How to Build a Mechanical Warrior in Zbrush(2)

How to Build a Mechanical Warrior in Zbrush -8

To continue with part 1, Fox Renderfarm, the No.1 online render farm, will still share with you the tutorial from the 3d artist Dong Chao of part 2 and part 3 about how to build a mechanical warrior with Maya and ZBrush.

UVS

How to Build a Mechanical Warrior in Zbrush -12

Now use the QRemesher function or the face reduction plug-in to reconstruct the topology of all required models. I imported all the biological models into UVlayout to make UV. I used 3 parts of the body, one for the head and body, one for the arm and foot, one for the tail, and the UV for the mechanical body. ZBrush's UVmaster automatically created it, saving a lot of time and the effect was quite good. Finally, it was divided into different UVs in Maya, and the armor used about 5 UVs.

Texturing

All the details of the character itself are sculpted in ZBrush. You can directly draw textures in ZBrush, and then use different brushes to make various color changes. There is no superimposition or mapping of other textures. This method is produced. The textures are not too messy and the speed is faster. The armor part is only distinguished by some colors in ZBrush.

How to Build a Mechanical Warrior in Zbrush -8

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The production of the body has been completed, you can export the texture directly, and then import the model of the mechanical armor into Mari together, use a few textures to simply draw some damaged edge effects and some patterns, and finally superimpose a layer of color changes. The texture does not need to be particularly shabby, and in order to save production time, I only made half of the texture, and the other half was changed slightly to break the balance.

How to Build a Mechanical Warrior in Zbrush -1

How to Build a Mechanical Warrior in Zbrush -11

Finally, I baked the texture of the whole body in ZBrush. I baked the normal map and displacement map, which are needed in the quick test rendering that needs to be carried out. The next step is replacing the displacement map according to the test results. Hence the displacement and normals here are baked from small details.

How to Build a Mechanical Warrior in Zbrush -28

How to Build a Mechanical Warrior in Zbrush -27

How to Build a Mechanical Warrior in Zbrush -30

Stay tuned for the part 3.

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ZBrush Tutorials: The Making of Hard Surface Models(2)
ZBrush Tutorials: The Making of Hard Surface Models(2)
Follow part one, Fox Renderfarm, your best cloud rendering services provider, still share the process of using hard surface technology to make a sci-fi style head model in ZBrush from 3d Artist ZX. The following part explains the production process, 1. Drawing reference In this step, ZX uses the standard brush. First, remove the sculpting function of the brush, turn on RGB, select red, and draw the hard edge part of the helmet that needs to be made as a reference. 2. Topology When the reference line of the edge is drawn, you can refer to it for retopology. Personally, ZX likes to use Zbrush's tool topology. It is easy to use, fast and the final result is good, which can improve ZX's work efficiency. Of course, the explanation here is not about topology on ZSphere, but topology on the basis of brushes, which can also keep files concise. The usage is simple, just use the brush to draw on the helmet model, simple and easy to use. After the red line is drawn, we only need to click on the model part to generate a thick model from the red line. For the hard surface model that needs to be made on the corners of the helmet, in addition to the thickness, it also needs to have a concave-convex structure. With a structure, it will be more abundant from other angles. 3. Crease We also need to add some lines to the corners of the crease to keep enough lines to support the hard surface. Then ZX used the ZModeler tool, selected the line mode, and selected crease. In this process, we can select crease, Edge, EdgeLoop Partial, EdgeLoop Complete. Hold down the alt key and click to delete the edge. The function used together in this process is the crease pg. If we don't want the effect of the crease, we can also use an increase to remove the crease. 4. Preview We can press the d key to preview our hard-edged effect, and we can cancel the preview by shift+d when we don't need it. Smooth Subdiv can be used to adjust the model smoothly. The above is an introduction to the process of making the entire model. If we are not particularly familiar with the ZModeler tool, this step can be made in 3ds Max or Maya. However, if time permits, please try Zbrush's topology tool, it is really good to use. One of the most troublesome parts is that Zbrush does not support 5-sided, so many places need to be adjusted, which is more cumbersome.
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ZBrush Tutorials: The Making of Hard Surface Models(1)
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Today, Fox Renderfarm, your best cloud rendering services provider, is going to share a process of using hard surface technology to make a sci-fi style head model in ZBrush from 3d Artist ZX, and show the way of thinking in the production process and some points that need attention. This work is based on a reference that ZX saw on the Internet. And ZX decided to make it a 3D version. This is part one of the article. Blocking the main forms The first step is to create a basic sphere in ZBrush, and then use the Dynamesh function to make the head layout. The number of subdivision faces at the beginning should not be too high, otherwise, the adjustment of the faces will be troublesome. Then use the brush to make some shapes according to the reference image. The process is simple, and only some basic brushes are used, including Move, Standard, Claybuildup, Polish. Adding detail This part requires a lot of patience because the concept has only one front, and the side and back structures are not clear. Hence, we need to use our imagination, and some places need to be designed according to our own wishes in the production. So, in this process, ZX made a lot of trials and designs, and finally determined the result. Next, ZX used the polish function of Dynamesh, which can make the surface of the model smoother under Dynamesh conditions. This function is very useful and the final effect is good. If you can, please try to use this feature. In ZX's personal projects, many works have been redesigned and organized according to his own requirements, so this character only made a basic design to make the appearance look more reasonable, but did not have many details. The following are some highly variable models carved,
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How to Make Realistic Characters in ZBrush and Maya(2)
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The best render farm Fox Renderfarm still shares with you the post about how to make realistic characters in ZBrush and Maya from 3D artist Yi Chen, and this is part two. Yi Chen showed us the workflow of his latest realistic female character. Software used includes ZBrush, Maya, Mari, Substance Painter, Xgen, Arnold, etc. About part one, please click here. Texturing After the high polygon model was carved, I re-split the model's UVS into 6 UVIDs and changed it to 4K accuracy. This step is mainly to draw textures in Substance Painter and also to ensure that the high-poly displacement details will not be lost in the final rendering. If you are using Mari to draw textures, then I recommend using 2 sheets of 8K accuracy. Before using Substance Painter to paint colors, we can still use Zwrap to use some scanned model textures as background colors to improve work efficiency, and then further describe the colors and details of various areas of the face based on it. In this step, I drew the Base Color, Specular, and Thinkness maps. The Thickness map will be used as the weight map of the SSS skin to locally control the intensity of the skin subsurface scattering. Please look forward to the process of material setting and lighting rendering next time. Thank you for watching.
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