![]() Learning How to Style Hair Will Take Time Review reference and break up the hair into corresponding chunks ![]() When creating stylized hair in ZBrush, I usually follow a pretty specific workflow:ġ. I wouldn’t say it’s impossible to achieve good results in ZBrush without one – especially as there are a lot of other features available other than sculpting that don’t require as much manual precision (like ZModeler) - but for character sculpting, you would probably be at a disadvantage by using a mouse. ![]() I can completely relate to this – it took me a long time to properly control it. I’ve talked to many aspiring 3D artists over the years and one of the main barriers I keep hearing repeatedly is the difficulty of learning to use a tablet. Luckily, thanks to my background in 2D I was already quite proficient with a drawing tablet, so it didn’t take long for me to start getting decent results in ZBrush. Normally, I would spend a couple of days a week watching tutorials, and the rest of the week would go toward practicing and applying what I had learned. ![]() I would spend most of my day practicing modeling, rendering, and animation for school, but always made time for ZBrush, and would usually practice my sculpting skills well into the night. It seemed so much less technical and more enjoyable than pushing vertices around in Maya, but I knew that one complemented the other, so I made sure not to neglect the more technical side of 3D. I was so fired up about improving my skills and making actual characters, that I would spend hours watching timelapses and tutorials on YouTube, and was immediately drawn to sculpting. I discovered ZBrush the very first week I started learning the basics of 3D. Since then, I’ve worked on dozens of projects – before moving to the US I worked at “Jelly Button Games” on the mobile games “Pirate Kings” and “Board Kings”, but since becoming a freelancer in November 2018 I’ve had the pleasure of working on several high-profile franchises, which unfortunately I can’t share as they have not yet been announced! I took a short “Introduction to Maya” course and 8 months later, I got my first job as a 3D artist. I reached out to him, and after a lengthy conversation I decided to quit my job and devote myself entirely to 3D art. I’ve been drawing from a very early age, but 3D modeling was something that seemed so technical and foreign to me, that I really didn’t know where or how to get started.ħ years ago, I was working as a banker and had all but given up hope of being an artist, when I read an article in the newspaper about an Israeli who moved to the US and was now working for Dreamworks as an animator. 3D art is something I’ve been deeply passionate about since my childhood – I remember constantly rotating around 3D character models in video games and trying to figure out how they were created. The concept used in this workshop is by the talented Việt Nguyễn and used with permission.Hi there! My name is Dan Eder, I currently reside in California, but I’m originally from Israel. The final stage of the workshop shows how to select the correct colors from the concept and a quick-and-easy way to achieve a nice, clean, final image ready for your portfolio. You’ll also learn his techniques for taking advantage of ZBrush’s ZModeler and see how it can be instrumental in a character-creation workflow, even for organic subjects. You’ll also discover how saved camera angles can help you further line up a mesh up with your concept each time you make a change, ensuring a close match to your original concept.Īs a Gnomon School graduate with experience working in everything from effects for film and episodic animation to consumer products and mobile games, Daniel has an arsenal of tried-and-tested tips and tricks for character creation that he shares throughout 11 chapters. He instructs on sculpting the overall shapes and using Symmetry to align the body with the head as well as how to save out camera angles using ZAppLink. ![]() Using ZBrush and Photoshop, Daniel walks through the complete process, from selecting a suitable concept to coloring the character accurately and achieving a polished final image.ĭaniel begins with an in-depth explanation of setting up a concept in ZBrush and shows how to use the Spotlight projection tool to your advantage. Learn how to translate a 2D stylized concept into a 3D character with this 6-hour workshop by Daniel Zeni. ![]()
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