[Zbrush Character Sculpting Volume 1 Pdf Free 13
Christel Malden
ZBrush has quickly become an integral part of the 3D modeling industry. ZBrush Character Sculpting: Volume 1 examines the tools on offer in this ground-breaking software, as well as presenting complete projects and discussing how ZSpheres make a great starting point for modeling. Drawing on the traditional roots of classical sculpture, this book also investigates how these teachings can be successfully applied to the 3D medium to create jaw-dropping sculpts.
Featuring industry experts including Rafael Grassetti, Michael Jensen and Cdric Seaut, ZBrush Character Sculpting: Volume 1 is brimming with detailed character-based tutorials covering topics such as monsters, manimals and fantasy creatures. This book also boasts a substantial series of inspirational galleries, ranging from turn-table shots of finished sculpts through to a breakdown of subdivisions to show how detail can be steadily built into a model. Capped by a traditional image gallery, ZBrush Character Sculpting: Volume 1 contains a wealth of advice and knowledge that will benefit aspiring and veteran modelers alike.
I bought this book as an introduction to character sculpting in ZBrush. The layout and instruction is easy to follow. There is plenty of visual reference to help guide in the creation of the characters and the example models are fantastic. I love the rhino sculpt on the cover. As someone who is just getting into ZBrush (coming in with fluency in Maya), I am finding it easy to follow. But for someone more educated in the program, there is a depth of instruction that I am sure they will find useful. I am looking forward to future volumes.
Ce livre est vraiment excellent ! J'ai appris plein de techniques et d'astuces que je vais pouvoir rutiliser pour raliser mes propres projets.Le travail des artistes est vraiment dment ! Et la couverture est sublime, elle m'a tout de suite donne envie. Je recommande pour tous les amoureux de la modlisation 3D !!______This book is really excellent! I learned a lot of techniques and tricks that I will be able to reuse to realize my own projects. The work of the artists is really insane! And the cover is sublime, she gave me immediately envy. I recommend for all lovers of 3D modeling !!
This book is amazing! Everything is explained so well and the pictures and everything looks so nice. I have found out what some things are that I have been using just because I knew I had to but never knew what exactly they do. Now I know and can use it to my advantage. Recommended!
If you're into 3d graphic, especially character creation, and looking for bunch of helpful tutorials than this book is definitely for you. I'll recommend it like for totally newbies and peoples who was already working with Zbrush, introduced techniques are very clearly presented and complex at the same time. Also the variety of topics is really great - hard surface, humanoids, monsters, cartoon characters and even marble sculptures.I highly recommend this piece of literature as really helpful in creating 3d graphic and learning Zbrush software itself.
Build organic or hard-surface volumes in a very procedural way - combine multiple primitives and polygon objects with Boolean operations like Union, Subtract and Intersect. Add or subtract splines, cloners, fields and more to quickly create complex shapes, and smooth or reshape the result with voxel modifiers. With VDB remeshing, you can quickly re-topologize meshes to more effectively add details using Cinema 4D's powerful sculpting toolset.
OpenVDB is fundamentally a way to store 3D pixels. Cinema 4D can load multiple grids from any .vdb file, and load animation via sequenced .vdb files. Release 20 does not yet offer native volume rendering but VDBs created in Cinema 4D can be exported in sequenced .vdb format for use in any application or render engine that supports OpenVDB.
I always had the urge of creating characters and stories. When I was a child, I loved to read, watch anime, Disney movies, and play video games with my brother. All these things had the same meaning for me, new worlds to discover. I also used to spend hours writing stories and drawing characters.
A good thing about working with Pureref is that you can have the board set up the way you want and add images on the fly. I started with a few reference images only of Ornerine's original concepts and then was just adding more references as I needed them.
Once the general proportions are done, I usually work on the face first, it gives the character more personality. In this case, it was not easy to find the proportions as I had only three official concepts and each was slightly different, but the job of a good Character Artist is to unify all the concepts and extract the best parts from each.
To achieve the likeness between the model and the concept, it helps to often take screenshots and overlay them with the reference to see where it fails. In this case, it also helped me to move Yasha's gaze in the same direction as in the concept.
The hair was quite a challenge at first. I had previously sculpted hair but it had taken too long, and the first approach I took to it was not at all satisfactory: I tried to sculpt it all from the same mass, in a more traditional way, but then I realized that it would take too long and would not give me the result I wanted.
As for the sculpt, the first step was making all the flakes separately with curve tubes, focusing only on big shapes and good flow, following the form of the concept but without going into little details.
As I discovered in this project and in the following ones, I love working on hair. I enjoy sculpting strands and I find it relaxing. I love planning it, creating a flow for every strand to end up having a hairstyle with personality, movement, and grace.
With the general forms done and the face more or less in place, I began working on the clothes and accessories. The process for each tool was the same: extract, zremesh, subdivide, and start working on it. I wanted to keep the model as simple as possible and fit the concept.
The most used brushes weren't fancy: I used standard, dam_standard, move, trim dynamic and inflate, claybuildup, etc. The most tricky part was the vest, I needed to model the ornaments quickly and easily, so in the end, I did two custom brushes: one imm for the top embroidery and an alpha brush for the details that run from top to bottom.
For hard surface objects such as the sword, the belt, or the detail that hangs from the waist, box modeling software like 3ds Max or similar offer better tools and a faster workflow than in ZBrush. I used 3ds Max to model the low polys of these elements.
In the case of this character, I wanted to get a hand-painted look, but with all the benefits of working in Substance Painter. I previously painted by hand in 3D Coat, but with all the latest Substance updates you can take advantage of the PBR pipeline, with masks and procedural workflow, and with all the Photoshop brushes that can give you a touch of the hand-painted look.
In this kind of look, albedo is the most important of the maps. It has light-baked information (although more subtle than pure hand paint) and the rest of the maps such as roughness, normal, etc. provide support to it. Gradients and the hand-painted details on the second level give it variety and richness. It was a little bit difficult to get the rich color palette as the base colors of the concept are fairly neutral: light gray, dark blue, and a pale skin tone. But giving them a little more saturation than the original, with strains of rich color, I think I got it.
The most interesting part was painting the strains and edge wear by hand, I mostly used Dirt 1 and 2 brushes, they have a watercolor feeling. Substance already had plenty of brushes but now with all the Photoshop ones and the ability to easily import your custom brushes, the possibilities are huge!
In the concept, Yasha's hair has a black to white gradient. The process was more or less the same as before. I did the gradient in Substance Painter both in albedo and in roughness with 3D Linear Gradient, added a fill layer with AO, painted some strands to make the gradient more irregular, and added another layer with secondary details and strokes painted by hand.
The tricky part was the shiny look with the zig-zag effect. In his article about Aloy, Ladislas Gueros mentions a tutorial by Jonfer Maia that explains how to set up the anisotropy. I did a little research about other tutorials but the clearest and easiest was the one by Jonfer. As a resume, to create the correct flow map, you need to make it based on the normal map of a cone and paint the direction of every lock of hair. Then, paint small strands in Photoshop to add them in the normal map and get the zig-zag effect.
Time to render in Marmoset! As an artist, I really appreciate being able to see how the asset looks in real-time. Marmoset is simple and intuitive, and in a matter of minutes, you can know how the result will look in real-time, similar to Unreal or Unity.
The scene setup was pretty straight-forward. I had 7 materials: body top, bottom, the hair, the cape and the sword, two eyes (Yasha has heterochromia), and the reflection for the eyes. All the materials have PBR metalness/roughness except for the hair, which also has anisotropy.
Then, I created a shadow catcher to ground the character and have nice shadows that blended with the dark ambient. The first 3 lights were classic, the main light, a fill light, and a rim light. I added another rim light on the right of the color blue, two fill lights to illuminate the model better and remove areas of darkness, and finally a few more lights to fill some specific areas.
I did this project in my spare time and it took me quite a while as my free time is short. In perspective, there are things I could have done better or in another way to have a better result, but overall I am quite happy with the result, although I am sure the next one will be better. Still, I learned a lot and I love working on personal projects. I think it is necessary for anyone who wants to work in this industry or already works here. I love working on characters and I hope I'll be able to do it for a long time and keep getting better every day.
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