This series of ZBrush tutorials orientates around speed and efficiency and how to achieve detailed sculpts within a few hours. This tutorial is 97 pages long. Hướng dẫn làm việc trong Zbrush raudone.info http:// raudone.info 3Dtotal Speed Sculpting - ZBrush ebook with DVD | GB This series of ZBrush tutorials orientates around speed and efficiency and how to achieve detailed.
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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. Manimal ZBrush Character Creation eBook Chapter Bird-Man. Bird-Man. Created In: ZBrush series off this chapter by sculpting and texturing a “bird-man ”. 3DTotal releases the ZBrush Speed Sculpting eBook: raudone.info speed_sculpting/ This series of ZBrush tutorials orientates around.
This series of ZBrush tutorials orientates around speed and efficiency and how to achieve detailed sculpts within a few hours. Posted in: Newer Post Older Post Home. Part Evermotion — HDModels Cars vol. Every mode CG Workshop Exterior Training Summer his training program will focus on architecture visualizations, theory and techniques which unders Blog Archive January December 36 November Blog Statistics. Follow Us! Be Our Fan. None of the files shown here are hosted or transmitted by this server.
If you're not sure, sign up for a three-day free trial, which should be enough time to try a few of them out. This training website doesn't just cover ZBrush: In this workshop for ImagineFX , Adam Dewhirst walks through how to combine Zbrush and Photoshop to turn a loose concept into a fully realised idea, playing to both programs' strengths.
Find the video above and click here to discover how to follow the process. In this tutorial, lead character artist Titouan Olive shows you how to use ZBrush to apply Hollywood model-making techniques without a Hollywood budget. There's a clear walkthrough to follow, plus handy videos to illustrate trickier points.
Ensuring hair looks as realistic as possible is a difficult task for any ZBrush user. This short video tutorial sums up how you can create texture to guarantee the best outcome. Creating realistic look cloth folds is no easy task in 3D. In this two-hour video tutorial, 3D artist David Richardson explains the process behind it. In this popular tutorial, 3D artist Liam Shaw walks through the process of creating digital characters from scratch in ZBrush.
It's aimed at those still getting to grips with the software. He reveals how to plan the composition ahead of beginning the modelling, and how rendering proved the most challenging aspect. This super-quick and simple tutorial shows you how to model humanoid ears. You should already know the very basics of ZBrush to do this tutorial.
This tutorial is ideal for those who want to look beyond the easy option of downloading free 3D models and learn how to sculpt realistic anatomy using ZBrush. Masking off the hard surfaces that surround this transition area, I then continue to use the Inflat and Pinch Effect brushes to get some inward and outward wrinkles going. I go back and forth using the brushes in ZAdd and ZSub I just use the Alt key for this and finish out the basic folded forms.
Normally in speed sculpting, I like to pose at the start, but sometimes I feel the need to keep it static until a certain phase in the sculpting session. I imagine him coming up to a corner in a room and peering around it Fig.
Of course, I use Transpose Master The breathing tubes give me a bit of a trouble to fix, especially one that gets pinched as his head turns. Step 5 Once I get him posed, I move onto the arms and give him just a little more muscle definition, since the cloth is a bit tight.
Then using the Pinch Effect brush, I start stroking in wrinkles with a bunched up style. As I go along, some wrinkles work great and some look out of place. I wanted to have some larger wrinkles on the upper arm and some tight pinched wrinkles toward the lower arm and bunch them up as they get closer to the wrist. I also try to keep the wrinkles interlocking, meaning they kind of crisscross or flow into each other.
Again, this kind of stuff can be very tempting to work on for hours so I quickly realise I need to move on to the other arm. I have to go asymmetric with the arms because of the differing tension and compression angles. It adds more work for me but I think it helps the overall look of the character and helps it to be more convincing Fig. After getting all the wrinkles in, I go back to the head and smooth out some of the wrinkles there because I think it should look a bit more stretched, which means smoother areas.
I also give some Pinch Effect strokes to indicate tight wrinkles again. The same thing applies to the right arm and I decided to smooth out some wrinkles around the elbow because the tension would make it a bit smoother and the inner elbow needed more folds from compression.
Again, not perfect and perhaps a bit too busy or inaccurate in areas, but good enough for a speed sculpt I think. I block in the top of the hands with a hard surface design and Clay brush in the rest of the pads of the fingers and palms. Using the Pinch Effect brush again, I dig in the creases in the fingers and palm, and then stroke in a seam all the way around the perimeter of the hands.
Then I blend the wrist wrinkles into the hand design. The same thing applies to the other hand Fig. With time really running out, I try to get in some hard lines on the lower torso area to further the suit design and help the flow of the character Fig. I finish up by doing some quick fixes on different areas of the character and doing a final check throughout.
Conclusion All in all, the whole session took around five hours because I got caught up in wrinkles and hard surfaces. I really enjoyed the challenge of trying to define this character with both a sci-fi design and the ninja cloth. It was great practice to try and do the folds and wrinkles in a time crunch and I think it definitely pushed me to continue to intuitively figure out flow and realism in an efficient manner. Here are the final shots of the model Fig.
Thanks for reading! Jesse Sandifer has kindly provided five movies for download with this tutorial, which you can download my clicking on the free movies icon at the end of this tutorial.
Please note that the movies have been supplied as. And of course: I found the theme very interesting, as well as challenging — after all, what exactly is a space ninja? What are the characteristics that would in fact make him a space ninja? To answer such questions, I started to sketch some drawings and put some ideas onto paper Sketch. Starting with the base mesh provided, I divide it six times Fig. It is very important to say here that you should always make the basic shapes and proportions in the initial divisions, leaving the upper levels for the fine details.
I start to sculpt the basic form of the muscles and head using more angular and sharp shapes — less organic, more like armour over his body Fig. I fill the holes in the head with the ZBrush sphere primitive, which you can access by going into the palette tools, selecting the sphere and then pressing the Make PolyMesh3D button and adding it as a SubTool, positioning it as desired Fig.
To use it you must isolate the area to be transferred with Ctrl, and then press the command once for each division. Focusing on the face of the ninja now I start to define the head design Fig.
I also detail the organic area of his face Fig. Again, I use the Smart Resym command Fig. To create a sword, I use the same procedure as I used for the sphere: I go into the tool tab, but this time choose the 3d cube Sword.
In the Initialize tab, you can set the number of faces, sides and the size of the primitive cube, so for this concept I change it and make it as thin as a blade, and then add it as a SubTool. After the fast sculpting work on the sword, I use the extract command to create geometry around it.
To do this, I isolate the desired area with Ctrl and then press extract Sword. Finally, I enter the Move and Rotate modes and simply place the sword on his back, and then he is finally ready! Here is our Space Ninja, done in about 4: I hope you have enjoyed it! Dalton has kindly provided us with two turntable movies of his finished speed sculpt, which you can download by clicking on the Free Movies icon.
Chapter 06 vegetation creature Base Mesh available in the resource folder. ZBrush In this project I wanted to have more freedom with the creation than in the other projects I usually do.
So I started by doing some basic research around the theme: I found a lot of great images, but the things that really interested me were the vegetation bugs I found. So I took a look at the references and the features that got my attention were the hooves, thorns and mouths of the insects, which are spectacular.
The proposed basemesh for this theme was a bit limited, so I started to play with the proportions as quickly as I could, without thinking about it too much. Once I had good proportions, I started to play with some forms, adding fast and intuitive details and forms in the face and body.
I tried to incorporate as many bug forms as I could, but I was careful to not lose the human form. With the polygon count low in the beginning, I focused on gesture and basic form while trying to find the best design sculpt. When I found the final design for the mouth, I exported a low mesh obj and created the teeth in 3ds Max by using and duplicating cylinders. I then imported it back to ZBrush Fig. To get both antennas I used the subtool master, duplicated the subtool and used the mirror button Fig.
I started working on the body and then I decided to add a few hooves onto some parts of the torso, like a mantis. Then I just continued to add details to the final mesh, like muscles and veins. I used the standard and smooth tools, always with lazymouse on. This helped me to get a nice, clean line.
With this tool the software merges all subtools into the lowest level and creates a unique tool that you can use for posing. For the final presentation I set the screen resolution to and made it half size — this helped a lot to clean the anti-aliasing. Then I created a render with one simple light and exported it as a. Overall I spent 3 hours and 30 minutes working on the model, from the initial basemesh.
Happy ZBrushing! I started by quickly establishing the main proportions Fig. I wanted a humanoid shape and since the face was the only really human feature in my concept a dead face , I completely got rid of the ears from the original base mesh, by smoothing them out. At this early stage of sculpting my main tool is usually the move brush. ZBrush The first thought that came to my head after hearing the brief was a dryad.
I found the idea a bit disturbing and generally intriguing enough to build upon. I also elongated the hands by using the transpose tool in the move mode hotkey W and a topology mask.
Since the base mesh was really low resolution, I subdivided it once. After the subdivision I added a bit more muscle definition — following human anatomy references are very important here, even when working on an imaginary creature, since it has to be believable and we all know what a human looks like Fig.
Twenty-five minutes into the process, I quickly made a mask selection around the face, I then decided that although I liked the humanoid look, the enlarged head made the rest of the body too small and not at all intimidating.
I quickly elongated the arms and posed them — again using the transpose tool, this time with a rotate function hotkey R — and got rid of one of the fingers to make the hands more alien like. I also decided to make the fingers long and narrow.
Finally I opened the mouth to make the face look as if it was in pain Fig. To make the size match my character I simply appended a ZSphere from the tool palette onto my creature Fig. I used the transparency mode and quickly drew some branches that would pierce the head and the skin of the face and continue towards the back of the creature. To make sure the geometry was right I used the preview button to toggle between the ZSpheres and the adaptive skin Fig.
I added some plant-like branches growing out of the mouth as well and then, about one hour, forty-five minutes into the sculpting process, I added another ZSphere in the abdomen area to add more interest and variety to the character Fig.
After that I started detailing the body. Since there was a lot of work ahead of me and only two hours left, I mostly resorted to the clay tubes tool and a lazy mouse.
This allowed me to build up detail fairly quickly and also make it feel like fibre, a very plant like feature. I continued the process by toggling often between the clay tubes and the standard brush, with one of the alphas from the alpha palette to add more variety into the body and the face.
A few more wrinkles around the mouth helped enhance the feeling of the stretched skin. I also used a couple of custom alphas to add some pores into the model Fig. I like to use the toy plastic material to paint the models, since it has controllable specularity and it is white, which shows off the colours well.
I usually change the specular curve in the material tab a bit so that the highlight is not too strong. I also appended one sphere onto the tool and scaled it to fit the eye socket. I then used the clone button to duplicate it and the mirror option under the deformation tab to position the copy where the second eye socket was. Finally I appended that copy to the model as well. That way my character now had two eyes Fig.
For the final render I used several different matcaps and the painted colour Fig. Magdalena Dadela For more from this artist visit: Chapter 07 fantasy orc Base Mesh available in the resource folder. ZBrush This brief was truly a lot of fun to work with, especially for a big fantasy buff like myself. An orc usually makes me think of a huge, burly beast with a large jaw and an axe in one hand — an obvious influence of the Warhammer and World of Warcraft franchises.
This was something I wanted to avoid right from the start. Orcs are great warriors and they usually die fighting. It also allows for some humour, too, which I like a lot. The base mesh I started with was a simple humanoid torso Fig. I spent the first 15 minutes roughing out the general shapes, using both the Move brush and the Standard brush, interchangeably. I did, however, change the setting of the Smooth brush as soon as I started work, by dialling it down to about 20 from the default setting of This way I could do some delicate smoothing, even on the lowest level of subdivision, without destroying the silhouette.
The brush is really strong and destructive otherwise. I knew I wanted a big nose and ears, as well as a surprised expression, so I pulled out the geometry of the ears and nose quite a bit and pushed My first intention was to make the orc rather thin too, almost like your average goblin Fig. I spent the next 30 minutes Fig.
In the end I decided to give him some more belly fat and a sunken chest he is old, after all , and a square jaw — more traditional for an orc. The next step was to subdivide the mesh one more time and start refining the details a little.
I enhanced the knuckles on his fingers using the Inflate brush, and added some eyeballs using the primitive geometry available within ZBrush.
I simply selected a primitive sphere from the tool palette, made a polygon mesh out of it, quickly sculpted a small iris and appended that to my character. I used the deformation tab to mirror it, and also appended it to my character.
This way I ended up with a fine set of eyes Fig. The next step was to add a ponytail. This time I appended a ZSphere to my model and quickly positioned it in place by using the Move and Scaling tools.
After extruding it a couple of times I made an adaptive skin which I then replaced my ZSpheres with. I spent the next half hour simply refining the details of the entire character, smoothing the geometry down and subdividing it a little further.
I also gave the ears some initial asymmetry, which instantly gave my orc some personality Fig. I used the Clay Tubes brush to sculpt the arrow and give it the simple beaten metal look. The last 45 minutes was spent mainly on refining some small details, like the fingers and the face, as well as adding a bit of rough colour to the entire character Fig.
For the final image, I decided to composite together a few simple renders with different MatCaps and the colourise layer in Photoshop. I hope you enjoy the final result and that it inspires you to try your hand at speed sculpting.
Page 24 | Quick Sketch
ZBrush Introduction: Okay, so we all know orcs are awesome. The concept actually came from an image that I found in my The Lord of the Rings: You know, the ones that live inside the depths of the mountains and have this pale skin and big eyes so they can see in the dark better. I also knew I wanted him to hold an axe as a prop, to give him something that would help to define his character.
So here we go! Part I: I worked symmetrically at first, but eventually I broke up the mirrored look and gave the pose a more dynamic look. Then it was just a matter of using the move, clay, and inflate brushes to push and pull on the model to get his overall silhouette and form working. Working at the lowest two levels, I adjusted his muscular form as well as his head shape Fig. For this character, the skull really protruded and helped to define the shapes on the face.
So I got the basic things working, like the eye sockets, Then I brought in some eyes as a subtool and moved them into position. I like to bring in the eyes early on mainly because I can then get the eyelids formed more realistically around a sphere, rather than just guessing.
Then it was just a matter of continuing to block in the facial forms and some major skin folds that defined the forms of the face.
These were especially found in the nose area and eye sockets. After this, I moved back over to the body and laid in the basic flow of the muscles so that I could adjust proportions at a low level in the mesh. Part II: At this point, I though it was a good idea to bring a basic version of an axe into the scene.
But before I could do this, I had to actually model it! This was certainly good practice though Fig.
Then I used the Transpose Master to scale it. Setting the scale handle from the top to the bottom lengthwise, I clicked and held the middle circle and dragged it to scale non-uniformly.
This gave me the skinny, cylinder shape I wanted for the axe handle. I did the same kind of thing with a Cube3D primitive for the axe head.
So after moulding it into an axe head shape, I merged it with the axe handle using SubTool Master. Then it was just a matter of transposing it into position so that the orc looked like he was holding the axe.
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I also decided to change the shape of the axe head to more of a pick axe, rather than a typical wood axe. This is when the symmetry was broken and I started to adjust his pose. I twisted his right wrist to hold the handle with his palm face up and I raised his entire arm up a bit.
Part III: I decided to make his face a little longer than in the original concept and I adjusted that really quickly. Then it was all about using the claytubes, clay, inflate, and Dam standard brush to start laying in the anatomy of the body. I basically just worked my way around the mesh and cut in forms based on how the muscles were flexed Fig. For example, his right arm and right side of his chest needed to look different than his left because of the way he was holding the axe.
The way I typically work is to exaggerate a form first and then dial it back and smooth out stuff. I get more variety this way and it keeps me from having a bodybuilder every time I sculpt something!
I try to improve my speed every time I do one, but at I also defined the eyelids so that they held the eyeballs more convincingly. The brow, nostrils, and ears got some attention as well.
I find that the important thing in detailing is to not just add detail for the heck of it. The wrinkles and folds and cuts need to make sense on the face and the depth also makes a difference too. Some nice fine wrinkles and fat lumps is always a good thing to add in some point you just have to move onto other areas of the mesh.
I wanted to put most of the detail and time into his face and just have a good suggestion of form and pose for his body. I also wanted to loosen up his head and neck angle so that he looked more in character.
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So I did this by transposing it at an angle that was more suitable. After I got the right angle, I unmasked everything and cleaned up the areas that got warped in the process. Then I just adjusted the eyeballs to fit the head angle. Part IV: At this point in the sculpt I had about an hour left, so I decided to add some details to the face.
I started off with the teeth and I cut in the shapes with the Dam standard brush Fig. I was happy with just the suggestion of some pointed messed- up teeth. Then I started cutting in wrinkles and bulges that would support the expression on his face. Since his mouth was a bit strained, I added supporting wrinkles around the corners of his mouth and some textural ones above and below.
I used the clay brush and a dragrect to apply them on the surface. I generally do them at a medium level of ZDepth, then I smooth back the edges and repeat. Since this was a speed sculpt, I only put them on the face and key areas of the neck and a few spots on the body. Part V: I just went to town on further defining the form of the axe head and adding cuts and dings on the surface.
I used a couple of ZBrush alphas to do some quick damage to it too. For the handle, I basically raked it, slashed it, and cut it up to look more like an old wood handle.
Nothing more fancy than that Fig. In essence, a speed sculpt is a piece of 3D concept art. The main things I try to focus on when I speed sculpt are the form, silhouette, pose, and character of the whole thing. Chapter 08 fantasy elf Base Mesh available in the resource folder.
ZBrush Elves have been a popular subject for art in the fantasy and 3D communities for many years. Stereotypically youthful, joyful, moral and beautiful, they imbue the qualities we wish for ourselves, yet remain relatable because of their human attributes and appearance. When I approach this speed sculpting project I want to convey my own image of a slightly older Elven woman: With only six hours to complete the piece, I spend time beforehand visualising the final result.
Imagining and thumbnailing images and ideas in our heads at the very beginning greatly speeds-up and revolutionises the remainder of the workflow.Then I pinch, move and inflate it into a more recognisable tongue. In essence, a speed sculpt is a piece of 3D concept art. And of course: The design sculpt is intended to represent the finished model.
Download Movies here: Just be sure to A nice new feature in ZBrush is Poseable Symmetry which allows you to sculpt your mesh based on topology, and not on axes mirroring Fig. Remember Me? Part I: To be able to extrude the fingers with the SnakeHook brush, I add some loops onto the base mesh using the Edge Loop button in the Geometry tab Fig.
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