![]() This title guides you on how a very loose idea can be taken through to a polished production asset while giving you an insight into ZBrush and Maya to speed up your workflow. This workshop has been created with artists in mind who are looking to develop their sculpting and modeling skills with a focus on reptilian creatures. Lastly, he demonstrates how to retopologize a complex model in Maya so it’s in perfect condition for texturing and rigging. The workshop guides you through his unique technique of creating high-resolution scales and wrinkles - all sculpted by hand. He shares how to block out a creature based on these references and reveals how to sculpt natural-looking shapes using ZBrush. He starts with a rough concept and refines this based on real-life references. In this 4.5-hour workshop, Dan explains how he achieves a unique but relatable creature design. Known for his dragon and reptile-inspired creature designs, Dan dives deep into his creative process for creating a scaly creature, from a simple idea to realizing the production-ready asset ready for a visual effects pipeline. In chapter 10, we use Projection Master and HD Geometry to create even more detail in our scales.Learn how experienced character artists create production-ready creatures for a visual effects pipeline with this in-depth ZBrush and Maya modeling workshop by Senior Character Artist Dan Weiss. Xnormal can also extract a wide variety of additional maps, including ambient occlusion, cavity, curvature, height, etc., etc., etc. This requires us to look at UV Master but makes our workflow much more efficient and gives us a higher level of realism by sampling from reality.Ĭhapter 10: Using HD and Projection Master Although Zbrush provides a set of tools built in tools that are perfectly capable of accomplishing this, Xnormals are better, and the software has become the de facto choice for highpoly lowpoly normal map baking. In this chapter, we switch gears and take a UV approach to sculpting scales. We also look at the alphas and custom brush settings needed to sculpt scales. In chapter 8, we anaylze our photoreference to establish the patterns that we will have to recreate. We explore the new brush settings in ZBrush and the new scale brushes with an emphasis on understanding the concepts behind them. Alpha 3D brushes full 3D alpha brushes with under-cuts. ZSketch brushes special brushes only used for ZSketch. ![]() Curve Bridge brush create polygon bridges to weld edges. In chapter 7, we begin our exploration of scales. InsertMesh brushes quick access to any mesh you can imagine. Special attention is paid to the tools and techniques that can speed up your workflow.Ĭhapter 7: Scales Brushes and New Features In chapter 6, we add the wrinkles and skin texture that signify an older character. We look at the bony areas vs fleshy areas of the face and prepare our sculpt for the wrinkles ![]() In chapter 5, we switch gears and start to sculpt an older version of our character. This chapter shows you how we take advantage of our pore sculpt to create a more realistic texture. Once we have sculpted the pores its time to texture paint our model. In this chapter we look at creating hatch marks to bring our pores together as well as spend some time on the neck. We also look at skin pore alphas created by Rick Baker and Kris Kosta that have become the staple of ZBrush users for several years. This chapter explores using Surface Noise to create a base layer of skin pores. We also look at an overview of our sculpting process. In this chapter we take a detailed look at photoreference to establish the different zones of the face and how our pores change shape.
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