![]() ![]() Just focus on the big picture-head, torso, arms, legs. Move Brush: Use the Move Brush to push and pull the mesh into the general shape of your character.Once you have your base mesh, you can start blocking out the basic shape of your character. Just pick one that closely matches the basic shape of your character. The good news is, ZBrush comes with a variety of pre-made base meshes, so you don't have to create one from scratch. ![]() It's like the wireframe skeleton of your character. This is a low-poly model that you'll use as your starting point. Starting with a Base Meshīefore you start sculpting, you need a base mesh. But don't be fooled, it's more than just pushing and pulling digital clay around. Our journey into zbrush character sculpting for video games starts with something seemingly simple-sculpting the basic shape of your character. It might sound like a lot, but trust me, once you get the hang of it, you'll be creating characters that are not only visually stunning but also game-ready. We're talking about sculpting the basic shape, adding details, retopology, polypainting, and finally, posing and exporting for the game engine. Thanks so much for the support of my wife and friends and thanks a lot to 3dtotal, you guys have been very kind to me.When it comes to zbrush character sculpting for video games, it's all about mastering a handful of key techniques. I hope you guys like it and that this help you with your projects. In Photoshop, I blended all the passes, did some color corrections and got 2 images for the background. Testing and using the passes of the scene Blending passes In this case I rendered 3 passes – the Beauty pass, Occlusion pass (using V-Ray dirt) and Specular pass from Render Elements and rendered them in TIF 16-bits 300-dpi with a matte background with no Alpha contribution, so I could use it to make my masks. I always test which passes I will need for the final composition. I also rendered Specular and Reflections from Render Elements and an Occlusion pass.Ĭreating the lighting using the realistic viewport Composition Unwrapping and creating textures Light and render passesįor the lighting I used a studio setup and placed the light using the realistic viewport in 3ds Max (very handy!) I used V-Ray with an HDR image for reflections. This is the fastest way that I've found for unwrapping and with a better result. I unwrapped my entire model using UVLayout for seams (you can use any software you prefer) and then I imported it into ZBrush and used UVMaster with Using Existing Seams option enabled. I also used some dirt maps as multiply to create the used/old appearance. Using Marvelous Designer 2 to create 3 meshesĪll my textures were done in MARI, using photos and creating tileable textures as bases for the clothes, bandages and body. I then exported them to ZBrush and used ZRemesher with default settings to get a nice topology. Hair created using the Loft technique in 3ds Maxįor the clothes I used Marvelous Designer 2 and divided it into 3 meshes the upper kimono, lower kimono and his pants. The rest of the accessories were modeled inside 3ds Max. The base mesh for the hair was done using the Loft technique from 3ds Max as you can see in the picture here. Later I detailed them using Clay Build Up and Dam Standard brushes.Ĭreating the bandages by extracting and adjusting parts of the mesh Modeling accessories - hair ![]() The base mesh… Modeling accessories – bandagesįor the bandages I did the following: I extracted areas from the body where there would be bandages, and some meshes from the topology, and sent a single OBJ file to ZBrush where I used the Move Topological brush to place them the way I wanted. In this case I had a short deadline because of the concept so I tried to get his shape and silhouette down as fast as I could, in order to send it to 3ds Max and model his accessories. Some of the images consulted in order to create the image Modeling the bodyĪs with most of my projects, I started with a base-mesh – sometimes I use all the loops (although ZRemesher would be great for this still image), and sometimes I use a very simple one. ReferencesĪs Haohmaru is an iconic character, finding references was not that hard the most difficult thing was to find the right style for him as I wanted to keep the anime look and yet still make a cinematic character. ![]() Haohmaru is a character from the game series Samurai Shodown and I created this version for the 3D Fan Art Facebook Challenge. Victor Hugo Sousa uses ZBrush, 3ds Max, Photoshop and his brain to create his homage to Samurai Shodown game character, 'Haohmaru' ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |