This is my first time posting here, so a big Hello to everyone ! I wanted to share with you my latest work about Hellboy in his "Anung un Rama" Form I always loved Mignola's work and wanted to give my vision of the Anung un rama version of him, wich can be seen briefly in the comics. At first, I created this model for the #AngelsAndDemonsChallenge on Sketchfab, rendered unshaded for better fidelity with Mignola's Art You can see it here : https://skfb.ly/6rVTW Then i wanted to make a "real" rendered version of it, so i putted my hands inside Renderman and here it is.I used Substance painter for the texturing part and Zbrush and Maya for the sculpt/modeling, topogun for the topology. I really hope you’ll like it, and feel free to comment! Cheers ! Zalk

Matcaps are a great feature in ZBrush. They are realtime and they bring the sculpture to live. Introduced with Zbrush 3.0 Matcaps have the benefit to bake light, color and properties into the shader. I created many Matcaps over the years. One reason is that the right Matcap brings you in the mood for the subject you are sculpting on, another reason is that artists work long hours on a sculpture and a good matcap prevent the eyes for getting tired too fast. Changing Matcaps during the work also helps to see the work with fresh eyes. Also in combination with BPR you got fast renders for presentation. There is a fine balance to create a digital representation of a real world material or an unique and interesting approach that works in ZBrush especially for a sculpting Matcap. I got repeatedly asked for my Matcaps, so I put together a Set of some of my classic RS_Matcaps for sculpting and some for presentation and made them available for free. Have fun sculpting! Cheers Ralf Stumpf

Then came the painting process. Because I'm not a specialist and I was lacking time, I decided to do only 4 shades of gray. Doing more painting would have mean more shadows, highlights and stuff that i'm not mastering and it's so easy to screw up a model with a bad painting. I used a lot of masking tape (from Tamiya). Next time I'll use this masking paint that I bought in Japan. It seems way easier to use! Painting always produces a lot of mess.. and of course, bad smell. I used Tamiya spray cans as well as an airbrush with the help of a painting cabin. Then these are some extra photos of the final model. I had a good idea to make a top part falling on the table while doing the final assembly, breaking some fingers and flying hairs. I was sooo happy... Here is a photo of the people watching my presentation in Japan. Wonder Festival is always crowded and it's impressive to see that now how many artists are using ZBrush there to create their figurine. ZBrush is really everywhere! We also organized our first ZBrush MErge event which was like a mini ZBrush Summit where we had several presentations by artists and studios. One of them was from PlatinumGames which did the NieR Automata game and Jin Matsudaira did a fantastic presentation about how they used ZBrush to build 2B. Note; you can watch the presentation in Japanese on our Japanese YouTube channel: https://www.youtube.com/playlist?list=PLNSVUS0ZUkGcA3qjMYJHdNY__Zb4-vf-U I learnt after the presentation while eating some gorgeous Yakitori that Jin followed some of my ZBrushLive presentation! He enjoyed my work which made me ultra super proud Here is a photo of him holding a part of my figurine. That's all for now. I will do some edits on it as I want to improve some parts and reprint her in the future with I hope this time, more time to do some better painting on it. I posted some extra information and more photos on my english website: http://ultra.toys/2017/08/2b-maid-version/ Of course, comments are welcome!

I created the Pod with the ZModeler almost everything with it. I wanted to use the Live Boolean, but at that time of my ZBrushLive, ZBrush 4R8 was still a beta, then no way to show it to the public. ZBrush 4R8 really missed me during the ZBrushLive process For the 3D print test I did, I used the beta of ZBrush 4R8 where the booleans have been a great help to do the articulations. Of course, the large and small arms are rotating Here is the final test print, again, at the final scale. Quite big! And here is the almost final model with all the parts. only the rod is not at the good size, the real one is longer (250mm) Speaking of this glass rod... One of my main concern was "how to make this model flying" and of course, I came with this glass stick.. but except the balance, of the whole model around the leg, I was concerned wit hthe total weight and the gravity center of all of that model. The I decided to build a large base and hiding under the dead robots some weight (200g) and it worked perfectly! Here is the base on top of the build platform, just at the end of the print. The radius is 180mm but the build volume of the form2 is only 145x145x175.. by finding the good angle, you can print quite big models in fact. I also wanted to avoid to split that part as much as possible, to keep the strength as good as possible. The 3D printing process was quite long at the end because I had to do multiple optimizations, checking the assembly, looking at which part I had to hollow and how to deal with the keys and much more. But again, the Live Boolean was a huge time saver and a great help for the model preparation, as you can see in this little gif. Below some parts directly straight out of the printer, with no post process at all except the IPA cleaning. The Form2 is able to produce very high-quality prints with almost no layers visible. Another very important point is how much you need to split your model. The more you split, the more preprocess work, but the better you control the supports location and then you are able to put them in places where it will be easy to clean and sand without affecting important details. As soon as the supports have been removed and some cleaning/post process work done, I tested the assembly. Fortunately, everything was fitting perfectly, no need to redo some parts. The fun with the support: so many tiny supports to remove and which will go to the trash. Unfortunately, supports are totally lost, which impact the cost of the print. Here are all the final parts of the model with a layer of primer paint applied.

We're nearly there! Pixologic presents an exclusive live streaming broadcast event Tuesday, June 13th at 12pm PDT on www.ZBrushLIVE.com Tune in for a chance to chat with the Pixologic team as they give a special demonstration and give away prizes to a few lucky viewers!

And here is a summarize of my ZBrushLive project. You can watch all the videos on YouTube. Note: the first one has some french comments while everything else is in English. Here is the last video from the playlist: PLMjnnUF3eJFee5ZOaGNusn8eyOpCswaxT&index=12 And the playlist link: https://www.youtube.com/watch?v=7_u7E3Ssm1c&index=12&list=PLMjnnUF3eJFee5ZOaGNusn8eyOpCswaxT As a reminder, with project goal was to build a figurine to present at the Wonder Festival Japan trade show, which I did a few weeks ago. Again, for those who followed me in my figurine journey on ZBrushLive, this is a tradeshow to visit if you are a figurine lover like me! Then before starting here is a photo of the final project. It's 50cm tall from top to bottom, full 3D printed except the glass rod. The I started the sculpt with my basic workflow: creating a base mesh with ZSpheres that I quickly reshape with DynaMesh and as fast as possible, I switch to Subdivision levels until I'm fine with the body. I always prefer SubD as it allows me to go up and down in resolution on the fly which is perfect for shape refinements without losing top details. As you can see below, I used background references found online, from an article about the game. I quickly did some tests prints. I usually do that a lot at a low resolution, without any kind of 3D printing optimization like cutting or adding keys. My goal is to see with my own eyes in the "real world" the 3D model. It's the best option I found to see what is working or not working, where I need to refine a part. It also gives you a good sense of proportions. I did two prints, one with the Form1+ which was my main printer at the beginning of the project and a big size model with the Ultimaker 2+ Extended. The next step was about creating the clothes. For this purpose, I used multiple techniques like using the topology brush on top of a very basic sculpted mesh (to provide me the shape) or the ZSphere retopology which I still use a lot. I also did some mesh extract, but I try to avoid it when possible because I tend to control my topology when possible as I prefer working with a low-resolution mesh to refine the global mesh, associated, again, with subdivision levels. Of course, in some scenarios, using ZRemesher after a mesh extract is a very good option as you can use the Polygroups from the extract to produce clean shapes in no time. And again, some test prints. The following one is the perfect example of what you mustn't do. I did it for the purpose of explaining the supports constraints during my ZBrushLive. As you can see, I didn't split the model into multiple parts. The hairs and head are a single part. Then because of the 3D printing technics and constraints, you need to add these supports. They help parts to grow and give some strength to the building process. Unfortunately, when you remove them, you leave multiple spots on the models that need to be sanded as a post process. Of course, this sanding can remove tiny details or sometimes, it's difficult to access some parts to sand them or simply it's almost impossible to remove these supports. Look under the hairs on the back of the head. Here is another test print is done with an FDM printer (top) and SLA printer (bottom). The FDM print is not that bad, but it can't retain little details like the panties ones like the SLA print can do it. I'm using FDM printer as a draft sometime as it's cheap to print compare to SLA which is way more expensive. Note that the model of the hips is at the final scale (1/5th), and you can have a good evaluation of the size when doing the comparison with my fingers. For this part, I wanted to see how the little flower will look like. It's a tiny detail, less than 5mm width. This is where SLA printing can be strong and produce very thin details which would require great skills in traditional sculpting to do the same. Again, it's at the final scale.

Hello everyone. Its been a while since iv posted anything, and thought this would be a good piece to come back on. I modeled him in Cinema 4D r18, Sculpted him, texture painted, and made the clothing clasps in Zbrush. Hope you like him, any questions or comments are welcome. I will upload some Zbrush workflows I use later on. Final Wires-Overlay Fresh Cuts Actual size crop Grey AO Eye Grey AO Hair-Layers

Hi, I want to share with you an update of a previous project of the Ena Hoshijiro Project I did in the past. For my last trip to Japan, I reprinted the model, but I also did some improvements and refined the sculpt. I also did the print at a larger scale. Now that I have a Form2, the printing quality drastically improved and I can go higher in details without really consider the layer visibility in the final print. Of course, 100% done in ZBrush Here are some parts printed, straight out of the printer without any post process/sanding: And now some photos of the final model. I applied some shadows effect on the "Alien" parts:

Hello, I started a UE4 project a couple months ago. I have managed to get a good portion of the code complete and working but am light on 3D Art. I figured it would best to use this forum to display the developing 3D Art work for the game. The game is a 3rd person shooter. I'm currently getting all the 3D concept models I have organized before the next sculpting pass. The code I made has fully working sectional swap system that also works in network. Because I'm a one man band right now I'm intentionally designing characters with clear natural seams( almost action figure like) to speed other process and make armor swap sections easier. The neat thing I found about making chars in this way is coming up with creative design answers for the seams. please feel free to give critiques and feedback. Thank you,

JANET & BERTRAM TUNG. AND THERESA. Author: Marianna Yakimova & Margo KorsakovaTools: Zbrush, Mental ray, Marvelous designer "What all suede kittens do... on hands and knees, you lap up the milk of me... and we purr, kitten, like dragonflies buzzing around frog bellies." (С) Janet Vampire :the Masquarade Bloodlines, 2004. Janet & Bertrum Tung. And Theressa. An everlasting struggle between two sisters: love and jealousy - two sides of the same coin, conflict of one soul. The idea of this illustration we developed together: me and my friend Margo Korsakova. Margo expanded the idea and provided me with her concept sketches, I offered the idea and was responsible for 3d modelling and render. My site www.my-cgartist.com/ /

Finally finished this self portrait I've been working on. It has been halted many times so it took a while to finish it but I like the end results. Sculpted and modeled in zbrush, some aspects including the hair cards are done in maya. Textured in SP and xnormal, rendered in marmoset toolbag 3 and post processed in photoshop. The High poly render differ from the beard and slight facial structure of the final model, tweaks had been done that aren't in the high poly shot. Hope you guys like it, CCs are welcome. Artstaion link: https://www.artstation.com/artwork/gv02P

hi, everyone surprisingly this is my second post on ZBC... (I should post more on here.) this is my personal project, and a figurine for the Wonder festival. which will be held in Japan in Feburary. I made "Saten Ruiko" a character from Toaru kagaku no railgun. or "a certain scientific railgun". hope you will find it interesting! cheers