ZBrush tutorial: Monster-size sculpting tips from the BBC's Planet Dinosaur | ZBrush Creating dinosaurs for a TV series can be a tricky process. In my experience, deadlines are tight and most of the time you only have one shot at getting the creatures right. But with some basic planning and forethought, you can focus on creating the creatures - knowing that they will fulfil all the necessary requirements - and facilitating any changes that may be required. Monsterous 3D modelling At Jellyfish Pictures, while working on Planet Dinosaur, it was decided that the theropods (I sculpted 27 of them) should have scaly skin, which can be time-consuming. So I planned a quick and simple character pipeline that would ensure consistent style across all the characters and enable artists to follow the same style. This is an overview of the settings, brushes and steps we used to create the dinosaurs. ZBrush has been designed with creativity at its heart. Know your system Now save the file and see what size it is. ZTools vs ZProjects Reference matters Sculpting basics 1. 2. 3. 4. 5. Layers Pose
Game Arts Institute – Program The Game Industry is a rapidly expanding field and offers jobs for artists of all types. Our programs are created to maximize your potential and help you join in the nearly $80 billion industry. We’ve come a long way from 8-bit arcades. Video games today are packed with intense details, realistic textures and complex interactions. The Game Arts Institute can get you there! So, set your controller down for a bit, pick up a stylus, and start maxing out your artistic talent! Class Length: 12 weeks Class Price: $1,999 Like anything, you start with the small stuff and work your way up. Make the most of ZBrush’s interface using Ryan Kingslien’s Feature FrameworkSculpt any type of surface using ZBrush’s built-in systemsIncorporate ZBrush’s tools into time-saving workflowsSet up image planes and use blueprint reference in MayaUse polygon modeling techniques to create characters Assignments & Expectations: register@gameartsinstitute.com Apply Today! Class Length: 12 weeks Class Price: $2,799
FREE 3DS MODEL TUTORIAL – creating perfectly tiling meshes in Zbrush for use in videogame environments | Owen Shepherds 3d game art portfolio This tutorial walks you through a workflow that I have developed that allows you to create perfectly tiled normal maps on perfectly tiled lowpoly geometry, especially useful for cliff faces and rough stone surfaces. Stage 1- create a height map in ZBRUSH - First create a Ztool, I created a simple beveled cube in maya, then stamped some shapes into it in Zbrush and saved it out as a tool. - Create a new document at the size of your intended map. - Load the tool in and start drawing them on the canvas, draw them in empty space but don’t go over the edge of the document. - Use the Tilde key(~ or @ if in the UK) to offset the canvas (hold it down and move the canvas so the centre is offset to the edges). - Fill the space in the middle. - Repeat until canvas is filled making sure no gaps are left. Stage 2- apply heightmap to flat plane - Create “plane3d” and convert to polymesh Stage 4- baking Use whatever program to bake out the textures you need Like this: Like Loading...
Knald Polycount Forum I've been creating a whole bunch of rocks as of late. I think a lot of the techniques I learned from trial and error but there are a few key brushes in Zbrush that I learned to use. My Workflow: -Create a base mesh in 3ds max. -Bring it into Zbrush. -Bring out the major forms of the rock using layers for each type of brush. -Then work through each subdivision level sculpting with the hpolish brush. -Once the rock is finished export the High, then decimate and export the Low. -lay out UV's to get get your seams like the seams on a baseball or anyway with the least seams and minimal stretching. -Bake to get normal map and MR AO. -Mix your maps together find suitable rock textures and paint/edit as needed. This is just my workflow, there are so many ways of creating rocks.
BPR Rendering Workflow in ZBrush 4 R2 by Daniel Bystedt After posting the image Angry Faun on ZBrush Central, I got a lot of questions about my render and comp workflow. This guide was written while I was using ZBrush 4 R2 and rendering with BPR Render. All compositing was done in Photoshop. Environment Light Press the texture button in Light > Background to import the image that you want as a base to create your lights from. Fig. 01 If you are making an environment pass, make sure samples in Light > Background are about 2-3 to create a very ambient lighting. Fig. 02 Adjust the exposure etc., if you need to get a good intensity on your lighting. Fig. 03 As you can see in Fig.04, there's a shaded pass on the bottom. Fig. 04 The current pass can be seen in Fig.05, and the combined passes in Fig.06. Fig.05 Fig.06 Key Light This pass was rendered with a normal light. Fig. 07 next page >
BaseMesh A base mesh is a low-resolution polygonal model that can be used as the starting point for digital sculpting. Creating a Base Mesh When using a sculpting app it's usually best to create a cage or basemesh that is as close as possible to 100% quads. Also try to avoid "poles" of 5+ edges running into each other. Triangles and poles can lead to "pinching" in the model when sculpting. Keep the quads a fairly uniform density over the model, and be clever about adding more detail where it will be necessary (eyes, ears, nose, etc.), since otherwise you will end up subdividing your mesh far more than necessary just to get enough polygons to sculpt detail into these areas. It helps to add a quick UV to the basemesh before sculpting, since this can be used to bake a DiffuseMap if you choose to do some 3D painting at some point. Some more good advice from Scott Eaton in his ZClassroom article Artist In Action: Digital Figure Sculpture. Base Mesh Library CategoryCharacterModeling
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