Zbrush

All posts tagged Zbrush

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Digital Sculpting and Anatomy

Human Anatomy: Female
This tutorial goes through the creation of a female character. Zack starts with a low resolution box mesh, adds gesture and rhythm to the character and then takes the design through to final detailing. The lesson takes place in ZBrush 3.0 showcasing a unique approach to developing surface, reading three dimensional form, and establishing relationships between muscle groups.

The Making of Rambouillet
Starting from a low resolution box mesh, Zack begins to flesh out the design sculpt of Rambouillet, a character from “Attaboy” – his sculpted novel series. Stressing rhythm, proportion and gesture, Zack works through a variety of options to find which one best accentuates the character’s personality. Zack also addresses underlying forms and foundation techniques for developing secondary skin fold details.

The Form of Anatomy Series
Join _ZackPetroc for an advanced anatomy lecture that illustrates how each major muscle group contributes to the overall rhythm and gesture of the figure. He also outlines techniques for reading the form through silhouette and highlights the origin and insertion points of all the major muscle groups; a key element in mastering anatomy.

Digital Sculpting: The Human Anatomy
In this DVD _ZackPetroc presents a modern approach to digital sculpting that includes technical discussions, and features in-depth techniques for adding life and realism to your characters. Using a Maya-to-ZBrush workflow, the viewer takes a step-by-step look at how underlying muscles and bone structure affect the true form of the human body. The Maya content highlights creating and preparing a low-resolution base mesh, and includes techniques that apply to other Poly modeling packages.

The central part of this demonstration takes place in ZBrush, with a comprehensive description of how to develop anatomy while adding weight, balance, and realism to your character. Finally, Zack showcases techniques for using the detailed ZBrush mesh to create an organized animatable mesh in Maya. This lecture is intended for all students and professionals who wish to strengthen their character work through furthering their knowledge of human anatomy.

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Detailing Characters: ZBrush Alpha Library | 3.74GB

In this new series from _AaronSims, he reveals his process for building the 3D world of his project Tethered Islands. In this lecture, Aaron demonstrates his techniques for sculpting character textures using ZBrush. Aaron shows the basics of using sculpting tools, and covers how to use alpha textures for applying detail to a character. This DVD contains a library of over 150 pre-made alpha textures which are available for your own projects. Aaron also illustrates how to make your own custom alphas using Adobe Photoshop?.

* Texturing Basics in ZBrush
* Making Alphas in Photoshop?
* Sculpting a Character head in ZBrush
* Using Alphas to Texture a Character
* Sculpting Fine Detail

1. Texturing Basics
2. Making Alphas
3. Sculpting a Character Head
4. Using Alpha Textures
5. Final Details
6. Texturing Scaly Creatures

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Character Modeling in Maya and ZBrush
The Making of Jester, Volume One
This making_of_demonstration and lecture began with the decision to take a personal sketch, develop it in 3D and produce a life-size print. This would require the development of high-resolution detail and textures that could hold up to a 4000×6000 pixel render, effectively&making Jester a film-res character. Observe and listen as Alex shares his workflow, thought process and techniques. Volume One covers the character modeling process using Maya and ZBrush, as well as some lighting, composition and texture&exploration. Alex begins by creating an organized base mesh in Maya that accurately follows the 2D design. Using UVlayout, he flattens the UVs of the multiple basemesh_components. Jester is then imported into ZBrush for sculpting and detailing. We give some thought as to the resolution for each subtool that should be sent to Maya and export them with normal maps generated in Zmapper. Once in Maya, the shader networks are blocked-out so that Jester renders in Maya with the same level of detail that he had in ZBrush. The final step prior to texturing is to then create a Photoshop- color study that will guide our further progress on the character.
Character Texturing and Rendering
The Making of Jester, Volume Two
Volume_Two_covers character texturing and shading using Photoshop?, ZBrush, Bodypaint and Maya, as well as environment creation, lighting and the final composite of the print-res image in Photoshop?. Jester’s 2D line- drawing design does not specify material properties, therefore Alex explores different looks for the various components, settling on weathered leather, metal, cloth and skin. By layering, color correcting and painting over photographic textures, Alex&arrives at a photoreal result where each component has its own custom color, bump and specular map. With the character complete, the environment is then designed and created on the fly using Maya and Photoshop? for some quick paint- overs to guide the direction. Throughout^the making of Jester, Alex shares and explains every step of the process, both technical and aesthetic, making this an invaluable resource for both students and professionals.

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Digital Tutors ? Presentation Techniques in ZBrush 4

Digital Tutors – Presentation Techniques in ZBrush 4
Hotfile ? Fileserve ? Filesonic ? Bitshare | 464.4Mb (3 files)

Runtime: 1 hrs. 30 min.
Software: ZBrush 4 and up
Release Date: 03/01/2011
Lesson Outline (13 lessons)
In this collection of lessons we will learn about a variety of tools and techniques we can use to create better presentations for our ZBrush work. Continue Reading

In this DVD Alessandro shows his workflow to model a stylized character for production, based on a given concept. The essential steps are covered, starting with the presentation of the initial 2D concept and associated reference materials. Alessandro then demonstrates blocking out the character with ZSpheres in ZBrush using the concept as reference for proportions. This becomes his base in 3ds Max to block out all the main components through polymodeling. Next, he details the character with a combination of polymodeling techniques in 3ds Max and ZBrush sculpting. Particular attention is paid to keeping the topology of the various parts consistent for an animation environment, showing in particular how to efficiently retopologize parts in 3ds Max to achieve a better geometry distribution. After modeling an addition to the character not present in the initial concept, Allesandro renders and presents the final model in ZBrush in the form of a character sheet and a turntable. Instructor for this title: Alessandro Baldasseroni Continue Reading

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Head Sculpting and Texturing ZBrush Techniques DVD-2
| HF | 1 DVDs |6.950 GB |

Chapters: Disk Two
1. Refining the Horn
2. Reestablishing Symmetry with Resym/Smart Resym
3. Adding Symmetry
4. Creating UVs and Using the BumpMaterial
5. Bumptools Overview / Creating Custom Alphas
6. Painting the Bump Map, Part One
7. Painting the Bump Map, Part Two
8. Specular Map
9. Color Map
10. Exporting Displacements and Geometry
11. Refining and Preparing Textures in Photoshop
12. Bringing it All Together in Maya

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Head Sculpting and Texturing ZBrush Techniques DVD-1
| HF | 1 DVDs |6.950 GB |

This 2-disc set takes an in-depth look at the design and creation of a detailed character head using Pixologic?s ground breaking software ZBrush. In over eight hours of lecture, Alex Alvarez sculpts a head from scratch using Zspheres and ZBrush?s arsenal of sculpting and detailing tools.

Beginning with primitive shapes derived from Zspheres, the primary forms of the head are quickly blocked out to determine general proportion and design. Alex then refines the eyes, ears, nose, mouth and horn regions before moving into Projection Master to create surface details. Once the geometry is complete, the use of ZBrush as a texturing tool is demonstrated in the creation of high-resolution bump, color and specular maps. The creation of custom tileable Alpha libraries with ZBrush and Photoshop is also demonstrated. In conclusion, Alex shows how to integrate geometry, displacements and textures using Maya’s native renderer and Mental Ray. Every step of the process is shown using real-time and timelapse video.

Chapters: Disk One

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