…more!!! more!!!
hi how are you…
I am just wondering can these type of characters be animated with the type of topology you got going on? Just wondering and i thought you could share a little on this…
Thanks…
Weird story, even weirder design. Nice!
I think that Czech village had been indulging in other substances too.:lol:
Thinking for some days now what kind of cheese he is made from. Our cheese here is not stinking, so it has to be French cheese I think. Rochefort?
Yeah, that must be the one. I was almost killed when I was eating this. 
neato - good to see that you have time to post here again. i really liked the bull thingy you posted.
looking forward to more wild whacky stuff while you’re on hiatus…
-cioffi
viven- I took this model up to 7 levels of division in ZBrush, that put the torso at around 1/2 a million polys. I do use displacement maps rendered through renderman, but this one is just a huge freakin mesh rendered in Maya.
Thomas Mahler- First, you live in a great city my man. Ahh Vienna, the Windy Apple! This model was blocked in with a similar approach to the one I showed on the DVD. I’ve really started to separate this stage “design sculpt” from the animatable “production sculpt” stage. I have not created an organized mesh of this one yet, but you can see how the sculpt can still be evaluated from a design standpoint without it.
Yoogy- I think its a Donny Darko smile.
Eidan- Il mio Italiano e crapo. Non ho parlato per cinque anni. Madonna! Vorei visitare subido.
Mindjuicer- This model took about sixteen hours total. I started by sketching out a few different designs on paper. As the model developed in 3D I made several changes to it which always adds to the overall time.
Nightwolf10- I’m super, thanks for asking! You could animate this model, round and round in circles, or if you’re a bit crazy, up and down in a straight line. Other than that, this mesh ain’t goin no where. This process is good for quickly fleshing out a character design, but not to good (as I’m sure you already know) for animation. I looked at a few of your posts and I think if a ZBrusher wants to make an animatable mesh, then looking at how you lay out your topology would be a great start.
Another thing I think is impressive is that you actually had to kill off the first 9 Nightwolfs to earn the mighty righteous title of Nightwolf10. I bet not many ZBrushers knew that.
"Nightwolf10- I’m super, thanks for asking! You could animate this model, round and round in circles, or if you’re a bit crazy, up and down in a straight line. Other than that, this mesh ain’t goin no where. This process is good for quickly fleshing out a character design, but not to good (as I’m sure you already know) for animation. I looked at a few of your posts and I think if a ZBrusher wants to make an animatable mesh, then looking at how you lay out your topology would be a great start.
Another thing I think is impressive is that you actually had to kill off the first 9 Nightwolfs to earn the mighty righteous title of Nightwolf10. I bet not many ZBrushers knew that."
zpetroc - i really appreciate your info and it was very helpful. I did not know you followed my other posts on topology. I bet the next zbrush installment is going to revolutionize how we model. I think a lot of companies will lose " A LOT OF CUSTOMERS" lol…Topology going to be a breez with the next Zbrush.
By the way this model is very cool. I love the story and the design behind it.
Now back to my Nightwolf10 lol…that was an interesting take on my nick Zack… But the truth is i am a big soccer player and i always had number 10 on my shirt. Nightwolf comes from the MK games…mortal kombat? anyone? lol…ok ok…
Zack i got your DVD at Gnomon, and i must say you are truely an amazing artist. I will definately look into how to lay out topology in zbrush and go from there…Since i am working on my demo, i want some good clean topology to show off. If i cant get it done in Zbrush, ill just build a base mesh with some topology in another program and bring it in to Z, follow your DVD 
and have some crazy models…
One more question…will the shrink wrap mel work in maya 6.5??
thanks ahead…
nightwolf10: how bout a link to those threads on topology…
shrinkwrap works in 6.5
cheers
Hi how are you…well i dont think that the link would be useful, i wasnt writing a tutorial or anything, i was just asking around to see if we could do good topology flow just using Z brush. But u can definately do it with a little work around. The main thing is that you need to loop your polygons if you want that effect, meaning loop your eyes and mouth in Z…The best thing to start for that type of stuff is a zsphere…make the eye and mouth…than select the mouth area, hide the rest of the model, than loop it. Do the same for the eyes…
So to get back to link…i was just asking people about Alex Alvarez’s new dvd and if it was worth 89 dollars…I was mostly interested in the model itself since he built it only in Z. I was interested in his topology flow and not much of his modeling. Since modeling in Z is really easy by brushing away, the topology is hard to achieve just yet but it can be done. So i never bought the dvd i heard that it was not what i would be interested in.
Zack is an awsome artist and if u can get a base mesh done in any program with basic topology flow for the body and face, you can follow his dvd and get some amazing results…He goes out of his way to teach you anatomy and proportion. If u dont have his dvd i strongly recommand it.
ok thanks for the breakdown Nighwolf10(insert pickslide)-just curious as to what was being refered to.
it would be pretty straight forward to fit an ordered animation friendly mesh over zacks design here. it’s a cool workflow - it’s very liberating to sculpt out a design on a just a blob of geo because sometimes an ordered mesh “pulls funny” at poles etc. poles are where the geometry changes directions. like the stars Taron talks about in this thread http://www.zbrushcentral.com/zbc/showthread.php?t=024206
interesting nugget of info: you can fit any decent humanoid edgeloop template over this sculpt and it would be all good. the only special case is the dude’s stinky cheese head and his legs which would take about 10 mins to add to the template.
Great character in this guy. I love those crazy handme-down stories in which the bizarre and the banal get on so well. And those villagers were very clever to use alcohol cos we all know freaks and aliens both just wanna get loaded.
So how did the test go? Did you find it liberating to sculpt a ‘fluid’ pose or a hassle trying to match proportions without calipers? Do you think sculpting in pose and the life it brings to a character helps during the sculpting process itself?
hehe, I think its hilarious that you took on this kind of creature, also the story I read as a child of the stinky cheese man, is he died in a river, its a parody of the gingerbread man. heres a link to the story in case you dont have it, a really badass style.
http://www.amazon.com/exec/obidos/tg/detail/-/067084487X/qid=1118353599/sr=8-1/ref=sr_8_xs_ap_i1_xgl14/102-8462114-5535329?v=glance&s=books&n=507846
A truly superb character there, Zack
I love the background folklore you’ve included; it really puts the poor ol’ ‘cheesemeister’ into perspective.
Anatomically superb, the back view (dare I say it) seems faintly reminiscent of Michelangelo’s Libyan Sybil in the Sistine Chapel: http://cgfa.sunsite.dk/michelan/p-michel20.htm
Amazing work, and a great inspiration; thanks for sharing 
Chris
I think it would be interesting to fashion one piece of cheese into the likeness of Jesus
I like the stilts also, great work on them.
??? :lol:
Sorry for the delay in answering these specific questions, just got back to town.
The “in-pose” test went okay. It was obviously slower than sculpting a character using mirror symmetry. Ideally, I’d be able to use the mirror function in ZBrush to develop the sculpt to an almost final point in a standard, animatable pose, then be able to move it into a number of different “action/character” poses, then finish the sculpt to work for each specific pose. That would save a hella time, and really give a digital sculptor a huge advantage over a practical sculptor.
I don’t usually stick religiously close to a sketch when I’m modeling, so no calipers needed, particularly if is my own sketch.
Its an odd thing to sculpt a character with the intentions of having it move. It does sell the character more. I don’t really think I gained much from sculpting this one in-pose, but I could definetly see the advantage of being able to move a character into a variety of different poses after it is roughed in. For example, on the Jon Carter of Mars project we spent a long time developing a four armed creature, from the book, that needs to drop down and run using its second set of arms. If I was able to easily pose my model, I could check its proportions in these different scenarios to make sure the design worked for all of them. That would be another great advantage that makes good use of our digital medium.
Thanks for the other compliments too.
later,
where is that alien head from?