![]() ![]() The female fi gure is generally smoother than the male, That inform an effi cient modelling workfl ow, starting with an overview of the base mesh, then gradually refi ning it to recreate our statuesque cover star. Over the next ten pages, we will explore the anatomical principles C O V E R T U T O R I A L S BODY SHOP TUTORIALS TORSO FACE HANDS TDW105.t_torso 042 TDW105.t_torso 042 1/5/08 10:37:56 1/5/08 10:37:56īody his issue’s themed tutorials commence with a guide to sculpting the female form in ZBrush.His clients include Pixar, Sony, Microsoft, The Mill and many other major studios electric T 042 | 3D WORLD 3D WORLD July 2008 ZBRUSH ZBRUSH Scott Eaton is an artist, technical director, and anatomy consultant. Commit yourself to learning something new with every sculpture, and you will progress quickly. This understanding is only achieved through diligent practice and experience. Even if it were possible to present all of this information, there needs to be an understanding of form on the artist’s part. Even an extended tutorial like this cannot cover all of the issues that arise when creating a sculpture, digital or otherwise. However, screen-capture videos covering the entire sculpt can be found on the CD, while ZTL files showing the model at successive stages of refinement can be downloaded from the 3D World website at /5urckz. Time-lapse videos ON THE WEB Bonus scene files can be found at /5urckz ALSO REQUIRED N/A The printed walkthrough assumes that you have some previous experience of ZBrush, providing a high-level overview of the process.Full supporting videos can be found on the CD BY SCOTT EATON FACTFILE FOR ZBrush 3 DIFFICULTY Advanced TIME TAKEN 4 hours ON THE CD Follow our masterclass in sculpting the female form to recreate this issue’s cover star. The second involves working at multiple levels of subdivision, and is used for refining the model to a smooth, high-quality finish. This is useful for sketching in anatomical landmarks and establishing volume. The first is a clay-like approach in which you work at high resolution, building up shapes much as you would using real clay. In this tutorial, I will set out two key ZBrush techniques. ![]() Working from good reference helps prevent over-generalisation of form and gives believability by introducing small imperfections that would be hard to reproduce from memory alone. The next best option is a set of images captured from multiple angles. The best reference would be a live model, but this is rarely practical for a digital sculpt. As ever when sculpting, start with good reference material. Correct volume and proportions are even more important, since there are few muscles to distract the viewer from inaccuracies. The form is less about definition and more about planes, concavities and convexities. The female figure is generally smoother than the male, requiring attention to detail. Over the next ten pages, we will explore the anatomical principles that inform an efficient modelling workflow, starting with an overview of the base mesh, then gradually refining it to recreate our statuesque cover star. ![]() Body his issue’s themed tutorials commence with a guide to sculpting the female form in ZBrush. ![]()
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