Thank you so much for your help I have proceeded to create all seperate parts. Has soon as i get home, I plan on trying this out so I may have more questions, I have tried this workflow before but something always stumps me so I am greatly pleased that you took the time to describe your amazing work. #8 you mentioned you export at subdivision level 2 or 3 dont you loose all the details in your other program or is all that somehow saved during export? also do you put your character together in the animation program or in zbrush if so how?įinally what animation program do you use? #6 just confused by it all 6 – The clothes #5c, hwo do you delete any unused surfaces? I am kinda slow mentally (lol) and was wondering if you could explain process numbers: I have been looking for what you have provided for a long time. Thank you so much for providing a good tutorial for a piece designed to be animated. Then I added some accessories like the chain. If needed, at this point I tweaked the pose by moving vertices. Normal maps were generated with ZMapper (I don’t use displacement mapping I think it takes too much time to compute and render). The depth information of this background was extremely helpful, compared to standard flat reference images, allowing the current part to be perfectly adjusted for the body.Įach part of the body was exported from ZBrush at subdivision level 2 or 3, then imported into my animation program. I used the front and right views of the torso as a background (placed on another layer) to adjust the clothes. Textures were painted the same way as for the head, using ZAppLink.įor modelling clothes, I used a cylinder converted to a PolyMesh. Then, I subdivided, moved points, subdivided, moved more points… When I had a very low poly mesh, I moved point after point to adjust the topology. Like the head, arms were based on a Zsphere setup. Diffuse and bump maps were both painted with ZAppLink. Thanks to ZAppLink, you don’t need to unwrap UV’s and paint the flat map in Photoshop. When I found the broad form, I start subdividing and refining the mesh.įor the mapping, I used AUV Tiles, which I find to be very fast and effective. The head is based on Zspheres, in a very simple setup. That makes it possible to obtain a rather good precision during the final assembly. To adjust the various parts consistently, each step was started with a picture of the previous step as a projected background (eg. The model is done in a lot of parts (head, arms, breast, teddy bear, clothes and accessories), to improve computer resources and allow greater detail for each piece. When I started to work on this model, I decided to use Zbrush as much as possible with an aim of exploring a maximum of available tools. I wanted to create a mysterious figure – disturbing and attractive in the same time – captive in a hybrid and tortured body. So my intent was to create my own vision, while respecting Barker’s original concept. I’m a true fan of the first Hellraiser, and the “Tortured Souls” figurines. The idea for this model came from Clive Barker’s universe. Thanks to Jaime & Aurick from Pixologic for the english corrections
0 Comments
Leave a Reply. |