Well, it’s been a while since my last post. I’ve been very busy lately producing some art assets which, unfortunately, I cannot post here. I found time however to produce this, which is currently a WIP. It’s a Blood-Elf and a Rogue, from the Warcraft series:

Another happy accident.

I call him Charles.

screenshot of the working screen for Pixologic Zbrush

Pixologic continues to refine one of the most valuable tools for sculpting, painting and rendering in 3d with the release of Zbrush version 3.5. The earlier version of Zbrush were leaders in the field of modeling with the usage of Zspheres, often imitated with other programs (i.e. 3D Studio Max’s metaballs) as well as the 2.5D process for creating work.

2.5D can be described as the bridge between 2D and 3D art, allowing the artist to create work with 3D characteristics like lighting, textures and shadows while maintaining a base model which can be accessed to change the model pose, structure, etc. Output can be used to create stunning images from Zbrush, or mesh models and maps can be exported for use in other 3d animating/rendering programs. I utilize Zbrush to create figures and organic shapes to be taken into programs like Bryce or 3D Studio Max for final work. The thing I appreciate the most about Zbrush is it’s ease of use. The interface takes very little time to get used to and you find yourself doodling for hours in this program while being fascinated with its abilities. The learning curve on this program grows with your interest in it being the perfect match to drive you to want to learn it. So often I try various modeling programs that leave me frustrated and telling myself I can do this or that process easier in another program. Zbrush just leaves me wanting more from it-and it delivers.

I’ve finally gotten around to rendering and uploading those faces I modeled a while back.  They aren’t all winners but that’s how it goes.  Anyway, enjoy.

I also finished UVing that guitar.  Time to start texturing that bad boy.

From Toy Story to Bolt, animation has brought us an array of wonderful characters to cherish and enjoy. This roundup highlights a selection of simply awe inspiring 3D characters.

Stunning 3D Characters

Captain Jack Sparrow

Created using 3DSmax, Zbrush and Photoshop, the attention to detail and expression are fantastic.

Bobby, The Little Octopus

Textured using ZBrush and decorated with Blender, taking 5 days of work. Bobby is a unique and fascinating piece of work.

Harlequin

Hauntingly realistic, Harlequin is truly a spectacular piece of art. At first glance, one might think this was a well lit photo.

Science Doc

Modeled in maya and rendered in Mental Ray, Science is an excellent character, with matching production values.

Goblin Mechanic

Inspired by Max Cant’s soldiers when modeling the furnace on his back he is full of expression and crammed with an array of wonderful details.

Will Smith Caricature

Hilarious and superbly created using Cinema 4D, ZBrush and Photoshop. It has a warmth and charm that make it stand out.

Jelly Spider Friend

Realistic and a little creepy, this is beautifully crafted with amazing colors and textures. The lighting adds to the freakish feel of the piece.

Cloud Tribute

A tribute to the popular Final Fantasy character Cloud, the emotion behind the eyes is extremely powerful.

Beautiful Vanadisa

Created in Daz Studio with a rendering time of over 22 hours, this is a simply breathtaking 3D portrait.

Isabelle

Modeled using a combination of Poser, Vue, Cinema 4D and Photoshop CS, she has a real sense of mystery and magic.

Art Ventura

A wonderful caricature, Art Ventura solves mysterious CG cases. The behind the scenes of its creation is worth viewing.

Ogryn Stare

The artists first project using ZBrush with the entire piece taking over two days. It makes great use of textures.

Rose

A beautiful pose and composition, great use of light and a thoroughly captivating expression make Rose a compelling piece.

Emocionado

A funny and charming piece with great attention to detail on the cloth patterns and the stubble on the chin.

Aztec Priest

Inspired by Mel Gibson’s movie “Apocalypto”, this Aztec Priest is detailed, imaginative and original.

Cyber Goth

Created using a combination of Poser and Photoshop, the design on her scalp and the eye markings really draw the eye.

Samurai Troll

The texture work in the armor plates and skin are amazing given that the artist views this as a work in progress.

Smoking Creature

I don’t what’s more frightening, the hideous character or the amazing amount of realism he possesses.

Kai

This is Kai, Nariko’s dedicated friend (from Heavenly Sword). Created using Poser, Vue and Photoshop.

Shadow Conscious

Absolutely incredible detail, the artist really captured the emptiness in her eyes and created a character deep in thought.

Female Vampire

Inspired by the vampire film 30 Days of Nights, this female vampire looks really realistic and deliciously evil.

Arwen

Created using Cinema 4D, Poser, Vue and Photoshop with an obscene render time, Arwen is a pearlescent beauty.

Fries With That

Fantastic modelling, texturing and shading make this utterly realistic, you will think it’s a photograph. An amazing achievement in 3D realism.

Suspicious Minds

An incredibly striking, beautiful, realistic and moving portrait with an interesting story behind it.

The Worlds Enemy

A superb model of Sephiroth from Final Fantasy with the rendering taking 3 hours and the post production taking 6 hours.

Chris In 3D

An absolutely stunning combination of Poser and Photoshop work. Do yourself a favor and check out this render’s immaculate details.

Cyborg Head 01

The level of detail is nothing short of amazing, enhanced by the textures and lightning that give this 3D render superb qualities.

Ethereal

Artwork based on the W40k universe, it’s an Ethereal from the TAU empire, taking 2 days to complete using Cinema 4D, ZBrush, VRay and Photoshop.

Knight of the Temple

A lone knight of the Temple, standing guard. The chainmail and stone are particularly brilliant in detail and texture.

Grandma

Just awesome detail, amazing textures, superb blending and the befuddling expression on the woman’s face make this a wonderful piece of work.

As for my debut blog and just for something i would put next to my blog header I decided to make a character that would visually represent my name, “KonginChains”, so i thought of making this monkeyman prisoner bust…

Continuando a série ” baixar só pra ver qualé ” , peguei mais um programa pra dar uma testada. O escolhido foi o ZBRUSH da PIXOLOGIC.

E por que? Bem, porque depois de analizar um bazilhão de making ofs de personagens tanto pra games como pra senas e outras coisas também, deu pra perceber que o ZBRUSH é usado pra C#$@%!* nesses trabalhos, principalmente na criação de normal maps. Seu concorrente o MUDBOX quase não aparece.

Uma das coisas que me fez pegar esse programa, foi a curiosidade de saber como ele consegue suportar milhões de poligonos, já que no sculpt mode do BLENDER dependendo do mesh do objeto, dá pra usar no máximo o multires no level 6.

Baixei a versão trial 3.1 que funciona por 30 dias. Assim como alguns programas mais complexos, se você não tiver bons tutoriais, não vai dar pra fazer muita coisa, o que foi o meu caso.

 Outra parada que eu queria ver era o ZSphere. Ele é um sistema de modelagem pra criação de um base mesh, caso não queira importar um objeto de alguma suite, pode criar ele no ZBRUSH mesmo.

Já em relação aos milhões de poligonos, possivelmente uma das coisas que faz ele suportar essa quantidade, é que toda vez que se move, rotaciona ou escaloneia o objeto esculpido, ele volta a quantidade inicial de poligonos. Com memos poligonos, menor é o trabalho da máquina em processar informação.

O que deu pra notar é que o ZBRUSH é um programa bem completo, tendo uma pá de opções. Mas como essa é uma versão trial e eu não disponho de uma mala cheia de doletas pra pagar a licença da versão normal, fico com o sculpt do BLENDER mesmo, afinal ele não deixa nada à desejar.

I imported the Maya mesh as an obj file into Zbrush, and started sculpting from there.
I am still working on the muscle structure.

So here is the base mesh done in Maya

Introducción

Vampiro

Por Dexter aka Doqpelgänger

La cosa no tiene demasiado misterio, no es mas que un modelo que tenia por ahí al que intente dar por finalizado y un acabado algo resultón. No obstante intentare llenar un par de páginas explicando el proceso

Modelado

1.- Concepto

Para empezar partí de una malla base bastante simple.

.

Modelar a partir de una topología bien definida tiene sus ventajas e inconvenientes. Si tienes una idea clara desde el principio lo ideal seria comenzar desde una topología definida, no obstante, en mi caso encuentro que la topología en muchas ocasiones me impide modelar con libertad, algo asi como nadar contra corriente. Siempre he preferido que la malla base sea lo mas simple posible puesto que me da mas libertad a la hora de cambiar el concepto sobre la marcha. Y si hay que definir la topología siempre puede hacerse después del modelado, para eso existen las herramientas de retopologia y reproyección.

Procurad avanzar en el modelado de forma homogénea, esto es, no detallar demasiado un área y dejad otras para el final. No deis demasiadas vueltas e intentad acabar los modelos lo antes posible. Si perdéis demasiado tiempo con un modelo corréis el riesgo de “sobreesculpirlo” La idea original acaba diluyéndose y uno acaba perdiendo el interés. Aquí podéis ver un ejemplo del proceso que seguí con este modelo y como aproximadamente hacia la mitad (imagen 08) debería haber dado el modelo por finalizado. En definitiva: No hagáis como yo.

2.- Esculpiendo

En función de la subdivisión del modelo suelo empezar con las brochas “Standard”, “Move” e “Inflat” conforme voy subdividiendo empiezo a utilizar las brochas tipo “Clay” No suelo utilizar alphas, pero esto es una preferencia personal (o mas bien un handicap) porque siempre me ha interesado mas el concepto y las formas que el acabado. Prefiero crear las arrugas y detalles a mano

Creo que lo más importante a la hora de modelar es definir bien las formas desde un principio. La estructura lo es todo. Si tenemos una buena base todo lo demás viene rodado. Imaginad la estructura como el equivalente al boceto en un dibujo. No necesariamente tiene que ser en los niveles inferiores de subdivisión pero resulta mas fácil definir la forma básica cuando empezamos desde una malla con pocos polígonos.

Hay que pensar que un modelo orgánico esta compuesto de varios niveles:

1. Estructura osea,

2. Musculatura y grasa

3 Piel , pliegues o arrugas.

Una regla de oro para mi es no dejar que el detalle “se coma” la forma básica del modelo, esto es, la estructura osea debería apreciarse a pesar de los músculos y pliegues o arrugas de la piel. Una vez acabado el modelo las formas deberían seguir siendo visibles por encima del detalle. En este otro modelo podéis ver mejor lo que quiero decir. Es algo que hice hace un tiempo para practicar esta idea llevándola un poco al extremo.

Como se puede apreciar pese a los exagerados pliegues y protuberancias la forma básica del cráneo, mandíbulas, labios y cuencas oculares sigue siendo visible.

Texturizado

En este modelo he experimentado con una técnica clásica de aerografía. (Gracias a Scott Spencer) La misma que siempre se ha utilizado para pintar un modelo real en el campo de los FX y animatronics.

Usando Color/Fill Object rellene el modelo con un color base. Por ejemplo RGB: 250,220,198

Primer pase: Temperatura – Definiendo la temperatura de las diversas zonas.

Aquí podemos usar la brocha “Standard” con stroke “Spray” y el alpha 08. Ajustando el parámetro “Color” en 0 para que pinte solo con el color que hemos elegido sin variaciones.

Pinto el modelo utilizando los tres colores básicos: Rojo, Azul y Amarillo. Ajustando la intensidad RGB en 25 aproximadamente para que los colores se mezclen un poco.

Rojo- Zonas “calientes”: Nariz, mejillas, cuello. Zonas en las que suele acumularse la sangre

Azul- Zonas frías: Alrededor de la boca, línea de la mandíbula, barbilla, hueco del ojo. Zonas donde se forma algún tipo de cavidad.

Amarillo- Zonas donde la piel es más fina: Sienes, frente, mandíbula. Zonas donde el hueso esta mas cerca de la superficie.

El resultado es algo curioso pero debe ser así, cuanto más saturado y exagerado sea el aspecto mejor se apreciara a través de las siguientes capas/pases dando una impresión de translucidez

Segundo pase: Abigarrando y cuarteando

Para esta fase selecciono el stroke “Freehand” con el alpha 01 y con un tamaño de brocha pequeña pinto líneas finas de forma aleatoria formando una especie de red o trama. Mas abierta en las zonas amplias como el cráneo y mas densas o pequeñas en las zonas como la nariz, ojos y labios.

También se puede usar el alpha 22 con el stroke “DragRect”

Siempre procurando que el resultado sea lo mas asimétrico y variado posible.

Tercer pase: – Lavado de color base

Usando el stroke “Spray” y el alpha 23 ajusto la opacidad a un nivel bajo (10 o inferior), selecciono el color base con que llene el modelo en el primer paso y voy diluyendo lentamente todo lo pintado hasta ahora.

Cuarto Pase: Retoques

En esta fase simplemente retoco un poco el modelo usando las brochas “Spray” o “DragRect” para añadir algo de color en algunas zonas y algunas venillas y detalles variados.

Transpose

Usando la herramienta “Transpose” cambio ligeramente la postura del modelo para darle una expresión algo más dinámica y natural.

Si el modelo consta de varias subtool (En este caso la cabeza y los ojos) uso el plugin “Transpose Master”

Material

Como material simplemente uso un MatCap de tantos que hay para bajar en la web de Pixologic. (“ToxicPapa Wax”) Eso si, modificando algunos parámetros en la ventana “Material/Modifers” Aquí lo único que puedo recomendar es ir probando, algunos materiales cambian totalmente solo cambiando ligeramente alguno de los controles de esta sección.

Para los ojos he utilizado el material “Toy plastic” con RGB negro

Render

Establezco como color de fondo el negro y desactivo el degradado. Para evitar los bordes escalonados en zbrush amplio el documento al doble del tamaño que quiero sacar la imagen y activo el botón, “AHalf” (Antialiased Half Sized)

Cambio algunos parámetros en “Render/Shadow” para que las sombras sean algo más naturales.

Y saco el render usando la opción “Render/Best”

A continuación uso “Render/Flat” y saco un render de la silueta del modelo que me sirva como imagen alpha/mascara de recorte en PS

Postproducción

El proceso de postproducción no es nada del otro mundo. Llevo el render y la mascara de recorte a Photoshop.

En esta captura podéis ver las capas utilizadas que paso a explicar un poco.

Empezado desde abajo:

1.- Tres capas de texturas que he combinado usando distintos métodos de mezcla, cambiando la opacidad y el color en algunas. Una vez más se trata de ir probando hasta encontrar una combinación que nos guste.

2.- Una capa con un degradado intentando que coincida con la fuente de luz del render

3.- Una capa de ajuste de niveles para modificar las capas anteriores

4.- Una capa con el render original + la mascara alpha aplicando varios efectos.

Sombra paralela: Aplica una sombra detrás del modelo para darle algo de profundidad

Resplandor Interior y Exterior: Para suavizar los bordes y dar la impresión de que el modelo esta iluminado por una luz trasera.

5.- Una capa de ajuste de niveles + la mascara alpha para trastear y retocar solo la figura

6.- Una capa con una textura de hierro oxidad + la mascara alpha con un modo de mezclado para dar a la piel un aspecto algo mas aparente añadiendo alguna imperfección.

7.- Y una capa de ajuste de niveles para retocar todas las capas anteriores.

Y eso es todo… como dije al principio la cosa no tiene demasiado misterio. El resultado:

Software used:

• Pixologic ZBrush

• Adobe Photoshop

After one week of sculpting the body and second week sculpting the face and some of the clothes this is the progress i have made so far. Originally i had based the models face off acting royalty Natalie Portman, did i mention that she is awesome? Now i wouldn’t go as far to say that her face didn’t work with the body because it was really the body that didn’t go with the face because it’s Natalie Portman we’re talking about here and she’s perfect therefore nothing could possible be her fault or even her likenesses fault.

I was on the bus one day coming home from school when i realized that actress Marley Shelton who played “Dr. Dakota Block” from Grindhouse would be a great reference for my models face of course i didn’t know her name off hand so some research on imdb.com was required. I remembered the photo of her set against a yellow backdrop holding a syringe and her eyes being wide open with the black mascara bleeding down from her eyes to her cheek’s; i even had that as a wallpaper for a long time back in second year DMT or was it first? I dunno.

Grindhouse wallpaper inspiration

FREE BONUS MODEL GALLERY!!!!

Quando não estou animando eu curto muito o ZBrush….o ferramenta do alien…os caras são foda!

WHAT HAS IT DONE?!

Head in Zbrush. Body in 3Ds Max.

We have all been waiting for Pixologic to release ZBrush 3.5 and ZSpheres II. Now that it is out and you have had some time to play. Well, now it is time to get serious about your work.
L. J. Bamforth is a very accomplished artist and has been a ZBrush professional for years. His work has been seen in Exotique 3 by Ballistic Media, ZBrush Central, and many other major 2D/3D forums. Now you can watch his work and learn from his style and speed techniques.
This video is first of a three part series on ZBrush 3.5 and the new ZSketching tools. This sculpting video contains more than 2 hours of professional training, and is hands-down the best training series for beginning ZBrush modelers we have ever seen.

Leigh brings his hallmark style to this expansive series, providing details on using ZBrush 3.5’s new ZSketch toolset of which you will not find in any other training video on the market currently. Covering all the new ZSphere tools associated with ZBrush 3.5 this videos will not only teach you how to sculpt with these new tools, but how to model creatures and characters in a way you may not have seen before.

Leigh starts off by creating a ZSphere skeleton to support the “muscle” structure ZSpheres from ZSketching. Leigh has a very good working knowledge of the human muscle anatomy and in this video he shows you how this knowledge can help your sculpting work.

Thomas Roussel of Pixologic and PolySculpt.com said – “Leigh also show an interesting way to build the foot of the Orc. I never thought of that way to do so as I always thought of a classical hierarchy, but now, it’s no more a restriction because of ZSketch. Good to remember for my own work…. In the same direction, Leigh refine it’s ZSphere skeleton to fit it to the added skull/head, and then, added the support for the ears. This is something that a lot of users have to know! Thanks Leigh!

To conclude, this presentation was interesting for all the new comers to ZBrush 3.5 as it shown at this stage (1st webinar), a good way to build from scratch a model and generating an accurate shape before moving the the detail stage. Leigh did a good sculpt in less than 1h50, which is a good timing for a full body and show some nice tricks. Everybody had something to learn and I was happy to watch it and I’m waiting for the two others webinar.”

Created with previous ZBrush users in mind, this three-part advanced series assumes some prior knowledge of ZBrush software. It carefully walks you through the core tools and techniques needed to master sculpting with ZSpheres, ZSketch and Unified Skinning. and Illustrating how Professionals get what they want, where they want to, quickly and build up there character works from nothing to a full blown High Resolution character work in next to no time.

The.Gnomon.Workshop.Advanced.UV.Layout.for.Production.DVD-iNKiSO
release Date:October 28, 2009
http://www.thegnomonworkshop.com/store/product/572/

I’ve been having a little play around with Zbrush now that I know how to use it properly. Just some basic sculpting and Zsphere modeling.

Here are some outcomes.

A character made from Zspheres

A detailed view of the head

A basic alien head

Playing around with the different alphas

Total Training Introduction to ZBrush 3 Tools and Workflow

Introduction to ZBrush 3 covers everything you need to know to get started working in ZBrush. ZBrush 3 is the industry standard application for digital sculpting and has been used in nearly every recent blockbuster film and video game that has visual effects. This DVD covers ZBrush’s essential features from a practical and accessible point of view. In addition, this training provides a detailed understanding of how each ZBrush feature builds upon the others to allow artists to sculpt without limitations. This series is just what you need to get up to speed on ZBrush fast.

just another doodle…

Actually this is about a month or so old, but I never posted it. Started learning some Zbrush. This is my attempt at a face. Still needs some work though.

ちょっとは、進めています。
全然ペース上がって無いじゃんか

衣と鎧の部分ができれば、ペース上がるかな～ :dsadasccc:
頭に兜というか、ヘルメット風なのかぶっているんですね。

あ～～～！
邪気（鬼）をふんずけているんで
鬼を作らないといけないのでした……..

まだ、先は長いか～～～ :sd:
来年になっちゃいますぞ！！