@Boatdudeguy - Thanks for the kind words. Just keep at it, you'll get there. A comision for a jeweller client, for a doglover customer of his. It's gonna be a pendandt bout 20 mm tall. Not sure how it's gonna be fixed to the chain, i was only asked to do the center piece. C&c welcome. Enjoy.

I've been working on this armor in Zbrush. Now I want to create a game mesh of it. Now I need some tips. What I did so far is create several parts for animation later. So the shoulders are not attached and so on, the body armor is one piece. However the armor is build up in several dynamesh pieces. I am having trouble to get the projection right so I figured I need to devide the pieces and make lo res meshes for all the parts but I am not sure if that is desirable for use in game. What is the best workflow? Tips are welcome.

ZBRUSH HELMET DESIGN with Joseph Drust This video series has been formulated to provide you with focused, and easily digestible content with one purpose in mind, to create a futuristic helmet with ZBrush. Joseph Drust will take you through each phase of the design process, including Reference, Base Meshes, Procedural Processes, Sculpting, Hard Surface Detailing, and final surface detailing. Get Started with your lessons, and prepare to be wowed! FINAL HELMET DESIGN CONCEPT VARIATIONS COLOR VARIATIONS TOPIC #1 REFERENCE #1. Reference-Introduction #2. Reference-Using Reference TOPIC #2 BASE MESHES #3. Base Meshes-Introduction #4. Base meshes-Creating a BaseMesh TOPIC #3 PROCEDURAL PROCESSES #5. Procedural Processes-Introduction #6. Procedural Processes-Extract #7. Procedural Processes-Morph Target #8. Procedural Processes-Panel Loops TOPIC #4 SCULPTING #9. Sculpting-Introduction #10. Sculpting-Brushes #11. Sculpting-Masking & Smoothing #12. Sculpting-Transpose TOPIC #5 HARD SURFACE DETAILING #13. Hard Surface-Introduction #14. Hard Surface-Trim & Clip Brushes #15. Hard Surface-DynaMesh Subtract #16. Hard Surface-Projection Master Check back regularly as we will be posting more videos, and topics in the weeks to come!

Hi,everyone.This is my lastest work which I also feel good about it .So, share it then get my rest back.ha.Original paintings by Jie Feng,thanks you.Hope you like it. My job is not about 3d right now.I hope I can have a chance to get a job about 3d . If someone like me,please contact me. Email: huangjie1984@126.com

Thanks for the kind replies! Actually, on the last one, i`m working now on the textures (it is a waist up piece) based on this concept below (except for the face, and i give a breast reduction also xD) Will post some wips after I dont know who did this one, i apologize to the artist for not giving the credits. cheers!

So I've got a bunch of freelance work that I've been cranking on. Its some large 1/4 scale stuff (meaning the figures will be about 18 inches tall when complete). The client needs these done in wax. So I figured I'd skin several cats at the same time. I bought myself a cheap Airwolf filament extruder printer. So what I'm doing is sculpting in zbrush, dynameshing the final sculpt (a quick dirty way to create a single printable shell from several merged subtools.) Then decimating and exporting. Then I bring the stl in to Netfabb and scale it and fix bad edges and fill holes. From there I export the fixed stl to MatterControl. This is open source software used to slice up the the sculpt and create printable layers. From there it goes to the printer. Once the print is complete I make a silicone mold and cast it in wax. Because these printers are relatively low res the wax will need to be cleaned up. Which of course is where my traditional sculpting skills come in. It may seem like a slightly backwards way to work, but its actually a great of saving time in the end because implementing zbrush in the work flow allows me to cut my sculpting time in half. Especially when working on these huge sculptures. This particular piece is a print of my Daenerys head. Its was done as a trial. I was happy with the results. It's about 90mm in height. I'm sure I can achieve better results by tweaking some things with the printer. these were the stock settings..

Thank you very much for your comments and support!! Thanks for sharing too!!! I think it´s a good idea to show a close up of the layers composition and BPR different render passes I used to achieve the bloody likeness. It could be helpful. Hope you enjoyed it! Btw, here is the timelapse chapter where you can see it on live: http://youtu.be/POzLC8twpJs

It has been a while since I got time for some zbrush fun. Hoping there will be more time Had a day or two for this sculpt tried out some techniques I have been seeing lately, that helps to speed up the end concept/look

Hey guys! Thanks so much for all the comments I'm glad you liked the last illustration I made. In fact, I managed to take another "photo"; of the creature before it saw me and went away, here it is: Also here is a bit of a breakdown on how I made this dude and the illustration process in Photoshop. hope you guys find it useful The model comes from a dynamesh sphere (the antlers are zspheres turned into skin and "dynameshed" it), very simple modeling. The only thing it might be worth mentioning is that the stylising of the antlers was done with the Dam_standard brush, Inflate and Standard brush. The texture of the skin is just polypaint and I used the Standard brush with colour spray and a doted alpha to generate variants of colour and to grow the fibermesh with that colour information. I masked portions of the body and face to create separate subtools with fibermesh to make it more manageable and to have more control of the length and "flow" of the fibers. The render was done with BPR and I rendered 4 passes plus mask, shadows, AO and zdepth. The compositing of the character is very simple too, here it is: NOTE: I took these screenshots from the process of the first illustration. For the second one (the one in this post), the compositing is exactly the same, but the shadow pass is stronger and I got rid of the Key light altogether. For the backgrounds and composition, I wanted a lot of depth of field and I knew I was going to blur things out, so I didn't spend too much time detailing things, instead, I tried to get the right shapes for the overall composition, to help guide the eyes of the viewer to the character. Here are a couple of GIFs to show a bit of the process: Lost creatures "shot 1" Lost creatures "shot 2" Let me know your thoughts! happy Easter!