lol @ censoring
^^^
Started with zspheres, then went to dynamesh. I think I’m getting better. I just added the hands straight from the instert hand brush. This was all done in R3.
I just started messing with R4 qremesher and will probably be using it quite a bit. I toyed with something similar in 3D Coat but this is so great to have the new topology tools right in Zbrush!
<iframe src=“http://p3d.in/e/lLEqZ/spin” frameborder=“0” allowtransparency=“true” width=“100%” height=“400px”></iframe>
Of course, you’ll need google chrome to view this WebGL content.
[youtubehd]6jlkOYjQwBM&hd=1[/youtubehd]
I made this guy in one day with the whole purpose of making a video from start to finish and showing what features I used from Zbrush.
I really hope you enjoy this.
Hard surface is hard work…
I am starting to feel like the mouse is holding me back some.
It is possible to change the brush size or intensity when you’re mid stroke with a tablet, correct?
your work is awesome man, i like your hardsurface stuff. yea it can be hard to get a crisp edge on your model, do you use a tablet for your work?
and yea the tablets do allow you to change the brush size when in the middle of a stroke. im not sure about the intesity, i use the mouse too for my modeling. i find it faster and if you make the right brushs its almost as if you are useing a tablet…all the work i make is without a tablet . anyway good luck!
adam
Yep, I’m using a mouse.
I guess its just practice. I see videos of people doing hard surface and I am amazed how few strokes they are using. I often wonder if they have a tablet.
I have been busy writing C++ to load .fbx files into a directX based model viewer I’m working on.
So far I have had some success, at least testing reading the vertex info from the .fbx file.
Now I am working on getting the vertex information into a vertex array buffer that DirectX can use.
In between working on that I have been adding onto this guy.
Of course I can’t take credit for the base mesh, it is one of the tools included in Zbrush but slightly modified.
I didn’t even bother to make my own insert brushes either.
The more I work with Zbrush, the more it feels like playing an instrument.
You have to keep your practice up and keep trying new things.
The arms are and hands are actually edited in Maya (simple poly extrudes).
I also used Maya to make the shoulder pad with a wrap deformer.
If you’ve never seen the wrap deformer in Maya, it is well worth looking up, now I don’t know how I lived without it.
You can use a NURBS surface to bend your polygon objects in some really neat ways.
The rest of this guy is dynamesh and retopology similar to the techniques from Mike Jensen.
And a bonus, here is some hard surface practice I did before I started working on the character.
No subtools or clipping brushes, just a straight up dynamesh sphere.
I used the Damian Standard, Clay,trim dynamic, and hPolish. I also used the Pinch brush to tighten the Dam Standard cuts.
I gotta work harder but its tough. I try not to get spread to thin but I want to be versatile.
I wish I had something to work on that would give me more direction.
My sculpts usually start out with a question like, “I wonder how I should do topology for ears?”
Or “How can I do low poly hair?”
There is a saying “Experience is something you get just after you needed it the most.”
Then I watch some vids and read some posts and get to work.
I usually get stuck on a number of problems and learn something while overcoming.
I have been trying to sculpt something (even if it is simple) every day.
I’m also doing more retopo work and actual good UV mapping.
Also, if you get a chance, check out my new website www.hardlinedigital.com
I’ve gotta get google to index it.
You are an amazing renderer
Thanks, I’m probably not half as good as some of these guys though.
Here’s more Maya Mental Ray.
The proportions are not perfect.
If you guys are looking at this, I thought I would point out, if I did this again, I would use more edge loops on the knees.
I’m still new to rigging and posing so this was a long process mostly of trial and error. I would also deform the low poly mesh and then look at the deformation.
I used HumanIK and rigged the model, then I imported a canned mocap animation from Maya.
This whole thing started as a topology for animation experiment.
In some ways, it was an experiment with x-normal as well.
I took all of the maps from the dynamesh with polypaint.
The initial high poly dynamesh was just 1.8 million points.
The importance of edge loops on the knees cannot be stressed enough.
If I had done edge loops centered on the knee cap I probably would have achieved a better result.
The topology on the arms actually turned out pretty nice though.
The most time could have been saved if I did a better job aligning the skeleton before binding it to the mesh, instead of painting skin weights.