Zbrush Manimal

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ZBrush Character Creation

3DTotal.com eBook series

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- Free MatCap

- Free Movies

- Free Base Mesh

You can nd all the relevant

resource les in the resources

folder that accompanies this pdf.

chapter

01

01 Page 3 | Bird-Man

Page 3 | Bird-Man

chapter

02

02 Page 14 | Mammal-Man

Page 14 | Mammal-Man

chapter

03

03 Page 22 | Aquatic-Man

Page 22 | Aquatic-Man

chapter

04

04 Page 36 | Amphibian Man

Page 36 | Amphibian Man

chapter

05

05 Page 46 | Insect-Man

Page 46 | Insect-Man

chapter

06

06 P

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chapter 1

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Chapter 01

Chapter 01 Manimal ZBrush Character Creation eBook

Manimal ZBrush Character Creation eBook

Chapter 01: Bird-Man

Bird-Man

Created In: Created In:

ZBrush, 3ds Max & Photoshop ZBrush, 3ds Max & Photoshop

Introduction

I’m going to kick this brand new “Manimal” I’m going to kick this brand new “Manimal” series off this chapter by sculpting and texturing series off this chapter by sculpting and texturing a “bird-man”. I will need to sculpt a creature a “bird-man”. I will need to sculpt a creature with some aspects of both a bird and a man, with some aspects of both a bird and a man, and then texture it to complete the tutorial. I’ll and then texture it to complete the tutorial. I’ll walk you through my creative process and my walk you through my creative process and my workow, discuss those things that are most workow, discuss those things that are most important, and explain some tips and tricks that I important, and explain some tips and tricks that I use when creating characters in ZBrush. So let’s use when creating characters in ZBrush. So let’s get started!

get started!

Concept

One of the most common mistakes that I see One of the most common mistakes that I see people make is starting to work without rst people make is starting to work without rst thinking about what it is they’re doing – they just thinking about what it is they’re doing – they just open ZBrush and start to sculpt. When I start open ZBrush and start to sculpt. When I start a new project, I like to do some research for a new project, I like to do some research for references, information, inspiration, or simply references, information, inspiration, or simply look for something that will help me to nd an look for something that will help me to nd an interesting idea based on my theme or brief. interesting idea based on my theme or brief. This way, I can start my sculpting work with This way, I can start my sculpting work with more objectivity.

more objectivity.

So with this I mind, I begin this project by So with this I mind, I begin this project by searching for some photographic references of searching for some photographic references of different types of birds – some even in action different types of birds – some even in action (ying, eating, etc.) – just to work out bird (ying, eating, etc.) – just to work out bird features and gestures to help me with my initial features and gestures to help me with my initial ideas. I choose certain bird features, such as ideas. I choose certain bird features, such as a beak, thin skin, the gesture of an infant bird, a beak, thin skin, the gesture of an infant bird, and the humpback feature found in some birds, and the humpback feature found in some birds,

to mix with human anatomy. With some of this to mix with human anatomy. With some of this information I can start the next step. If you want information I can start the next step. If you want to, it can be pretty interesting to sketch some to, it can be pretty interesting to sketch some ideas down at this stage of the process, but as ideas down at this stage of the process, but as I have an idea in mind about what I’m looking I have an idea in mind about what I’m looking for I’m going to go ahead without any reference for I’m going to go ahead without any reference drawings.

drawings.

Blocking In

The rst thing that I do with the base mesh The rst thing that I do with the base mesh provided for this project (

provided for this project (Fig.01Fig.01 – the base – the base mesh is free for download with this tutorial) mesh is free for download with this tutorial) is remove one of the ngers – I think that a is remove one of the ngers – I think that a chicken’s foot will best describe what I have in chicken’s foot will best describe what I have in mind.

mind.

After starting to block in the model, I get an idea After starting to block in the model, I get an idea for the nal pose, and so I decide to sculpt with for the nal pose, and so I decide to sculpt with the arm bent to help with the pose later on. To the arm bent to help with the pose later on. To make these changes I simply use the Transpose make these changes I simply use the Transpose tool, with masks on areas that I don’t want to tool, with masks on areas that I don’t want to make changes to (using Rotate (hotkey R) and make changes to (using Rotate (hotkey R) and Move (hotkey W)). I also use this simple base Move (hotkey W)). I also use this simple base mesh to block the beak onto, just to help me in mesh to block the beak onto, just to help me in this initial stage (

this initial stage (Fig.02Fig.02).).

I will now export my base mesh to 3ds Max to I will now export my base mesh to 3ds Max to add some edges and x any possible errors/ add some edges and x any possible errors/ make any necessary adjustments in order to make any necessary adjustments in order to prevent potential problems further down the line prevent potential problems further down the line (

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Chapter 01

Chapter 01 Chapter 01: Bird-Man

Chapter 01: Bird-Man

Manimal ZBrush Character Creation eBook

will not be very important, so I simply put some will not be very important, so I simply put some edges in to increase the amount of polygons edges in to increase the amount of polygons in these areas when subdividing the model in in these areas when subdividing the model in ZBrush, therefore avoiding any problems with ZBrush, therefore avoiding any problems with low resolution in areas that need more denition. low resolution in areas that need more denition.

It’s very important to verify whether the model It’s very important to verify whether the model will have perfect symmetry, whether the pivot will have perfect symmetry, whether the pivot is in the centre of the object, and if the model is in the centre of the object, and if the model is in the centre of the “absolute world” (just is in the centre of the “absolute world” (just right-click, select and move to access Move right-click, select and move to access Move Transform Type-In, as seen in

Transform Type-In, as seen in Fig-04Fig-04). These). These adjustments are very important in order to make adjustments are very important in order to make good symmetry in ZBrush, and to make safe use good symmetry in ZBrush, and to make safe use of some of the features I’ll be discussing later. of some of the features I’ll be discussing later.

Sculpting

Now that I have made adjustments to the mesh, Now that I have made adjustments to the mesh, I increase the level of subdivision (two more I increase the level of subdivision (two more

levels), and with the Move, Standard and Clay levels), and with the Move, Standard and Clay brushes I start to block in some of the main brushes I start to block in some of the main muscles (with Clay and Standard), and adjust muscles (with Clay and Standard), and adjust some of the basic proportions (Move tool). some of the basic proportions (Move tool). At this stage I don’t worry about details; the At this stage I don’t worry about details; the

objective objective is simply is simply

to nd some good shapes with desirable to nd some good shapes with desirable features (

features (Fig.05Fig.05). I sculpt in some “fake”). I sculpt in some “fake” eyes too, just for a rapid guide – it’s easier eyes too, just for a rapid guide – it’s easier to make adjustments to the entire sculpt to make adjustments to the entire sculpt without many SubTools. Later on, I will use without many SubTools. Later on, I will use some spheres as eyes.

some spheres as eyes.

I like to isolate some parts and work with I like to isolate some parts and work with pieces of my model (such as the head) when pieces of my model (such as the head) when necessary. I sketch in some details to give the necessary. I sketch in some details to give the head a better overall look, whilst still keeping head a better overall look, whilst still keeping the details rough (

the details rough (Fig.06Fig.06). This block-in step is). This block-in step is one of the most important; I spend a lot of time one of the most important; I spend a lot of time experimenting and testing some things out at experimenting and testing some things out at this stage. I also often change the materials as this stage. I also often change the materials as

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Chapter 01

Chapter 01 Manimal ZBrush Character Creation eBook

Manimal ZBrush Character Creation eBook

Chapter 01: Bird-Man

I work in order to see my model better at the I work in order to see my model better at the different stages.

different stages.

I’m happier with the overall proportions now, I’m happier with the overall proportions now, and so I subdivide a few more times and start and so I subdivide a few more times and start to apply the medium level details, like muscle to apply the medium level details, like muscle denition, cartilage, and skin creases and folds, denition, cartilage, and skin creases and folds, using the Standard brush with some alphas, like using the Standard brush with some alphas, like Alpha 35, 36, 37, 38, and 39. Th

Alpha 35, 36, 37, 38, and 39. This, combinedis, combined with a bit of the Inat tool, can make a eshier with a bit of the Inat tool, can make a eshier and more believable model, but I still need to and more believable model, but I still need to check some of the proportions and make some check some of the proportions and make some much needed changes before I’m fully happy much needed changes before I’m fully happy (

(Fig.07Fig.07).).

For the hands, I always sculpt one isolated For the hands, I always sculpt one isolated hand and then project all details onto the other hand and then project all details onto the other hand. To do this, I create a mask over the newly hand. To do this, I create a mask over the newly sculpted hand, go to Tools > Deformation, and sculpted hand, go to Tools > Deformation, and press Smart ReSym (

press Smart ReSym (Fig.08Fig.08).).

This tool will recreate a mix of projection on This tool will recreate a mix of projection on both hands, but my intention is to preserve the both hands, but my intention is to preserve the sculpted hand, so with the mask any details will sculpted hand, so with the mask any details will not be lost, and the other hand will be given the not be lost, and the other hand will be given the same details (

same details (Fig.09Fig.09).).

I make use of a mask for the nails, too. I draw a mask in the desired I make use of a mask for the nails, too. I draw a mask in the desired form for the nails and then invert it. I use the Move and Standard brush form for the nails and then invert it. I use the Move and Standard brush to pull off all the nails, and with the Smooth brush I soften the shape to pull off all the nails, and with the Smooth brush I soften the shape before inverting the mask again. With the Inat brush I can then work on before inverting the mask again. With the Inat brush I can then work on achieving some great volume (

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Chapter 01

Chapter 01 Chapter 01: Bird-Man

Chapter 01: Bird-Man

Manimal ZBrush Character Creation eBook

I’m using Smart ReSym again now, but this I’m using Smart ReSym again now, but this time I’m working with more details. I always time I’m working with more details. I always start using Smart ReSym at the lowest levels of start using Smart ReSym at the lowest levels of subdivision and will use it again for each level subdivision and will use it again for each level of subdivision ahead, but it’s important to be of subdivision ahead, but it’s important to be careful because it’s very common for crashes careful because it’s very common for crashes and errors to happen. So always save your work and errors to happen. So always save your work

before you perform this kind of task on your before you perform this kind of task on your model (

model (Fig.11Fig.11).).

For the nal details, I use the Standard brush For the nal details, I use the Standard brush with a thin alpha (like Alpha 39), sometimes with with a thin alpha (like Alpha 39), sometimes with Lazy Mouse turned on, for laying down some Lazy Mouse turned on, for laying down some wrinkles, as well as the Inat and Clay brushes wrinkles, as well as the Inat and Clay brushes

with alphas (Alpha 01, for example). To make with alphas (Alpha 01, for example). To make the nal details I start to use more skin alphas the nal details I start to use more skin alphas (human skin, reptile, pores, etc.) over the entire (human skin, reptile, pores, etc.) over the entire sculpt – but not as a sculpting tool; I use masks sculpt – but not as a sculpting tool; I use masks over some parts (

over some parts (Fig.12Fig.12) and I can then sculpt) and I can then sculpt over with different intensities and brushes over with different intensities and brushes (Standard for all details, and then a little bit of (Standard for all details, and then a little bit of

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Chapter 01

Chapter 01 Chapter 01: Bird-Man

Chapter 01: Bird-Man

Manimal ZBrush Character Creation eBook

Inat in some areas to get a more natural look). Inat in some areas to get a more natural look).

This workow is a very nice way of controlling This workow is a very nice way of controlling skin details, and for nding what I’m looking for skin details, and for nding what I’m looking for (

(Fig.13Fig.13).).

Texturing

I usually use MatCap White to begin my texture I usually use MatCap White to begin my texture work, starting my texturing job with Polypainting. work, starting my texturing job with Polypainting. I make a rough base colour over the entire I make a rough base colour over the entire sculpt (Menu > Colour > Fill Object) and dene sculpt (Menu > Colour > Fill Object) and dene some warm tones (like the ears, and thin skin, some warm tones (like the ears, and thin skin, and so on) (

and so on) (Fig.14Fig.14).).

I then paint some tonal variation onto the model I then paint some tonal variation onto the model using the Spray brush with Alpha 07 (always using the Spray brush with Alpha 07 (always using a low intensity), mixing the colours using a low intensity), mixing the colours (

(Fig.15Fig.15).).

For the nails, I paint a mask in order to texture For the nails, I paint a mask in order to texture the nails only (

the nails only (Fig.16Fig.16). For the nal details I use). For the nal details I use DragRect stroke with some alphas, like Alpha 22 DragRect stroke with some alphas, like Alpha 22 for veins and Alpha 08 for small skin details. for veins and Alpha 08 for small skin details. On the beak I use a photo edited in Photoshop, On the beak I use a photo edited in Photoshop,

and apply it using DragRect. In this case I use and apply it using DragRect. In this case I use a single texture from the Total Textures DVD a single texture from the Total Textures DVD collection (

collection (www.3dtotal.com/textureswww.3dtotal.com/textures) () (Fig.17Fig.17).).

Posing & Fi

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I decide to keep the post for this character very I decide to keep the post for this character very simple; I use the Transpose Master for the main simple; I use the Transpose Master for the main deformations, and then use the Move brush for deformations, and then use the Move brush for some adjustments with Transpose, too. I try to some adjustments with Transpose, too. I try to keep the pose simple because my intention is keep the pose simple because my intention is only to break up the symmetry a little in order to only to break up the symmetry a little in order to get something more dynamic (

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Chapter 01

Chapter 01 Chapter 01: Bird-Man

Chapter 01: Bird-Man

Manimal ZBrush Character Creation eBook

Rendering &

Compositing

I use GW_Skincore as the main nal shader I use GW_Skincore as the main nal shader (which can be downloaded at

(which can be downloaded atwww.pixologic.www.pixologic. co

comm, thanks to Grant Warwick), two Toy, thanks to Grant Warwick), two Toy Plastic shaders (with some adjustments made Plastic shaders (with some adjustments made in Material > Modiers to show only specular, in Material > Modiers to show only specular, and in SpecularCurve), one for a more “open” and in SpecularCurve), one for a more “open” specular, and another for a thin specular, as specular, and another for a thin specular, as shown in the example (

shown in the example (Fig.19aFig.19a), a Reected), a Reected Mat Material for fake reections, and a custom Mat Material for fake reections, and a custom shader for SSS (Sub Surface Scattering) shader for SSS (Sub Surface Scattering) (

(Fig.19bFig.19b).).

For the lighting settings I make some shadow For the lighting settings I make some shadow adjustments to get a harder shadow (keep the adjustments to get a harder shadow (keep the Aperture around 50-70 and Length

Aperture around 50-70 and Length about 250),about 250), and I change the position of the light (go to and I change the position of the light (go to Light menu > Shadow) (

Light menu > Shadow) (Fig.20aFig.20a). For the render). For the render settings I simply adjust the Super Sample to settings I simply adjust the Super Sample to 2 (Render menu), as shown in the example 2 (Render menu), as shown in the example (

(Fig.20bFig.20b).).

With Photoshop I blend all layers using some With Photoshop I blend all layers using some blending modes like Multiply, Overlay, Soft blending modes like Multiply, Overlay, Soft Light, and Lighten. To be honest, this part is Light, and Lighten. To be honest, this part is very intuitive; I don’t use the same blending very intuitive; I don’t use the same blending mode for every work as a general rule, as I mode for every work as a general rule, as I prefer to make many tests to get what I want for prefer to make many tests to get what I want for each layer. I also use some masks to control the each layer. I also use some masks to control the

intensity of each layer; for example, to control intensity of each layer; for example, to control the specular intensity in regions that don’t need the specular intensity in regions that don’t need too much specular (

too much specular (Fig.21Fig.21).).

And here is the nal result after some correction And here is the nal result after some correction

work done in Photoshop (

work done in Photoshop (Fig.22Fig.22).).

Conclusion

Well, I have tried to show my workow, Well, I have tried to show my workow, especially in the ZBrush sculpting stage. It especially in the ZBrush sculpting stage. It has been lots of fun working on this bird-man has been lots of fun working on this bird-man creature; I hope you’ve found the tutorial useful creature; I hope you’ve found the tutorial useful and you’re pleased with the nal image after and you’re pleased with the nal image after seeing the work in progress. Please feel free seeing the work in progress. Please feel free to contact me by email should you have any to contact me by email should you have any questions. Thanks for reading!

questions. Thanks for reading!

Bruno Melo

For more from this artist please his website: For more from this artist please his website: http://bmelo.cgsociety.org/gallery/

http://bmelo.cgsociety.org/gallery/ or contact him at:

or contact him at: [email protected] [email protected]

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Note from the Editor:

Note from the Editor: Grant Warwick hasGrant Warwick has kindly provided us with the

kindly provided us with the GW_SkincoreGW_Skincore MatCap

MatCap that Bruno Melo has used, which you that Bruno Melo has used, which you can nd along with

can nd along with the base mesh in the base mesh in the the FreeFree Resources folder. Resources folder.

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chapter 2

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Chapter 02

Chapter 02 Manimal ZBrush Character Creation eBook

Manimal ZBrush Character Creation eBook

Chapter 02: Mammal-Man

Mammal-Man

Created In:

Created In: ZBrush ZBrush

Introduction

When I was asked to create something for this When I was asked to create something for this Manimal series of tutorials, I snatched up the Manimal series of tutorials, I snatched up the Mammal-Man option and thought I had a really Mammal-Man option and thought I had a really nice opportunity to design and create something nice opportunity to design and create something really cool. But when I started thinking about really cool. But when I started thinking about which kind of mammal to base it from, I was which kind of mammal to base it from, I was really torn. I mean all I have to do is create really torn. I mean all I have to do is create a human body and stick on some random a human body and stick on some random mammal’s head and call it a day, right? Wrong! mammal’s head and call it a day, right? Wrong! I have to think about the expression, the pose, I have to think about the expression, the pose, the character itself … There has to be a reason the character itself … There has to be a reason why I choose with a certain kind. So I decided why I choose with a certain kind. So I decided the best bet would be to create something that the best bet would be to create something that isn’t anything specic at all, and so I’m going isn’t anything specic at all, and so I’m going with the idea of doing a hybrid. Deer and cows with the idea of doing a hybrid. Deer and cows came to mind as my foundation because I know came to mind as my foundation because I know that they get spooked, or get “caught in the that they get spooked, or get “caught in the headlights” which may lend to a fun pose of headlights” which may lend to a fun pose of being spooked and recoiling!

being spooked and recoiling!

Sculpting

Starting off, I do my usual setup of Polygroups. Starting off, I do my usual setup of Polygroups. To do this, press Shift + Ctrl, and click and drag To do this, press Shift + Ctrl, and click and drag to isolate the polys you want included in a group to isolate the polys you want included in a group (i.e. the head and neck). To hide any polys (i.e. the head and neck). To hide any polys directly, you can Shift + Ctrl-click and drag, directly, you can Shift + Ctrl-click and drag, and then let go of Shift. It sounds complicated and then let go of Shift. It sounds complicated but once your ngers remember the pattern, but once your ngers remember the pattern, it’s really simple. You’re basically toggling that it’s really simple. You’re basically toggling that Shift key after you click and drag. Once you Shift key after you click and drag. Once you have the intended polys isolated, you can group have the intended polys isolated, you can group

them by going down to the Tools > Polygroups them by going down to the Tools > Polygroups rollout and click on Group Visible. Auto Groups rollout and click on Group Visible. Auto Groups will group your model by separate elements so will group your model by separate elements so that’s handy too. So after this I continue on by that’s handy too. So after this I continue on by blocking out major forms of muscle groups. I blocking out major forms of muscle groups. I need to establish the design of the head of the need to establish the design of the head of the character early on. I pull out the ears, enlarge character early on. I pull out the ears, enlarge the eyes, and draw the snout out in order to the eyes, and draw the snout out in order to make it look a bit more like a deer type animal make it look a bit more like a deer type animal (

(Fig.01Fig.01).).

I thought it’d be fun to give him some hooves I thought it’d be fun to give him some hooves on his hands, but only to replace a couple of his on his hands, but only to replace a couple of his ngers. I don’t want to get too literal or realistic ngers. I don’t want to get too literal or realistic with it, though. At this stage I’m just using with it, though. At this stage I’m just using Move, Clay, Clay Tubes, and occasionally Inat Move, Clay, Clay Tubes, and occasionally Inat

brushes. The Move brush is good for literally brushes. The Move brush is good for literally transforming polys around based on the brush transforming polys around based on the brush size and Focal Shift. I like to turn up my Focal size and Focal Shift. I like to turn up my Focal Shift to get a higher falloff. It’s great for getting Shift to get a higher falloff. It’s great for getting your low-poly base mesh in the right forms your low-poly base mesh in the right forms early on. The Clay brush is a good brush for early on. The Clay brush is a good brush for slowly building up forms, which is what I do in slowly building up forms, which is what I do in the rst 2-3 levels of subdivision before moving the rst 2-3 levels of subdivision before moving to fancier details or wrinkles/folds. It’s nice to fancier details or wrinkles/folds. It’s nice because it has a nice built in falloff that’s real because it has a nice built in falloff that’s real soft on the edges, but at in the centre. Clay soft on the edges, but at in the centre. Clay Tubes brush is similar to Clay, but it’s a bit more Tubes brush is similar to Clay, but it’s a bit more rough and excellent for setting up muscle ow. rough and excellent for setting up muscle ow. I like to change the alpha to a circular one with I like to change the alpha to a circular one with a tight falloff and turn up the Focal Shift a bit so a tight falloff and turn up the Focal Shift a bit so it’s not so harsh. For both Clay and Clay Tubes it’s not so harsh. For both Clay and Clay Tubes

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Chapter 02

Chapter 02 Chapter 02: Mammal-Man

Chapter 02: Mammal-Man

Manimal ZBrush Character Creation eBook

brushes, I change the BrushMod. This basically brushes, I change the BrushMod. This basically increases the effect of the brush so you can lay increases the effect of the brush so you can lay in forms quicker. I usually only raise up to 30-40, in forms quicker. I usually only raise up to 30-40, but I’ve gone a little higher in the example so but I’ve gone a little higher in the example so you can see the difference (

you can see the difference (Fig.02Fig.02). I dock the). I dock the main button to my interface so that I don’t have main button to my interface so that I don’t have to dig for it – it’s in the Brush menu next to Mesh to dig for it – it’s in the Brush menu next to Mesh Insert. And to drag the button somewhere, just Insert. And to drag the button somewhere, just go to the Preferences menu, click on Customize go to the Preferences menu, click on Customize UI, and then click Enable Customize. Then you UI, and then click Enable Customize. Then you can Ctrl-click and drag buttons anywhere on the can Ctrl-click and drag buttons anywhere on the interface from menus or wherever else. Also, interface from menus or wherever else. Also, keep in mind that when you work in ZBrush, keep in mind that when you work in ZBrush, it’s commonly known to work your way up the it’s commonly known to work your way up the subdivisions and nail your forms down rst. subdivisions and nail your forms down rst. Foundation is important (

Foundation is important (Fig.03Fig.03).).

Once I get to the point where I’m happy with Once I get to the point where I’m happy with the model, and before detailing it with textural the model, and before detailing it with textural alphas and wrinkles, I go ahead and pose the alphas and wrinkles, I go ahead and pose the character. To do this click on Move, Rotate, character. To do this click on Move, Rotate, or Scale and mask off areas you don’t want or Scale and mask off areas you don’t want effected on your model. If you click and drag effected on your model. If you click and drag up on an area like an arm, the masking will up on an area like an arm, the masking will follow your stroke. You can also Ctrl-click on follow your stroke. You can also Ctrl-click on a Polygroup and it will mask everything else. a Polygroup and it will mask everything else. Very handy! So for the actual posing, I start off Very handy! So for the actual posing, I start off by rotating the lower arms by using Rotate and by rotating the lower arms by using Rotate and click-and-dragging the gizmo from the elbow click-and-dragging the gizmo from the elbow joint to the wrist. This way you’re simulating an joint to the wrist. This way you’re simulating an

accurate rotation. I don’t use Move too much accurate rotation. I don’t use Move too much because it stretches the geometry if you click on because it stretches the geometry if you click on the end circles of the gizmo. If you click on the the end circles of the gizmo. If you click on the middle circle, it’ll keep the polys intact but will middle circle, it’ll keep the polys intact but will

move from that position. So it is actually good move from that position. So it is actually good for tweaking the position of the arm after doing for tweaking the position of the arm after doing the rotation. I then rotate the spine, head, and the rotation. I then rotate the spine, head, and upper arms in the same way. At this point I’m upper arms in the same way. At this point I’m nailing down the general action line to try and nailing down the general action line to try and get a nice silhouette as well as strengthen the get a nice silhouette as well as strengthen the expression on the character’s face. Then it’s expression on the character’s face. Then it’s about tweaking the arm rotation and span (by about tweaking the arm rotation and span (by span I mean how close they are to the sides span I mean how close they are to the sides of the torso). Then it’s a matter of rotating the of the torso). Then it’s a matter of rotating the wrists, but only to the point where they can wrists, but only to the point where they can

realistically rotate. I like to get the pose at about realistically rotate. I like to get the pose at about 90% and I leave myself the freedom to change it 90% and I leave myself the freedom to change it later on if it isn’t “perfect” (

later on if it isn’t “perfect” (Fig.04Fig.04).).

I ddle with the expression on the face a bit I ddle with the expression on the face a bit here. I do most of this work on the face with here. I do most of this work on the face with the Move brush to keep the forms intact, and the Move brush to keep the forms intact, and go through a lot of different emotions in the go through a lot of different emotions in the eyebrows until I nd a nice “spooked” look. eyebrows until I nd a nice “spooked” look. On one side I’m going for a wide eye showing On one side I’m going for a wide eye showing the whites with the iris being close to being the whites with the iris being close to being

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completely exposed; the other eye squinting completely exposed; the other eye squinting and wincing in anticipation. The eyebrows are and wincing in anticipation. The eyebrows are pulled up with a worried feel; the mouth corners pulled up with a worried feel; the mouth corners turned down; the nostrils slightly ared out from turned down; the nostrils slightly ared out from breathing in sharply. Later on, the detail I add breathing in sharply. Later on, the detail I add will be to support the pose of the face: wrinkles will be to support the pose of the face: wrinkles above the eyebrow, bulging around the corner above the eyebrow, bulging around the corner of the mouth, folds for ear connections, and so of the mouth, folds for ear connections, and so on (

on (Fig.05Fig.05).).

After getting the basic look for the face sorted, I After getting the basic look for the face sorted, I go back to sculpting the rest of the body. Since go back to sculpting the rest of the body. Since I’ve posed out the character, I can no longer run I’ve posed out the character, I can no longer run regular symmetry, so I have to turn on Poseable regular symmetry, so I have to turn on Poseable Symmetry. I’ll turn it off every now and then to Symmetry. I’ll turn it off every now and then to do some asymmetrical work in areas that need do some asymmetrical work in areas that need independent attention because of the pose. So independent attention because of the pose. So II continue to dene out the forms and cut in areas continue to dene out the forms and cut in areas to express the nature of the muscles, bones, to express the nature of the muscles, bones, tendons and skin, now that I have a set pose. I tendons and skin, now that I have a set pose. I also add some skin texture effects by using the also add some skin texture effects by using the Standard brush, DragRect, ZIntensity 10-20, Standard brush, DragRect, ZIntensity 10-20,

and SW_Wrinkles_02.psd from the Pixologic and SW_Wrinkles_02.psd from the Pixologic alpha library (

alpha library (www.pixologic.com/zbrush/www.pixologic.com/zbrush/ downloadcenter/alpha

downloadcenter/alpha) () (Fig.06Fig.06).).

To do the hair, I use the SnakeHook brush with To do the hair, I use the SnakeHook brush with a pores alpha, a large brush size, and at full a pores alpha, a large brush size, and at full RGB intensity I methodically lay the hair effects RGB intensity I methodically lay the hair effects in (

in (Fig.07 – 08Fig.07 – 08).).

Texturing

For texturing, I do it entirely by Polypainting, For texturing, I do it entirely by Polypainting, with no texture maps. To set up for Polypainting, with no texture maps. To set up for Polypainting, your model needs to be at the highest

your model needs to be at the highest

subdivision because it will be assigning an RGB subdivision because it will be assigning an RGB value for every poly – the more polys, the better value for every poly – the more polys, the better the resolution of your painting. For this tutorial, the resolution of your painting. For this tutorial, I could subdivide my model one more time, I could subdivide my model one more time, but this would put me at 5 million polys and but this would put me at 5 million polys and my laptop gets a little shaky at this kind of poly my laptop gets a little shaky at this kind of poly count. So for the sake of my sanity doing this count. So for the sake of my sanity doing this tutorial, I’m working with the 1.25 million poly tutorial, I’m working with the 1.25 million poly model and painting that.

model and painting that.

To start with, I go to the Tool menu and open To start with, I go to the Tool menu and open the Texture rollout. I turn on Colorize. Now I can the Texture rollout. I turn on Colorize. Now I can paint on my colours using any of the sculpting paint on my colours using any of the sculpting brushes. When you’re doing this, just be sure brushes. When you’re doing this, just be sure to turn off ZAdd; it’s also usually a good idea to turn off ZAdd; it’s also usually a good idea to work at a low RGB level, but that’ll depend to work at a low RGB level, but that’ll depend on what you’re doing. I like to tear off the Color on what you’re doing. I like to tear off the Color menu and dock it to the right so I can pick menu and dock it to the right so I can pick colours easily as I go. You can either select colours easily as I go. You can either select colour by dragging into the colour picker area, colour by dragging into the colour picker area, clicking on the modiers tab and having a lot clicking on the modiers tab and having a lot of different kinds of swatches, or by clicking of different kinds of swatches, or by clicking on the main colour square and dragging on the main colour square and dragging anywhere on the screen to pick a anywhere on the screen to pick a colour. Also remember that you can colour. Also remember that you can use the Shift key to

use the Shift key to blend and blur your blend and blur your Polypainting Polypainting ( (Fig.09Fig.09).). The rst thing The rst thing I want to paint I want to paint

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is the eyes. I know I want a big iris, but I need is the eyes. I know I want a big iris, but I need to keep enough white area to get across the to keep enough white area to get across the expression of fear. So I paint the iris in a really expression of fear. So I paint the iris in a really dark brown, almost black, and paint the white dark brown, almost black, and paint the white areas a pale yellow, since they aren’t really areas a pale yellow, since they aren’t really white in real life. I add some reddish tones in the white in real life. I add some reddish tones in the corners of the eyeballs and apply some veins corners of the eyeballs and apply some veins with a very small brush size. If I mess up an with a very small brush size. If I mess up an area and want to erase it, I just click on the main area and want to erase it, I just click on the main colour square and drag onto a nearby colour, colour square and drag onto a nearby colour, and then repaint the colour back over the error and then repaint the colour back over the error in a few strokes to blend it away (

in a few strokes to blend it away (Fig.10Fig.10).).

For the body, I’m taking an approach that I’ve For the body, I’m taking an approach that I’ve learned from the great Scott Spencer, more learned from the great Scott Spencer, more specically from one of his mini-tutorials on specically from one of his mini-tutorials on traditional airbrush painting. I’ll admit that I’ve traditional airbrush painting. I’ll admit that I’ve never airbrushed anything in real life, but the never airbrushed anything in real life, but the principles seem to be easy to understand principles seem to be easy to understand once you get going. Basically, you rst start by once you get going. Basically, you rst start by spraying colours to simulate what’s going on spraying colours to simulate what’s going on underneath the epidermis layer.

underneath the epidermis layer.

Application wise, I grab a nice red colour and Application wise, I grab a nice red colour and use Colorized Spray with the Color Mod turned use Colorized Spray with the Color Mod turned down to 0 (in the Stroke menu), an alpha mask down to 0 (in the Stroke menu), an alpha mask like Alpha 07, and RGB intensity set to 100 like Alpha 07, and RGB intensity set to 100 (

(Fig.11Fig.11). I continue by just spraying across all). I continue by just spraying across all areas of where there are muscles or heavy areas of where there are muscles or heavy blood ow, like the ears, nose, etc. I’m keeping it blood ow, like the ears, nose, etc. I’m keeping it

really loose and liberally covering lots of area as really loose and liberally covering lots of area as quickly as possible. It doesn’t have to be perfect, quickly as possible. It doesn’t have to be perfect, and you want to be sure not to completely and you want to be sure not to completely saturate any areas besides the real “hot” zones. saturate any areas besides the real “hot” zones. I like to take a yellow and spray across areas I like to take a yellow and spray across areas where bone is really close to the surface, such where bone is really close to the surface, such as collarbones, the sternum, forehead, cranium, as collarbones, the sternum, forehead, cranium, elbows, tendons, the bridge of the nose, etc. I elbows, tendons, the bridge of the nose, etc. I also think it’s handy for some fatty areas like the also think it’s handy for some fatty areas like the belly to be a bit more orange in colour. I take belly to be a bit more orange in colour. I take some purples and blues and hit the recessed some purples and blues and hit the recessed areas, such as around the eyes and the jaw line/ areas, such as around the eyes and the jaw line/ beard area. I also nd it nice to blend some of beard area. I also nd it nice to blend some of

these colours a bit and make some variations on these colours a bit and make some variations on the primary colours to make some purples and the primary colours to make some purples and oranges.

oranges.

The next step is to take a white, or a slightly The next step is to take a white, or a slightly off-white, and start the “noodling” phase. This off-white, and start the “noodling” phase. This brings a really nice effect to the subdermal work brings a really nice effect to the subdermal work we’re doing here. So either using DragRect we’re doing here. So either using DragRect and Alpha 22, or by doing it freehand, noodle and Alpha 22, or by doing it freehand, noodle in with a small brush size some white squiggles in with a small brush size some white squiggles everywhere. I like the effect of doing it freehand everywhere. I like the effect of doing it freehand but it’s a lot of area to cover so feel free to use but it’s a lot of area to cover so feel free to use both methods. Also be sure to keep this really both methods. Also be sure to keep this really loose, because it’s only going to be slightly loose, because it’s only going to be slightly visible later on (

visible later on (Fig.12Fig.12).).

Once the noodling is done, I throw on a skin Once the noodling is done, I throw on a skin shader – I like to use MatCap_Skin01. Then, shader – I like to use MatCap_Skin01. Then, using a Spray application with a very low using a Spray application with a very low RGB level between 4 and 10, and a neutral RGB level between 4 and 10, and a neutral skin colour, I start to lay in colour over the skin colour, I start to lay in colour over the subdermal work. Don’t completely cover it subdermal work. Don’t completely cover it up though. Just use the colour to blend up though. Just use the colour to blend it altogether and you’ll start to see the it altogether and you’ll start to see the effect it’s meant to create (

effect it’s meant to create (Fig.13Fig.13).).

I’ll admit that this technique results in I’ll admit that this technique results in a lot of work to do all this subdermal a lot of work to do all this subdermal painting only to go and cover it all up painting only to go and cover it all up afterwards. But once you’re done, try afterwards. But once you’re done, try

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as a comparison lling the whole character with as a comparison lling the whole character with a neutral skin colour and you’ll clearly see the a neutral skin colour and you’ll clearly see the difference! Plus, although the noodling effect is difference! Plus, although the noodling effect is pretty subtle, it’s also very powerful. It’s okay pretty subtle, it’s also very powerful. It’s okay to go back over some areas and enhance the to go back over some areas and enhance the intended colour by using a low RGB level again. intended colour by using a low RGB level again. So that’s what I do in the recessed areas and So that’s what I do in the recessed areas and around the eyes, etc. By keeping the colour around the eyes, etc. By keeping the colour level low, you’re able to keep the intended effect level low, you’re able to keep the intended effect but change the hue of certain areas. Of course, but change the hue of certain areas. Of course, if you keep going over areas many times, you’ll if you keep going over areas many times, you’ll eventually atten it out with that colour, so watch eventually atten it out with that colour, so watch out for that.

out for that.

Lastly, I colour in the ngernails, hooves, Lastly, I colour in the ngernails, hooves, nipples, veins, and dot in some freckles here nipples, veins, and dot in some freckles here and there. And for the hairy areas, I use a and there. And for the hairy areas, I use a Standard brush, Colorized Spray, Color Mod at Standard brush, Colorized Spray, Color Mod at 0.7, and ow at 1.0 (Stroke menu) and Alpha 0.7, and ow at 1.0 (Stroke menu) and Alpha 67. Then, with a medium brown and RGB at 67. Then, with a medium brown and RGB at 100, I start to spray on the hair by stroking top to 100, I start to spray on the hair by stroking top to bottom (

bottom (Fig.14Fig.14).).

The hair follows the ow of the stripes in the The hair follows the ow of the stripes in the alpha. After applying the hair effect to all areas alpha. After applying the hair effect to all areas (don’t forget the ngers), I use a light tan grey (don’t forget the ngers), I use a light tan grey and spray some striped effects on the bridge of and spray some striped effects on the bridge of the

the nose, nose, the the arms arms and and downdown the back, just to the back, just to break up all that break up all that brown and black brown and black (

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I’ve also thrown together a ZBrush render I’ve also thrown together a ZBrush render composite in Photoshop to show you the nal composite in Photoshop to show you the nal results after rendering in ZBrush (

results after rendering in ZBrush (Fig.16aFig.16a – – 16c

16c). It’s pretty fun but not quite as powerful as). It’s pretty fun but not quite as powerful as a Max/Mental Ray render (

a Max/Mental Ray render (Fig.17Fig.17).).

So there you have it: modelling and texturing So there you have it: modelling and texturing a Mammal-Man in a nutshell! I hope the a Mammal-Man in a nutshell! I hope the

breakdown of this character creation has helped breakdown of this character creation has helped you. If you have any questions about what I’ve you. If you have any questions about what I’ve done, feel free to contact me via email. done, feel free to contact me via email.

Note from the Editor:

Note from the Editor: Jesse Sandifer has kindly Jesse Sandifer has kindly provided us with 8 movies to accompany provided us with 8 movies to accompany this tutorial, which you can nd in the this tutorial, which you can nd in the FreeFree Resources

Resources folder. Jesse is also currently folder. Jesse is also currently considering doing some private one-on-one considering doing some private one-on-one ZBrush tutoring to the beginner or amateur ZBrush tutoring to the beginner or amateur artist, so if you are interested please feel free artist, so if you are interested please feel free to contact him via email for further details and to contact him via email for further details and information.

information.

Jesse Sandifer

For more from this artist visit For more from this artist visit http://www.jessesandifer.com http://www.jessesandifer.com or contact or contact [email protected] [email protected]

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Chapter 03: Aquatic-Man

A

q

u

a

t

i

c

-

M

a

n

Software Used:

Software Used:ZBrushZBrush

Introduction

I was asked to create a character for this tutorial I was asked to create a character for this tutorial article under the heading of “

article under the heading of “ Aquatic-Man Aquatic-Man”,”, to show how ZBrush can be utilized to sculpt to show how ZBrush can be utilized to sculpt and texture such an extraordinary creature, and texture such an extraordinary creature, thought up from the depths of my imagination by thought up from the depths of my imagination by crossing human elements with those of aquatic crossing human elements with those of aquatic beings. Here’s how we’ll go about creating such beings. Here’s how we’ll go about creating such an amalgamation in this second part of the an amalgamation in this second part of the Manimal tutorial series.

Manimal tutorial series.

Base Mesh

I decide to work straight from the offset by I decide to work straight from the offset by sculpting directly in ZBrush from the base mesh sculpting directly in ZBrush from the base mesh provided (

provided (Fig.01 – 02Fig.01 – 02 – you can download the – you can download the same base mesh with this tutorial – look out same base mesh with this tutorial – look out for the Free Resources logo), without creating for the Free Resources logo), without creating a concept before starting. I nd ZBrush is a a concept before starting. I nd ZBrush is a pretty cool tool that enables you to gure out pretty cool tool that enables you to gure out good designs directly in 3D, without the need for good designs directly in 3D, without the need for preliminary drawings on every occasion.

preliminary drawings on every occasion.

Sculpting in ZBrush

So to start, I choose a material for the base So to start, I choose a material for the base mesh that I think most suitable and that will mesh that I think most suitable and that will help in this initial sculpting stage. You can try help in this initial sculpting stage. You can try different materials by clicking on the sphere different materials by clicking on the sphere on the left-hand side of the screen. Using on the left-hand side of the screen. Using Transpose I manipulate the character into a Transpose I manipulate the character into a pose closer to what I imagine the nal character pose closer to what I imagine the nal character will be in – something like that of a creature will be in – something like that of a creature moving through the current of water (

moving through the current of water (Fig.03 –Fig.03 – 05

05). To use Transpose, you’ll see at the top of). To use Transpose, you’ll see at the top of

the screen the Move, Scale and Rotate buttons – in this case I’m using the screen the Move, Scale and Rotate buttons – in this case I’m using the Rotate function. To make a mask in order to move individual elements the Rotate function. To make a mask in order to move individual elements of the model, you simply hold down Ctrl and drag your cursor over the of the model, you simply hold down Ctrl and drag your cursor over the model. You then simply need to draw a line from the rotation point to the model. You then simply need to draw a line from the rotation point to the point that you need in order to successfully move your model.

point that you need in order to successfully move your model.

I’m trying out this pose to illustrate a swimming creature. Unfortunately I’m trying out this pose to illustrate a swimming creature. Unfortunately the base mesh has not been provided with any legs so I can’t use the the base mesh has not been provided with any legs so I can’t use the bottom part of his body to work into the concept, so instead I’m using his bottom part of his body to work into the concept, so instead I’m using his

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arms pulled backwards to give a sense of this arms pulled backwards to give a sense of this creature gliding through water. I’m using fresh creature gliding through water. I’m using fresh water sh as my references, rather than salt water sh as my references, rather than salt water sh, because I want to work with aquatic water sh, because I want to work with aquatic references with fewer colors going on – I think references with fewer colors going on – I think sea creatures could be too colored for this sea creatures could be too colored for this character.

character.

Before I start the sculpting work, I like to Before I start the sculpting work, I like to subdivide my base mesh as much as possible, subdivide my base mesh as much as possible, but I’ll reduce all those subdivisions again but I’ll reduce all those subdivisions again before starting the modeling. I do this because before starting the modeling. I do this because sometimes you’ll subdivide the mesh with some sometimes you’ll subdivide the mesh with some hidden parts, and only unhidden parts will be hidden parts, and only unhidden parts will be subdivided. When using Transpose I like to work subdivided. When using Transpose I like to work in the second or third level of subdivision. I do in the second or third level of subdivision. I do this because the mask function doesn’t work this because the mask function doesn’t work very well on the rst level of subdivision, and very well on the rst level of subdivision, and it’s much harder to get smooth results on higher it’s much harder to get smooth results on higher levels. So from experience I recommend using levels. So from experience I recommend using levels two or three at this stage.

levels two or three at this stage.

I don’t have too much of an idea about how my I don’t have too much of an idea about how my character’s head will look at this stage, so I’m character’s head will look at this stage, so I’m simply playing around with form and shape to simply playing around with form and shape to nd a good design for his face and head ( nd a good design for his face and head (Fig.06Fig.06 – 07

– 07). I’m using the Standard brush and working). I’m using the Standard brush and working in the third level of subdivision here.

in the third level of subdivision here.

As I work I keep checking the silhouette as often as I can, as it helps in As I work I keep checking the silhouette as often as I can, as it helps in

nding a good design. To create a silhouette of your model, simply nd the nding a good design. To create a silhouette of your model, simply nd the Flat Color material on the Material palette, again by clicking on the sphere Flat Color material on the Material palette, again by clicking on the sphere on the left-hand side of the screen. With the head design established rst, on the left-hand side of the screen. With the head design established rst, it will be much easier to create the body afterwards.

it will be much easier to create the body afterwards.

I decide to add some skin plates and scales to the character to give him I decide to add some skin plates and scales to the character to give him a shy look, also pulling the jaw out quite a lot – as you can see in some a shy look, also pulling the jaw out quite a lot – as you can see in some deep sea sh creatures – all the while checking the silhouette is working deep sea sh creatures – all the while checking the silhouette is working and the design is strong (

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subdivision here, using the Standard and Move subdivision here, using the Standard and Move brushes. I’ll sometimes also load in Alpha 39 brushes. I’ll sometimes also load in Alpha 39 into my Alpha palette in order to achieve some into my Alpha palette in order to achieve some stronger lines.

stronger lines.

Because I’m still unsure about how the body Because I’m still unsure about how the body will be, in terms of its design, I decide to block will be, in terms of its design, I decide to block in some simply human anatomy rst to give in some simply human anatomy rst to give me a starting ground from which to build upon, me a starting ground from which to build upon, isolating parts individually and working on them isolating parts individually and working on them separately (

separately (Fig.12 – 16Fig.12 – 16). I’m now working in). I’m now working in the fourth level of subdivision, still using the the fourth level of subdivision, still using the Standard Brush to nd the shapes. To hide parts Standard Brush to nd the shapes. To hide parts of your model you simply need to press and of your model you simply need to press and hold Ctrl and Shift on your keyboard, and draw hold Ctrl and Shift on your keyboard, and draw a green mask over the model. If you need a a green mask over the model. If you need a

different type of mask you can always hit Lasso different type of mask you can always hit Lasso on the right-hand side of the screen, or you can on the right-hand side of the screen, or you can use the shortcut, Ctrl + Shift + M.

use the shortcut, Ctrl + Shift + M.

The beauty at this stage is that I can work on The beauty at this stage is that I can work on just one side of the body, and then

just one side of the body, and then, using the, using the SmartResym tool, simply copy the work done to SmartResym tool, simply copy the work done to the other side of the model (

the other side of the model (Fig.17Fig.17). To do this,). To do this, you simply create a mask – again by pressing you simply create a mask – again by pressing and holding Ctrl and clicking and dragging your and holding Ctrl and clicking and dragging your left mouse button – where you’ve being working, left mouse button – where you’ve being working, leaving the untouched part of the model outside leaving the untouched part of the model outside of the masked zone. Go to Tool > Deformation of the masked zone. Go to Tool > Deformation > SmartResym, and you will see work copied > SmartResym, and you will see work copied across to the unmasked area.

across to the unmasked area.

Moving on from the torso and arms now, I start Moving on from the torso and arms now, I start work on the hands, working with each nger work on the hands, working with each nger separately (remember: to hide parts of your separately (remember: to hide parts of your model you simply need to press and hold Ctrl model you simply need to press and hold Ctrl and Shift on your keyboard, and draw a green and Shift on your keyboard, and draw a green

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mask over the model). It’s difcult to work on mask over the model). It’s difcult to work on the inner parts of the hand when you have all the inner parts of the hand when you have all ngers in the viewport, which is why I prefer to ngers in the viewport, which is why I prefer to work with them individually, using the Clay brush work with them individually, using the Clay brush to give some volume to the skin at the joints to give some volume to the skin at the joints where the skin creases and folds, and using the where the skin creases and folds, and using the Standard brush to add lines and wrinkles to the Standard brush to add lines and wrinkles to the skin (

skin (Fig.18 – 24Fig.18 – 24).).

The entire block-in stage of the work has been The entire block-in stage of the work has been done in subdivision levels four to six. The ner done in subdivision levels four to six. The ner details are then added in the seventh level. details are then added in the seventh level. Finishing work on the hand, when happy with Finishing work on the hand, when happy with the detailing gone into it, I can then make the the detailing gone into it, I can then make the gesture of the hand much more interesting and gesture of the hand much more interesting and realistic looking using Transpose (

realistic looking using Transpose (Fig.25Fig.25). As). As before, I’m using Transpose to manipulate the before, I’m using Transpose to manipulate the model to get the desired pose, in the same way model to get the desired pose, in the same way as we did earlier.

as we did earlier.

Here I add a n-like element to his arm in Here I add a n-like element to his arm in order to give more detail to the silhouette, just order to give more detail to the silhouette, just using the Move tool at this stage to achieve the using the Move tool at this stage to achieve the needed results (

needed results (Fig.26Fig.26). Using SmartResym). Using SmartResym again, I add the deformation to the other arm, again, I add the deformation to the other arm, too, balancing out the design to both sides of too, balancing out the design to both sides of the body, as before (

the body, as before (Fig.27Fig.27).).

At this point, I‘m starting to add some more skin At this point, I‘m starting to add some more skin plates, scales, and ns to the body by drawing plates, scales, and ns to the body by drawing

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freely with the Standard brush, not worrying too freely with the Standard brush, not worrying too much about the small details, simply trying to much about the small details, simply trying to respect the natural ow of muscles in human respect the natural ow of muscles in human anatomy (

anatomy (Fig.28 – 31Fig.28 – 31). I also nd the Clay brush). I also nd the Clay brush useful to use here – it gives a more organic useful to use here – it gives a more organic effect and it’s a great brush to work on the skin’s effect and it’s a great brush to work on the skin’s surface with.

surface with.

Remember to regularly check your designs Remember to regularly check your designs in silhouette by using the Flat Shader, as in silhouette by using the Flat Shader, as explained earlier (

explained earlier (Fig.32Fig.32).).

Continuing work now, I add even more skin Continuing work now, I add even more skin plates and detail to the spine (

plates and detail to the spine (Fig.33 – 37Fig.33 – 37), still), still working with the Standard brush and Alpha 39. working with the Standard brush and Alpha 39. I’m not using any direct references to sculpt; I’m I’m not using any direct references to sculpt; I’m simply trying to follow the ow of the anatomy simply trying to follow the ow of the anatomy and adding features that we’d generally and adding features that we’d generally recognize from sh.

recognize from sh.

To carry on the detailing work I add similar To carry on the detailing work I add similar details as just given to the body, onto his arms, details as just given to the body, onto his arms,

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Chapter 03

Chapter 03 Chapter 03: Aquatic-Man

Chapter 03: Aquatic-Man

Manimal ZBrush Character Creation eBook

in the same way as before – but this time in the same way as before – but this time sectioning off just the one arm to work on it sectioning off just the one arm to work on it separately (

separately (Fig.38 – 41Fig.38 – 41).).

With the design nearly complete at this stage, With the design nearly complete at this stage, it’s a good time to check on the silhouette it’s a good time to check on the silhouette again to see if the concept is still strong before again to see if the concept is still strong before nalizing it (

nalizing it (Fig.42Fig.42). For me, design is a very). For me, design is a very complex thing. There are some techniques you complex thing. There are some techniques you can follow, but to me it is more about a feeling. can follow, but to me it is more about a feeling. You have to practice lots and you’ll learn to You have to practice lots and you’ll learn to know when to keep going and when you need to know when to keep going and when you need to stop – it’s all about building up experience and stop – it’s all about building up experience and experimenting. I like to keep my silhouette very experimenting. I like to keep my silhouette very detailed, but it’s also interesting to allow the eye detailed, but it’s also interesting to allow the eye to rest in some areas, too, as too much detail to rest in some areas, too, as too much detail can be as big a problem as too little! I think the can be as big a problem as too little! I think the best training you can do is to observe and copy best training you can do is to observe and copy the work of great artists, as well as use real life the work of great artists, as well as use real life as a reference. Try to take notice of when the as a reference. Try to take notice of when the greats exaggerate details, and when they don’t. greats exaggerate details, and when they don’t. A good understanding of anatomy is a A good understanding of anatomy is a must-have, as well as drawing skills – drawing is a have, as well as drawing skills – drawing is a very powerful tool! I haven’t drawn anything in very powerful tool! I haven’t drawn anything in this case, but it is a skill worth developing, even this case, but it is a skill worth developing, even in 3D.

in 3D.

I feel the design is missing something here to I feel the design is missing something here to be honest, so what I’m going to do is to add be honest, so what I’m going to do is to add some more detail to the neck area to improve some more detail to the neck area to improve the concept (

the concept (Fig.43Fig.43). I’m creating the new detail). I’m creating the new detail using the Standard and Clay brushes. This using the Standard and Clay brushes. This detail might seem useless, but it helps the eye detail might seem useless, but it helps the eye to stop reading at this point. It’s very important to stop reading at this point. It’s very important that the eye takes some moments to pause that the eye takes some moments to pause when reading artwork, and so I always aim to when reading artwork, and so I always aim to

add some “accents” throughout my models’ add some “accents” throughout my models’ designs in order to achieve this.

designs in order to achieve this.

Because organic creatures are not perfectly Because organic creatures are not perfectly symmetrical, I’m going to break up the symmetry symmetrical, I’m going to break up the symmetry

now at some points and add some nal detail to now at some points and add some nal detail to nish up work on the head (

nish up work on the head (Fig.44 – 48Fig.44 – 48). You). You can activate or deactivate Symmetry using the can activate or deactivate Symmetry using the X shortcut key. Again, I’m using the Clay brush X shortcut key. Again, I’m using the Clay brush to give the skin’s surface a nice organic feel, to give the skin’s surface a nice organic feel,

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Chapter 03

Chapter 03 Manimal ZBrush Character Creation eBook

Manimal ZBrush Character Creation eBook

Chapter 03: Aquatic-Man

at this stage working in the seventh level of at this stage working in the seventh level of subdivision.

subdivision.

I do the same for the arms and the body, I do the same for the arms and the body, breaking up the symmetry further still to make breaking up the symmetry further still to make the creature all in all more believable (

the creature all in all more believable (Fig.49 –Fig.49 – 51

51).).

To start giving some relief and impression to the To start giving some relief and impression to the skin and get more realistic results, when working skin and get more realistic results, when working on a creature such as this it’s often useful to use on a creature such as this it’s often useful to use the alpha from animal photographs. I can use it the alpha from animal photographs. I can use it by simply dragging and applying it, following the by simply dragging and applying it, following the object’s surface and the ow of anatomy ( object’s surface and the ow of anatomy (Fig.52Fig.52 – 55

– 55). To make an alpha you’ll need to do this in). To make an alpha you’ll need to do this in Photoshop by opening up a photo that you like. Photoshop by opening up a photo that you like. Convert it to grayscale and make a soft round Convert it to grayscale and make a soft round

border turning to black. Save this as a PSD and border turning to black. Save this as a PSD and you’re done. You can then import this new alpha you’re done. You can then import this new alpha into your Alpha palette in ZBrush and to use it, into your Alpha palette in ZBrush and to use it, simply change the stroke to DragRect and you’ll simply change the stroke to DragRect and you’ll be able to drag the alpha over the surface of be able to drag the alpha over the surface of your model.