Cedric Seaut’s Character Modeling Chapter 01: Concept Chapter 01 - Concept
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Software Used: ZBrush, 3ds Max, Silo, and Photoshop
Introduction There are several ways to come up with a concept, the most obvious one being to draw a quick shape in 2D to dene the main volumes, but you can also start from a very simple base mesh and play with volumes in ZBrush. The advantage of this technique is that you can make one base mesh that you can then reuse for many other concepts, and the second
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advantage is that you will have a solid 3D base to then work from to polish the character.
Part 1a – Simple Base Mesh Creation For this character I’m using an old base mesh that I have changed slightly for this tutorial, but I will show you the way I would usually create one from a simple primitive so you can start from scratch.
1. Create a box primitive in 3ds Max with the
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parameters, as shown in Fig.01 Fig.01..
2. We are going to center this box at the center of the 3ds Max scene. To do this, simply rightclick on the button in the top-left, as shown in Fig.02;; a pop-up will display – just enter 0, 0, 0 Fig.02 for the X, Y, and Z values.
3. To be able to modify the object, convert it into Editable Poly, just select the cube, right-click on it, and select Convert to Editable Poly from the list (Fig.03 (Fig.03). ).
4. To make the modeling easier, we are going to remove the half right of the object and work on the left side only. In your polygon selection, select the right side and delete it ( Fig.04 Fig.04). ).
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Chapter 01: Concept 5. It’s time now to create an instance of the
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active part (the left one). Apply a Symmetry Modier – don’t forget to select Flip, otherwise you won’t see anything in the scene. Because your object is in the middle of 3ds Max scene, everything will work ne automatically (Fig.05 (Fig.05). ).
6. To test if everything is setup well, go back to
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Editable Poly in the stack – don’t forget to click on the white T-shaped icon ( Fig.06 Fig.06), ), otherwise you won’t be able to see the right side and will only be able to play around with the left. In Vertex mode, select some and move them – the opposite side (right) will mirror what you’re doing exactly on the left, in real time.
7. Let’s start with the head: We are going to keep it very simple. The goal is to prepare a base mesh as cleanly as possible to be used for sculpting. This means:
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• As many quads as possible (triangles are allowed, but avoid stars as ZBrush doesn’t work properly with polygons with more than 4-sides) • Keeping polygons as evenly spaced as possible; you’ll have better results while sculpting
In Fig.07 Fig.07 is is a preview of the head. As you can see, at the top of the head, some space has been left to extrude a horn from it later on (something I have in mind for the concept).
8. Select the polygon on the top and extrude it by clicking on the Extrude button ( Fig.08 ). Fig.08).
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Cedric Seaut ‘s Character Modeling
Cedric Seaut’s Character Modeling Chapter 01: Concept Fig 09
9. Here are some screenshots of the head with the horns (Fig.09 ( Fig.09). ). The position of the horns doesn’t need to be perfect at this stage; keep in mind you can do absolutely everything you want inside ZBrush – they just need to be there, we can maneuver them later on.
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10.. Now we’re going to move onto the torso. 10 Simply select all the edges at the bottom, in Edge mode, and by pressing Shift move them downwards (Fig.10 (Fig.10). ).
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11.. It is still best to keep things straight at the 11 moment, so atten them by pressing the Z button, as shown in Fig.11 Fig.11,, to align them along the Z-axis.
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12.. To be able to come up with a good shape, 12 we are now going to add some edge loops. Select all the edges, as shown in Fig.12 Fig.12,, and click on the Connect button. This will create a new edge loop in the middle of the previous selection. Redo the operation several times to get more edge loops.
Chapter 01: Concept 13.. Move some vertices now to get a more 13
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human-like shape, but once again, don’t worry if it doesn’t look perfect because this is something we can change very easily and quickly later on in ZBrush. Don’t forget to leave some space on the side to prepare the shoulder and the arm ! (Fig.13 Fig.13))
14.. We are going now to close a part of the 14
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object at the bottom, which will be the crotch area, in-between the legs. Select the edge, as shown in Fig.14 Fig.14,, and extrude it by pressing Shift.
15.. Click on Target Weld, and one-by-one 15
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select rst the origin vertex, and then the target (Fig.15 Fig.15). ).
16.. In the same way as explained before (see 16 step 13), cut the new face with 3 edges ( Fig.16 Fig.16). ).
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Cedric Seaut ‘s Character Modeling
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17.. Move some vertices to achieve something 17 that looks like what is shown in Fig.17 Fig.17..
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18.. Select the area which will be the beginning 18 of the thigh, in border mode ( Fig.18 ). Fig.18).
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19.. As you previously did for the torso (see step 19 12), extrude the leg and create some edge loops on the new extension (Fig.19 ( Fig.19). ).
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20.. Here are some screenshots of the legs. 20 Try to make it thinner at the bottom as this will represent the beginning of the shoe ( Fig.20 Fig.20). ).
Chapter 01: Concept 21.. Select the border at the bottom and extrude 21
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it by pressing Shift. You have now a foot (Fig.21 Fig.21). ).
22.. Once again, select the border and press 22
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Cap to close the object ( Fig.22 ). Fig.22).
23.. Create an edge loop at the middle of that 23
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new extension (Fig.23 ( Fig.23). ).
24.. Select the two faces on the front and extrude 24 them twice by pressing the Extrude button (Fig.24 Fig.24). ).
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Cedric Seaut ‘s Character Modeling
Cedric Seaut’s Character Modeling Chapter 01: Concept Fig 25
25.. Under the shoe, select both vertices, as 25 shown in Fig.25 Fig.25,, and press Connect to create an edge.
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26.. Press Cut, and then select the rst vertex 26 and the second to create the second edge. The edge at the middle of the vertices will automatically be cut (Fig.26 ( Fig.26). ).
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27.. Here is a preview of the shoes ( Fig.27 27 Fig.27). ).
28.. Go back to the chest now, and select 28 the area you created before for the shoulder (Fig.28 Fig.28). ).
Chapter 01: Concept 29.. Extrude it, just like you’ve already done for 29
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the legs and torso (Fig.29 ( Fig.29). ).
30.. Make some cuts with the same technique 30
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we used previously for the legs ( Fig.30 ). Fig.30).
31.. Move some vertices to get a rough human 31
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shape. Scale it down a little, as the last edge loop will be the wrist ( Fig.31 Fig.31). ).
32.. Now we are going to work on possibly the 32 most difcult part – the hands. This character will have only 4 ngers, as this is what I have in mind for my character. So select the faces at the extremity and extrude them twice ( Fig.32 ). Fig.32).
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Cedric Seaut ‘s Character Modeling
Cedric Seaut’s Character Modeling Chapter 01: Concept Fig 33
33.. Select the face, as shown in Fig.33 33 Fig.33.. Extrude once, twice, and then the vertices a little to get more of a thumb shape.
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34.. Use the same procedure for the second 34 ). nger (Fig.34 (Fig.34).
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35.. For the other two ngers it will be a little bit 35 more complex, because we have to create two ngers from only one face. So cut the face, as shown in Fig.35 Fig.35,, by pressing the Cut button (see step 26).
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36.. Under the hand, select the edges and 36 remove them by right-clicking and selecting Remove (Fig.36 (Fig.36). ). Don’t press Delete as that will delete everything – faces included!
Chapter 01: Concept 37.. We are going to change edge orientation 37
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now to be able to extrude some ngers. Select the vertices and create an edge by pressing Connect (Fig.37 (Fig.37). ).
38.. Now we can cut once more to prepare the 38
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bases of the nger. First of all, right-click on the Snap button in the toolbar. A pop-up will appears – tick Edge/Segment. This option is really important as it will help you to auto detect edges and you’ll be able to better manage and make good cuts. So now, make three cuts by pressing the Cut button (Fig.38 ( Fig.38). ).
39.. You are now ready to select two faces and 39
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make two extrusions from both of them ( Fig.39 Fig.39). ).
40.. Move the vertices to achieve a hand-like 40 shape (Fig.40 (Fig.40). ).
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Cedric Seaut ‘s Character Modeling
Cedric Seaut’s Character Modeling Chapter 01: Concept Fig 41
41.. Delete the edge as shown, to keep 41 keep only quads (Fig.41 (Fig.41). ).
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42.. Connect vertices, as shown in Fig.42 42 Fig.42,, for the same reason as before.
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43.. And once again for the last more-than-443 sided polygon (Fig.43 ( Fig.43). ).
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44.. Here is a preview of the arm from several 44 angles (Fig.44 (Fig.44). ).
Chapter 01: Concept 45.. We’re now at the nal stage of the base 45
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mesh creation in Max, where we’re going to esh out his arms. To keep things simple, just select the two faces, as shown in Fig.45 Fig.45,, extrude them, and then move them slightly to be more face-to-face.
46.. Keep the two faces selected and then press 46
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the Bridge button. This will connect both sides and close the object (Fig.46 ( Fig.46). ).
47.. We’ll now add some more cuts to push the 47
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new arm element a little further out ( Fig.47 Fig.47). ).
48.. As you’ve done several times now, push 48 the vertices a little to get a more rounded shape (Fig.48 Fig.48). ).
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49.. And nally, our base mesh is done. It’s now 49 time to take it into ZBrush for the sculpting part of the concept creation (Fig.49 ( Fig.49). ).
Part 1b – Basic Sculpting In this second part of chapter one, we are going to see how to come up with more interesting shape and volumes in ZBrush.
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50.. First of all, import your base mesh into 50 ZBrush. There are two different ways to do this: you can either use the import option when launching ZBrush, as shown in Fig.50 Fig.50,, or you press Escape and then, under the Tool tab, click Import.
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51.. Here is a preview of what you will see on 51 your ZBrush canvas when you import your base mesh (Fig.51 (Fig.51). ).
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52.. When you sculpt, it’s important to keep 3D 52 world camera constraints, in order to be sure that you have the right proportions if you decide to then import your nal model into another 3D package, like 3ds Max, to make some renders. You have two options: you can go to the Draw tab and press Persp, or just press just the P hotkey (Fig.53 (Fig.53). ).
Chapter 01: Concept 53.. On the left of the screen, you should see 53
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a red ball which represents the Material Editor in ZBrush. Feel free to try some of them out to get a better idea of how it works. I usually use a very simple one, close to a standard blinn material in 3ds Max (Fig.53 (Fig.53). ).
54.. In ZBrush, you are able to preview some 54
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real time shadows, like screen space Ambient Occlusion. This can be pretty useful when it’s time to make some renders, but for the brut sculpting it’s nice to disable this option. You will have more facilities to sculpt some difcult areas, like under the shoulders. To disable shadows go to the Render tab, and under Preview Shadows slide the ObjShadow value to 0 (Fig.54 (Fig.54). ).
55.. Here is how our base mesh should currently 55
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look on the ZBrush canvas ( Fig.55 Fig.55). ).
56.. In the Tool tab, under Geometry, press 56 Divide twice to add more subdivision to your model (Fig.56 (Fig.56). ).
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57.. We can activate the symmetry now to save 57 some time, so go to the Transform tab, press Activate Symmetry, and choose the axis you wish to use for the symmetry. You can just choose X (Fig.57 ( Fig.57). ).
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58.. We are now going to create some selection 58 sets, with thanks to ZBrush’s Transpose function. This allows us to sculpt some difcult areas with many facilities. First, press the Move button, as shown in Fig.58 Fig.58,, or simply press the W hotkey.
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59.. Pressing Ctrl, drag the orange edge from 59 the middle of the shoulder to the beginning of the arm, as shown in Fig.59 Fig.59,, with your graphics tablet (or mouse). When you have something close to what is shown in Fig.59 Fig.59,, release your graphics tablet rst, and then let go of the Ctrl key. The body should now be masked.
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60.. In the Tool tab, open the Masking dropdown 60 menu and press HidePt. This will hide the part of the mesh you haven’t masked. You have now the full body available on the canvas only (Fig.60 ). Fig.60).
Chapter 01: Concept 61.. Go back to subdivision level 0 now ( Fig.61 61 Fig.61). ).
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62.. Press the Frame Button on the right tab. 62
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This will display the wire of your object (Fig.62 ( Fig.62). ).
63.. Open the Polygroups dropdown menu and 63
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select Group Visible; this option will tint the visible selection with a basic color (Fig.63 (Fig.63). ). Notice that the color will only be visible if the Frame button is enabled.
64.. Inverse the visible object part. To do this, 64 keep pressing Ctrl + Shift, and drag a green square selection onto the canvas. Release Shift (the square should then become red), release the graphics tablet, and nally release Ctrl. You can now see arms instead of the body ( Fig.64 Fig.64). ).
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65.. Do the same as before now: select Group 65 Visible once again – a different color is applied to the arms (Fig.65 ( Fig.65). ).
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66.. You can now display the full character by 66 pressing Ctrl + Shift + clicking on the canvas (not on the object) (Fig.66 ( Fig.66). ).
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67.. We are now going to select the last part of 67 the character. Check that you are still in Move (W) mode. Uncheck the Frame button to hide the colors (Fig.67 ( Fig.67). ).
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68.. In the exact same way as before (see step 68 59) create a mask, this time including the body and arms, but not the extra arm element that we added (Fig.68 (Fig.68). ).
Chapter 01: Concept 69.. Press HidePt to hide the extra element on 69
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the arms (Fig.69 (Fig.69). ).
70.. Go back to the subdivision level 0, the 70
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polygonal display (Fig.70 (Fig.70). ).
71.. Enable the Frame button again to see the 71
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selection sets. Now we are going to hide the remaining polygons which don’t belong to the arms. Select the Lasso mode selection, just under the Frame button. Keep pressing Ctrl + Shift, and drag a green circle around the extra polygon. Then release Shift (the circle becomes red), release your graphics tablet, and nally release Ctrl. The polygons will disappear (Fig.71 Fig.71). ).
72.. Do the same for the other protruding 72 element that we want to hide ( Fig.72 Fig.72). ).
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73.. You’ll need to do the ones on the left arm, 73 too. Unfortunately you can’t use the symmetry function for this, which is why we must do both sides one at a time ( Fig.73 Fig.73). ).
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74.. Now invert the selection as explained before 74 (see step 64) to display only the extra arm element’s polygons (Fig.74 ( Fig.74). ).
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75.. Create the last selection set by pressing 75 Group Visible once again (Fig.75 ( Fig.75). ).
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76.. Unhide everything by pressing Ctrl + Shift 76 and clicking in the canvas. You can now see three different colors, and therefore your three different selection sets. Now, to isolate one of the selection sets, you just have to press Ctrl + Shift and click on one on the colored parts. This will hide the ones you haven’t clicked on. Simply Ctrl + Shift and click on the canvas (not on the character) to display the entire mesh ( Fig.76 Fig.76). ).
Chapter 01: Concept 77.. With the selection sets done now, it’s time 77
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now to start sculpting to come up with a better shape for our character concept. On the left of the screen, click on the Standard brush button. A pop up will appears – select the Move brush. Before sculpting, we are going to move some vertices – like we can do in 3ds Max – with the soft selection (Fig.77 (Fig.77). ).
78.. To have a better preview of your shape, 78
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disable Frame to remove the colors ( Fig.78 ). Fig.78).
79.. Here is a brief introduction with the brush 79
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parameters on the top. Select Draw mode when you are ready to sculpt, you can then change the size and the intensity of the brush by sliding the value on the right. Notice that you can also display these options by right-clicking on the canvas; it’s pretty useful when you want to limit pen tablet movements (Fig.79 ( Fig.79). ).
80.. With move brush selected, move some 80 areas to get a stronger shape ( Fig.80 Fig.80). ).
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81.. Don’t forget to use the selection sets 81 to move vertices easily without moving unconcerned parts, for example under the shoulder (see step 76) (Fig.81 ( Fig.81). ).
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82.. With the main shape dened, we are going 82 to push the volumes a little more to add some denition. Keep in mind that it’s up to you to decide the number of subdivisions – you just to be comfortable with it. Try to keep the Active Points number under a million polygons; we are working roughly for now. For this example, divide your model 6 times (Fig.82 (Fig.82). ).
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83.. The following brushes will be the ones we 83 are going to use during the concept sculpting process. The Inat brush is used to push the volumes, the Clay brush is used to dene the strong volumes, and Smooth to soften them (Fig.83 Fig.83). ).
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84.. With your rst attempt, try pushing the 84 volumes to get your rst intentions down, mainly using the Inat and Smooth brushes to start with. Take your time to experiment and feel the volumes, it’s still very easy to go back (Fig.84 (Fig.84). ).
Chapter 01: Concept 85.. Here is a preview from several angles 85
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(Fig.85 Fig.85). ).
86.. Once again, don’t forget to use your 86
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selection sets to simplify your sculpting process (see step 76) (Fig.86 ( Fig.86). ).
87.. In the second step, push the extreme 87
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volumes using to Clay and Smooth brushes. Keep in mind that you’re not thinking about the nal yet – this has to be rough, so just push out your main volumes for now. The polishing will be done later, just be satised with the silhouette for now (Fig.87 ( Fig.87). ).
88.. Once again, here are previews of several 88 angles (Fig.88 (Fig.88). ).
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89.. Now in this last step of the concept, we 89 are going to use several brushes to add more denition. You will notice a brush in this set by Damien Canderle, which is a free brush available at: http://www.pixolator.com/zbc/ showthread.php?t=57944&page=6&pp=15 (Fig.89 Fig.89). ). This is an amazing brush for exaggerating cavities!
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90.. Here are some examples of these brushes 90 in use. For the roundness of the shoulder, just use the Clay brush (with small pressure). The Dam_Standard brush is useful to force the cavities between the abs (Fig.90 ( Fig.90). ).
91.. Again, here are some different angles. And 91 this is it with the concept! We just need a solid base to be able to create and put accessories on him (Fig.91 (Fig.91). ). Feel free to play with volumes to try different things – nothing is static in ZBrush, you have unlimited possibilities from only one simple base mesh!
Part 1c - Accessories Presentation and Final Concept 92.. Here are some accessories that I have in my 92 personal library (Fig.92 (Fig.92). ). Sometimes, when you have some free time, it’s good to make some basic elements that you can possibly use on some of your creatures or characters. They can be very useful to help you come up with a 3D concept quickly.
Chapter 01: Concept
Cedric Seaut ‘s Character Modeling
Cedric Seaut’s Character Modeling Chapter 01: Concept 93.. For the accessories that I don’t have in my 93 library, I create a rough prototype from a picture. I will explain the technique used for this process in Chapter 5 of this series ( Fig.93 Fig.93). ).
94.. Here is the concept after placing in some 94 rough objects. Please don’t hesitate to place some simple boxes into your concept – it’s just the silhouette that is important at this stage. The preview in Fig.94 Fig.94 has has been done in 3ds Max 2010, with real time shadows in the viewport; it’s a very nice function to properly pre-visualize objects and volumes!
That’s all for Part 1, in the following chapters we will see how to create and polish the different elements presented in the concept design.
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Chapter 02 - Shoes (ZBrush Plastic Plastic Sculpting)
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Software Used: ZBrush, 3ds Max, Silo, and Photoshop
Introduction In the following chapter, you will see the step by step progress used to create a shoe from the concept shown in chapter I.
1. From 1. From the concept created in Zbrush in
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chapter 1. (Fig.01 ( Fig.01))
2. Some 2. Some preliminary parameters to check before starting anything. Enable Local: this function will allow you to rotate around the last area you sculpted on which is very useful if you want to focus on a particular area. Enable Lasso: to activate the lasso selection mode and then change the subdivision value to the lowest level. (Fig.02 Fig.02)) Fig 03
3. With 3. With Ctrl + Shift pressed, make a selection around the right foot as shown below to isolate what will become our shoe. ( Fig.03 Fig.03))
4. Now 4. Now we are going to keep only this part to make it easier to work on. So go back to the highest level of subdivision and delete the subdivision history by pressing Del Lower. Now delete the hidden mesh and nally reconstruct your foot in order to save memory while working. (Fig.04 Fig.04))
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Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 5. Go 5. Go back to the highest level. ( Fig.05 Fig.05))
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6. Divide 6. Divide once more; it’s important because we
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are going to use the Polypaint function which needs vertices to be able to apply color and see an acceptable result. (Fig.06 ( Fig.06))
7. On 7. On the top menu select Draw mode and
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disable Zadd or Zsub as we just need the color painting function. In the Tool menu on the right under Texture, press Colorize which will switch on Polypaint. (Fig.07 (Fig.07))
8. We 8. We are going to draw a topology on the mesh so, right click and a pop up appears. Change the draw size to get something thin enough to draw lines. In the bottom left in the color box, slide the white square to select a pure color, a purple color in this example. (Fig.08 (Fig.08))
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Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 09
9. Just draw on the mesh to get a clean wire. (Fig.05 Fig.05))
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10. Here 10. Here is a screenshot of the result. You’ll see more lines at the bottom that will allow us to put more details on the sole. (Fig.10 ( Fig.10))
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11. More 11. More screenshots on different angles (Fig.11 Fig.11))
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12. We are now going to create the new topology. Don’t forget to remove the shadows and to choose the most convenient matcap for your purposes. (Fig.12 ( Fig.12))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 13. Create a ZSphere in the canvas by clicking
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on the ZSphere button under the Tool tab. (Fig.13 Fig.13))
14. Still in Tool, scroll down the menu to see
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rigging, open it and press Select Mesh and a pop up appears. Select the shoe with the painted wire. Now open the Topology menu and press Edit Topology. The shoe now takes the place of the ZSphere in the canvas. ( Fig.14 Fig.14))
15. Before 15. Before starting anything, be sure to enable
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Local, as it is much easier to work with this option on. (Fig.15 ( Fig.15))
16. Let’s 16. Let’s create the wire on the top of the painted one. With Ctrl pressed, click on the mesh which will mask your object and make it become darker. It can be useful to improve the wire display. Then, left click anywhere on the mesh to start the new topology. Some pointers about creating topology: - If you want to create a line between two vertices, select the rst one with Ctrl pressed. The node will be considered as the primary one and then click on the second one. - To remove a vertex, Press Alt and select one. This will remove all connected lines. - To create a new vertex on an existing line, just left click on it.(Fig.16 it.(Fig.16))
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Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 17
17. A 17. A very useful function is the ability to see a preview of the result by just pressing the A hotkey. (Fig.17 (Fig.17))
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18. As 18. As you can see above, the preview doesn’t look like the created topology, it looks subdivided. In Tool, scroll down to Adaptive Skin and change the density to 1, the preview is now right. (Fig.18 (Fig.18))
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19. A 19. A picture with the nal topology. We Polypainted it rst in order to avoid mistakes and to create it faster and cleaner. ( Fig.19 Fig.19))
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20. From 20. From this new wire, we are going to create and extract the corresponding mesh. Under Adaptive Skin, be sure to set the density to 1 and press Make Adaptive Skin. This will create a new tool of your mesh. ( Fig.20 Fig.20))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 21. Go back to your original tool with the
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Polypainted wire. (Fig.21 (Fig.21))
22. With 22. With Subtool menu open, click on Append
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and in the pop up select the mesh you’ve just created. We absolutely have to do that to avoid the rescaling ZBrush bug. If you export the new created mesh from its tool, the scale will be different. (Fig.22 (Fig.22))
23. Select 23. Select the right Subtool with your new mesh
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and export it. (Fig.23 ( Fig.23))
24. Import 24. Import it in Max to change it a little bit. (Fig.24 Fig.24))
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Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 25
25. First 25. First Center the object pivot as shown below. (Fig.25 (Fig.25))
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26. Move 26. Move the shoe at the center of the scene by right clicking on the Move tool on the top bar menu and by changing the coordinates. ( Fig.26 Fig.26))
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27. Convert 27. Convert it to an Editable poly to be able to make some changes on the mesh. ( Fig.276 Fig.276))
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28. Select 28. Select one edge at the middle of the mesh, press loop to select the edge loop. ( Fig.28 Fig.28))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 29. Press 29. Press Split to disconnect both sides.
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(Fig.29 Fig.29))
30. Select 30. Select and remove the right side. ( Fig.30 Fig.30))
31. Under 31. Under the Utility Tab press Reset Xform to
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remove the object history and then collapse the stack in the Modier tab. ( Fig.31 Fig.31))
32. Select 32. Select the edge loop along the middle and make it planar along the X axis and then move it to the center of the scene by changing the X coordinate. We now have a symmetrical axis. (Fig.32 Fig.32))
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Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 33
33. A 33. A quick preview of the shoe. ( Fig.33 Fig.33))
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34. Select 34. Select the 3 edges on the top and extrude them by pressing Shift and moving them at the same time. This will be the tongue of the shoe. (Fig.34 Fig.34))
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35. Move some vertices as shown below. (Fig.35 Fig.35))
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36. We 36. We are going to cut polygons but rst change some options to make it easier. Right click on the Snap button and select Edge/ Segment only. This will auto detect edges. (Fig.36 Fig.36))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 37. Press 37. Press Cut and create new lines as shown
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below. (Fig.37 (Fig.37))
38. Connect 38. Connect some vertices to get a better wire.
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Select vertices one by one and press Connect. (Fig.38 Fig.38))
39. Remove 39. Remove the edge at the middle ( Fig.39 Fig.39))
40. Cut 40. Cut a new line to remove rectangles and to keep only heavenly spaced quads. ( Fig.40 Fig.40))
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Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 41
41. Apply 41. Apply a Symmetry modier and check the parameters as shown below. As you can see, we created a symmetrical base mesh for the shoe. This technique is very useful in order to save time and to increase the quality. As soon as the shoe is nished, we will just have to put it back to the right position and to move some vertices to get closer to a real “asymmetrical” shoe. (Fig.41 (Fig.41))
Fig 42
Fig 43
42. Collapse 42. Collapse the stack modier. (Fig.42 ( Fig.42))
43. In 43. In Border mode, select the top of the object and press Cap. (Fig.43 ( Fig.43))
Fig 44
44. Select 44. Select the big face and inset it once. (Fig.44 Fig.44))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 45. Make 45. Make the face planar along the Z axis.
Fig 45
(Fig.45 Fig.45))
46. Inset 46. Inset again. (Fig.46 ( Fig.46))
47. Now 47. Now collapse it and the mesh is now
Fig 46
Fig 47
properly closed. We don’t particularly need to keep perfect quads on the top because it will be an hidden area. (Fig.47 ( Fig.47))
48. Here 48. Here is a nal preview of the shoe base mesh. (Fig.48 (Fig.48))
Fig 48
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 49
49. Go 49. Go back to Zbrush and import the newly created base mesh. (Fig.49 ( Fig.49))
Fig 50
50. Don’t 50. Don’t forget to check some parameters before starting sculpting. Remove the real time shadows, turn on the perspective view and activate the X symmetry. (Fig.50 (Fig.50))
Fig 51
51. The 51. The basic sculpt that we are going to do next will be achieved in the main thanks to the Move and Dam Standard brushes. (Fig.51 ( Fig.51))
Fig 52
52. Don’t 52. Don’t subdivide the shoe but rather make the changes at the level 0 which will make it easier to get a new shape by keeping something clean and sharp. (Fig.52 ( Fig.52))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 53. Now 53. Now you are ready to add more
Fig 53
subdivisions. (Fig.53 (Fig.53))
54. With 54. With the Pinch brush selected, add more
Fig 54
denition on the sole edge just to make it a little bit sharper. (Fig.54 ( Fig.54))
55. With 55. With the Dam standard brush, go to Stroke
Fig 55
panel, enable LazyMouse and change the LazyStep value to 0. This will allow you to make some very clean lines. Bear in mind that you still have to draw them slowly in order to get the best results. (Fig.55 (Fig.55))
56. Select 56. Select Clay brush to have sharp painting parameters. Then with Ctrl pressed paint a mask on the shoe as shown below. ( Fig.56 Fig.56))
Fig 56
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 57
57. When 57. When the mask is well dened, release Ctrl. Then press Ctrl + click on the mesh to blur the mask. (Fig.57 (Fig.57))
Fig 58
58. Now 58. Now with the move brush, pull out the surface on each side of the tongue. ( Fig.58 Fig.58))
Fig 59
59. Remove 59. Remove the mask. To remove it press Ctrl + drag a selection box out of the mesh in the canvas then release Ctrl and nally release the mouse. (Fig.59 (Fig.59))
Fig 60
60. Now 60. Now with Dam Standard and Standard brush, add some folds at the back of shoe to simulate some bending artifacts and add some lines to create more pieces of leather. ( Fig.60 Fig.60))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 61. Divide 61. Divide the shoe once more. ( Fig.61 Fig.61))
Fig 61
62. With 62. With the same technique explained above
Fig 62
(see 55), add more lines to the sole. ( Fig.62 Fig.62))
63. Now 63. Now we are going to add more thickness to
Fig 63
the different leather pieces. Select Slash 2 brush under the Stroke panel, activate LazyMouse and change the LazyStep to 0. These parameters are very important if you want to get very smooth lines. Right click to open the popup menu and change the intensity to 16. Finally add one more subdivision to increase the level of quality. (Fig.63 (Fig.63))
64. Now 64. Now you just have to sculpt slowly on the top of the lines you previously drew. Below are some screenshots of what you can achieve. (Fig.64 Fig.64))
Fig 64
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 65
65. More 65. More screenshots from different angles. (Fig.65 Fig.65))
Fig 66
66. As 66. As we did for leather pieces, we are going to prepare some stitches. Select Standard point Brush applying the same Stroke changes as above and change the intensity value to 19. It’s often good to keep a small value when you use Lazymouse with LazyStep at 0. ( Fig.66 Fig.66))
Fig 67
67. Now 67. Now draw two lines for each piece, one close to the extremity and the second one alongside it. (Fig.67 ( Fig.67))
Fig 68
68. Select 68. Select the Stitch simple brush created by my friend David Giraud and draw the stitches along the lines. (Fig.68 ( Fig.68))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 69. A 69. A preview of what you can achieve at this
Fig 69
stage. (Fig.69 (Fig.69))
70. We 70. We are now going to create some
Fig 70
accessories for the shoe. The next step will be to create the eyelets in max. Go back to 3ds max and create a simple cube in the scene with the following parameters. (Fig.70 ( Fig.70))
71. As 71. As you have done many times throughout
Fig 71
this tutorial, put the pivot at the center of the object and move the object to the center of the scene. (Fig.71 (Fig.71))
72. Convert 72. Convert it to an Editable poly to be able to make some modications. (Fig.72 ( Fig.72))
Fig 72
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 73
73. Select 73. Select a horizontal edge and click on Ring to select the corresponding edge ring. ( Fig.73 Fig.73))
Fig 74
74. Press 74. Press Connect to create an edge loop at the middle. (Fig.74 (Fig.74))
Fig 75
75. Select 75. Select the right side and press delete. (Fig.75 Fig.75))
Fig 76
76. Apply 76. Apply a Symmetry modier but don’t forget to check Flip otherwise you won’t see anything. Now go back to Editable Poly in the stack and press the White T to enable the Symmetry modier and see the instanced right side. (Fig.76 Fig.76))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 77. In 77. In the front view, click Slice Plane and a
Fig 77
yellow edge appears that you are able to move. That will allow us to make a new section in the current mesh. (Fig.77 (Fig.77))
78. Using 78. Using the slice plane, make three different
Fig 78
cuts as shown below. To do this, move the plane and simply press Slice, resulting in a new horizontal edge loop. (Fig.78 ( Fig.78))
79. Still 79. Still in the front view to keep in track, move
Fig 79
some of the vertices. We dene rst the main shape. (Fig.79 (Fig.79))
80. Using 80. Using the same Slice Plane technique, make a new cut across the top of the object. ( Fig.80 Fig.80))
Fig 80
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 81
81. Select 81. Select the faces at the extreme left and extrude them by pressing the Extrude button. (Fig.81 Fig.81))
Fig 82
82. Use 82. Use the Inset function to create and scale the new faces allowing us to give thickness to the object. (Fig.82 ( Fig.82))
Fig 83
83. With 83. With the new faces still selected, extrude them to the inside to create a corridor and then delete them. (Fig.83 ( Fig.83))
Fig 84
84. First 84. First disable the preview Symmetry modier to be able to see the inside and then move the edges at the middle of the scene with the same technique as explained above (see 26). ( Fig.84 Fig.84))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 85. Select 85. Select an edge on the side, then press ring
Fig 85
Loop and nally press Connect to create a new edge loop. (Fig.85 ( Fig.85))
86. Here 86. Here is a preview of the current stage.
Fig 86
(Fig.86 Fig.86))
87. Select 87. Select all the edges as shown below, even
Fig 87
at the rear of the object and press Chamfer to duplicate them which will sharpen some of the lines. (Fig.87 (Fig.87))
88. Apply 88. Apply a Meshsmooth modier or a Turbosmooth modier to see a more nal preview. (Fig.88 (Fig.88))
Fig 88
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 89
89. Remove 89. Remove the Meshsmooth modier rst, then activate the snap option and right click it. Be sure that Edge/segment only is checked. Press Cut and draw half a hexagon at the bottom of the eyelet. (Fig.89 ( Fig.89))
Fig 90
90. Let’s 90. Let’s now rearrange some vertices to get proper quads. Select the vertices shown below and press Connect to create new edges. (Fig.90 Fig.90))
Fig 91
91.. Finally Press Target Weld, and snap / 91 collapse the rst vertex with the second one. (Fig.91 Fig.91))
Fig 92
92. We 92. We are now going to create a button. With the faces shown below selected, extrude them inside. (Fig.92 (Fig.92))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 93. Remove 93. Remove the selected faces, then reselect
Fig 93
the half button and re-extrude them to the outside. (Fig.93 ( Fig.93))
94. With 94. With the faces still selected, press Bevel.
Fig 94
(Fig.94 Fig.94))
95. Remove 95. Remove the unwanted faces that will cause
Fig 95
trouble when you make it Symmetrical. (Fig.95 (Fig.95))
96. Select edges at the extreme right and align them along the symmetry axis by changing the x value (see 26 to see the display pop up). (Fig.96 Fig.96))
Fig 96
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 97
97. You 97. You can now apply a Symmetry modier by changing the Threshold value to weld similar vertices along the middle. (Fig.97 ( Fig.97))
Fig 98
Fig 99
98. A 98. A smoothed preview of the eyelet. ( Fig.98 Fig.98))
99. We 99. We are now going to create the half ring attached to the eyelet. Create a simple Torus primitive with the parameters shown below. Then move it to be at the center of the scene. (Fig.99 Fig.99))
Fig 100
100. Convert 100. Convert it to an Editable Poly. ( Fig.100 Fig.100))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 101. Select 101. Select and remove three quarters of the
Fig 101
object. We don’t need the bottom part and the right one will be created symmetrically. (Fig.101 Fig.101))
102. On 102. On the remaining quarter, select the edge
Fig102
loop at the bottom and extrude it using Shift + Move. (Fig.102 (Fig.102))
103. Rotate 103. Rotate the edges and extrude them once
Fig103
more. (Fig.103 (Fig.103))
104. Finally 104. Finally align them along the x axis. (Fig.104 Fig.104))
Fig 104
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 105
105. Select 105. Select ring loop at the bottom and press Connect to add an edge loop. This new edge loop will allow us make the corner more angular. (Fig.105 Fig.105))
Fig 106
106. Create 106. Create the symmetry but don’t forget to enable Flip to be able to see something. (Fig.106 Fig.106))
Fig 107
107. Some 107. Some screenshots from different angles. (Fig.107 Fig.107))
Fig 108
108. Here 108. Here is a Meshsmoothed nal preview of the rst eyelet. (Fig.108 ( Fig.108))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 109. We are now going to create the second
Fig 109
one which is much simpler. Create a Torus with the same parameters as below and center it in the scene. (Fig.109 ( Fig.109))
110. This 110. This completes the eyelet accessories.
Fig 110
Next step is to postion them correctly on the shoe. (Fig.110 ( Fig.110))
111. Go back to ZBrush and reload the last
Fig 111
sculpting stage of the shoe. ( Fig.111 Fig.111))
112. Under 112. Under the Zplugin Tab, scroll down to Decimation Master. You could get the plugin here http://www.pixologic.com/zbrush/ downloadcenter/zplugins/. This plugin will allow you to optimize your high subdivision mesh into a mid resolution one. It will be much easier than to import the new mesh into 3dsmax and will save a lot of memory. So, open the Decimation master menu, change the % of decimation to 2,5 and press Pre-process Current to compute the analyzing treatment. Once done, press Decimate Current to get a new light mesh. You can now export it. (Fig.112 ( Fig.112))
Fig 112
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 113
113. Import 113. Import it into 3dsmax and you may see some minor artifacts but that won’t cause any trouble. We just need a reference object to place accessories on. (Fig.113 (Fig.113))
Fig 114
114. Merge the elements you’ve just created. (Fig.114 Fig.114))
Fig 115
115. Duplicate 115. Duplicate and move them as shown below. (Fig.115 Fig.115))
Fig 116
116. A 116. A closer preview. (Fig.116 (Fig.116))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 117. We 117. We are now going to create the symmetry.
Fig 117
First press Group under the main Group menu and apply a Mirror modier. Click on the + on the left of the Mirror modier, highlight Mirror center and then move it to the origin thanks to the Move Transform pop up. We are now ready to export the eyelets. Save your le as we will use it later for more accessories. (Fig.117 (Fig.117))
118. Open 118. Open up Zbrush, under the Zplugin tab,
Fig 118
click on Subtool master and a pop-up appears with several functions. Select the rst one named Multi Append and select eyelets obj. (Fig.118 Fig.118))
119. You 119. You could see now a new Subtool on the
Fig 119
list; your eyelets. (Fig.119 (Fig.119))
120. To 120. To create the feeling that the eyelets are embedded in the leather, use both the Clay and Inat brushes to push the volumes in and out. And you can at the same time, fake holes at the middle of the round ones. ( Fig.120 Fig.120))
Fig 120
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 121
121. Here 121. Here are some different views to show an overall preview of the shoe. ( Fig.121 Fig.121))
Fig 122
122. Re-open 122. Re-open the 3dsmax scene with the optimized shoe and eyelets as we are now going to create the lace. ( Fig.122 Fig.122))
123. Create 123. Create a Spline as shown below, going through the different eyelets and don’t hesitate to look at one of your own shoes as a reference to be sure how they are laced. In vertex Fig 123
mode, select them all, right click and press Corner in order to remove any Bezier / curve conguration. (Fig.123 (Fig.123))
Fig 124
124. Now 124. Now with the vertices still selected, right click and press Smooth. You have now something clean and uniform. (Fig.124 ( Fig.124))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 125. To 125. To add more thickness and denition to
Fig 125
your lace, go to your line parameters, enable options and change the values as shown below. You are free now to move some vertices to avoid any overlapping or to remove any bad tension especially around the eyelets. When you are satised, export it. (Fig.125 ( Fig.125))
126. Bring 126. Bring it into Zbrush by using the same
Fig 126
method as explained above (see 118) and subdivide it twice to add more denition. (Fig.126 Fig.126))
127. As 127. As we did for the eyelets, we are going to
Fig 127
make some changes to get something more realistic. Use the Inat brush to push out the volumes between the lace and to push in volumes where the lace is tight. ( Fig.127 Fig.127))
128. We 128. We are now going to work on the outsole by adding some grip. Because we will use Zbrush projection features, be sure to unable Persp under the Draw tab. Use Shift + move to snap the bottom of the shoe in the front of the camera. Then export the document. ( Fig.128 Fig.128))
Fig 128
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 129
129. Open 129. Open the document that you just saved in Photoshop and using to the Lasso draw a pattern. Once again don’t hesitate to look at some references of your own shoe. You can use the Lasso in two different ways, you can either draw normally to make your selection or you can press Alt + click + draw to make a polygonal selection. (Fig.129 (Fig.129))
Fig 130
130. When 130. When the pattern is done, change the canvas size to get a square which is really important in order to make an alpha work properly in ZBrush. (Fig.130 (Fig.130))
Fig 131
131. Deselect 131. Deselect the layer with the sole you imported, and then atten all the layers. Go to layers, Flatten image. You should have the same result as shown below. (Fig.131 ( Fig.131))
Fig 132
132. Now 132. Now invert the color to get the grip in white. Go to Image - Adjustments - Invert. The white information is what Zbrush needs for an alpha. (Fig.132 Fig.132))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 133. Go 133. Go back to ZBrush. ( Fig.133 Fig.133))
Fig 133
134. Mask 134. Mask the entire shoe except the sole in
Fig 134
order to avoid any artifacts during the projection. First go down to subdivision 6 and then select Move instead of Draw on the top menu. Then follow the same technique as we used for chapter 1 by pressing Ctrl + drag the mouse from the middle of the sole to the bottom to get something similar to the following. (Fig.134 (Fig.134))
135. Use 135. Use Shift + move to lock the shoe to the
Fig 135
bottom and change the subdivision value to its maximum. (Fig.135 (Fig.135))
136. We 136. We are now ready to project. Press Projection Master on the top left. Once a popup appears change the parameters as shown below. (Fig.136 (Fig.136))
Fig 136
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 137
137. Change 137. Change the Stroke and the alpha parameters on the left with the alpha you created in Photoshop, then right click in the canvas and change the intensity value to a lower one. (Fig.137 ( Fig.137))
Fig 138
138. Drag 138. Drag the alpha on your object rst, and then adjust it using the Move and Scale button at the top of the interface. ( Fig.138 Fig.138))
Fig 139
139. When 139. When you are satised, press the Projection master button once again and without changing anything press Pickup Now which will execute the projection. You can see a preview below. There will be some artifacts but we are going to x those shortly. (Fig.139 ( Fig.139))
Fig 140
140. Remove 140. Remove the mask (see 59) ( Fig.140 Fig.140))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 141. Re 141. Re activate the perspective mode under
Fig 141
the Draw Panel. (Fig.141 ( Fig.141))
142. Now 142. Now use the Clay and Smooth brush to
Fig 142
remove and polish the previously generated artifacts. Don’t worry about the bumpy imperfections you may generate as this will add more realism. (Fig.142 (Fig.142))
143. A 143. A current preview of the shoe after this last
Fig 143
process. (Fig.143 (Fig.143))
144. We 144. We are now going to prepare the mesh for the last accessory. (see 112) ( Fig.144 Fig.144))
Fig 144
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 145
145. Import 145. Import it in 3dsmax. ( Fig.145 Fig.145))
Fig 146
146. In 146. In the left view, create a line as shown below. We are going to create a leather buckle at the back. (Fig.146 ( Fig.146))
Fig 147
147. Switch 147. Switch to the back view and apply an Extrude modier. (Fig.147 ( Fig.147))
Fig 148
148. Convert 148. Convert it to an Editable poly. ( Fig.148 Fig.148))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 149. Select 149. Select the horizontal edges and create an
Fig 149
edge loop by pressing Connect. ( Fig.149 Fig.149))
150. Center 150. Center the object pivot as we have done
Fig 150
many times previously. (Fig.150 (Fig.150))
151. Move 151. Move the object to the center to prepare
Fig 151
the Symmetry axis. (Fig.151 (Fig.151))
152. Select 152. Select and remove the right side. ( Fig.152 Fig.152))
Fig 152
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 153
153. Apply 153. Apply a shell modier to add some thickness. (Fig.153 (Fig.153))
Fig 154
154. Collapse 154. Collapse the stack; right click on Shell modier and Collapse All. To be able to make it symmetrical later remove the created faces in the middle. (Fig.154 ( Fig.154))
Fig 155
155. Select 155. Select all the edges except ones on the symmetry axis and press the small button beside the Chamfer button. This button will allow you to select a numerical value to be more accurate during the process. (Fig.155 ( Fig.155))
Fig 156
156. You are now ready to create the right part with a Symmetry modier by changing the mirror axis and once again not forgetting to check the Flip option. (Fig.156 ( Fig.156))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 157. Here 157. Here is a preview of the leather from
Fig 157
different angles. (Fig.157 ( Fig.157))
158. Bring 158. Bring this new element in Zbrush (see118)
Fig 158
(Fig.158 Fig.158))
159. Using 159. Using the Clay brush push in the surface of
Fig 159
the shoe which intersects with the leather piece. (Fig.159 Fig.159))
160. Select 160. Select the new imported object and subdivide it 3 times to add more denition and to be able to sculpt some additional detail. (Fig.160 Fig.160))
Fig 160
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 161
161. With 161. With the same techniques as you used for all the leather pieces on the shoe, add some details. (Fig.161 (Fig.161))
Fig 162
162. Now 162. Now we are going to do the last detail pass on the shoe. Scroll down to Morph Target, open it and press StoreMT which will store the current stage of your object. (Fig.162 ( Fig.162))
Fig 163
163. Select 163. Select the standard brush and change the stroke and the alpha as shown below. Then right click in the canvas and change the brush intensity value to 11. (Fig.163 ( Fig.163))
Fig 164
164. Here 164. Here is the alpha used above. ( Fig.164 Fig.164))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 165. Drag 165. Drag and drop the alpha several times into
Fig 165
the highlighted area and trying to keep the same alpha scale. Don’t worry if you go over the area. (Fig.165 Fig.165))
166. Now 166. Now select the Morph brush and change
Fig 166
the intensity value to maximum 100 and paint on the unwanted area. You morph the selected area by the old stored one. ( Fig.166 Fig.166))
167. Do 167. Do that for the small area on the side
Fig 167
too but below by using the same technique. (Fig.167 Fig.167))
168. At 168. At this stage the shoe is done but unfortunately, it is too symmetrical so let’s ammend that. Open Subtool Master and select Merge which will merge all the visible SubTools into a big one. (Fig.168 ( Fig.168))
Fig 168
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 169
169. Open 169. Open up an old version of your shoe, the one you used to re-create a good topology. The position, rotation and scale of this one will be used as a reference for the new nished version. (Fig.169 (Fig.169))
Fig 170
170. Disable 170. Disable colorize to get a better visibility. (Fig.170 Fig.170))
Fig 171
171. Append 171. Append the Merge shoe version with the one above. (Fig.171 ( Fig.171))
Fig 172
172.. Now the two versions are beside one 172 another on the canvas. (Fig.172 ( Fig.172))
Chapter 02: Shoes - ZBrush Plastic Sculpting Cedric Seaut ‘s Character Modeling 173. We 173. We are going to use the Transpose
Fig 173
function to transform and move the new shoe to match the old one. Drag the three balls as shown below but be sure to keep the line straight by pressing shift each time you move the balls. To move the balls, select the circle line but do not press inside. ( Fig.173 Fig.173))
174. By 174. By pressing and moving inside the ball
Fig 174
situated in the middle, move the shoe to the left. (Fig.174 Fig.174))
175. Change 175. Change the balls position in the top view,
Fig 175
press rotate and by selecting and moving the ball in the front of the shoe; rotate it to match the one underneath. (Fig.175 ( Fig.175))
176. Do 176. Do this several times to match the old mesh as best as possible. ( Fig.176 Fig.176))
Fig 176
Cedric Seaut’s Character Modeling Chapter 02: Shoes - ZBrush Plastic Sculpting Fig 177
177. With 177. With the move Brush, move some areas to t more with the reference underneath. (Fig.177 Fig.177))
Fig 178
178. Here 178. Here are the results from different angles. (Fig.178 Fig.178))
Fig 179
Fig 180
179. And 179. And here is the nal shoe. ( Fig.179 Fig.179))
180. Let’s nish with a beauty render inside ZBrush. (Fig.180 (Fig.180))
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Chapter 03 - Gun Chapter (Hard-Edge Modeling)
Fig 01
Software Used: ZBrush, 3ds Max, Silo, and Photoshop
Introduction In the following chapter, we are going to see the step by step progress used to create a Handgun. The technique used is not complicated, we just need to know how to use a couple of functions in 3dsmax and have some patience and good references. Fig 02
1-2. The 1-2. The rst step is to gather reference material. Google is probably the best friend you could have on the internet. For this character I chose a Desert Eagle. Try to nd references from different angles and especially the side view which will be very important in creating the main shape. (Fig.01 ( Fig.01 – 02) 02 )
3. In 3. In the front viewport, create a plane with
Fig 03
the same length and width as your reference picture. (Fig.03 (Fig.03))
4. Open 4. Open the Material Editor by pressing M hotkey and select a slot in the new window. Then click on the square button beside Diffuse and a new pop-up appears. Select Bitmap and choose your reference picture. (Fig.04 ( Fig.04))
Fig 04
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling 5. Once 5. Once your reference picture is loaded, apply
Fig 05
the material to your object (1) and display the picture in the viewport (2). ( Fig.05 Fig.05))
6. Create 6. Create a line around the gun as you did in
Fig 06
chapter 2 (see 146). (Fig.06 ( Fig.06))
7. Select 7. Select all the vertices, right click to display
Fig 07
the pop-up menu and select Corner. It’s really important because we are going next to work with an Editable Poly so do not need any Bezier information. (Fig.07 (Fig.07))
8. Convert 8. Convert to an Editable Poly and you have a big polygon with n-gons. (Fig.08 ( Fig.08))
Fig 08
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 09
9. Add 9. Add a Shell modier to create some thickness. (Fig.09 (Fig.09))
Fig 10
10. Collapse 10. Collapse the stack by right clicking on Shell Collapse All. (Fig.10 (Fig.10))
Fig 11
11. Don’t 11. Don’t forget do remove the face at the back where the Symmetry axis will be situated. (Fig.11 Fig.11))
Fig 12
12. As 12. As we often did with the previous chapters, select all the vertices at the back from within the top view. Right click on the Move button and change the Y value to align them correctly along the symmetrical axis. (Fig.12 (Fig.12))
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling 13. Here 13. Here is the result so far in the side view.
Fig 13
(Fig.13 Fig.13))
14-15. Select 14-15. Select the object and then press Alt+X
Fig 14
and it will become transparent, allowing you to use the reference picture as a guide. With the Cut function, add some sections as shown below. Just press Alt+X again if you want to view your object as in the previous preview. (Fig.14 – 15) 15 )
Fig 15
16. We 16. We are going now to detach the different elements that we are going to work on separately. Let’s detail the procedure for just one section as it will be the same for all. Detach the chosen section as shown below. ( Fig.16 Fig.16))
Fig 16
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 17
17. You 17. You now have a new object in the scene. (Fig.17 Fig.17))
Fig 18
18. Select 18. Select the open area along the bottom and whilst pressing Shift, move them to the left in order to extrude them. Then press Y to align the new edges together. ( Fig.18 Fig.18))
Fig 19
19. As 19. As we have often done during the last two chapters, right click on the Move transformation button to show the numerical parameters and change the Y value to 0 to align the edges along the symmetrical axis. (Fig.19 (Fig.19))
Fig 20
20. Now 20. Now select all the vertices and press the square box beside Weld, changing the value in the new window to 1. This will weld all the vertices that occupy the same position. ( Fig.20 Fig.20))
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling 21. Do 21. Do this for all the pieces you previously cut
Fig 21
earlier; 5 altogether. (Fig.21 ( Fig.21))
We will then work on them one by one in order to create a more accurate model.
22. We 22. We will begin with the barrel. ( Fig.22 Fig.22))
23. In 23. In the following, you will see that there
Fig 22
Fig 23
are not too many things to explain. The few functions used during the modeling process are mainly Cut, Extrude, Chamfer, Bevel, Connect... and patience. The most important thing is to always use the reference picture in the background to help you understand the details and volumes. (Fig.23 (Fig.23))
24. Here 24. Here is the step by step process, adding some cuts to create the new lines. ( Fig.24 Fig.24))
Fig 24
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 25
25. Delete 25. Delete the top piece as shown below to be able to extrude important elements later. (Fig.25 Fig.25))
Fig 26
26. Here 26. Here is a different angle to show the barrel. (Fig.26 Fig.26))
Fig 27
27. Do 27. Do the same as above (see 18) to close the top of the object. (Fig.27 ( Fig.27))
Fig 28
28. Add 28. Add some cuts in order to extrude some grips. (Fig.28 (Fig.28))
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling 29. Select 29. Select faces on the top and extrude them
Fig 29
as shown below but don’t forget to slide them to the inside a little to match with the reference. (Fig.29 Fig.29))
30. Add 30. Add a long horizontal cut. ( Fig.30 Fig.30))
31-32-33.. Add some cuts in order to create a 31-32-33
Fig 30
Fig 31
hole. This hole will be important for connecting the different pieces. Don’t forget to align the lines with the symmetrcal axis otherwise you will have to x this later. ( Fig.31 – 33) 33 )
Fig 32
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 33
Fig 34
34. More 34. More cuts to keep in track with the reference. It’s good to add more polygons sometimes to avoid rectangles. If you want to sculpt some areas then it’s good to keep as many squares as possible. (Fig.34 ( Fig.34))
Fig 35
35. Extrude 35. Extrude a rectangle at the extremity to prepare the target. ( Fig.35 Fig.35))
Fig 36
36. Add 36. Add more cuts in order to follow the above advice (see 34). (Fig.36 ( Fig.36))
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling 37. Here 37. Here is the result from several angles.
Fig 37
(Fig.37 Fig.37))
38. Add 38. Add some cuts on the front to prepare the
Fig 38
hole. (Fig.38 (Fig.38))
39. Now 39. Now extrude it. (Fig.39 ( Fig.39))
40-41. More 40-41. More cuts to reduce the rectangles. (Fig.40 – 41) 41 )
Fig 39
Fig 40
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 41
Fig 42
Fig 43
42. Current 42. Current preview. (Fig.42 ( Fig.42))
43. We 43. We are now going to chamfer edges to increase the quality once the object is smoothed. Chamfer is a very powerful function when modeling mechanical objects. (Fig.43 ( Fig.43))
Fig 44
44-45. Some 44-45. Some more angles to better see the edges we are going to chamfer. ( Fig.44 – 45) 45 )
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling Fig 45
46. Chamfer 46. Chamfer them as much as you want.
Fig 46
(Fig.46 Fig.46))
47. The 47. The result - don’t hesitate to add some nal
Fig 47
touches to keep the mesh as quads. ( Fig.47 Fig.47))
48. Some 48. Some more angles. (Fig.48 ( Fig.48))
Fig 48
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 49
49. To 49. To smooth the model, just add a Meshsmooth modier. (Fig.49 ( Fig.49))
Fig 50
50. Now 50. Now apply a Symmetry modier and enjoy the result for a few moments. ( Fig.50 Fig.50))
Fig 51
Fig 52
51. The 51. The second piece. (Fig.51 ( Fig.51))
52. Some 52. Some different angles to help you visualize volumes. (Fig.52 (Fig.52))
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling 53. Cut 53. Cut a hole at the bottom to help insert an
Fig 53
object later. (Fig.53 ( Fig.53))
54-55. Do 54-55. Do the same on the front. ( Fig.54 – 55) 55 )
Fig 54
Fig 55
56-57. Cut 56-57. Cut some lines in order to remove the faces. (Fig.56 (Fig.56 – 57) 57 )
Fig 56
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 57
Fig 58
58-59-60. Remove 58-59-60. Remove the faces and extrude the edges inwards to create a thickness. ( Fig.58 – 60)) 60
Fig 59
Fig 60
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling 61. Add 61. Add some cuts on the front view to match
Fig 61
the original reference picture. (Fig.61 ( Fig.61))
62-63. Finally 62-63. Finally select the new faces and extrude
Fig 62
them to add volume. (Fig.62 ( Fig.62 – 63) 63 )
Fig 63
64. The 64. The current preview from different angles. (Fig.64 Fig.64))
Fig 64
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 65
65. Select 65. Select the face as shown below and extrude it inwards to create a cavity. ( Fig.65 Fig.65))
Fig 66
66-67. Add 66-67. Add more cuts to polish the object (Fig.66 – 67) 67 )
Fig 67
Fig 68
68. Cut 68. Cut some edges inside to improve the barrel connection. We are not going to create a working weapon but it’s still good to keep the main areas accurate. (Fig.68 ( Fig.68))
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling 69-70. Extrude 69-70. Extrude the faces and polish them to
Fig 69
maintain smooth curves. Don’t hesitate to display the barrel to test the connection. ( Fig.69 – 70) 70)
Fig 70
71-72. In 71-72. In order to form a sharp edge, create a
Fig 71
cut as shown below. (Fig.71 ( Fig.71 – 72) 72 )
Fig 72
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 73
73. Polish 73. Polish the front of the object. ( Fig.73 Fig.73))
Fig 74
74-75. Once 74-75. Once again we are going to chamfer edges to increase the quality. (Fig.74 ( Fig.74 – 75) 75 )
Fig 75
Fig 76
76. Chamfer 76. Chamfer and polish the nal piece. ( Fig.76 Fig.76))
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling 77. Some 77. Some more screenshots to help you target
Fig 77
difcult areas. (Fig.77 (Fig.77))
78. The 78. The nal object after smoothing. ( Fig.78 Fig.78))
79. Add 79. Add the barrel to see how they work
Fig 78
Fig 79
together. (Fig.79 ( Fig.79))
80. The 80. The pistol handle. (Fig.80 ( Fig.80))
Fig 80
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 81
81. The 81. The same kind of preliminary cut as we did above to shape the main volume. ( Fig.81 Fig.81))
Fig 82
Fig 83
82. Some 82. Some more views. (Fig.82 (Fig.82))
83-84-85. Try 83-84-85. Try to keep quads as much as possible. (Fig.83 (Fig.83 – 85) 85 )
Fig 84
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling Fig 85
86. Current 86. Current stage. (Fig.86 ( Fig.86))
87-88. Prepare 87-88. Prepare and remove an area to make
Fig 86
Fig 87
way for inserting an object later. ( Fig.87 – 88) 88 )
Fig 88
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 89
89-90. Prepare 89-90. Prepare and extrude a hole for the trigger. (Fig.89 (Fig.89 – 90) 90)
Fig 90
Fig 91
91-92-93. Do 91-92-93. Do the same for the magazine. (Fig.91 – 93) 93 )
Fig 92
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling Fig 93
94. A 94. A current preview. (Fig.94 ( Fig.94))
95. Now 95. Now let’s add some buttons on the piece
Fig 94
Fig 95
by cutting some hexagons in the front view. (Fig.95 Fig.95))
96-97-98-99-100. Using 96-97-98-99-100. Using the following steps, create the buttons. (Fig.96 ( Fig.96 – 100) 100 )
Fig 96
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 97
Fig 98
Fig 99
Fig 100
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling 101. Preview 101. Preview of the buttons after the faces are
Fig 101
collapsed. (Fig.101 (Fig.101))
102. Now 102. Now it’s time now to select the edges to
Fig102
chamfer. (Fig.102 (Fig.102))
103. Here 103. Here they are from several angles.
Fig103
(Fig.103 Fig.103))
Fig 104 104-105. Here 104-105. Here is a preview of the chamfered edges and nal object. (Fig.104 ( Fig.104 – 105) 105 )
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 105
Fig 106
Fig 107
106. The 106. The nal object. (Fig.106 ( Fig.106))
107-108. The nal smoothed preview along with the previously created pieces. (Fig.107 ( Fig.107 – 108) 108 )
Fig 108
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling 109. The 109. The next piece to create is the grip.
Fig 109
(Fig.109 Fig.109))
110. Add 110. Add some subdivisions to prepare the
Fig 110
different regions. (Fig.110 ( Fig.110))
111. Some 111. Some further angles. (Fig.111 ( Fig.111))
112. Prepare 112. Prepare and extrude the area shown below to match the reference. (Fig.112 ( Fig.112))
Fig 111
Fig 112
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 113
113. Cut 113. Cut the area which will represent the grip and clean up the object to create quads. (Fig.113 Fig.113))
Fig 114
114. We 114. We are not going to reproduce the grip exactly as seen in the reference in order that I can introduce a different technique. Select the area and extrude it. (Fig.114 ( Fig.114))
Fig 115
Fig 116
115-116. A 115-116. A current preview. (Fig.115 ( Fig.115 – 116) 116 )
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling 117-118. Once 117-118. Once again, select the edges we are
Fig 117
going to chamfer. (Fig.117 ( Fig.117 – 118) 118 )
Fig 118
119. Now 119. Now let’s chamfer them. ( Fig.119 Fig.119))
120-121. Here 120-121. Here is the stage after a quick clean up to maintain quads. (Fig.120 ( Fig.120 – 121) 121 )
Fig 119
Fig 120
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 121
Fig 122
122. We 122. We are now going to create the grip texture. First create one element of what will become a much larger pattern. You can try to create your own but keep it simple because it will be quite small in the end. Notice the small quads on the left and bottom of the object; they are there in order to duplicate it later without any visible holes. (Fig.122 (Fig.122))
Fig 123
Fig 124
123. Some 123. Some different angles. (Fig.123 ( Fig.123))
124. By 124. By pressing Shift, rst move the object to the bottom right. (Fig.124 ( Fig.124))
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling 125. Attach 125. Attach the new one to its parent, and
Fig 125
then select all the vertices to weld the ones occupying the same position. (Fig.125 ( Fig.125))
126. Do 126. Do the same as previously done (see 124)
Fig 126
but change Number of Copies to 20 to create the initial row. (Fig.126 (Fig.126))
127. Follow 127. Follow the same procedure as above but
Fig 127
this time vertically. (Fig.127 (Fig.127))
128. You 128. You should now have a large square pattern. (Fig.128 ( Fig.128))
Fig 128
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 129
129. Display 129. Display the recent handgun piece and move you square pattern to cover the grip area. (Fig.129 Fig.129))
Fig 130
130- 131. Select 131. Select the faces within the grip area and delete them. (Fig.130 ( Fig.130 – 131) 131 )
Fig 131
Fig 132
132. Now 132. Now apply an FFD (box) 4x4x4 modier to bend and move the grip pattern into its corresponding area. (Fig.132 ( Fig.132))
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling 133. Here 133. Here is the nal preview with both a
Fig 133
Symmetry and Meshsmooth modier applied. (Fig.133 Fig.133))
134. Here 134. Here is the current stage of the handgun
Fig 134
along with the grip. (Fig.134 ( Fig.134))
135. Now 135. Now for the last big piece. ( Fig.135 Fig.135))
136-137. Add 136-137. Add some cuts to create more denition. (Fig.136 (Fig.136 – 137) 137 )
Fig 135
Fig 136
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 137
138. To 138. To prepare a hole, cut the area as shown below. At the same time x any potential n-gons. (Fig.138 Fig.138))
Fig 138
139. Extrude 139. Extrude the area. (Fig.139 ( Fig.139))
Fig 139
Fig 140
140-141. Prepare 140-141. Prepare another area for extrusion. (Fig.140 –141) –141 )
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling Fig 141
142. Extrude 142. Extrude the area. (Fig.142 ( Fig.142))
143-144. Do 143-144. Do the same on the right to match the
Fig 142
Fig 143
reference. (Fig.143 (Fig.143 – 144) 144 )
Fig 144
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 145
145- 146. As 146. As you did for the piece at the front, cut in a hexagon in order to form a button. (See 95-100). (Fig.145 ( Fig.145 –146) –146 )
Fig 146
Fig 147
Fig 148
147. Some 147. Some more angles. (Fig.147 ( Fig.147))
148-149-150. Select 148-149-150. Select the appropriate edges and chamfer them. (Fig.148 ( Fig.148 – 150) 150 )
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling Fig 149
Fig 150
151- 152. A 152. A nal preview. (Fig.151 (Fig.151 – 152) 152 )
Fig 151
Fig 152
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 153
153. Apply 153. Apply the Symmetry and Meshsmooth modiers. (Fig.153 (Fig.153))
Fig 154
154. Here 154. Here is the current stage of the handgun containing all the large pieces. (Fig.154 ( Fig.154))
Fig 155
155. Now 155. Now we are presented with all the small pieces that we are going to add to match the reference.
Here are the sights at the front of the gun. (Fig.155 Fig.155))
Fig 156
156. The hammer. (Fig.156 ( Fig.156))
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling 157. The 157. The trigger. (Fig.157 ( Fig.157))
Fig 157
158. The 158. The end of the magazine; we don’t need to
Fig 158
model everything as we don’t need this gun to work properly. (Fig.158 (Fig.158))
159. Another 159. Another piece below the barrel of the gun.
Fig 159
(Fig.159 Fig.159))
160. Another 160. Another section under the barrel to connect with the one above. (Fig.160 ( Fig.160))
Fig 160
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo Fig 161
161. The 161. The sights at the back of the gun. ( Fig.161 Fig.161))
Fig 162
162. The 162. The muzzle. (Fig.162 (Fig.162))
Fig 163
Fig 164
163-164-165- Side details. (Fig.163 ( Fig.163 – 165) 165 )
Chapter 03: Handgun - Hard-Edge Max/Silo Cedric Seaut ‘s Character Modeling 166-167. The 166-167. The nal preview of the gun incorporating all the pieces. (Fig.166 ( Fig.166 –167) –167 )
168. Here 168. Here is a real time preview with shadows in 3dsmax 2010. (Fig.168 ( Fig.168))
Cedric Seaut’s Character Modeling Chapter 03: Handgun - Hard-Edge Max/Silo
Cedric Seaut’s Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting Chapter 04 - Chest (ZBrush Mechanical Sculpting)
Fig 01
Software Used: ZBrush, 3ds Max, Silo, and Photoshop
Introduction In the following chapter, we are going to see how to sculpt a mechanical object in ZBrush from the basic concept we achieved in the rst chapter. We are then going to introduce several accessories which we will integrate into the chest.
Fig 02
1. We 1. We will begin with the basic concept from chapter 1. (Fig.01 ( Fig.01))
2. By using both the Clay and Smooth ZBrush brushes, I tried to extract more volumes which will allow for a more polished object. ( Fig.02 Fig.02))
3. By 3. By using the same technique shown
Fig 03
in chapter 2 (creating a shoe – step 5), I polypainted a better topology on the current concept. You will notice there are two different colors on the object which represent the two different objects we will create; one being the chest and the other the hands. We are going to use this technique in order to save memory and allow us to sculpt more smoothly. Usually hands require more polygons and hence more resources due to the ngers so it’s often good to nd a way to detach them into a unique piece. (Fig.03 Fig.03))
4- 5- 6. Don’t 6. Don’t hesitate to use the transpose function in order to work on a specic area as this will allow you to paint a cleaner and better topology. The arm is a good example which might be quite hard to paint without hiding the rest of the object. (Fig.04 ( Fig.04 – 06) 06 )
Fig 04
Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut ‘s Character Modeling Fig 05
Fig 06
7- 8. Once 8. Once you’re done with the polypainted
Fig 07
topology used the re-topology process explained in chapter 2 - step 12 to recreate brand new base meshes for the chest and hand. Remember to do only one hand as later we will use symmetry to duplicate it. (Fig.07 (Fig.07 – 08) 08 )
Fig 08
Cedric Seaut’s Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting Fig 09
9. Go back to your polypainted Ztool and turn off colorize under the Texture Tab. We are now going to append both previous objects with this tool. (Fig.09 (Fig.09))
Fig 10
10. Under 10. Under the SubTool tab, press Append and rst choose the Chest and then the Hand as we did in chapter 2 - step22. ( Fig.10 Fig.10))
Fig 11
11. We 11. We have now three different SubTools; the old concept and the new chest and hand. Select the chest and subdivide it. ( Fig.11 Fig.11))
Fig 12
12. Now 12. Now press StoreMT under the Morph Target Tab and display the old concept by pressing on the eye icon beside it. (Fig.12 ( Fig.12))
Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut ‘s Character Modeling 13. On the left (1) is the last action we did above
Fig 13
before pressing ProjectAll in order to project all of the sculpted information from the concept onto the new chest base mesh. ( Fig.13 Fig.13))
14. Here 14. Here are the results below. ( Fig.14 Fig.14))
15. Hide 15. Hide the old concept by pressing the eye
Fig 14
Fig 15
icon. We are now going to correct the minor artifacts that the projection has created. ( Fig.15 Fig.15))
16. Here 16. Here on the back we can see an example of some small artifacts. (Fig.16 (Fig.16))
Fig 16
Cedric Seaut’s Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting Fig 17
17. Use 17. Use the Transpose function to select only the arms. (Fig.17 ( Fig.17))
Fig 18
18. Now 18. Now hide them by pressing HidePt under the Masking Tab. You can now clearly see the artifacts. (Fig.18 (Fig.18))
Fig 19
19. We are now going to use the Morph data we stored in step 12 to remove them. Choose the Morph brush and set the intensity to 100. Now all we need to do is just paint on the artifacts. (Fig.19 Fig.19))
Fig 20
20. Using 20. Using the Smooth brush, polish the area to get a clean junction. (Fig.20 ( Fig.20))
Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut ‘s Character Modeling 21. Use the same techniques explained above
Fig 21
to x any other artifacts. Here is an image of the nal result. (Fig.21 (Fig.21))
22. Use the same steps for the hand by rst
Fig 22
subdividing it and then storing the morph target. (Fig.22 Fig.22))
Fig 23 23. Project 23. Project the old concept onto the new hand. (Fig.23 Fig.23))
24. Below 24. Below you can see both new objects. We are now going to clean the transition between them. (Fig.24 (Fig.24))
Fig 24
Cedric Seaut’s Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting Fig 25
25. Select 25. Select the chest and using the Clay brush, push in the transition area to get a perfect assembly. (Fig.25 (Fig.25))
Fig 26
26- 27. Here 27. Here is a preview from different angles. This doesn’t have to be perfect as we are going to polish and sculpt both parts. ( Fig.26 – 27) 27 )
Fig 27
Fig 28
28. We 28. We are now going to create a symmetrical copy of the hand. First select the hand and then press Del Lower to remove the objects subdivision history. Then, press the SubTool master button under the Zplugin menu. ( Fig.28 Fig.28))
Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut ‘s Character Modeling 29. After 29. After a menu appears, click on Mirror and
Fig 29
then OK using the parameters shown below. (Fig.29 Fig.29))
Fig 30 30- 31. Here 31. Here are several previews of the result. (Fig.30 – 31) 31 )
Fig 31
32. Still 32. Still with the hands selected, reconstruct the subdivision which is proves important in saving display memory. (Fig.32 (Fig.32))
Fig 32
Cedric Seaut’s Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting Fig 33
33. Here 33. Here is a nal preview. ( Fig.33 Fig.33))
Fig 34
34. Its 34. Its time now to add more detail to the chest. The Dam standard brush is the main key to achieve this and when used with the LazyMouse it becomes the most powerful tool ever. After selecting the Dam Standard brush, press L to activate the LazyMouse and change the stroke parameters to those shown below in order to draw some perfect smooth lines. Let’s now draw some more details on the front. ( Fig.34 Fig.34))
Fig 35
Fig 36
35. The 35. The back. (Fig.35 ( Fig.35))
36. We 36. We are now going to work on a small area to explain the different steps in the process and then apply these techniques to the entire character. Using the Dam Standard brush draw the lines slowly to avoid artifacts, and then use the Flatten brush with the same LazyMouse/ stroke parameters to atten the corresponding line above the previous one. All the green lines are done with Dam Standard brush but don’t hesitate to use Smooth sometimes to remove bumpy effects. (Fig.36 ( Fig.36))
Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut ‘s Character Modeling 37. We 37. We are now going to explain how to create
Fig 37
and sculpt these details. This technique is probably the second main component in the mechanical sculpting process. In reality, these details begin as actual 3D objects so let’s create them in 3ds max rst. (Fig.37 ( Fig.37))
38. Create a basic plane in 3dsmax using the
Fig 38
parameters shown below. We will rst create a rectangle. (Fig.38 (Fig.38))
39. Move 39. Move it to the center of the scene and then
Fig 39
right click on the Move button to display the pop up box below and change the X, Y and Z values. (Fig.39 (Fig.39
40. Convert it into an Editable Poly. ( Fig.40 Fig.40))
Fig 40
Cedric Seaut’s Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting Fig 41
41. Select the edges shown in green and press the Connect button to create a new edge. (Fig.41 Fig.41))
Fig 42
42. Select 42. Select the newly created edge and chamfer it as shown below. (Fig.42 ( Fig.42))
Fig 43
43. Repeat 43. Repeat the process to create a new edge between them. (Fig.43 ( Fig.43))
Fig 44
44. Chamfer 44. Chamfer it once again to get the result shown below. (Fig.44 ( Fig.44))
Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut ‘s Character Modeling 45. Select 45. Select the face and Bevel it as shown on the
Fig 45
right. (Fig.45 (Fig.45))
46.. Here is a preview of the current stage. 46
Fig 46
(Fig.46 Fig.46))
47. Select the edges as shown below. ( Fig.47 Fig.47))
48. Now 48. Now press Connect to create a new Edge Loop. (Fig.48 (Fig.48))
Fig 47
Fig 48
Cedric Seaut’s Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting Fig 49
49. Move and scale the newly created Edge Loop as shown below. (Fig.49 ( Fig.49))
Fig 50
Fig 51
50. Select 50. Select the corner edges. ( Fig.50 Fig.50))
51. Now chamfer them which will sharpen the corners. (Fig.51 (Fig.51))
Fig 52
52. We 52. We will now clean up the object. Press Target Weld and then select vertex one followed by vertex two to weld them together. ( Fig.52 Fig.52))
Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut ‘s Character Modeling 53. Follow 53. Follow the same procedure with each
Fig 53
corner, the result of which can be seen below. (Fig.53 Fig.53))
54. To 54. To maintain the object as quads, Connect
Fig 54
the vertices shown below. (Fig.54 ( Fig.54))
55. Now 55. Now delete the edge in the middle to create
Fig 55
a quad. (Fig.55 ( Fig.55))
56. Do the same inside the shape to generate quads. (Fig.56 (Fig.56))
Fig 56
Cedric Seaut’s Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting Fig 57
57. Here is a preview of the nal result. ( Fig.57 Fig.57))
Fig 58
58. Now 58. Now select all the edges shown below. (Fig.58 Fig.58))
Fig 59
Fig 60
59. Apply 59. Apply a Chamfer as shown below. (Fig.59 (Fig.59))
60. Select 60. Select all the horizontal edges and press Connect to create a new Ring Loop. ( Fig.60 Fig.60))
Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut ‘s Character Modeling 61. Now 61. Now Chamfer the newly created edges.
Fig 61
(Fig.61 Fig.61))
62. Follow 62. Follow the same procedure for the vertical
Fig 62
edges. (Fig.62 (Fig.62))
63. Here 63. Here is a preview of the nal object. ( Fig.63 Fig.63))
64. Here 64. Here is newly smoothed preview. ( Fig.64 Fig.64))
Fig 63
Fig 64
Cedric Seaut’s Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting Fig 65
65. We are now going to create an alpha from this object. Go back into Zbrush and change the document parameters as it’s important to get the maximum quality. (Fig.65 (Fig.65))
Fig 66
66. Use 66. Use the zoom button on the right to see the entire Canvas in the screen as it’s important to use the entire space. (Fig.66 ( Fig.66))
Fig 67
67. Import 67. Import the object created in 3dsmax. (Fig.67 Fig.67))
Fig 68
68. Press 68. Press Crease to limit the shrink effect at the extremity and subdivide it until it’s perfectly smoothed. Then Under the Display Property tab press Flip to invert your object. ( Fig.68 Fig.68))
Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut ‘s Character Modeling 69. Choose 69. Choose MRGBZGrabber in the list shown
Fig 69
below. This function will allow us to grab the depth of the object. (Fig.69 ( Fig.69))
70. Click 70. Click on Switch when you see the following
Fig 70
warning. (Fig.70 (Fig.70))
71. It’s 71. It’s now time to create the white square.
Fig 71
Turn off Auto Crop and draw the square at its maximum size using the entire canvas. (Fig.71 ( Fig.71))
72. When 72. When you release the mouse, the data is sent to the alpha position. You have now your alpha. (Fig.72 (Fig.72))
Fig 72
Cedric Seaut’s Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting Fig 73
73. Here 73. Here is a quick test which will be explained in the following paragraphs. (Fig.73 ( Fig.73))
Fig 74
74. It’s 74. It’s good to keep the original alpha (2048*2048) but thanks to Photoshop we can reduce it to 512*512 and save another iteration that we will use on the model. ( Fig.74 Fig.74))
Fig 75
75. Here 75. Here are the different alphas I used for the chest. I used the exact same method to create them as explained above. (Fig.75 ( Fig.75))
Fig 76
76. Going 76. Going back to the chest it’s now time now to polish it a bit more in the different areas. Still using the Dam Standard and Flatten brushes, we can slowly clean the shape. ( Fig.76 Fig.76))
Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut ‘s Character Modeling 77. To 77. To apply the rectangles to your shape, use
Fig 77
the standard brush with the DragRect stroke and select the rectangle alpha. Now right click on the model to change the brush parameters, bearing in mind that the Draw Size and Focal Shift have to be close. This procedure is important if you want to create a clean rectangle. You can now place them on your object. ( Fig.77 Fig.77))
78. Let’s create another object in 3ds Max that
Fig 78
we will put on the chest. ( Fig.78 Fig.78))
79. Go 79. Go back into Zbrush with your chest.
Fig 79
(Fig.79 Fig.79))
80. We 80. We are now going to decimate the chest in order to bring it into 3ds Max and avoid any memory crash. (Fig.80 (Fig.80))
Fig 80
Cedric Seaut’s Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting Fig 81
81. Once 81. Once its done export the optimized chest. (Fig.81 Fig.81))
Fig 82
Fig 83
82. Import 82. Import it in into Max. ( Fig.82 Fig.82))
83. Merge 83. Merge the newly created object and position it to mimic what we see below. Don’t move vertices as we will match both objects in Zbrush. Export the green object as an obj. ( Fig.83 Fig.83))
Fig 84
84. Open 84. Open up Zbrush and import the object into the scene by way of SubTool Master. ( Fig.84 Fig.84))
Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut ‘s Character Modeling 85. Use 85. Use the Move brush to push the new object
Fig 85
a little in order to match it perfectly with the chest. (Fig.85 (Fig.85))
86. Once again, use the SubTool Master to
Fig 86
mirror the newly created object. ( Fig.86 Fig.86))
87. Here is the nal result. ( Fig.87 Fig.87))
88. Use 88. Use the same technique as explained in step 77 to create these holes. The alpha in the bottom left was used (see 75). ( Fig.88 Fig.88))
Fig 87
Fig 88
Cedric Seaut’s Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting Fig 89
89. I 89. I used the rectangular alpha to create these small thick lines (in red), still using the Dam Standard brush with the LazyMouse to polish the lines below (in green). ( Fig.89 Fig.89))
Fig 90
90. I 90. I used the same technique to create the holes below (see 75-77) and used the Clay brush with a very low value to slightly atten the areas shown below to simulate a button effect. (Fig.90 Fig.90))
Fig 91
91. Create 91. Create a new object in 3ds Max starting with a simple cylinder. (Fig.91 (Fig.91))
Fig 92
92- 93. Using 93. Using the same technique explained in step 79 duplicate and move the different objects on the chest to get something similar to the following. (Fig.92 (Fig.92 – 93) 93 )
Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut ‘s Character Modeling Fig 93
94. Once 94. Once again bring these new elements into
Fig 94
the scene by using the SubTool Master plugin. (Fig.94 Fig.94))
95. Here is a current preview with some more
Fig 95
changes using the same methods involving alphas and the Dam Standard brush. ( Fig.95 Fig.95))
96. We 96. We use the same technique for the shoulders and neck. More screenshots will be shown later to focus on the different areas. (Fig.96 Fig.96))
Fig 96
Cedric Seaut’s Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting Fig 97
97. Here 97. Here is a nal preview. ( Fig.97 Fig.97))
Fig 98
98. With 98. With the armor area done it’s now time to polish the arm which is a more organic element. Use the Inat and the Smooth brush to gradually bulge out the volumes. (Fig.98 ( Fig.98))
Fig 99
99. Here 99. Here are some more angles to see the volumes. (Fig.99 (Fig.99))
Fig 100
100. When 100. When you are satised with the volumes, add more small skin details courtesy of a specic alpha (provided customized brush). (Fig.100 Fig.100))
Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut ‘s Character Modeling 101. Once again use the Dam Standard brush
Fig 101
to accentuate some holes in order to make it appear more organic. (Fig.101 ( Fig.101))
102 to 111. Here 111. Here are some screenshots to
Fig 102
represent the key areas to help you visualize the process. The same techniques were used to reach this stage and mainly incorporated customized alphas and the Dam standard / Flat brush with the LazyMouse. It’s up to you now to create more specic alphas and to furnish your own library with small and simple mechanical objects. (Fig.102 (Fig.102 – 111) 111 )
Fig 103
Fig 104
Cedric Seaut’s Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting Fig 105
Fig 106
Fig 107
Fig 108
Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut ‘s Character Modeling Fig 109
Fig 110
Fig 111
112 to 117. Here 117. Here are a grenade and rie which were created in 3ds Max to add a bit more interest to the character. (Fig.112 ( Fig.112 – 117) 117 )
Fig 112
Cedric Seaut’s Character Modeling Chapter 04: Chest - ZBrush Mechanical Sculpting Fig 113
Fig 114
Fig 115
Fig 116
Chapter 04: Chest - ZBrush Mechanical Sculpting Cedric Seaut ‘s Character Modeling Fig 117
118-119-120. I 118-119-120. I also added a simple military
Fig 118
pouch to create some extra detail. Here are the different sculpting steps. (Fig.118 ( Fig.118 – 120) 120 )
Fig 119
Fig 120
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Chapter 05 - Pants (ZBrush Fabric Fabric Sculpting)
Fig 01
Software Used: ZBrush, 3ds Max, Silo, and Photoshop
Introduction In the following chapter, we are going to see how to sculpt the pants from the basic concept we achieved in the rst chapter. We are then going to introduce several accessories that we will integrate into it. Fig 02 1. So let’s start from the basic concept we achieved in Chapter 1 (Fig.01 ( Fig.01). ).
2. Basically we are going to follow the same procedure as we did in the last chapter and also for the shoe. The rst stage involves polypainting the concept to use as a guide later on when reconstructing the topology ( Fig.02 Fig.02). ).
3. Don’t hesitate to re-read the previous chapter
Fig 03a
and to follow the step by step progress.
Here you can see the new mesh. In the second image you will notice that the top and the bottom are capped. It’s still good to close your mesh in order to get a better texture ( Fig.03a – b). b ).
Fig 03b
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 4. Now go back to your concept mesh as we are
Fig 04
going to re-project all the information from the old version onto the new one. First of all turn off Colorize to hide Polypaint (Fig.04 ( Fig.04). ).
5. Under your Subtools, press Append to display
Fig 05
the new menu that will allow you to select the new pants mesh. After selecting it you will see it just under your main Subtool (Fig.05 (Fig.05). ).
6. Subdivide it several times but be careful to
Fig 06
keep under 3 million polygons, otherwise you will have a lack of memory which will encroach on your workow. You just need enough resolution to get a nice projection. Go to the bottom, open up the morph tab and press Store in order to store this current state in the memory (Fig.06 ). Fig.06).
7. Press “Project All” to transfer all the information from the old mesh onto the new version. As you can see below, you may have some artifacts. This phenomena comes from the polygons you created to cap the mesh but there is no need for concern as the morph will allow you to x these bugs (Fig.07a ( Fig.07a - b). b ).
Fig 07a
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 07b
Fig 08a
8. Thanks to the Morph and Smooth brushes, you can correct the artifacts easily. It’s important to change the intensity of the morph brush in order to remove the distortion quickly. In the second picture, you can see a preview of the result (Fig.08a (Fig.08a – b). b ).
Fig 08b
Fig 09
9. We are now going to paint a rst pass of folds on the pants. To keep smooth unied volumes and avoid any bumpy effects, we will use the Standard brush with the LazyMouse as shown below. It is then a case of slowly drawing in some lines. Work in symmetry to save time as the accessories will break this up later. It’s good to have some references when you work on folds in the cloth so don’t hesitate to take some photos of yourself to help or alternatively use the internet (Fig.09 ( Fig.09). ).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 10.. Before continuing with the folds we are 10
Fig 10
going to create the base meshes for the accessories. We are going to need an iteration of the pants for that. Open the Zplugin menu and change the Decimation parameters as shown below. After the calculation, you will have a lighter version that you can use in 3dsmax to gure out the accessories (Fig.10 ( Fig.10). ).
11.. Import the above created mesh into 3dsmax 11
Fig 11
(Fig.11 ). Fig.11).
12.. Create a simple plane and center it in the 12
Fig 12a
scene. Now move it to the middle of the thigh as shown in the second picture ( Fig.12a – b). b ).
Fig 12b
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 13
13.. We are going to extrude edges to create 13 straps so rst of all convert the plane to an Editable Poly (Fig.13 (Fig.13). ).
Fig 14
Fig 15
14.. Move the edges slightly ( Fig.14 14 Fig.14). ).
15.. By pressing shift, duplicate and move the 15 edge to the left. Repeat this to add further faces around the thigh and create a strap ( Fig.15 Fig.15). ).
Fig 16a
16.. Do this several times as shown below 16 (Fig.16a – b). b ).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling Fig 16b
17.. Finally weld the vertices as shown below in 17
Fig 17
order to close the Strap ( Fig.17 ). Fig.17).
18.. In this chapter, we are going to use some 18
Fig 18
generic objects such as clips. They will be used essentially for straps to add more detail and get a better silhouette (Fig.18 ( Fig.18). ).
19.. Like the Desert Eagle, another weapon has 19 been made for the left thigh of the character. We are going to place it into its correct position in order to better create the straps. In the last picture, we also moved and duplicated the clips to “attach” the blade onto the pants ( Fig.19a – b).
Fig 19a
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 19b
Fig 20a
20. Create 20. Create another strap below the rst one by using the same steps, adding more clips to get the following preview (Fig.20a ( Fig.20a – b). b ).
Fig 20b
Fig 21
21.. We are now going to create some thickness 21 to the straps. Under the Modier tab, open the roll out and select Shell ( Fig.21 Fig.21). ).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 22. It’s 22. It’s up to you then to try and choose the
Fig 22
best parameters in order to create realistic proportions (Fig.22 ( Fig.22). ).
23.. Once satised, convert both elements to an 23
Fig 23
Editable Poly to collapse the modier stack and keep it simple (Fig.23 (Fig.23). ).
24.. We are now going to “prepare” the mesh 24
Fig 24
and so in order to do that hide everything except the strap (Fig.24 ( Fig.24). ).
25.. Select one edge (Fig.25 25 ( Fig.25). ).
Fig 25
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 26
26.. Press on Ring to select the ring loop 26 (Fig.26 Fig.26). ).
Fig 27
27.. Now click on Loop to select the 27 corresponding edge loops (Fig.27 ( Fig.27). ).
Fig 28
28.. Now you can chamfer the edge loops in 28 order to get sharper angles when you have to sculpt the strap within Zbrush where it will be much easier to achieve a better result ( Fig.28 Fig.28). ).
Fig 29
29.. Apply this to the second one below. Here is 29 a current preview (Fig.29 ( Fig.29). ).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 30.. Here is another preview without the wire 30
Fig 30
(Fig.30 Fig.30). ).
31.. It’s now the time to re-use the Desert Eagle 31
Fig 31
you created previously as we are going to create a holster for it (Fig.31 ( Fig.31). ).
32.. As we did with the straps above, use the 32
Fig 32
same technique to create the holster, edge by edge (Fig.32 (Fig.32). ).
33.. Extrude the edges as shown below ( Fig.33a 33 – b). b).
Fig 33a
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 33b
Fig 34
34.. Don’t hesitate to hide everything except 34 the current object in order to see what you are doing. Continue to extrude the edges by pressing shift (Fig.34 (Fig.34). ).
Fig 35
35.. Here is a current preview from several 35 angles (Fig.35 (Fig.35). ).
Fig 36
36.. Extrude the edges step by step ( Fig.36 36 Fig.36). ).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 37. In 37. In order to “close” the mesh, use the Target
Fig 37
Weld Function to snap and weld corresponding vertices (Fig.37 (Fig.37). ).
38.. Cap the bottom but don’t forget it’s important 38
Fig 38
to keep the mesh as quads as this will remove any bugs and artifacts in ZBrush ( Fig.38 Fig.38). ).
39.. Follow the same procedure on the top. 39
Fig 39
Select all the edges by using the Border selection mode (Fig.39 (Fig.39). ).
40.. Whilst pressing shift, extrude the border and 40 scale it down (Fig.40 ( Fig.40). ).
Fig 40
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 41
41.. Once done close it properly with quads 41 (Fig.41 Fig.41). ).
Fig 42
42.. As we did for the straps, we are going to 42 sharpen some edges to simplify the work in Zbrush.
Select the edges as shown below ( Fig.42 Fig.42). ).
Fig 43
43.. Here are some other previews from several 43 angles (Fig.43 (Fig.43). ).
Fig 44
44.. Add a mini strap using the same technique 44 as shown below (Fig.44 ( Fig.44). ).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 45.. An a further one on the side ( Fig.45 45 Fig.45). ).
Fig 45
46. We 46. We are going to create more elements in
Fig 46
order to add extra detail. Usually it’s better to have one object with several sub objects rather than a complete mesh entirely sculpted ( Fig.46 Fig.46). ).
47.. Use the same procedure as we have done 47
Fig 47
previously (Fig.47 (Fig.47). ).
48.. Here are some more views to show the main 48 shape and silhouette (Fig.48 ( Fig.48). ).
Fig 48
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 49a
49.. Don’t hesitate to look at references for the 49 details with Google often being your best friend. Here is one more strap (Fig.49a ( Fig.49a – b). b ).
Fig 49b
Fig 50
Fig 51a
50.. Feel free to re-use the clips ( Fig.50 50 Fig.50). ).
51.. Here are a few more images to show the 51 extra straps (Fig.51a ( Fig.51a – c). c).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling Fig 51b
Fig 51c
52.. You have now your holster where you can 52
Fig 52
house your weapon (Fig.52 ( Fig.52). ).
53.. Let’s add some more accessories on the 53 thigh to accommodate the holster and also add more denition (Fig.53 ( Fig.53). ).
Fig 53
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 54
54.. Use the same procedure as before to add 54 thickness and prepare it for sculpting ( Fig.54 Fig.54). ).
Fig 55
55.. Add some more clips in order to house a 55 new strap which will support the holster ( Fig.55 ). Fig.55).
Fig 56a
56.. You can now go on and create the strap 56 from a simple plane. In the second picture you can see a preview from the back ( Fig.56a – b). b ).
Fig 56b
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 57.. Here is a preview of all the current 57
Fig 57a
accessories present on the right thigh ( Fig.57a – b). b).
Fig 57b
58.. Here are all the newly created accessories 58
Fig 58
(Fig.58 Fig.58). ).
59.. With these components done it’s time now 59 to work on the belt area. First duplicate the standard clip and position it at the top ( Fig.59 Fig.59). ).
Fig 59
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 60a
60.. Thanks to this clip, you can gure out 60 the placement of the main strap and add its thickness (Fig.60a (Fig.60a – b). b ).
Fig 60b
Fig 61a
61.. Now it’s time to create the small pieces 61 of cloth to support the main strap as seen commonly on a pair of jeans. Once again, apply the thickness modier and chamfer the edges (Fig.61a – b). b ).
Fig 61b
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 62.. To make the new objects symmetrical, apply 62
Fig 62
the Mirror modier as shown below ( Fig.62 Fig.62). ).
63.. Create another piece which will essentially 63
Fig 63
protect the upper thigh area ( Fig.63 ). Fig.63).
64.. Place on some more accessories to prepare 64
Fig 64
for another strap (Fig.64 ( Fig.64). ).
65.Create 65 .Create this strap/belt and nish it correctly (Fig.65 Fig.65). ).
Fig 65
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 66
66.. You can nd some references for these 66 kinds of pieces on American Marines (Fig.66 (Fig.66). ).
Fig 67
67.. Here are some other views of the current 67 model (Fig.67 (Fig.67). ).
Fig 68a
Fig 68b
68.. Here is another piece ( Fig.68 68 Fig.68). ).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 69.. Create one more protective piece, duplicate 69
Fig 69a
it to add more detail and then duplicate this double piece and place them at the back (Fig.69a – d). d ).
Fig 69b
Fig 69c
Fig 69d
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 70
70.. Here is a current preview of the model 70 (Fig.70 Fig.70). ).
Fig 71a
71.. Now let’s add some more accessories to the 71 thigh (Fig.71a (Fig.71a - c). c ).
Fig 71b
Fig 71c
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 72. It’s 72. It’s now time to work on the knee area by
Fig 72
including a knee protector. We will use the same technique as followed previously (Fig.72 ( Fig.72). ).
73.. More clips will be added to accommodate 73
Fig 73a
the accessories. In the second picture you can see some more previews (Fig.73a (Fig.73a – b). b ).
Fig 73b
74.. Its time now to x the knee protector in place 74 with a new strap. Extrude it around the knee and join the ends (Fig.74 (Fig.74). ).
Fig 74
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 75
75.. Next add some thickness ( Fig.75 75 Fig.75). ).
Fig 76
76.. Create some small straps to link the knee 76 protector to the clips and once again add some thickness (Fig.76 (Fig.76). ).
Fig 77
77.. Here is a current preview from different 77 angles (Fig.77 (Fig.77). ).
Fig 78
78.. Here is a nal preview of all the accessories 78 (Fig.78 Fig.78). ).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 79.. Export only the newly created accessories 79
Fig 79
as .obj les from 3ds max. We will import these later into Zbrush to be sculpted ( Fig.79 Fig.79). ).
80.. Open up your Zbrush shoe le. We 80
Fig 80
are going to use the main shoe object as a reference in the pants Zbrush le to help sculpt the pants and accessories (Fig.80 ( Fig.80). ).
81. Click 81. Click on the Frame button on the right and
Fig 81
you will see several colors appear on the shoe that correspond to the different objects. We just need the biggest one without the laces and everything else (Fig.81 (Fig.81). ).
82.. Now click on GrpSplit in the SubTool Tab 82 and you will see more Subtools appear in the list. You can now delete everything one by one except the rst one which corresponds to the main shoe object, as shown on the right (Fig.82 Fig.82). ).
Fig 82
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 83
83.. You now have only one Subtool in the list 83 and you will notice that this element has lost its subdivision history. Subdivision history is really important if you want to save memory and be able to sculpt smoothly. To recover subdivisions just press on Reconstruct Subdiv several times. As long as we just need a reference of the shoe you could also delete the higher level of subdivision as shown in step 3 ( Fig.83 Fig.83). ).
Fig 84
84.. Here is a nal preview of the shoe reference. 84 There is just enough to help you when working on the rest of the pants ( Fig.84 Fig.84). ).
Fig 85
85.. Once again use the Plugin SubTool Master 85 to mirror the shoe (Fig.85 ( Fig.85). ).
Fig 86
86.. Now go back to your simple pants you 86 created at the beginning of this chapter ( Fig.86 Fig.86). ).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 87.. Append the shoes you just created above 87
Fig 87
(Fig.87 Fig.87). ).
88.. Finally, append the accessories that you 88
Fig 88a
created in 3dsmax by using SubTool Master. You should arrive at something close to the second picture (Fig.88a ( Fig.88a – b). b ).
Fig 88b
89.. In order to work properly on single elements 89 click on GrpSplit and you should then see many more SubTools appear on the right. It would be easier to work on them one at a time which will also be much better for memory as you could easily end up with over 10 million polygons without any restrictions (Fig.89 (Fig.89). ).
Fig 89
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 90
90.. You can now add more subdivisions to the 90 objects in preparation for the sculpting ( Fig.90 Fig.90). ).
Fig 91
91.. Now let’s work on the rst element; the 91 pelvic protectors. Before starting do not hesitate to add more subdivisions (Fig.91 ( Fig.91). ).
Fig 92
92.. To be able to work properly without being 92 disturbed by any other objects you can hide them by simply clicking on the eye button just to the right of your current SubTool ( Fig.92 Fig.92). ).
Fig 93
93.. Dam Standard will be used once again to 93 “draw” the main lines but don’t forget to turn the symmetry on (Fig.93 (Fig.93). ).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 94.. Use now the Flatten brush to atten some 94
Fig 94
areas as shown below and the Dam Standard brush to polish and sharpen any holes and details (Fig.94 (Fig.94). ).
95.. For the nal scratch touches keep using the 95
Fig 95
Dam Standard brush and draw some natural lines to suggest that the object is actively used (Fig.95 Fig.95). ).
96.. Here is a nal preview ( Fig.96 96 Fig.96). ).
97.. Follow the same procedure for the pelvic 97 protector situated underneath ( Fig.97a – b). b ).
Fig 96
Fig 97a
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 97b
Fig 98
98.. And likewise for the ones at the back 98 (Fig.98 Fig.98). ).
Fig 99
99.. Now let’s work now on another one as 99 shown below (Fig.99 ( Fig.99). ).
Fig 100
100.. First of all subdivide it (Fig.100 100 (Fig.100). ).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 101.. Don’t forget to activate the symmetry – 101
Fig 101
something which has to be done for all the SubTools as it’s not a general option ( Fig.101 Fig.101). ).
102.. A very nice Brush is the Slash2 and thanks 102
Fig 102
to this you will be able to create extra pieces of cloth apparent on jeans. Select the Slash2 Brush and activate LazyMouse making sure not to forget to change the LazyStep value to 0 in order to get a perfect line. Now right click and move down the Z intensity value to reduce the brush strength. You can now draw a line around your object as shown below ( Fig.102 Fig.102). ).
103.. Thanks to a customized brush (created by 103
Fig 103
David Giraud), draw another line to simulate the stitches (Fig.103 (Fig.103). ).
104.. Now you can use the standard Inat Brush 104 to add some folds to make the object look a bit more realistic (Fig.104 (Fig.104))
Fig 104
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 105
105.. Here is a nal Preview ( Fig.105 105 Fig.105). ).
Fig 106
106.. Select the object as shown below and 106 subdivide it (Fig.106 (Fig.106). ).
Fig 107
107.. We are now going to create a mask so 107 select the Clay brush and right click, changing its focal Shift value to make both circles closer. This will make the mask sharper (Fig.107 (Fig.107). ).
Fig 108
108.. Now scroll down to the Deformation tab 108 and change the Inat Value. You could get exactly the same effect by using the Slash2 brush as above but I just wanted to introduce a different way of doing it (Fig.108 ( Fig.108). ).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 109.. This time you can use the slash2 brush to 109
Fig 109
create more cloth pieces. You can also use the Standard brush with a low Z intensity to create the folds (Fig.109 ( Fig.109). ).
110.. Once again use the customized brush to 110
Fig 110
make the stitches (Fig.110 (Fig.110). ).
111.. Use the Inat brush for the smaller folds 111
Fig 111
(Fig.111 Fig.111). ).
Fig 112 112.. Here is a nal preview ( Fig.112 112 Fig.112). ).
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 113a
113.. Select another object and use the same 113 procedure to complete it (Fig.113a ( Fig.113a - c). c ).
Fig 113b
Fig 113c
Fig 114
114.. Here is the same process applied to the 114 belt using the same technique (Fig.114 ( Fig.114). ).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 115.. Here are the belt elements ( Fig.115 115 Fig.115). ).
Fig 115
116.. Here is the same for the second belt, for 116
Fig 116
which we will use the same technique we used in the Chest chapter to create customized stitches using the alpha shown below ( Fig.116 Fig.116). ).
117.. We are now going to work on the straps 117
Fig 117
but before we do this select the Clay brush and push in the pants to remove any artifacts (Fig.117 Fig.117). ).
118.. Here is a nal preview of the straps, 118 still using the same technique to sculpt them (Fig.118 Fig.118). ).
Fig 118
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 119
119.. Let’s work on the knee pads ( Fig.119 119 Fig.119). ).
Fig 120
120.. Modify the overall shape a little to get a 120 better shape and with the customized brush draw a line around them to create the seam (Fig.120 Fig.120). ).
Fig 121
Fig 122
121.. Here is a preview ( Fig.121 121 Fig.121). ).
122.. In order to work properly on the object, 122 click on the eye on the right of the SubTool to hide all the surrounding objects ( Fig.122 Fig.122). ).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 123.. We are going to use the projection master 123
Fig 123
to add a pattern across the knee pads. In order to get better results, you will need to turn the Perspective button off under the Draw tab (Fig.123 Fig.123). ).
124.. Click on the Projection Master button along 124
Fig 124
the top menu and uncheck everything except Deformation. Now press Drop now and you will be in the projection master mode ( Fig.124 Fig.124). ).
125.. You are now in projection master mode. On 125
Fig 125
the right in the Tool Menu, select SimpleBrush. On the left select Line Stroke and below the Dam Standard alpha. Don’t forget to change the Spacing value to 2, which will allow you to get some very clean lines. Finally press on Zsub button (Fig.125 (Fig.125). ).
126.. You can now draw some lines on the knee 126 pad. (Fig.126 (Fig.126))
Fig 126
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 127
127.. Once you are satised with your 127 modications, you can go back to the previous ZBrush sculpting mode by pressing the Projection Master button, keeping Deformation on and nally clicking on Pickup Now ( Fig.127 Fig.127). ).
Fig 128
Fig 129
128.. Here is the result ( Fig.128 128 Fig.128). ).
129.. Don’t hesitate to repeat this procedure if 129 you want to add more lines. You can then re-use the alphas you created in the Chest chapter to add more denition (Fig.129 ( Fig.129). ).
Fig 130
130.. You can also use the mask technique 130 to dene more volume as explained above (Fig.130 Fig.130). ).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 131.. Ctrl click on that area if you want to smooth 131
Fig 131
the selection and then change the Inat value to extrude the masked selection (Fig.131 ( Fig.131). ).
132.. Here is a nal preview ( Fig.132 132 Fig.132). ).
133.. You can now unhide the elements and 133
Fig 132
Fig 134
use the Clay brush to push in the pants slightly (Fig.133 Fig.133). ).
134.. And nally, you can use the Slash brush to 134 add some scratches (Fig.134 ( Fig.134). ).
Fig 135
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 135
135.. Now let’s move onto the straps around the 135 knee (Fig.135 (Fig.135). ).
Fig 136
136.. An another customized brush was used to 136 add different details to the strap. A very simple alpha was created by using the technique explained in the previous chapter. With this brush selected, right click and change the Focal Shift value to make both circles closer. You now just have now to paint on the strap (Fig.136 (Fig.136). ).
Fig 137
Fig 138
137.. Here is a nal preview ( Fig.137 137 Fig.137). ).
138.. Here is a nal preview for the small straps 138 shown below (Fig.138 ( Fig.138). ).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 139.. Here are some previews of the other 139
Fig 139a
objects using the same techniques ( Fig.139a – b). b).
Fig 139b
Fig 140 140.. A current preview (Fig.140 140 ( Fig.140). ).
141.. We are now going to work on the pants. 141 In order to sculpt them properly without any interference from the other objects you may wish to activate transparency (3).
To start sculpting folds, use the Standard brush with LazyMouse which I strongly recommend if you want smooth and clean folds. It’s also good to paint these slowly as you will get better results (Fig.141 (Fig.141). ).
Fig 141
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 142a
142.. Here are the pants step by step ( Fig.142a 142 – 2). 2).
Fig 142b
Fig 143
143.. Now let’s move onto the seams using the 143 Slash2 brush as explained above ( Fig.143 Fig.143). ).
Fig 144
144.. Don’t hesitate to hide everything except 144 the left or the right piece of the pants in order to sculpt the seams inside the legs ( Fig.144 Fig.144). ).
Chapter 05: Pants - ZBrush Fabric Sculpting Cedric Seaut ‘s Character Modeling 145.. Draw more lines with the customized 145
Fig 145
stitches brush (Fig.145 (Fig.145). ).
146.. And once again using the Inat brush, 146
Fig 146
sculpt the small folds on each side of the seams to nish the details (Fig.146 ( Fig.146). ).
147.. Lets’ now replace the shoes with the 147
Fig 147
real ones so rst of all delete the existing one (Fig.147 Fig.147). ).
148.. Open up your Zbrush le with your nal 148 shoes inside (Fig.148 (Fig.148). ).
Fig 148
Cedric Seaut’s Character Modeling Chapter 05: Pants - ZBrush Fabric Sculpting Fig 149
149.. Go back to your pants Tool and be sure to 149 delete the old shoes (Fig.149 ( Fig.149). ).
Fig 150
Fig 151
150.. Append the real ones ( Fig.150 150 Fig.150). ).
151.. Here is a nal preview, with the completed 151 pants (Fig.151 (Fig.151). ).
Cedric Seaut For more from this artist visit http://www.khalys.net/ or contact
[email protected]
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The series is split into 6 chapters and will endeavour to give you an insight into how a fully realised 3D scene may be arrived at from beginning to end. The tutorials will attempt to address the key issues and techniques appropriate in achieving this, from concept sketches through to building the 3D scene, mapping and unwrapping, texturing and eventually to lighting and rendering, culminating in a fnal render . The emphasis over the course of the series will be on the texturing and principally the aging and wear of materials. Original Author: 3DTotal.com Author: 3DTotal.com Ltd | Platform: Platform: 3ds 3ds max, Cinema 4d, LightWave, Maya and Softimage XSI Format: DOWNLOAD Format: DOWNLOAD ONLY PDF | Pages: Pages: 38+ 38+
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Zbrush Character Creation is a comprehensive look at the techniques and tools used to sculpt a variety of physical characteristics specic to several character types. The lessons on offer show how to transform a general base mesh into a denitive character class and explains the tools used to not only create the details and unique facial features, but also how to manipulate the overall proportions and head shapes. There are nine chapters in all, ve of which cover the human condition and four of which cover creatures with human characteristics including zombie, werewolf and Frankenstein’s monster. monster. Original Author: 3DTotal.com Author: 3DTotal.com Ltd | Platform: Platform: ZBrush ZBrush | Format: Format: DOWNLOAD DOWNLOAD ONLY PDF | Pages: Pages: 091 091
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This e-book provides a detailed account of building, texturing and lighting the interior of a Gothic Church based upon a concept painting. The ebook is available in ve different platforms. Chapter two however is dedicated to creating a gargoyle in Zbrush – the focal point in our scene. Here the author will start by creating a rough body form using ZSpheres and move through the numerous sculpting phases and modeling the details for each part of the character, highlighting the various brushes and tools used throughout. Original Author: 3DTotal.com Ltd | Platforms: 3ds max, Cinema 4d, LightWave, Maya and Modo. Format: DOWNLOAD ONLY PDF | Pages: 47+
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This series of ZBrush tutorials orientates around speed and efciency and how to achieve detailed sculpts within a few hours. Each of the ten chapters focuses on a different character topic ranging from mythical mythical creatures such as the Minotaur and Cyclops to Pirates and monsters. With over seven hours of video footage and covering ninety seven pages this e-book provides an insight into the working methods of eleven professional artists. Each individual showcases their their particular approach to the subject and treats us to an exhibition of both their artistic and technical skills that form the backbone of their creative process. Original Author: 3DTotal.com Ltd | Platforms: ZBrush | Format: DOWNLOAD ONLY PDF | Pages: 97
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This six chapter eBook aims to show the value of post-production and more specically the ways in which Photoshop can be used to aid the 3D pipeline. Over the course of six chapters we shall focus on the various tools and techniques on offer in Photoshop that are frequently used to improve 3D renders. Compositing passes, adding particle effects, improving lighting and making general colour adjustments are a few of the topics covered, as well as ways to create backgrounds that both complement and enhance characters. The methods presented within this series can provide an efcient alternative to lengthy render test. Original Author: 3DTotal.com Ltd | Platform: Photoshop | Format: Format: DOWNLOAD DOWNLOAD ONLY PDF | Pages: Pages: 049 049
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Manimal is a Zbrush tutorial series divided into six parts, covering nearly 70 pages and addressing the process of transforming a generic base mesh into an original creature design. The notion behind the series assumes the task of genetically splicing a human being with a different animal class and sculpting the resultant character. Each of the tutorials adopts a different animal class as its theme and walks through the stages of developing a concept and sculpting the overall proportions through to the individual features and particular anatomical mutations. Original Author: 3DTotal.com Ltd | Platform: ZBrush | Format: Format: DOWNLOAD DOWNLOAD ONLY PDF | Pages: Pages: 067 067