Afterward, I used the Damian Standard, Standard, and Inflate brushes to hand-sculpt missing details and unique character features, such as eye and lip creases. Following in the success of ZBrush Character Sculpting: Volume 1, this new title focuses on the design and creation of a variety of character and creature. I made sure to store a morph target before this and used it to clean up any artifacts or unwanted details. You’ll learn many different techniques for sculpting, rendering, and texturing creatures from scratch. I then subdivided the mesh to subdiv level 7 and proceeded to create layers to apply the various levels of skin details from the VFace multi-displacement texture pack. ZBrush Characters and Creatures features six individual chapters each following their own tutorials. References of real faces, face sculpts, and scans were valuable for achieving the desired appearance. I then subdivided the mesh and manually sculpted secondary details, including eye corner forms and underlying bony and cartilaginous forms in the brows, forehead, nose, jaw, and chin. This provided a clean topology with optimal edge flow. This allowed me to use bigger eyes and slightly different proportions, but not as much as Disney princesses.Īfter finishing the initial dynamesh sculpt, I used ZWrap to apply the geometry of a VFace head model from the TexturingXYZ website. However, during reference gathering and considering the nature of the concept, I decided to go with a semi-realistic look for the face, similar to the Alita: Battle Angel movie. I’ll be using a wide range of software, such as ZBrush, Maya, Substance Painter, and Marmoset. In this tutorial I’d like to demonstrate my pipeline for creating a real-time Samurai character, based on the original concept by Kati Sarin S. Initially, I focused on creating a fully realistic character. Hi, my name is Yulia Sokolova, I’m a 2D/3D Character Artist working in game development.
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