With the fabric complete, I have the complete blockout of the character, and can move on to the details. I use dynamic subdivision so that I can work with a plane but get an idea of the thickness the final piece will have. Using the belt as a base, I apply an extrusion, keeping the part I am interested in, and then adjust the shape until I achieve the result I want. This character doesn’t require a lot of fabric: just a pair of flaps that cover part of the legs. Since my goal is to design pieces of armor for 3D printing, I aim for fully solid pieces whenever possible, or with a slightly greater thickness than they would have in reality to ensure that the printed piece is not too fragile. I mainly use ZBrush’s ZModeler brush with a low polygon count to achieve cleaner and more polished shapes. It’s time to create the accessories for the character. This process helps to create a more refined and cohesive model, combining the head and body seamlessly while preserving fine details. I use ZRemesher to generate a more organized mesh, and project the details onto the different subdivision levels. Placing the fingers together speeds up the process of creating the hand.Īfter achieving anatomical shapes that I am satisfied with, I merge the head with the body, again using DynaMesh. I start by applying DynaMesh to create those bull-like hooves and define the character’s anatomy. With the arrival of CC4, you can use all of the standard ZBrush sculpting techniques to make any modifications necessary. It has been possible to transfer characters between ZBrush and Character Creator before, but in Character Creator 3, you couldn’t modify the topology of the base mesh, which was quite restrictive for character creation. By adjusting the size of the head to match the body I brought in from CC4, I ensure that the model’s measurements are optimized for use in CC4 later. In ZBrush, I make further modifications to the proportions of the character, and attach the head I created earlier. Since the character will have three fingers, I take the opportunity to create a similar structure that I will later modify in ZBrush. I put it in the A-pose and use the control sliders in Character Creator to modify the proportions. To speed up the workflow, I use a CC4 avatar as the base mesh for the character’s body. ![]() Afterwards, I add the fangs, details of the beard, and, finally, the horns. Once all the elements are in place, I begin refining the shapes, after retopologizing the sculpt with ZRemesher, and applying subdivision levels. As the sculpt progresses, I structure the facial anatomy by adding a couple of spheres for the eyes and incorporating other elements such as ears or a beard, which greatly defines the character. I usually don’t proceed with the complete sculpt until I am satisfied with the shapes. When starting a new character, I like to begin by defining how the head and face will look. Bull-like hooves to give the character a hybrid appearance without being a minotaur.Three fingers instead of five to test CC4’s AccuRIG auto-rigging.Some fabrics to test how dynamics work in CC4. ![]() ![]() Powerful anatomy that showcases the strength of the character.Armor with sharp elements to make the character more menacing.Horns or a helmet that integrate with the shape of the head. ![]() This is only an initial concept, and it will probably evolve as I begin working in 3D.įor this character, there were some elements that I was sure that would be present in the design, such as: What’s more, this workflow preserves all of your SubTools and subdivision levels, and makes it possible to continue modifying the character even after posing, making it easy to adjust the anatomy, add details, or incorporate variations.īefore I begin sculpting, I create a quick 2D sketch to bring to life what was previously just an idea in my head. I’m talking about two new Reallusion plugins, ZBrush Pose Link and ZBrush Pose Tools, which allow you to connect ZBrush with Character Creator 4 (CC4), making it possible to rig a 3D character and pose it with unprecedented ease. In this article, I’m going to show you a workflow that literally changes the game when it comes to producing 3D printed figures for board games. Digital sculptor Óscar Fernández reveals a game-changing workflow for producing 3D printed figures, using Character Creator 4 to rig and pose ZBrush sculpts, with the help of Reallusion’s new plugins, ZBrush Pose Link and ZBrush Pose Tools
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |