ZBrush Tutorials: The Making of Hard Surface Models(2)

ZBrush Tutorials The Making of Hard Surface Models

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.

ZBrush Tutorials The Making of Hard Surface Models

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.

ZBrush Tutorials The Making of Hard Surface Models

The usage is simple, just use the brush to draw on the helmet model, simple and easy to use.

ZBrush Tutorials The Making of Hard Surface Models

After the red line is drawn, we only need to click on the model part to generate a thick model from the red line.

ZBrush Tutorials The Making of Hard Surface Models

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.

ZBrush Tutorials The Making of Hard Surface Models

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.

ZBrush Tutorials The Making of Hard Surface Models

In this process, we can select crease, Edge, EdgeLoop Partial, EdgeLoop Complete. Hold down the alt key and click to delete the edge.

ZBrush Tutorials The Making of Hard Surface Models

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.

ZBrush Tutorials The Making of Hard Surface Models

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.

ZBrush Tutorials The Making of Hard Surface Models

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.

ZBrush Tutorials The Making of Hard Surface Models

ZBrush Tutorials The Making of Hard Surface Models

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ZBrush Tutorials: The Making of Hard Surface Models(1)
ZBrush Tutorials: The Making of Hard Surface Models(1)
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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2021-01-26
How to Build a Mechanical Warrior in Zbrush(3)
How to Build a Mechanical Warrior in Zbrush(3)
To continue with part 1 and part 2, Fox Renderfarm, the No.1 cloud rendering services provider, will still share with you the tutorial from the 3d artist Dong Chao of part 3 about how to build a mechanical warrior with Maya and ZBrush. Lighting Adjust a simple POSE, and then add a scene used in the previous project to test the light rendering. A total of 5 lights were used in this project, 4 VRay Area light sources and one Dome light source. The Dome light source is mainly to add an HDR map inside. Normally, you can check Dome Spherical in the settings, and then add an HDR. Because the final effect is more to highlight the main body, so the intensity is reduced to 0.5. The other light sources are all adjusted in size and intensity color. One is the overhead light source, the other is the main light on the side and the two backlights. The final lighting effect is as follows. The final renderer uses VRay, and all elements in the scene use VRaymtl material. VRaymtl is very easy to use, it only needs simple adjustment to get good results. Especially for the character body, I used a VRayblend material and FastSSS+Vraymtl. In addition to the SSS texture of the character itself, I also wanted to adjust the highlights more delicately, so I superimposed the highlight texture directly on the highlight color of vraymtl. In order to speed up, I used the completed Normal texture to convert it with the Ndo plug-in, and converted it into a concavity and Ao texture, Then I copied the concavity to highlight the concave effect of the skin, and superimposed the previous color texture and adjusted it again can. And the Scatter texture in the SSS material is not drawn, only the color texture is used to modify. The following are the settings of the head body part and the shader of the highlight map, Rendering In the final rendering, I improved the lighting quality and rendering quality, and replaced the body with a 3-level subdivision model in ZBrush, and then used a normal map. In the test, the normal details are displayed better and faster than using displacement maps. Finally, the rendering is divided into channels, and then adjusted using Photoshop. The resolution of the final image is 2.5K 3K, and the rendering time is about one and a half hours. The following are the renderer settings, and the red box is the place that needs special attention. In the compositing stage, I added all the channel renderings to Photoshop for adjustment. I used the channels to refine the final effect, adjusted the depth of field blur, color adjustment, and superimposed a layer of dust and shadows. Final render:
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2020-12-24
How to Build a Mechanical Warrior in Zbrush(2)
How to Build a Mechanical Warrior in Zbrush(2)
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 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. 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. 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. Stay tuned for the part 3.
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2020-12-23
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