3d art

Sculpting in ZBrush
Creating a ‘ripped’ body
20 ZBrush setup
For export into ZBrush, all parts are centred on the Z axis,
combined into one mesh layer and its UVs are in 0-1 space.
The model is saved as an OBJ and imported into ZBrush.
Before any sculpting, I organise the parts into separate
SubTools, give them Morph targets and ensure any open
edges are creased. I also organise the SubTool list with
names and objects sorted according to their position in
space, top to bottom t.
22 Sculpt muscles
Using the Standard brush with Z Intensity set to 10 and
Focal Shift to -100, do an overall first pass over the body. I
only use the Smooth brush to even out the surface, keeping
the stroke edges and bump that lend to an overall fleshy
feel. Keeping the brush stroke defined helps to provide the
‘muscle fibre’ look v.
t
21 Overall body patterns
I like to map out the muscle patterns, bumps and fibres to build
upon. Using the Slash3 brush set to an intensity of about -30, I
start by tracing out the edges and creases for muscles and
tendons, etc. When the first pass is done, I like to use the
Slash2 and Slash1 brushes to add finer details and bumps u.
u
Top tips
To get much better results,
faster, I use the Alpha
palette and masks as I
work. Alpha is great for
hiding parts I’m not
working on and helps to
speed up my workflow, as
well as improve general
application responsiveness
as I add subdivision layers
to the SubTool. I find that
using masks helps me to
quickly add folds and
overlapping detail just as in
real sculpting. Pushing and
moving the shape together
helps to get a good flow in
the model’s form.
w
23 Head detail
For face detailing I like to have some photo references handy
to help with the smaller, more subtle features. I try to get the
eye area correct, then move on to the mouth. Lastly I work in
the ear detail to complete the head w.
v
t I prefer to sculpt using the
MatCap Gray material for its
wide specular range and the
fact it’s not translucent, so
details and flaws are visible
u Using the Slash3 brush in
reverse helps to add raised
details to the flesh
v Using the Move tool, I adjust
the muscle shape and flow
w After overall sculpting I find
using Alpha masks a very
quick method for adding in
wrinkles and folds
x Hands can be tricky to get
right. Work from the main
joints out to the fingertips
x
24 Hands
Hands tend to be somewhat
bony, so I start with defining
the major joints on the
fingers and the tendons on
the back of the hand.
Generally it’s good practice
to get the knuckles looking
correct and then the area
around the thumb base. The
last step is usually defining
the fingertips x.
86