the
shoulder (see step 76) (Fig.81).

Fig 82

82. With the main shape defined, we are going


to push the volumes a little more to add some
definition. Keep in mind that its up to you to
decide the number of subdivisions you just
to be comfortable with it. Try to keep the Active
Points number under a million polygons; we
are working roughly for now. For this example,
divide your model 6 times (Fig.82).

Fig 83

83. The following brushes will be the ones we


are going to use during the concept sculpting
process. The Inflat brush is used to push the
volumes, the Clay brush is used to define the
strong volumes, and Smooth to soften them
(Fig.83).

Fig 84

84. With your first attempt, try pushing the


volumes to get your first intentions down, mainly
using the Inflat and Smooth brushes to start
with. Take your time to experiment and feel the
volumes, its still very easy to go back (Fig.84).

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Chapter 01

Chapter 01: Concept


85. Here is a preview from several angles

Cedric Seaut s Character Modeling

Fig 85

(Fig.85).

86. Once again, dont forget to use your

Fig 86

selection sets to simplify your sculpting process


(see step 76) (Fig.86).

87. In the second step, push the extreme


volumes using to Clay and Smooth brushes.

Fig 87

Keep in mind that youre not thinking about the


final yet this has to be rough, so just push out
your main volumes for now. The polishing will be
done later, just be satisfied with the silhouette
for now (Fig.87).

88. Once again, here are previews of several


angles (Fig.88).

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Fig 88

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Chapter 01

Cedric Seauts Character Modeling Chapter 01: Concept


Fig 89

89. Now in this last step of the concept, we


are going to use several brushes to add more
definition. You will notice a brush in this set
by Damien Canderle, which is a free brush
available at: http://www.pixolator.com/zbc/
showthread.php?t=57944&page=6&pp=15
(Fig.89). This is an amazing brush for
exaggerating cavities!

Fig 90

90. Here are some examples of these brushes


in use. For the roundness of the shoulder, just
use the Clay brush (with small pressure). The
Dam_Standard brush is useful to force the
cavities between the abs (Fig.90).
91. Again, here are some different angles. And
this is it with the concept! We just need a solid
base to be able to create and put accessories
on him (Fig.91). Feel free to play with volumes
to try different things nothing is static in
ZBrush, you have unlimited possibilities from
only one simple base mesh!

Part 1c - Accessories
Presentation and Final
Concept
92. Here are some accessories that I have in my
personal library (Fig.92). Sometimes, when you
have some free time, its good to make some
basic elements that you can possibly use on
some of your creatures or characters. They can
be very useful to help you come up with a 3D
concept quickly.

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Chapter 01

Chapter 01: Concept

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Cedric Seaut s Character Modeling

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Chapter 01

Cedric Seauts Character Modeling Chapter 01: Concept


93. For the accessories that I dont have in my
library, I create a rough prototype from a picture.
I will explain the technique used for this process
in Chapter 5 of this series (Fig.93).
94. Here is the concept after placing in some
rough objects. Please dont hesitate to place
some simple boxes into your concept its just
the silhouette that is important at this stage. The
preview in Fig.94 has been done in 3ds Max
2010, with real time shadows in the viewport;
its a very nice function to properly pre-visualize
objects and volumes!
Thats all for Part 1, in the following chapters we
will see how to create and polish the different
elements presented in the concept design.

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Chapter 01

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Chapter 02 - Shoes
(ZBrush Plastic
Sculpting)

Fig 01

Software Used: ZBrush, 3ds Max, Silo, and


Photoshop

Introduction
In the following chapter, you will see the step by
step progress used to create a shoe from the
concept shown in chapter I.

1. From the concept created in Zbrush in

Fig 02

chapter 1. (Fig.01)

2. Some preliminary parameters to check before


starting anything. Enable Local: this function
will allow you to rotate around the last area you
sculpted on which is very useful if you want
to focus on a particular area. Enable Lasso:
to activate the lasso selection mode and then
change the subdivision value to the lowest level.
(Fig.02)
Fig 03
3. With Ctrl + Shift pressed, make a selection
around the right foot as shown below to isolate
what will become our shoe. (Fig.03)

4. Now we are going to keep only this part to

Fig 04

make it easier to work on. So go back to the


highest level of subdivision and delete the
subdivision history by pressing Del Lower. Now
delete the hidden mesh and finally reconstruct
your foot in order to save memory while working.
(Fig.04)

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Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
5. Go back to the highest level. (Fig.05)

Fig 05

6. Divide once more; its important because we

Fig 06

are going to use the Polypaint function which


needs vertices to be able to apply color and see
an acceptable result. (Fig.06)

7. On the top menu select Draw mode and


disable Zadd or Zsub as we just need the color

Fig 07

painting function. In the Tool menu on the right


under Texture, press Colorize which will switch
on Polypaint. (Fig.07)

8. We are going to draw a topology on the mesh


so, right click and a pop up appears. Change the

Fig 08

draw size to get something thin enough to draw


lines. In the bottom left in the color box, slide
the white square to select a pure color, a purple
color in this example. (Fig.08)

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 09

9. Just draw on the mesh to get a clean wire.


(Fig.05)

Fig 10

10. Here is a screenshot of the result. Youll see


more lines at the bottom that will allow us to put
more details on the sole. (Fig.10)

Fig 11

Fig 12

11. More screenshots on different angles


(Fig.11)

12. We are now going to create the new


topology. Dont forget to remove the shadows
and to choose the most convenient matcap for
your purposes. (Fig.12)

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Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
13. Create a ZSphere in the canvas by clicking

Fig 13

on the ZSphere button under the Tool tab.


(Fig.13)

14. Still in Tool, scroll down the menu to see

Fig 14

rigging, open it and press Select Mesh and


a pop up appears. Select the shoe with the
painted wire. Now open the Topology menu and
press Edit Topology. The shoe now takes the
place of the ZSphere in the canvas. (Fig.14)

15. Before starting anything, be sure to enable


Local, as it is much easier to work with this

Fig 15

option on. (Fig.15)

16. Lets create the wire on the top of the


painted one. With Ctrl pressed, click on the
mesh which will mask your object and make it
become darker. It can be useful to improve the
wire display. Then, left click anywhere on the

Fig 16

mesh to start the new topology.


Some pointers about creating topology:
- If you want to create a line between two
vertices, select the first one with Ctrl pressed.
The node will be considered as the primary one
and then click on the second one.
- To remove a vertex, Press Alt and select one.
This will remove all connected lines.
- To create a new vertex on an existing line, just
left click on it.(Fig.16)

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 17

17. A very useful function is the ability to see


a preview of the result by just pressing the A
hotkey. (Fig.17)

Fig 18

18. As you can see above, the preview


doesnt look like the created topology, it looks
subdivided. In Tool, scroll down to Adaptive Skin
and change the density to 1, the preview is now
right. (Fig.18)

Fig 19

19. A picture with the final topology. We


Polypainted it first in order to avoid mistakes and
to create it faster and cleaner. (Fig.19)

Fig 20

20. From this new wire, we are going to create


and extract the corresponding mesh. Under
Adaptive Skin, be sure to set the density to 1
and press Make Adaptive Skin. This will create
a new tool of your mesh. (Fig.20)

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Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
21. Go back to your original tool with the

Fig 21

Polypainted wire. (Fig.21)

22. With Subtool menu open, click on Append

Fig 22

and in the pop up select the mesh youve just


created. We absolutely have to do that to avoid
the rescaling ZBrush bug. If you export the new
created mesh from its tool, the scale will be
different. (Fig.22)

23. Select the right Subtool with your new mesh


and export it. (Fig.23)

24. Import it in Max to change it a little bit.


(Fig.24)

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Fig 23

Fig 24

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 25

25. First Center the object pivot as shown


below. (Fig.25)

Fig 26

26. Move the shoe at the center of the scene


by right clicking on the Move tool on the top bar
menu and by changing the coordinates. (Fig.26)

Fig 27

Fig 28

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27. Convert it to an Editable poly to be able to


make some changes on the mesh. (Fig.276)

28. Select one edge at the middle of the mesh,


press loop to select the edge loop. (Fig.28)

Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
29. Press Split to disconnect both sides.

Fig 29

(Fig.29)

30. Select and remove the right side. (Fig.30)

31. Under the Utility Tab press Reset Xform to


remove the object history and then collapse the

Fig 30

Fig 31

stack in the Modifier tab. (Fig.31)

32. Select the edge loop along the middle and


make it planar along the X axis and then move

Fig 32

it to the center of the scene by changing the X


coordinate. We now have a symmetrical axis.
(Fig.32)

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 33

33. A quick preview of the shoe. (Fig.33)

Fig 34

34. Select the 3 edges on the top and extrude


them by pressing Shift and moving them at the
same time. This will be the tongue of the shoe.
(Fig.34)

Fig 35

Fig 36

35. Move some vertices as shown below.


(Fig.35)

36. We are going to cut polygons but first


change some options to make it easier. Right
click on the Snap button and select Edge/
Segment only. This will auto detect edges.
(Fig.36)

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Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
37. Press Cut and create new lines as shown

Fig 37

below. (Fig.37)

38. Connect some vertices to get a better wire.

Fig 38

Select vertices one by one and press Connect.


(Fig.38)

39. Remove the edge at the middle (Fig.39)

40. Cut a new line to remove rectangles and to


keep only heavenly spaced quads. (Fig.40)

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Fig 39

Fig 40

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 41

41. Apply a Symmetry modifier and check the


parameters as shown below. As you can see,
we created a symmetrical base mesh for the
shoe. This technique is very useful in order to
save time and to increase the quality. As soon
as the shoe is finished, we will just have to put
it back to the right position and to move some
vertices to get closer to a real asymmetrical
shoe. (Fig.41)

Fig 42

Fig 43

Fig 44

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page 41

42. Collapse the stack modifier. (Fig.42)

43. In Border mode, select the top of the object


and press Cap. (Fig.43)

44. Select the big face and inset it once.


(Fig.44)

Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
45. Make the face planar along the Z axis.

Fig 45

(Fig.45)

46. Inset again. (Fig.46)

47. Now collapse it and the mesh is now


properly closed. We dont particularly need to

Fig 46

Fig 47

keep perfect quads on the top because it will be


an hidden area. (Fig.47)

48. Here is a final preview of the shoe base


mesh. (Fig.48)

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Fig 48

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 49

49. Go back to Zbrush and import the newly


created base mesh. (Fig.49)

Fig 50

50. Dont forget to check some parameters


before starting sculpting. Remove the real time
shadows, turn on the perspective view and
activate the X symmetry. (Fig.50)

Fig 51

51. The basic sculpt that we are going to do next


will be achieved in the main thanks to the Move
and Dam Standard brushes. (Fig.51)

Fig 52

52. Dont subdivide the shoe but rather make


the changes at the level 0 which will make it
easier to get a new shape by keeping something
clean and sharp. (Fig.52)

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Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
53. Now you are ready to add more

Fig 53

subdivisions. (Fig.53)

54. With the Pinch brush selected, add more

Fig 54

definition on the sole edge just to make it a little


bit sharper. (Fig.54)

55. With the Dam standard brush, go to Stroke


panel, enable LazyMouse and change the

Fig 55

LazyStep value to 0. This will allow you to make


some very clean lines. Bear in mind that you still
have to draw them slowly in order to get the best
results. (Fig.55)

56. Select Clay brush to have sharp painting


parameters. Then with Ctrl pressed paint a

Fig 56

mask on the shoe as shown below. (Fig.56)

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 57

57. When the mask is well defined, release Ctrl.


Then press Ctrl + click on the mesh to blur the
mask. (Fig.57)

Fig 58

58. Now with the move brush, pull out the


surface on each side of the tongue. (Fig.58)

Fig 59

59. Remove the mask. To remove it press Ctrl


+ drag a selection box out of the mesh in the
canvas then release Ctrl and finally release the
mouse. (Fig.59)

Fig 60

60. Now with Dam Standard and Standard


brush, add some folds at the back of shoe to
simulate some bending artifacts and add some
lines to create more pieces of leather. (Fig.60)

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Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
61. Divide the shoe once more. (Fig.61)

Fig 61

62. With the same technique explained above

Fig 62

(see 55), add more lines to the sole. (Fig.62)

63. Now we are going to add more thickness to


the different leather pieces. Select Slash 2 brush

Fig 63

under the Stroke panel, activate LazyMouse and


change the LazyStep to 0. These parameters
are very important if you want to get very
smooth lines. Right click to open the popup
menu and change the intensity to 16. Finally
add one more subdivision to increase the level
of quality. (Fig.63)

64. Now you just have to sculpt slowly on the


top of the lines you previously drew. Below are

Fig 64

some screenshots of what you can achieve.


(Fig.64)

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 65

65. More screenshots from different angles.


(Fig.65)

Fig 66

66. As we did for leather pieces, we are going


to prepare some stitches. Select Standard point
Brush applying the same Stroke changes as
above and change the intensity value to 19. Its
often good to keep a small value when you use
Lazymouse with LazyStep at 0. (Fig.66)

Fig 67

67. Now draw two lines for each piece, one


close to the extremity and the second one
alongside it. (Fig.67)

Fig 68

68. Select the Stitch simple brush created by my


friend David Giraud and draw the stitches along
the lines. (Fig.68)

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Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
69. A preview of what you can achieve at this

Fig 69

stage. (Fig.69)

70. We are now going to create some

Fig 70

accessories for the shoe. The next step will be


to create the eyelets in max. Go back to 3ds
max and create a simple cube in the scene with
the following parameters. (Fig.70)

71. As you have done many times throughout


this tutorial, put the pivot at the center of the

Fig 71

object and move the object to the center of the


scene. (Fig.71)

72. Convert it to an Editable poly to be able to


make some modifications. (Fig.72)

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Fig 72

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 73

73. Select a horizontal edge and click on Ring to


select the corresponding edge ring. (Fig.73)

Fig 74

74. Press Connect to create an edge loop at the


middle. (Fig.74)

Fig 75

Fig 76

75. Select the right side and press delete.


(Fig.75)

76. Apply a Symmetry modifier but dont forget


to check Flip otherwise you wont see anything.
Now go back to Editable Poly in the stack and
press the White T to enable the Symmetry
modifier and see the instanced right side.
(Fig.76)

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Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
77. In the front view, click Slice Plane and a

Fig 77

yellow edge appears that you are able to move.


That will allow us to make a new section in the
current mesh. (Fig.77)

78. Using the slice plane, make three different

Fig 78

cuts as shown below. To do this, move the


plane and simply press Slice, resulting in a new
horizontal edge loop. (Fig.78)

79. Still in the front view to keep in track, move


some of the vertices. We define first the main

Fig 79

shape. (Fig.79)

80. Using the same Slice Plane technique, make


a new cut across the top of the object. (Fig.80)

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Fig 80

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 81

81. Select the faces at the extreme left and


extrude them by pressing the Extrude button.
(Fig.81)

Fig 82

82. Use the Inset function to create and scale


the new faces allowing us to give thickness to
the object. (Fig.82)

Fig 83

83. With the new faces still selected, extrude


them to the inside to create a corridor and then
delete them. (Fig.83)

Fig 84

84. First disable the preview Symmetry modifier


to be able to see the inside and then move the
edges at the middle of the scene with the same
technique as explained above (see 26). (Fig.84)

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Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
85. Select an edge on the side, then press ring

Fig 85

Loop and finally press Connect to create a new


edge loop. (Fig.85)

86. Here is a preview of the current stage.

Fig 86

(Fig.86)

87. Select all the edges as shown below, even


at the rear of the object and press Chamfer to

Fig 87

duplicate them which will sharpen some of the


lines. (Fig.87)

88. Apply a Meshsmooth modifier or a


Turbosmooth modifier to see a more final

Fig 88

preview. (Fig.88)

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 89

89. Remove the Meshsmooth modifier first, then


activate the snap option and right click it. Be
sure that Edge/segment only is checked. Press
Cut and draw half a hexagon at the bottom of
the eyelet. (Fig.89)

Fig 90

90. Lets now rearrange some vertices to get


proper quads. Select the vertices shown below
and press Connect to create new edges.
(Fig.90)

Fig 91

91. Finally Press Target Weld, and snap /


collapse the first vertex with the second one.
(Fig.91)

Fig 92

92. We are now going to create a button. With


the faces shown below selected, extrude them
inside. (Fig.92)

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Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
93. Remove the selected faces, then reselect

Fig 93

the half button and re-extrude them to the


outside. (Fig.93)

94. With the faces still selected, press Bevel.

Fig 94

(Fig.94)

95. Remove the unwanted faces that will cause


trouble when you make it Symmetrical. (Fig.95)

96. Select edges at the extreme right and align


them along the symmetry axis by changing

Fig 95

Fig 96

the x value (see 26 to see the display pop up).


(Fig.96)

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 97

97. You can now apply a Symmetry modifier by


changing the Threshold value to weld similar
vertices along the middle. (Fig.97)

Fig 98

Fig 99

98. A smoothed preview of the eyelet. (Fig.98)

99. We are now going to create the half ring


attached to the eyelet. Create a simple Torus
primitive with the parameters shown below.
Then move it to be at the center of the scene.
(Fig.99)

Fig 100

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page 55

100. Convert it to an Editable Poly. (Fig.100)

Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
101. Select and remove three quarters of the

Fig 101

object. We dont need the bottom part and


the right one will be created symmetrically.
(Fig.101)

102. On the remaining quarter, select the edge

Fig102

loop at the bottom and extrude it using Shift +


Move. (Fig.102)

103. Rotate the edges and extrude them once


more. (Fig.103)

104. Finally align them along the x axis.


(Fig.104)

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Fig103

Fig 104

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 105

105. Select ring loop at the bottom and press


Connect to add an edge loop. This new edge
loop will allow us make the corner more angular.
(Fig.105)

Fig 106

106. Create the symmetry but dont forget


to enable Flip to be able to see something.
(Fig.106)

Fig 107

Fig 108

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page 57

107. Some screenshots from different angles.


(Fig.107)

108. Here is a Meshsmoothed final preview of


the first eyelet. (Fig.108)

Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
109. We are now going to create the second

Fig 109

one which is much simpler. Create a Torus with


the same parameters as below and center it in
the scene. (Fig.109)

110. This completes the eyelet accessories.

Fig 110

Next step is to postion them correctly on the


shoe. (Fig.110)

111. Go back to ZBrush and reload the last


sculpting stage of the shoe. (Fig.111)

Fig 111

112. Under the Zplugin Tab, scroll down


to Decimation Master. You could get the
plugin here http://www.pixologic.com/zbrush/

Fig 112

downloadcenter/zplugins/. This plugin will allow


you to optimize your high subdivision mesh into
a mid resolution one. It will be much easier than
to import the new mesh into 3dsmax and will
save a lot of memory. So, open the Decimation
master menu, change the % of decimation to
2,5 and press Pre-process Current to compute
the analyzing treatment. Once done, press
Decimate Current to get a new light mesh. You
can now export it. (Fig.112)

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 113

113. Import it into 3dsmax and you may see


some minor artifacts but that wont cause any
trouble. We just need a reference object to place
accessories on. (Fig.113)

Fig 114

114. Merge the elements youve just created.


(Fig.114)

Fig 115

Fig 116

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page 59

115. Duplicate and move them as shown below.


(Fig.115)

116. A closer preview. (Fig.116)

Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
117. We are now going to create the symmetry.

Fig 117

First press Group under the main Group menu


and apply a Mirror modifier. Click on the + on
the left of the Mirror modifier, highlight Mirror
center and then move it to the origin thanks to
the Move Transform pop up. We are now ready
to export the eyelets. Save your file as we will
use it later for more accessories. (Fig.117)

118. Open up Zbrush, under the Zplugin tab,

Fig 118

click on Subtool master and a pop-up appears


with several functions. Select the first one
named Multi Append and select eyelets obj.
(Fig.118)

119. You could see now a new Subtool on the


list; your eyelets. (Fig.119)

120. To create the feeling that the eyelets are


embedded in the leather, use both the Clay and

Fig 119

Fig 120

Inflat brushes to push the volumes in and out.


And you can at the same time, fake holes at the
middle of the round ones. (Fig.120)

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 121

121. Here are some different views to show an


overall preview of the shoe. (Fig.121)

Fig 122

122. Re-open the 3dsmax scene with the


optimized shoe and eyelets as we are now
going to create the lace. (Fig.122)

123. Create a Spline as shown below, going


through the different eyelets and dont hesitate
to look at one of your own shoes as a reference
to be sure how they are laced. In vertex
Fig 123

mode, select them all, right click and press


Corner in order to remove any Bezier / curve
configuration. (Fig.123)

Fig 124

124. Now with the vertices still selected,


right click and press Smooth. You have now
something clean and uniform. (Fig.124)

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Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
125. To add more thickness and definition to

Fig 125

your lace, go to your line parameters, enable


options and change the values as shown below.
You are free now to move some vertices to
avoid any overlapping or to remove any bad
tension especially around the eyelets. When you
are satisfied, export it. (Fig.125)

126. Bring it into Zbrush by using the same

Fig 126

method as explained above (see 118) and


subdivide it twice to add more definition.
(Fig.126)

127. As we did for the eyelets, we are going to


make some changes to get something more

Fig 127

realistic. Use the Inflat brush to push out the


volumes between the lace and to push in
volumes where the lace is tight. (Fig.127)

128. We are now going to work on the outsole


by adding some grip. Because we will use

Fig 128

Zbrush projection features, be sure to unable


Persp under the Draw tab. Use Shift + move to
snap the bottom of the shoe in the front of the
camera. Then export the document. (Fig.128)

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 129

129. Open the document that you just saved


in Photoshop and using to the Lasso draw a
pattern. Once again dont hesitate to look at
some references of your own shoe. You can use
the Lasso in two different ways, you can either
draw normally to make your selection or you
can press Alt + click + draw to make a polygonal
selection. (Fig.129)

Fig 130

130. When the pattern is done, change the


canvas size to get a square which is really
important in order to make an alpha work
properly in ZBrush. (Fig.130)

Fig 131

131. Deselect the layer with the sole you


imported, and then flatten all the layers. Go
to layers, Flatten image. You should have the
same result as shown below. (Fig.131)

Fig 132

132. Now invert the color to get the grip in white.


Go to Image - Adjustments - Invert. The white
information is what Zbrush needs for an alpha.
(Fig.132)

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Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
133. Go back to ZBrush. (Fig.133)

Fig 133

134. Mask the entire shoe except the sole in

Fig 134

order to avoid any artifacts during the projection.


First go down to subdivision 6 and then select
Move instead of Draw on the top menu. Then
follow the same technique as we used for
chapter 1 by pressing Ctrl + drag the mouse
from the middle of the sole to the bottom to get
something similar to the following. (Fig.134)

135. Use Shift + move to lock the shoe to the


bottom and change the subdivision value to its

Fig 135

maximum. (Fig.135)

136. We are now ready to project. Press


Projection Master on the top left. Once a pop-

Fig 136

up appears change the parameters as shown


below. (Fig.136)

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 137

137. Change the Stroke and the alpha


parameters on the left with the alpha you
created in Photoshop, then right click in the
canvas and change the intensity value to a
lower one. (Fig.137)

Fig 138

138. Drag the alpha on your object first, and


then adjust it using the Move and Scale button
at the top of the interface. (Fig.138)

Fig 139

139. When you are satisfied, press the


Projection master button once again and without
changing anything press Pickup Now which will
execute the projection. You can see a preview
below. There will be some artifacts but we are
going to fix those shortly. (Fig.139)

Fig 140

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page 65

140. Remove the mask (see 59) (Fig.140)

Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
141. Re activate the perspective mode under

Fig 141

the Draw Panel. (Fig.141)

142. Now use the Clay and Smooth brush to

Fig 142

remove and polish the previously generated


artifacts. Dont worry about the bumpy
imperfections you may generate as this will add
more realism. (Fig.142)

143. A current preview of the shoe after this last


process. (Fig.143)

144. We are now going to prepare the mesh for


the last accessory. (see 112) (Fig.144)

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Fig 143

Fig 144

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 145

145. Import it in 3dsmax. (Fig.145)

Fig 146

146. In the left view, create a line as shown


below. We are going to create a leather buckle
at the back. (Fig.146)

Fig 147

Fig 148

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page 67

147. Switch to the back view and apply an


Extrude modifier. (Fig.147)

148. Convert it to an Editable poly. (Fig.148)

Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
149. Select the horizontal edges and create an

Fig 149

edge loop by pressing Connect. (Fig.149)

150. Center the object pivot as we have done

Fig 150

many times previously. (Fig.150)

151. Move the object to the center to prepare


the Symmetry axis. (Fig.151)

152. Select and remove the right side. (Fig.152)

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Fig 151

Fig 152

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 153

153. Apply a shell modifier to add some


thickness. (Fig.153)

Fig 154

154. Collapse the stack; right click on Shell


modifier and Collapse All. To be able to make
it symmetrical later remove the created faces in
the middle. (Fig.154)

Fig 155

155. Select all the edges except ones on the


symmetry axis and press the small button
beside the Chamfer button. This button will
allow you to select a numerical value to be more
accurate during the process. (Fig.155)

Fig 156

156. You are now ready to create the right part


with a Symmetry modifier by changing the mirror
axis and once again not forgetting to check the
Flip option. (Fig.156)

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Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
157. Here is a preview of the leather from

Fig 157

different angles. (Fig.157)

158. Bring this new element in Zbrush (see118)

Fig 158

(Fig.158)

159. Using the Clay brush push in the surface of


the shoe which intersects with the leather piece.

Fig 159

(Fig.159)

160. Select the new imported object and


subdivide it 3 times to add more definition and

Fig 160

to be able to sculpt some additional detail.


(Fig.160)

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 161

161. With the same techniques as you used for


all the leather pieces on the shoe, add some
details. (Fig.161)

Fig 162

162. Now we are going to do the last detail pass


on the shoe. Scroll down to Morph Target, open
it and press StoreMT which will store the current
stage of your object. (Fig.162)

Fig 163

163. Select the standard brush and change the


stroke and the alpha as shown below. Then
right click in the canvas and change the brush
intensity value to 11. (Fig.163)

Fig 164

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page 71

164. Here is the alpha used above. (Fig.164)

Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
165. Drag and drop the alpha several times into

Fig 165

the highlighted area and trying to keep the same


alpha scale. Dont worry if you go over the area.
(Fig.165)

166. Now select the Morph brush and change

Fig 166

the intensity value to maximum 100 and paint


on the unwanted area. You morph the selected
area by the old stored one. (Fig.166)

167. Do that for the small area on the side


too but below by using the same technique.

Fig 167

(Fig.167)

168. At this stage the shoe is done but


unfortunately, it is too symmetrical so lets

Fig 168

ammend that. Open Subtool Master and select


Merge which will merge all the visible SubTools
into a big one. (Fig.168)

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 169

169. Open up an old version of your shoe, the


one you used to re-create a good topology.
The position, rotation and scale of this one will
be used as a reference for the new finished
version. (Fig.169)

Fig 170

170. Disable colorize to get a better visibility.


(Fig.170)

Fig 171

Fig 172

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page 73

171. Append the Merge shoe version with the


one above. (Fig.171)

172. Now the two versions are beside one


another on the canvas. (Fig.172)

Chapter 02

Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut s Character Modeling
173. We are going to use the Transpose

Fig 173

function to transform and move the new shoe


to match the old one. Drag the three balls
as shown below but be sure to keep the line
straight by pressing shift each time you move
the balls. To move the balls, select the circle line
but do not press inside. (Fig.173)

174. By pressing and moving inside the ball

Fig 174

situated in the middle, move the shoe to the left.


(Fig.174)

175. Change the balls position in the top view,


press rotate and by selecting and moving the

Fig 175

ball in the front of the shoe; rotate it to match the


one underneath. (Fig.175)

176. Do this several times to match the old


mesh as best as possible. (Fig.176)

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Fig 176

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Chapter 02

Cedric Seauts Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting
Fig 177

177. With the move Brush, move some areas


to fit more with the reference underneath.
(Fig.177)

Fig 178

178. Here are the results from different angles.


(Fig.178)

Fig 179

Fig 180

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page 75

179. And here is the final shoe. (Fig.179)

180. Lets finish with a beauty render inside


ZBrush. (Fig.180)

Chapter 02

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Chapter 03 - Gun
(Hard-Edge Modeling)

Fig 01

Software Used: ZBrush, 3ds Max, Silo, and


Photoshop

Introduction
In the following chapter, we are going to see
the step by step progress used to create
a Handgun. The technique used is not
complicated, we just need to know how to use
a couple of functions in 3dsmax and have some
patience and good references.
Fig 02

1-2. The first step is to gather reference


material. Google is probably the best friend you
could have on the internet. For this character
I chose a Desert Eagle. Try to find references
from different angles and especially the side
view which will be very important in creating the
main shape. (Fig.01 02)

3. In the front viewport, create a plane with

Fig 03

the same length and width as your reference


picture. (Fig.03)

4. Open the Material Editor by pressing M

Fig 04

hotkey and select a slot in the new window.


Then click on the square button beside Diffuse
and a new pop-up appears. Select Bitmap and
choose your reference picture. (Fig.04)

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Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


5. Once your reference picture is loaded, apply

Fig 05

the material to your object (1) and display the


picture in the viewport (2). (Fig.05)

6. Create a line around the gun as you did in

Fig 06

chapter 2 (see 146). (Fig.06)

7. Select all the vertices, right click to display


the pop-up menu and select Corner. Its really

Fig 07

important because we are going next to work


with an Editable Poly so do not need any Bezier
information. (Fig.07)

8. Convert to an Editable Poly and you have a


big polygon with n-gons. (Fig.08)

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Fig 08

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 09

9. Add a Shell modifier to create some


thickness. (Fig.09)

Fig 10

10. Collapse the stack by right clicking on Shell Collapse All. (Fig.10)

Fig 11

11. Dont forget do remove the face at the


back where the Symmetry axis will be situated.
(Fig.11)

Fig 12

12. As we often did with the previous chapters,


select all the vertices at the back from within the
top view. Right click on the Move button and
change the Y value to align them correctly along
the symmetrical axis. (Fig.12)

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Chapter 03

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13. Here is the result so far in the side view.

Fig 13

(Fig.13)

14-15. Select the object and then press Alt+X

Fig 14

and it will become transparent, allowing you


to use the reference picture as a guide. With
the Cut function, add some sections as shown
below. Just press Alt+X again if you want to
view your object as in the previous preview.
(Fig.14 15)

Fig 15

16. We are going now to detach the different


elements that we are going to work on

Fig 16

separately. Lets detail the procedure for just


one section as it will be the same for all. Detach
the chosen section as shown below. (Fig.16)

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 17

17. You now have a new object in the scene.


(Fig.17)

Fig 18

18. Select the open area along the bottom and


whilst pressing Shift, move them to the left in
order to extrude them. Then press Y to align the
new edges together. (Fig.18)

Fig 19

19. As we have often done during the last two


chapters, right click on the Move transformation
button to show the numerical parameters and
change the Y value to 0 to align the edges along
the symmetrical axis. (Fig.19)

Fig 20

20. Now select all the vertices and press the


square box beside Weld, changing the value
in the new window to 1. This will weld all the
vertices that occupy the same position. (Fig.20)

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Chapter 03

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21. Do this for all the pieces you previously cut

Fig 21

earlier; 5 altogether. (Fig.21)


We will then work on them one by one in order
to create a more accurate model.

22. We will begin with the barrel. (Fig.22)

23. In the following, you will see that there


are not too many things to explain. The few

Fig 22

Fig 23

functions used during the modeling process are


mainly Cut, Extrude, Chamfer, Bevel, Connect...
and patience. The most important thing is
to always use the reference picture in the
background to help you understand the details
and volumes. (Fig.23)

24. Here is the step by step process, adding


some cuts to create the new lines. (Fig.24)

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Fig 24

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 25

25. Delete the top piece as shown below to


be able to extrude important elements later.
(Fig.25)

Fig 26

26. Here is a different angle to show the barrel.


(Fig.26)

Fig 27

Fig 28

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27. Do the same as above (see 18) to close the


top of the object. (Fig.27)

28. Add some cuts in order to extrude some


grips. (Fig.28)

Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


29. Select faces on the top and extrude them

Fig 29

as shown below but dont forget to slide them


to the inside a little to match with the reference.
(Fig.29)

30. Add a long horizontal cut. (Fig.30)

31-32-33. Add some cuts in order to create a


hole. This hole will be important for connecting

Fig 30

Fig 31

the different pieces. Dont forget to align the


lines with the symmetrcal axis otherwise you will
have to fix this later. (Fig.31 33)

Fig 32

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 33

Fig 34

34. More cuts to keep in track with the


reference. Its good to add more polygons
sometimes to avoid rectangles. If you want to
sculpt some areas then its good to keep as
many squares as possible. (Fig.34)

Fig 35

Fig 36

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35. Extrude a rectangle at the extremity to


prepare the target. (Fig.35)

36. Add more cuts in order to follow the above


advice (see 34). (Fig.36)

Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


37. Here is the result from several angles.

Fig 37

(Fig.37)

38. Add some cuts on the front to prepare the

Fig 38

hole. (Fig.38)

39. Now extrude it. (Fig.39)

40-41. More cuts to reduce the rectangles.


(Fig.40 41)

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Fig 39

Fig 40

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 41

Fig 42

Fig 43

42. Current preview. (Fig.42)

43. We are now going to chamfer edges


to increase the quality once the object is
smoothed. Chamfer is a very powerful function
when modeling mechanical objects. (Fig.43)

Fig 44

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page 87

44-45. Some more angles to better see the


edges we are going to chamfer. (Fig.44 45)

Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


Fig 45

46. Chamfer them as much as you want.

Fig 46

(Fig.46)

47. The result - dont hesitate to add some final


touches to keep the mesh as quads. (Fig.47)

48. Some more angles. (Fig.48)

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Fig 47

Fig 48

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 49

49. To smooth the model, just add a


Meshsmooth modifier. (Fig.49)

Fig 50

50. Now apply a Symmetry modifier and enjoy


the result for a few moments. (Fig.50)

Fig 51

Fig 52

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page 89

51. The second piece. (Fig.51)

52. Some different angles to help you visualize


volumes. (Fig.52)

Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


53. Cut a hole at the bottom to help insert an

Fig 53

object later. (Fig.53)

54-55. Do the same on the front. (Fig.54 55)

Fig 54

Fig 55

56-57. Cut some lines in order to remove the


faces. (Fig.56 57)

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Fig 56

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 57

Fig 58

58-59-60. Remove the faces and extrude the


edges inwards to create a thickness. (Fig.58
60)

Fig 59

Fig 60

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Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


61. Add some cuts on the front view to match

Fig 61

the original reference picture. (Fig.61)

62-63. Finally select the new faces and extrude

Fig 62

them to add volume. (Fig.62 63)

Fig 63

64. The current preview from different angles.


(Fig.64)

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Fig 64

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 65

65. Select the face as shown below and extrude


it inwards to create a cavity. (Fig.65)

Fig 66

66-67. Add more cuts to polish the object


(Fig.66 67)

Fig 67

Fig 68

68. Cut some edges inside to improve the


barrel connection. We are not going to create
a working weapon but its still good to keep the
main areas accurate. (Fig.68)

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Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


69-70. Extrude the faces and polish them to

Fig 69

maintain smooth curves. Dont hesitate to


display the barrel to test the connection. (Fig.69
70)

Fig 70

71-72. In order to form a sharp edge, create a


cut as shown below. (Fig.71 72)

Fig 71

Fig 72

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 73

73. Polish the front of the object. (Fig.73)

Fig 74

74-75. Once again we are going to chamfer


edges to increase the quality. (Fig.74 75)

Fig 75

Fig 76

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page 95

76. Chamfer and polish the final piece. (Fig.76)

Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


77. Some more screenshots to help you target

Fig 77

difficult areas. (Fig.77)

78. The final object after smoothing. (Fig.78)

79. Add the barrel to see how they work


together. (Fig.79)

80. The pistol handle. (Fig.80)

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Fig 78

Fig 79

Fig 80

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 81

81. The same kind of preliminary cut as we did


above to shape the main volume. (Fig.81)

Fig 82

Fig 83

82. Some more views. (Fig.82)

83-84-85. Try to keep quads as much as


possible. (Fig.83 85)

Fig 84

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Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


Fig 85

86. Current stage. (Fig.86)

87-88. Prepare and remove an area to make


way for inserting an object later. (Fig.87 88)

Fig 86

Fig 87

Fig 88

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 89

89-90. Prepare and extrude a hole for the


trigger. (Fig.89 90)

Fig 90

Fig 91

91-92-93. Do the same for the magazine.


(Fig.91 93)

Fig 92

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Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


Fig 93

94. A current preview. (Fig.94)

95. Now lets add some buttons on the piece


by cutting some hexagons in the front view.

Fig 94

Fig 95

(Fig.95)

96-97-98-99-100. Using the following steps,


create the buttons. (Fig.96 100)

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Fig 96

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 97

Fig 98

Fig 99

Fig 100

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Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


101. Preview of the buttons after the faces are

Fig 101

collapsed. (Fig.101)

102. Now its time now to select the edges to

Fig102

chamfer. (Fig.102)

103. Here they are from several angles.


(Fig.103)

104-105. Here is a preview of the chamfered

Fig103

Fig 104

edges and final object. (Fig.104 105)

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 105

Fig 106

Fig 107

106. The final object. (Fig.106)

107-108. The final smoothed preview along with


the previously created pieces. (Fig.107 108)

Fig 108

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Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


109. The next piece to create is the grip.

Fig 109

(Fig.109)

110. Add some subdivisions to prepare the

Fig 110

different regions. (Fig.110)

111. Some further angles. (Fig.111)

112. Prepare and extrude the area shown below


to match the reference. (Fig.112)

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Fig 111

Fig 112

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 113

113. Cut the area which will represent the


grip and clean up the object to create quads.
(Fig.113)

Fig 114

114. We are not going to reproduce the grip


exactly as seen in the reference in order that I
can introduce a different technique. Select the
area and extrude it. (Fig.114)

Fig 115

115-116. A current preview. (Fig.115 116)

Fig 116

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Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


117-118. Once again, select the edges we are

Fig 117

going to chamfer. (Fig.117 118)

Fig 118

119. Now lets chamfer them. (Fig.119)

120-121. Here is the stage after a quick clean


up to maintain quads. (Fig.120 121)

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Fig 119

Fig 120

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 121

Fig 122

122. We are now going to create the grip


texture. First create one element of what will
become a much larger pattern. You can try to
create your own but keep it simple because it
will be quite small in the end. Notice the small
quads on the left and bottom of the object; they
are there in order to duplicate it later without any
visible holes. (Fig.122)

Fig 123

Fig 124

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page 107

123. Some different angles. (Fig.123)

124. By pressing Shift, first move the object to


the bottom right. (Fig.124)

Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


125. Attach the new one to its parent, and

Fig 125

then select all the vertices to weld the ones


occupying the same position. (Fig.125)

126. Do the same as previously done (see 124)

Fig 126

but change Number of Copies to 20 to create


the initial row. (Fig.126)

127. Follow the same procedure as above but


this time vertically. (Fig.127)

128. You should now have a large square


pattern. (Fig.128)

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Fig 127

Fig 128

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 129

129. Display the recent handgun piece and


move you square pattern to cover the grip area.
(Fig.129)

Fig 130

130- 131. Select the faces within the grip area


and delete them. (Fig.130 131)

Fig 131

Fig 132

132. Now apply an FFD (box) 4x4x4 modifier


to bend and move the grip pattern into its
corresponding area. (Fig.132)

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Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


133. Here is the final preview with both a

Fig 133

Symmetry and Meshsmooth modifier applied.


(Fig.133)

134. Here is the current stage of the handgun

Fig 134

along with the grip. (Fig.134)

135. Now for the last big piece. (Fig.135)

136-137. Add some cuts to create more


definition. (Fig.136 137)

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Fig 135

Fig 136

page 110

Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 137

138. To prepare a hole, cut the area as shown


below. At the same time fix any potential n-gons.
(Fig.138)

Fig 138

139. Extrude the area. (Fig.139)

Fig 139

Fig 140

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page 111

140-141. Prepare another area for extrusion.


(Fig.140 141)

Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


Fig 141

142. Extrude the area. (Fig.142)

143-144. Do the same on the right to match the


reference. (Fig.143 144)

Fig 142

Fig 143

Fig 144

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 145

145- 146. As you did for the piece at the front,


cut in a hexagon in order to form a button. (See
95-100). (Fig.145 146)

Fig 146

Fig 147

Fig 148

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page 113

147. Some more angles. (Fig.147)

148-149-150. Select the appropriate edges and


chamfer them. (Fig.148 150)

Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


Fig 149

Fig 150

151- 152. A final preview. (Fig.151 152)

Fig 151

Fig 152

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 153

153. Apply the Symmetry and Meshsmooth


modifiers. (Fig.153)

Fig 154

154. Here is the current stage of the handgun


containing all the large pieces. (Fig.154)

Fig 155

155. Now we are presented with all the small


pieces that we are going to add to match the
reference.
Here are the sights at the front of the gun.
(Fig.155)

Fig 156

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156. The hammer. (Fig.156)

Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


157. The trigger. (Fig.157)

Fig 157

158. The end of the magazine; we dont need to

Fig 158

model everything as we dont need this gun to


work properly. (Fig.158)

159. Another piece below the barrel of the gun.


(Fig.159)

160. Another section under the barrel to connect


with the one above. (Fig.160)

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Fig 159

Fig 160

page 116

Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo


Fig 161

161. The sights at the back of the gun. (Fig.161)

Fig 162

162. The muzzle. (Fig.162)

Fig 163

163-164-165- Side details. (Fig.163 165)

Fig 164

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Chapter 03

Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut s Character Modeling


166-167. The final preview of the gun
incorporating all the pieces. (Fig.166 167)
168. Here is a real time preview with shadows in
3dsmax 2010. (Fig.168)

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Chapter 03

Cedric Seauts Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo

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Chapter 03

Cedric Seauts Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting
Chapter 04 - Chest
(ZBrush Mechanical
Sculpting)

Fig 01

Software Used: ZBrush, 3ds Max, Silo, and


Photoshop

Introduction
In the following chapter, we are going to see
how to sculpt a mechanical object in ZBrush
from the basic concept we achieved in the first
chapter. We are then going to introduce several
accessories which we will integrate into the
Fig 02

chest.

1. We will begin with the basic concept from


chapter 1. (Fig.01)

2. By using both the Clay and Smooth ZBrush


brushes, I tried to extract more volumes which
will allow for a more polished object. (Fig.02)

3. By using the same technique shown

Fig 03

in chapter 2 (creating a shoe step 5), I


polypainted a better topology on the current
concept. You will notice there are two different
colors on the object which represent the two
different objects we will create; one being the
chest and the other the hands. We are going
to use this technique in order to save memory
and allow us to sculpt more smoothly. Usually
hands require more polygons and hence more
resources due to the fingers so its often good to
find a way to detach them into a unique piece.
Fig 04

(Fig.03)

4- 5- 6. Dont hesitate to use the transpose


function in order to work on a specific area as
this will allow you to paint a cleaner and better
topology. The arm is a good example which
might be quite hard to paint without hiding the
rest of the object. (Fig.04 06)

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Chapter 04

Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut s Character Modeling
Fig 05

Fig 06

7- 8. Once youre done with the polypainted


topology used the re-topology process

Fig 07

explained in chapter 2 - step 12 to recreate


brand new base meshes for the chest and hand.
Remember to do only one hand as later we will
use symmetry to duplicate it. (Fig.07 08)

Fig 08

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Chapter 04

Cedric Seauts Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting
Fig 09

9. Go back to your polypainted Ztool and turn


off colorize under the Texture Tab. We are now
going to append both previous objects with this
tool. (Fig.09)

Fig 10

10. Under the SubTool tab, press Append and


first choose the Chest and then the Hand as we
did in chapter 2 - step22. (Fig.10)

Fig 11

11. We have now three different SubTools; the


old concept and the new chest and hand. Select
the chest and subdivide it. (Fig.11)

Fig 12

12. Now press StoreMT under the Morph Target


Tab and display the old concept by pressing on
the eye icon beside it. (Fig.12)

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Chapter 04

Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut s Character Modeling
13. On the left (1) is the last action we did above

Fig 13

before pressing ProjectAll in order to project all


of the sculpted information from the concept
onto the new chest base mesh. (Fig.13)

14. Here are the results below. (Fig.14)

15. Hide the old concept by pressing the eye


icon. We are now going to correct the minor

Fig 14

Fig 15

artifacts that the projection has created. (Fig.15)

16. Here on the back we can see an example of


some small artifacts. (Fig.16)

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Fig 16

page 124

Chapter 04

Cedric Seauts Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting
Fig 17

17. Use the Transpose function to select only


the arms. (Fig.17)

Fig 18

18. Now hide them by pressing HidePt under


the Masking Tab. You can now clearly see the
artifacts. (Fig.18)

Fig 19

19. We are now going to use the Morph data we


stored in step 12 to remove them. Choose the
Morph brush and set the intensity to 100. Now
all we need to do is just paint on the artifacts.
(Fig.19)

Fig 20

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page 125

20. Using the Smooth brush, polish the area to


get a clean junction. (Fig.20)

Chapter 04

Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut s Character Modeling
21. Use the same techniques explained above

Fig 21

to fix any other artifacts. Here is an image of the


final result. (Fig.21)

22. Use the same steps for the hand by first

Fig 22

subdividing it and then storing the morph target.


(Fig.22)

Fig 23
23. Project the old concept onto the new hand.
(Fig.23)

24. Below you can see both new objects. We


are now going to clean the transition between

Fig 24

them. (Fig.24)

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Chapter 04

Cedric Seauts Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting
Fig 25

25. Select the chest and using the Clay brush,


push in the transition area to get a perfect
assembly. (Fig.25)

Fig 26

26- 27. Here is a preview from different angles.


This doesnt have to be perfect as we are going
to polish and sculpt both parts. (Fig.26 27)

Fig 27

Fig 28

28. We are now going to create a symmetrical


copy of the hand. First select the hand and
then press Del Lower to remove the objects
subdivision history. Then, press the SubTool
master button under the Zplugin menu. (Fig.28)

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Chapter 04

Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut s Character Modeling
29. After a menu appears, click on Mirror and

Fig 29

then OK using the parameters shown below.


(Fig.29)

Fig 30
30- 31. Here are several previews of the result.
(Fig.30 31)

Fig 31

32. Still with the hands selected, reconstruct the


subdivision which is proves important in saving

Fig 32

display memory. (Fig.32)

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Chapter 04

Cedric Seauts Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting
Fig 33

33. Here is a final preview. (Fig.33)

Fig 34

34. Its time now to add more detail to the chest.


The Dam standard brush is the main key to
achieve this and when used with the LazyMouse
it becomes the most powerful tool ever. After
selecting the Dam Standard brush, press L to
activate the LazyMouse and change the stroke
parameters to those shown below in order to
draw some perfect smooth lines. Lets now draw
some more details on the front. (Fig.34)

Fig 35

Fig 36

35. The back. (Fig.35)

36. We are now going to work on a small area


to explain the different steps in the process
and then apply these techniques to the entire
character. Using the Dam Standard brush draw
the lines slowly to avoid artifacts, and then use
the Flatten brush with the same LazyMouse/
stroke parameters to flatten the corresponding
line above the previous one. All the green lines
are done with Dam Standard brush but dont
hesitate to use Smooth sometimes to remove
bumpy effects. (Fig.36)

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Chapter 04

Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut s Character Modeling
37. We are now going to explain how to create

Fig 37

and sculpt these details. This technique is


probably the second main component in the
mechanical sculpting process. In reality, these
details begin as actual 3D objects so lets create
them in 3ds max first. (Fig.37)

38. Create a basic plane in 3dsmax using the

Fig 38

parameters shown below. We will first create a


rectangle. (Fig.38)

39. Move it to the center of the scene and then


right click on the Move button to display the

Fig 39

pop up box below and change the X, Y and Z


values. (Fig.39

40. Convert it into an Editable Poly. (Fig.40)

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Fig 40

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Chapter 04

Cedric Seauts Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting
Fig 41

41. Select the edges shown in green and press


the Connect button to create a new edge.
(Fig.41)

Fig 42

42. Select the newly created edge and chamfer


it as shown below. (Fig.42)

Fig 43

Fig 44

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page 131

43. Repeat the process to create a new edge


between them. (Fig.43)

44. Chamfer it once again to get the result


shown below. (Fig.44)

Chapter 04

Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut s Character Modeling
45. Select the face and Bevel it as shown on the

Fig 45

right. (Fig.45)

46. Here is a preview of the current stage.

Fig 46

(Fig.46)

47. Select the edges as shown below. (Fig.47)

48. Now press Connect to create a new Edge


Loop. (Fig.48)

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Fig 47

Fig 48

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Chapter 04

Cedric Seauts Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting
Fig 49

49. Move and scale the newly created Edge


Loop as shown below. (Fig.49)

Fig 50

Fig 51

Fig 52

50. Select the corner edges. (Fig.50)

51. Now chamfer them which will sharpen the


corners. (Fig.51)

52. We will now clean up the object. Press


Target Weld and then select vertex one followed
by vertex two to weld them together. (Fig.52)

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Chapter 04

Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut s Character Modeling
53. Follow the same procedure with each

Fig 53

corner, the result of which can be seen below.


(Fig.53)

54. To maintain the object as quads, Connect

Fig 54

the vertices shown below. (Fig.54)

55. Now delete the edge in the middle to create


a quad. (Fig.55)

56. Do the same inside the shape to generate


quads. (Fig.56)

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Fig 55

Fig 56

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Chapter 04

Cedric Seauts Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting
Fig 57

57. Here is a preview of the final result. (Fig.57)

Fig 58

58. Now select all the edges shown below.


(Fig.58)

Fig 59

Fig 60

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page 135

59. Apply a Chamfer as shown below. (Fig.59)

60. Select all the horizontal edges and press


Connect to create a new Ring Loop. (Fig.60)

Chapter 04

Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut s Character Modeling
61. Now Chamfer the newly created edges.

Fig 61

(Fig.61)

62. Follow the same procedure for the vertical

Fig 62

edges. (Fig.62)

63. Here is a preview of the final object. (Fig.63)

64. Here is newly smoothed preview. (Fig.64)

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Fig 63

Fig 64

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Chapter 04

Cedric Seauts Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting
Fig 65

65. We are now going to create an alpha from


this object. Go back into Zbrush and change the
document parameters as its important to get the
maximum quality. (Fig.65)

Fig 66

66. Use the zoom button on the right to see the


entire Canvas in the screen as its important to
use the entire space. (Fig.66)

Fig 67

Fig 68

67. Import the object created in 3dsmax.


(Fig.67)

68. Press Crease to limit the shrink effect at


the extremity and subdivide it until its perfectly
smoothed. Then Under the Display Property tab
press Flip to invert your object. (Fig.68)

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Chapter 04

Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut s Character Modeling
69. Choose MRGBZGrabber in the list shown

Fig 69

below. This function will allow us to grab the


depth of the object. (Fig.69)

70. Click on Switch when you see the following

Fig 70

warning. (Fig.70)

71. Its now time to create the white square.


Turn off Auto Crop and draw the square at its

Fig 71

maximum size using the entire canvas. (Fig.71)

72. When you release the mouse, the data is


sent to the alpha position. You have now your

Fig 72

alpha. (Fig.72)

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Chapter 04

Cedric Seauts Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting
Fig 73

73. Here is a quick test which will be explained


in the following paragraphs. (Fig.73)

Fig 74

74. Its good to keep the original alpha


(2048*2048) but thanks to Photoshop we can
reduce it to 512*512 and save another iteration
that we will use on the model. (Fig.74)

Fig 75

75. Here are the different alphas I used for the


chest. I used the exact same method to create
them as explained above. (Fig.75)

Fig 76

76. Going back to the chest its now time now


to polish it a bit more in the different areas. Still
using the Dam Standard and Flatten brushes,
we can slowly clean the shape. (Fig.76)

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Chapter 04

Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut s Character Modeling
77. To apply the rectangles to your shape, use

Fig 77

the standard brush with the DragRect stroke and


select the rectangle alpha. Now right click on the
model to change the brush parameters, bearing
in mind that the Draw Size and Focal Shift have
to be close. This procedure is important if you
want to create a clean rectangle. You can now
place them on your object. (Fig.77)

78. Lets create another object in 3ds Max that

Fig 78

we will put on the chest. (Fig.78)

79. Go back into Zbrush with your chest.


(Fig.79)

80. We are now going to decimate the chest


in order to bring it into 3ds Max and avoid any

Fig 79

Fig 80

memory crash. (Fig.80)

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Chapter 04

Cedric Seauts Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting
Fig 81

81. Once its done export the optimized chest.


(Fig.81)

Fig 82

Fig 83

82. Import it in into Max. (Fig.82)

83. Merge the newly created object and position


it to mimic what we see below. Dont move
vertices as we will match both objects in Zbrush.
Export the green object as an obj. (Fig.83)

Fig 84

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84. Open up Zbrush and import the object into


the scene by way of SubTool Master. (Fig.84)

Chapter 04

Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut s Character Modeling
85. Use the Move brush to push the new object

Fig 85

a little in order to match it perfectly with the


chest. (Fig.85)

86. Once again, use the SubTool Master to

Fig 86

mirror the newly created object. (Fig.86)

87. Here is the final result. (Fig.87)

88. Use the same technique as explained in


step 77 to create these holes. The alpha in the

Fig 87

Fig 88

bottom left was used (see 75). (Fig.88)

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Chapter 04

Cedric Seauts Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting
Fig 89

89. I used the rectangular alpha to create these


small thick lines (in red), still using the Dam
Standard brush with the LazyMouse to polish
the lines below (in green). (Fig.89)

Fig 90

90. I used the same technique to create the


holes below (see 75-77) and used the Clay
brush with a very low value to slightly flatten the
areas shown below to simulate a button effect.
(Fig.90)

Fig 91

Fig 92

91. Create a new object in 3ds Max starting with


a simple cylinder. (Fig.91)

92- 93. Using the same technique explained in


step 79 duplicate and move the different objects
on the chest to get something similar to the
following. (Fig.92 93)

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Chapter 04

Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut s Character Modeling
Fig 93

94. Once again bring these new elements into

Fig 94

the scene by using the SubTool Master plugin.


(Fig.94)

95. Here is a current preview with some more


changes using the same methods involving

Fig 95

alphas and the Dam Standard brush. (Fig.95)

96. We use the same technique for the


shoulders and neck. More screenshots will be

Fig 96

shown later to focus on the different areas.


(Fig.96)

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Chapter 04

Cedric Seauts Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting
Fig 97

97. Here is a final preview. (Fig.97)

Fig 98

98. With the armor area done its now time to


polish the arm which is a more organic element.
Use the Inflat and the Smooth brush to gradually
bulge out the volumes. (Fig.98)

Fig 99

Fig 100

99. Here are some more angles to see the


volumes. (Fig.99)

100. When you are satisfied with the volumes,


add more small skin details courtesy of a
specific alpha (provided customized brush).
(Fig.100)

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Chapter 04

Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut s Character Modeling
101. Once again use the Dam Standard brush

Fig 101

to accentuate some holes in order to make it


appear more organic. (Fig.101)

102 to 111. Here are some screenshots to

Fig 102

represent the key areas to help you visualize


the process. The same techniques were used
to reach this stage and mainly incorporated
customized alphas and the Dam standard / Flat
brush with the LazyMouse. Its up to you now to
create more specific alphas and to furnish your
own library with small and simple mechanical
objects. (Fig.102 111)

Fig 103

Fig 104

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Chapter 04

Cedric Seauts Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting
Fig 105

Fig 106

Fig 107

Fig 108

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Chapter 04

Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut s Character Modeling
Fig 109

Fig 110

Fig 111

112 to 117. Here are a grenade and rifle which


were created in 3ds Max to add a bit more

Fig 112

interest to the character. (Fig.112 117)

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Chapter 04

Cedric Seauts Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting
Fig 113

Fig 114

Fig 115

Fig 116

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Chapter 04

Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut s Character Modeling
Fig 117

118-119-120. I also added a simple military

Fig 118

pouch to create some extra detail. Here are the


different sculpting steps. (Fig.118 120)

Fig 119

Fig 120

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Chapter 04

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Chapter 05 - Pants
(ZBrush Fabric
Sculpting)

Fig 01

Software Used: ZBrush, 3ds Max, Silo, and


Photoshop

Introduction
In the following chapter, we are going to see
how to sculpt the pants from the basic concept
we achieved in the first chapter. We are then
going to introduce several accessories that we
will integrate into it.
Fig 02
1. So lets start from the basic concept we
achieved in Chapter 1 (Fig.01).
2. Basically we are going to follow the same
procedure as we did in the last chapter and
also for the shoe. The first stage involves
polypainting the concept to use as a guide later
on when reconstructing the topology (Fig.02).

3. Dont hesitate to re-read the previous chapter

Fig 03a

and to follow the step by step progress.


Here you can see the new mesh. In the second
image you will notice that the top and the bottom
are capped. Its still good to close your mesh in
order to get a better texture (Fig.03a b).

Fig 03b

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Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
4. Now go back to your concept mesh as we are

Fig 04

going to re-project all the information from the


old version onto the new one. First of all turn off
Colorize to hide Polypaint (Fig.04).

5. Under your Subtools, press Append to display

Fig 05

the new menu that will allow you to select the


new pants mesh. After selecting it you will see it
just under your main Subtool (Fig.05).

6. Subdivide it several times but be careful to


keep under 3 million polygons, otherwise you

Fig 06

will have a lack of memory which will encroach


on your workflow. You just need enough
resolution to get a nice projection. Go to the
bottom, open up the morph tab and press Store
in order to store this current state in the memory
(Fig.06).

7. Press Project All to transfer all the


information from the old mesh onto the new

Fig 07a

version. As you can see below, you may have


some artifacts. This phenomena comes from the
polygons you created to cap the mesh but there
is no need for concern as the morph will allow
you to fix these bugs (Fig.07a - b).

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Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 07b

Fig 08a

8. Thanks to the Morph and Smooth brushes,


you can correct the artifacts easily. Its important
to change the intensity of the morph brush in
order to remove the distortion quickly. In the
second picture, you can see a preview of the
result (Fig.08a b).

Fig 08b

Fig 09

9. We are now going to paint a first pass of folds


on the pants. To keep smooth unified volumes
and avoid any bumpy effects, we will use the
Standard brush with the LazyMouse as shown
below. It is then a case of slowly drawing in
some lines. Work in symmetry to save time as
the accessories will break this up later. Its good
to have some references when you work on
folds in the cloth so dont hesitate to take some
photos of yourself to help or alternatively use
the internet (Fig.09).

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Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
10. Before continuing with the folds we are

Fig 10

going to create the base meshes for the


accessories. We are going to need an iteration
of the pants for that. Open the Zplugin menu
and change the Decimation parameters as
shown below. After the calculation, you will have
a lighter version that you can use in 3dsmax to
figure out the accessories (Fig.10).

11. Import the above created mesh into 3dsmax

Fig 11

(Fig.11).

12. Create a simple plane and center it in the


scene. Now move it to the middle of the thigh as

Fig 12a

shown in the second picture (Fig.12a b).

Fig 12b

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Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 13

13. We are going to extrude edges to create


straps so first of all convert the plane to an
Editable Poly (Fig.13).

Fig 14

14. Move the edges slightly (Fig.14).

Fig 15

15. By pressing shift, duplicate and move the


edge to the left. Repeat this to add further faces
around the thigh and create a strap (Fig.15).

Fig 16a

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16. Do this several times as shown below


(Fig.16a b).

Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
Fig 16b

17. Finally weld the vertices as shown below in

Fig 17

order to close the Strap (Fig.17).

18. In this chapter, we are going to use some


generic objects such as clips. They will be used

Fig 18

essentially for straps to add more detail and get


a better silhouette (Fig.18).

19. Like the Desert Eagle, another weapon has


been made for the left thigh of the character.

Fig 19a

We are going to place it into its correct position


in order to better create the straps. In the last
picture, we also moved and duplicated the clips
to attach the blade onto the pants (Fig.19a
b).

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Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 19b

Fig 20a

20. Create another strap below the first one by


using the same steps, adding more clips to get
the following preview (Fig.20a b).

Fig 20b

Fig 21

21. We are now going to create some thickness


to the straps. Under the Modifier tab, open the
roll out and select Shell (Fig.21).

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Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
22. Its up to you then to try and choose the

Fig 22

best parameters in order to create realistic


proportions (Fig.22).

23. Once satisfied, convert both elements to an

Fig 23

Editable Poly to collapse the modifier stack and


keep it simple (Fig.23).

24. We are now going to prepare the mesh


and so in order to do that hide everything except

Fig 24

the strap (Fig.24).

25. Select one edge (Fig.25).

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Fig 25

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Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 26

26. Press on Ring to select the ring loop


(Fig.26).

Fig 27

27. Now click on Loop to select the


corresponding edge loops (Fig.27).

Fig 28

28. Now you can chamfer the edge loops in


order to get sharper angles when you have to
sculpt the strap within Zbrush where it will be
much easier to achieve a better result (Fig.28).

Fig 29

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page 161

29. Apply this to the second one below. Here is


a current preview (Fig.29).

Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
30. Here is another preview without the wire

Fig 30

(Fig.30).

31. Its now the time to re-use the Desert Eagle

Fig 31

you created previously as we are going to create


a holster for it (Fig.31).

32. As we did with the straps above, use the


same technique to create the holster, edge by

Fig 32

edge (Fig.32).

33. Extrude the edges as shown below (Fig.33a


b).

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Fig 33a

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Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 33b

Fig 34

34. Dont hesitate to hide everything except


the current object in order to see what you
are doing. Continue to extrude the edges by
pressing shift (Fig.34).

Fig 35

Fig 36

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page 163

35. Here is a current preview from several


angles (Fig.35).

36. Extrude the edges step by step (Fig.36).

Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
37. In order to close the mesh, use the Target

Fig 37

Weld Function to snap and weld corresponding


vertices (Fig.37).

38. Cap the bottom but dont forget its important

Fig 38

to keep the mesh as quads as this will remove


any bugs and artifacts in ZBrush (Fig.38).

39. Follow the same procedure on the top.


Select all the edges by using the Border

Fig 39

selection mode (Fig.39).

40. Whilst pressing shift, extrude the border and


scale it down (Fig.40).

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Fig 40

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Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 41

41. Once done close it properly with quads


(Fig.41).

Fig 42

42. As we did for the straps, we are going to


sharpen some edges to simplify the work in
Zbrush.
Select the edges as shown below (Fig.42).

Fig 43

Fig 44

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43. Here are some other previews from several


angles (Fig.43).

44. Add a mini strap using the same technique


as shown below (Fig.44).

Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
45. An a further one on the side (Fig.45).

Fig 45

46. We are going to create more elements in

Fig 46

order to add extra detail. Usually its better to


have one object with several sub objects rather
than a complete mesh entirely sculpted (Fig.46).

47. Use the same procedure as we have done


previously (Fig.47).

48. Here are some more views to show the main


shape and silhouette (Fig.48).

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Fig 47

Fig 48

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Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 49a

49. Dont hesitate to look at references for the


details with Google often being your best friend.
Here is one more strap (Fig.49a b).

Fig 49b

Fig 50

Fig 51a

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page 167

50. Feel free to re-use the clips (Fig.50).

51. Here are a few more images to show the


extra straps (Fig.51a c).

Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
Fig 51b

Fig 51c

52. You have now your holster where you can


house your weapon (Fig.52).

53. Lets add some more accessories on the


thigh to accommodate the holster and also add

Fig 52

Fig 53

more definition (Fig.53).

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Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 54

54. Use the same procedure as before to add


thickness and prepare it for sculpting (Fig.54).

Fig 55

55. Add some more clips in order to house a


new strap which will support the holster (Fig.55).

Fig 56a

56. You can now go on and create the strap


from a simple plane. In the second picture you
can see a preview from the back (Fig.56a b).

Fig 56b

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Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
57. Here is a preview of all the current

Fig 57a

accessories present on the right thigh (Fig.57a


b).

Fig 57b

58. Here are all the newly created accessories


(Fig.58).

59. With these components done its time now


to work on the belt area. First duplicate the

Fig 58

Fig 59

standard clip and position it at the top (Fig.59).

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Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 60a

60. Thanks to this clip, you can figure out


the placement of the main strap and add its
thickness (Fig.60a b).

Fig 60b

Fig 61a

61. Now its time to create the small pieces


of cloth to support the main strap as seen
commonly on a pair of jeans. Once again, apply
the thickness modifier and chamfer the edges
(Fig.61a b).

Fig 61b

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Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
62. To make the new objects symmetrical, apply

Fig 62

the Mirror modifier as shown below (Fig.62).

63. Create another piece which will essentially

Fig 63

protect the upper thigh area (Fig.63).

64. Place on some more accessories to prepare


for another strap (Fig.64).

65.Create this strap/belt and finish it correctly


(Fig.65).

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Fig 64

Fig 65

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Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 66

66. You can find some references for these


kinds of pieces on American Marines (Fig.66).

Fig 67

67. Here are some other views of the current


model (Fig.67).

Fig 68a

68. Here is another piece (Fig.68).

Fig 68b

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Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
69. Create one more protective piece, duplicate

Fig 69a

it to add more detail and then duplicate this


double piece and place them at the back
(Fig.69a d).

Fig 69b

Fig 69c

Fig 69d

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Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 70

70. Here is a current preview of the model


(Fig.70).

Fig 71a

71. Now lets add some more accessories to the


thigh (Fig.71a - c).

Fig 71b

Fig 71c

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Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
72. Its now time to work on the knee area by

Fig 72

including a knee protector. We will use the same


technique as followed previously (Fig.72).

73. More clips will be added to accommodate

Fig 73a

the accessories. In the second picture you can


see some more previews (Fig.73a b).

Fig 73b

74. Its time now to fix the knee protector in place


with a new strap. Extrude it around the knee and

Fig 74

join the ends (Fig.74).

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Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 75

75. Next add some thickness (Fig.75).

Fig 76

76. Create some small straps to link the knee


protector to the clips and once again add some
thickness (Fig.76).

Fig 77

Fig 78

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page 177

77. Here is a current preview from different


angles (Fig.77).

78. Here is a final preview of all the accessories


(Fig.78).

Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
79. Export only the newly created accessories

Fig 79

as .obj files from 3ds max. We will import these


later into Zbrush to be sculpted (Fig.79).

80. Open up your Zbrush shoe file. We

Fig 80

are going to use the main shoe object as a


reference in the pants Zbrush file to help sculpt
the pants and accessories (Fig.80).

81. Click on the Frame button on the right and


you will see several colors appear on the shoe

Fig 81

that correspond to the different objects. We


just need the biggest one without the laces and
everything else (Fig.81).

82. Now click on GrpSplit in the SubTool Tab


and you will see more Subtools appear in the

Fig 82

list. You can now delete everything one by


one except the first one which corresponds to
the main shoe object, as shown on the right
(Fig.82).

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Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 83

83. You now have only one Subtool in the list


and you will notice that this element has lost its
subdivision history. Subdivision history is really
important if you want to save memory and be
able to sculpt smoothly. To recover subdivisions
just press on Reconstruct Subdiv several times.
As long as we just need a reference of the
shoe you could also delete the higher level of
subdivision as shown in step 3 (Fig.83).

Fig 84

84. Here is a final preview of the shoe reference.


There is just enough to help you when working
on the rest of the pants (Fig.84).

Fig 85

Fig 86

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page 179

85. Once again use the Plugin SubTool Master


to mirror the shoe (Fig.85).

86. Now go back to your simple pants you


created at the beginning of this chapter (Fig.86).

Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
87. Append the shoes you just created above

Fig 87

(Fig.87).

88. Finally, append the accessories that you

Fig 88a

created in 3dsmax by using SubTool Master.


You should arrive at something close to the
second picture (Fig.88a b).

Fig 88b

89. In order to work properly on single elements


click on GrpSplit and you should then see many

Fig 89

more SubTools appear on the right. It would be


easier to work on them one at a time which will
also be much better for memory as you could
easily end up with over 10 million polygons
without any restrictions (Fig.89).

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page 180

Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 90

90. You can now add more subdivisions to the


objects in preparation for the sculpting (Fig.90).

Fig 91

91. Now lets work on the first element; the


pelvic protectors. Before starting do not hesitate
to add more subdivisions (Fig.91).

Fig 92

92. To be able to work properly without being


disturbed by any other objects you can hide
them by simply clicking on the eye button just to
the right of your current SubTool (Fig.92).

Fig 93

93. Dam Standard will be used once again to


draw the main lines but dont forget to turn the
symmetry on (Fig.93).

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page 181

Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
94. Use now the Flatten brush to flatten some

Fig 94

areas as shown below and the Dam Standard


brush to polish and sharpen any holes and
details (Fig.94).

95. For the final scratch touches keep using the

Fig 95

Dam Standard brush and draw some natural


lines to suggest that the object is actively used
(Fig.95).

96. Here is a final preview (Fig.96).

97. Follow the same procedure for the pelvic


protector situated underneath (Fig.97a b).

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Fig 96

Fig 97a

page 182

Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 97b

Fig 98

98. And likewise for the ones at the back


(Fig.98).

Fig 99

Fig 100

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page 183

99. Now lets work now on another one as


shown below (Fig.99).

100. First of all subdivide it (Fig.100).

Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
101. Dont forget to activate the symmetry

Fig 101

something which has to be done for all the


SubTools as its not a general option (Fig.101).

102. A very nice Brush is the Slash2 and thanks

Fig 102

to this you will be able to create extra pieces


of cloth apparent on jeans. Select the Slash2
Brush and activate LazyMouse making sure not
to forget to change the LazyStep value to 0 in
order to get a perfect line. Now right click and
move down the Z intensity value to reduce the
brush strength. You can now draw a line around
your object as shown below (Fig.102).

103. Thanks to a customized brush (created by


David Giraud), draw another line to simulate the

Fig 103

stitches (Fig.103).

104. Now you can use the standard Inflat Brush


to add some folds to make the object look a bit

Fig 104

more realistic (Fig.104)

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page 184

Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 105

105. Here is a final Preview (Fig.105).

Fig 106

106. Select the object as shown below and


subdivide it (Fig.106).

Fig 107

107. We are now going to create a mask so


select the Clay brush and right click, changing
its focal Shift value to make both circles closer.
This will make the mask sharper (Fig.107).

Fig 108

108. Now scroll down to the Deformation tab


and change the Inflat Value. You could get
exactly the same effect by using the Slash2
brush as above but I just wanted to introduce a
different way of doing it (Fig.108).

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page 185

Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
109. This time you can use the slash2 brush to

Fig 109

create more cloth pieces. You can also use the


Standard brush with a low Z intensity to create
the folds (Fig.109).

110. Once again use the customized brush to

Fig 110

make the stitches (Fig.110).

111. Use the Inflat brush for the smaller folds


(Fig.111).

112. Here is a final preview (Fig.112).

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Fig 111

Fig 112

page 186

Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 113a

113. Select another object and use the same


procedure to complete it (Fig.113a - c).

Fig 113b

Fig 113c

Fig 114

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page 187

114. Here is the same process applied to the


belt using the same technique (Fig.114).

Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
115. Here are the belt elements (Fig.115).

Fig 115

116. Here is the same for the second belt, for

Fig 116

which we will use the same technique we used


in the Chest chapter to create customized
stitches using the alpha shown below (Fig.116).

117. We are now going to work on the straps


but before we do this select the Clay brush

Fig 117

and push in the pants to remove any artifacts


(Fig.117).

118. Here is a final preview of the straps,


still using the same technique to sculpt them

Fig 118

(Fig.118).

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page 188

Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 119

119. Lets work on the knee pads (Fig.119).

Fig 120

120. Modify the overall shape a little to get a


better shape and with the customized brush
draw a line around them to create the seam
(Fig.120).

Fig 121

Fig 122

121. Here is a preview (Fig.121).

122. In order to work properly on the object,


click on the eye on the right of the SubTool to
hide all the surrounding objects (Fig.122).

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page 189

Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
123. We are going to use the projection master

Fig 123

to add a pattern across the knee pads. In order


to get better results, you will need to turn the
Perspective button off under the Draw tab
(Fig.123).

124. Click on the Projection Master button along

Fig 124

the top menu and uncheck everything except


Deformation. Now press Drop now and you will
be in the projection master mode (Fig.124).

125. You are now in projection master mode. On


the right in the Tool Menu, select SimpleBrush.

Fig 125

On the left select Line Stroke and below the


Dam Standard alpha. Dont forget to change the
Spacing value to 2, which will allow you to get
some very clean lines. Finally press on Zsub
button (Fig.125).

126. You can now draw some lines on the knee


pad. (Fig.126)

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Fig 126

page 190

Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 127

127. Once you are satisfied with your


modifications, you can go back to the previous
ZBrush sculpting mode by pressing the
Projection Master button, keeping Deformation
on and finally clicking on Pickup Now (Fig.127).

Fig 128

128. Here is the result (Fig.128).

Fig 129

129. Dont hesitate to repeat this procedure if


you want to add more lines. You can then re-use
the alphas you created in the Chest chapter to
add more definition (Fig.129).

Fig 130

130. You can also use the mask technique


to define more volume as explained above
(Fig.130).

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page 191

Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
131. Ctrl click on that area if you want to smooth

Fig 131

the selection and then change the Inflat value to


extrude the masked selection (Fig.131).

132. Here is a final preview (Fig.132).

Fig 132

133. You can now unhide the elements and

Fig 134

use the Clay brush to push in the pants slightly


(Fig.133).

134. And finally, you can use the Slash brush to


add some scratches (Fig.134).

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Fig 135

page 192

Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 135

135. Now lets move onto the straps around the


knee (Fig.135).

Fig 136

136. An another customized brush was used to


add different details to the strap. A very simple
alpha was created by using the technique
explained in the previous chapter. With this
brush selected, right click and change the Focal
Shift value to make both circles closer. You now
just have now to paint on the strap (Fig.136).

Fig 137

Fig 138

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page 193

137. Here is a final preview (Fig.137).

138. Here is a final preview for the small straps


shown below (Fig.138).

Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
139. Here are some previews of the other

Fig 139a

objects using the same techniques (Fig.139a


b).

Fig 139b

140. A current preview (Fig.140).

141. We are now going to work on the pants.


In order to sculpt them properly without any

Fig 140

Fig 141

interference from the other objects you may


wish to activate transparency (3).
To start sculpting folds, use the Standard brush
with LazyMouse which I strongly recommend
if you want smooth and clean folds. Its also
good to paint these slowly as you will get better
results (Fig.141).

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page 194

Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 142a

142. Here are the pants step by step (Fig.142a


2).

Fig 142b

Fig 143

Fig 144

143. Now lets move onto the seams using the


Slash2 brush as explained above (Fig.143).

144. Dont hesitate to hide everything except


the left or the right piece of the pants in order to
sculpt the seams inside the legs (Fig.144).

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page 195

Chapter 05

Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut s Character Modeling
145. Draw more lines with the customized

Fig 145

stitches brush (Fig.145).

146. And once again using the Inflat brush,

Fig 146

sculpt the small folds on each side of the seams


to finish the details (Fig.146).

147. Lets now replace the shoes with the


real ones so first of all delete the existing one

Fig 147

(Fig.147).

148. Open up your Zbrush file with your final


shoes inside (Fig.148).

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Fig 148

page 196

Chapter 05

Cedric Seauts Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting
Fig 149

149. Go back to your pants Tool and be sure to


delete the old shoes (Fig.149).

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page 197

Fig 150

150. Append the real ones (Fig.150).

Fig 151

151. Here is a final preview, with the completed


pants (Fig.151).

Chapter 05

Cedric Seaut
For more from this artist visit
http://www.khalys.net/
or contact
cedric.seaut@voila.fr

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The series is split into 6 chapters and will endeavour to give you an insight into how a fully realised 3D scene
may be arrived at from beginning to end. The tutorials will attempt to address the key issues and techniques
appropriate in achieving this, from concept sketches through to building the 3D scene, mapping and
unwrapping, texturing and eventually to lighting and rendering, culminating in a final render. The emphasis over
the course of the series will be on the texturing and principally the aging and wear of materials.
Original Author: 3DTotal.com Ltd | Platform: 3ds max, Cinema 4d, LightWave, Maya and Softimage XSI
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Zbrush Character Creation is a comprehensive look at the techniques and tools used to sculpt a variety of
physical characteristics specific to several character types. The lessons on offer show how to transform a
general base mesh into a definitive character class and explains the tools used to not only create the details
and unique facial features, but also how to manipulate the overall proportions and head shapes. There are
nine chapters in all, five of which cover the human condition and four of which cover creatures with human
characteristics including zombie, werewolf and Frankensteins monster.
Original Author: 3DTotal.com Ltd | Platform: ZBrush | Format: DOWNLOAD ONLY PDF | Pages: 091

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This e-book provides a detailed account of building, texturing and lighting the interior of a Gothic Church based
upon a concept painting. The ebook is available in five different platforms. Chapter two however is dedicated to
creating a gargoyle in Zbrush the focal point in our scene. Here the author will start by creating a rough body
form using ZSpheres and move through the numerous sculpting phases and modeling the details for each part
of the character, highlighting the various brushes and tools used throughout.
Original Author: 3DTotal.com Ltd | Platforms: 3ds max, Cinema 4d, LightWave, Maya and Modo.
Format: DOWNLOAD ONLY PDF | Pages: 47+

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This series of ZBrush tutorials orientates around speed and efficiency and how to achieve detailed sculpts
within a few hours. Each of the ten chapters focuses on a different character topic ranging from mythical
creatures such as the Minotaur and Cyclops to Pirates and monsters. With over seven hours of video
footage and covering ninety seven pages this e-book provides an insight into the working methods of eleven
professional artists. Each individual showcases their particular approach to the subject and treats us to an
exhibition of both their artistic and technical skills that form the backbone of their creative process.
Original Author: 3DTotal.com Ltd | Platforms: ZBrush | Format: DOWNLOAD ONLY PDF | Pages: 97

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This six chapter eBook aims to show the value of post-production and more specifically the ways in which
Photoshop can be used to aid the 3D pipeline. Over the course of six chapters we shall focus on the various
tools and techniques on offer in Photoshop that are frequently used to improve 3D renders. Compositing
passes, adding particle effects, improving lighting and making general colour adjustments are a few of the
topics covered, as well as ways to create backgrounds that both complement and enhance characters.
The methods presented within this series can provide an efficient alternative to lengthy render test.
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Manimal is a Zbrush tutorial series divided into six parts, covering nearly 70 pages and addressing the process
of transforming a generic base mesh into an original creature design. The notion behind the series assumes
the task of genetically splicing a human being with a different animal class and sculpting the resultant character.
Each of the tutorials adopts a different animal class as its theme and walks through the stages of developing
a concept and sculpting the overall proportions through to the individual features and particular anatomical
mutations.
Original Author: 3DTotal.com Ltd | Platform: ZBrush | Format: DOWNLOAD ONLY PDF | Pages: 067