Zbrush Character
Zbrush Character
Zbrush Character
Old / Gaunt
Page 003
Chapter 02
Obese
Page 023
Chapter 03
Steroid-Pumped Guy
Page 034
Chapter 04
Extreme Piercings & Tattoos
Page 046
Chapter 05
Beaten-Up
Page 057
Chapter 06
Zombie
Page 063
Chapter 07
Vampire
Page 068
Chapter 08
Werewolf
Page 077
Chapter 09
Frankenstein
Page 085
Concept
Whenever I begin a model, I first of all try to
define what kind of model I’m going to develop.
If I’m going for a more creative type of piece
then I will start off with some sketches and
drawings to find the right look before I start,
because on paper you can create endless tests
– all very quickly! After the sketching stage I will
then look for references to fine-tune my vision
of the work I wish to create and, because of this
referencing, I will achieve a much more natural
look in the end.
Sculpting
The first thing I always do when in ZBrush is
adjust the perspective so that it suits my model,
because the perspective distortion depends on
then click Append and select your eye, the eye are separate Subtools. The Transpose Master
Subtool should appear in the scene with your can be found in the ZBrush central forum. This
head (Append only finds the tools that have plug-in merges all Subtools and allows you
already been imported!). manipulate all Subtools together – without it you
will need to move all the Subtools separately!
Here I create a new Layer and with the
Transpose tool I pose the character to make it On another new layer, I make some adjustments
look more alive (Fig.67). In this particular case I so that the pose looks more natural. I add some
use the Transpose Master plug-in so that I don’t new wrinkles now because, when I rotated the
need to move the eyes which I have already character’s head (Fig.58 – 59) it forced the
added to the head sculpt, because the eyes skin to have some kind of deformation in some
Texturing
Now, with the modelling process finished, it’s
time to start the texturing process! There are
many options in which to create a colour texture
in ZBrush, but for this character I decided to go
for a technique which is based on the projection
of images over the model. To do this, I work with
the Projection Master, and so I turn off ZBrush’s
perspective to avoid any texture distortions on
the model. The Projection Master is a solution
used to paint details, colours or materials onto model so that the area you’re working on is make sure you’re painting the correct colour as
the model, using any or all of ZBrush’s 2.5D facing the camera as directly as possible! you go (Fig.60 – 61). At this stage, I also create
painting tools and other 3D objects. It will project a new texture (4096 x 4096 pixels) for the next
anything you paint directly onto the mesh below. First of all, it’s very important to change the stage (Fig.62). This texture was created and
Because of this, it is important to position your material of your model to a white one so as to added to the texture palette, and with Projection
Rafael Ghencev
For more from this artist visit:
http://www.rafestuff.blogspot.com/
Or contact:
rghencev@yahoo.com
Created In:
ZBrush 3
Concept
Welcome back to the ZBrush Character
Creation Tutorial Series. This chapter I decided
to do some sketches to put my ideas down on
paper and improve them. It’s very quick to do
some tests on paper, so I start off by drawing
some variations of an obese guy and picking the
best for me (Fig.01). In this case I’ve chosen an
Asian obese guy. It’s always good to work with
references – not to copy, but to make your work
more natural-looking (Ref.01 – 05).
Also, in this particular case, we’ve got some between the front and the back of the head is
other considerations to take care of: the first one shorter (Fig.02).
being that the Asian skull type is different from a
Caucasian or from an African. We can note that Along with this, we can also take note of some
the front of an Asian face is flatter, the cheek of the areas with more fat. The upper part of the
bones are more pronounced and the distance head is very similar to that of a thin/average-
sized person, except for the nape area where and areas of fat. At this stage I’m using the Note: When adding fat to your character, keep
the fat usually stays between the end of the skull Move brush and the Clay brush, both with low in mind that in the contact points the fat seems
and the beginning of the spine. Fat can also be values of around 20 (Fig.05). to be inflated. This happens because of the
located under the low jaw (Fig.03). pressure it creates with the part it’s in contact
Sculpting: Refining with. This pressure generates some volume
These are the main considerations, and with Individual Shapes – displacement in these regions. This can be
these all in mind we can look for a better shape Mouth, Eyes, Nose Ears clearly seen between the fat under the cheek
for the character without worrying about the & Areas of Fat and the chest.
details. And always remember to work the With a good overall shape established, I can
biggest shapes on a low resolution – subdivision then start to refine the model with the Clay brush I continue to work individually on some areas,
level – and add more subdivisions when the (or the Clay Tubes brush) to add more volume. like the mouth, eyes and nose, to make it look
smaller details are needed (Fig.04). The Standard brush can also be used to refine closer to the references – or in this case, my
these volumes and to create some cavities. At initial sketch. At this stage I’m still using the Clay
After finding the largest shapes first, I then add this stage, I also start to add some nuances and Standard brushes and Alpha 39 to work
a new level of subdivision and start to block in and start to block in areas of fat all over the on smaller areas, such as the brown cavities
some more specific areas, like the nose, mouth character (Fig.06). and regions with smaller details, and make
Texturing
After the modelling part I can start the texturing.
With this character I am opting to use Poly
Paint, which is nothing more than applying
colour on the polygons. Go to Tool > Texture
and activate the Colourise option. Then disable
the Zadd option on the tools bar. With this done,
I’m ready to paint colour information over the
model.
Rafael Ghencev
For more from this artist visit:
http://www.rafestuff.blogspot.com/
Or contact:
rghencev@yahoo.com
Download the
modelling movie here!
ZBrush Character Creation Steroid-Pumped Guy
Created In:
ZBrush
Concept
Hi everyone, I’m back again with the next part
of the series, tackling the creation of a steroid-
pumped male character. For this character I
already had in my mind what I wanted, so I
simply made a quick concept to get my idea
down onto paper (Fig.01). I wanted to do
something a little different this time – not as
realistic as the previous parts of this tutorial
– and so I decided to go for a more stylised
character for this theme.
that I wanted to make his trapezius and deltoid strength – a small brain perhaps, but powerful in to add more levels of subdivision to your model.
muscles very strong and large, whilst having terms of his physical strength. If your low poly shape is not good, increasing
his head hanging quite low, so this means I the polygons will do nothing to help anyway.
will have to play around a little with his muscle Finding the Shape The first thing to do is to fix the proportions
proportions. Another thing I decided I wanted So with all of the decisions made with regards to between the head and body using the
to do in my concept was to make the top of his the concept, I can start to model. At this stage Transpose tool. I select the tool and press
head very short, because this, along with the it is very important to concentrate only on the the Control key to make the selection for the
to refine the individual shapes it’s advisable his expression into the wrinkles of his eyebrows, natural form. On the mouth I use the Standard
to make one or two subdivisions to get more and refine the muscles in the face. brush to mark the division between the upper
polygons to work with. and lower lips (Fig.06).
Note: It can be very useful to hide some parts
You can observe from the images that I am of your model in order to concentrate your Here I work on shape of the ear using the
sculpting his head into a triangular shape to give attention on specific areas. Standard brush and Move tool for the basic
him more strength (Fig.05). It is very important form, and then use the Flatten brush a little to
to always use references whilst you sculpt, in I decide to exaggerate his facials muscles, too, achieve a more natural look for certain part of
order to make good characters. so here I make some subtle differences in the the ear, such as the outer rim (Fig.07).
muscles under his skin, using the Clay brush. In
Refining the Muscles & the eyebrows I sculpt some wrinkles using the On his chest I start to mark the muscle
Details in the Face Standard brush, with alpha 38, and then use connections with the Clay brush, with a medium
With the shapes done, I start to block in some of the Inflat brush with a low value to give a more value. The pectoralis muscles are connected in
Final Details
This is the time to start improving the details.
I wanted to make this character fairly clean,
without too much information in his face; I aimed
to put only the essential details in his face,
along with some important wrinkles in the brow,
around his eyes and on his neck, and some skin
imperfections.
(Fig.13). final un-textured sculpture (Fig.15). is using Projection Master, because we’ll have
total control and I can change the projection
Here I add some veins to the character’s head, Texture of the images – just like the Liquify filter tool in
neck, chest and shoulders, using the Standard I decided to use a projection method to texture Photoshop.
Rafael Ghencev
For more from this artist visit:
http://www.rafestuff.blogspot.com/
Or contact:
rghencev@yahoo.com
ZBrush Character Creation Extreme Piercings & Tattoos
Created In:
ZBrush
Concept
Hello, I’m back with the next part of this tutorial
series: this chapter I’m working on an extreme
pierced and tattooed guy and I’ve decided to go
for a punk. I’ve also chosen not to do an initial of punk characters, and tattooed and pierced character (Fig.01). I want to create a fairly thin
sketch this chapter; I’m just going to use ZBrush people, to give me some ideas for my own character, but at the same time I want to search
to get a feel for my sculpt and find my character. character design. for a character with a strong spirit.
This method is good for having fun in ZBrush,
but if you’re creating a character for a job then Finding the Shape After finding a good shape, I divide the model
it’s much better to make a drawing beforehand, After searching for and gathering reference and start to refine the basic shape (Fig.02). I
and it will also save you some time. To help images, I start by finding the initial shape in continue using the Move brush to handle some
me with inspiration for this project, I first of all ZBrush, using the Move brush. I play with big areas; the Standard brush is also used to
searched online for some interested pictures this tool and search for a good shape for my create some volume, like the eyebrows and the
shape of the nose. For the zygomatic (cheek)
bone and other small volumes, I use the Clay
brush.
Individual Shapes
When the basic shape has been found, I can
then start to refine the individual shapes. Here I
can spend more time on individual areas, hiding
Refining
We can start to refine the nose now, creating
a more flattened area. I use the Clay brush,
only changing the ZAdd for ZSub to subtract
information on the mesh. I then work more
around the eyes, using the Standard brush to
do some of the cavities, giving expression to
his eyes. In the mouth area, I use the Standard
brush with a low radius and low intensity to
create some wrinkles/creases (Fig.07).
Piercings
Now I’m going to put the piercings into his skin,
so I pick “rings3D” from the tool palette and
import them like SubTools into my scene, fitting
them to my character’s face where I think they’ll
look most effective (Fig.11).
Hair
For the hair I decide to do a Mohican, but
because I don’t want to create new geometry
for this, I’m going to sculpt it. To do this, it’s very
important to visualise the hair before starting the alpha for a very smooth one, and start to create in the model to simulate some large pores in
modelling process. So I start off by blocking the more volume and a more wiry hair type (Fig.16). the area where his facial hair would grow. I then
flow of the hair, using the Standard brush with select the Standard brush, with Alpha 38, and
a low value. It’s very important to seek good Final Details start painting some little wrinkles in the mouth
movement in the hair – something organic – so To finish the model, I select the Clay brush area (Fig.17).
always search for references. with a low radius and start to create some
imperfections in the skin, one by one. I then Here is the final model (Model.01).
After the blocking process, I can start to refine change the stroke to spray and select a small
the hair. Using the same brush, I just change the alpha, like 44 for example, and paint some holes
Texturing
To start the texturing process, I turn off the layer
with the pose for my model and go back to its
original state. I select a white shader and turn
off the perspective to avoid any distortions in the
model. I then create a new texture in the texture
palette.
Once more, I want to use the Projection Master to project images with
planes. So I press G to start the projection master, select the plane3D,
pick a skin photograph and then select an alpha with smooth borders. I
then start to block the basic skin colour in, projecting many skin pictures
onto the model to achieve the desired effect (Fig.18).
When my base colour is looking good, I can project the lips and turn on
the Edit mode to adjust the lip picture onto my model, just like using the
Liquify tool in Photoshop. I then start to apply different skin tones onto
the model, to give a more realistic look, remembering that there is blood
running below the skin. I only paint the cavities with a red colour – this is a
very useful technique to help me in faking a Sub Surface Scattering effect
in the final render (Fig.19).
With the overall colour looking good, I search for some tattoos to project
onto my model. After finding some cool pictures, I open them up in
Photoshop and cut out the silhouettes to create alphas. In ZBrush, I select
a plane3D; in the texture I select the tattoo photo and in the alpha I select
the alpha I just created in Photoshop. Then it’s just a matter of projecting
the tattoo onto the model and editing where necessary (Fig.20).
Here I create some freckles and moles with a simple brush, using the drag
option on the stroke (Fig.21).
To paint the hair, I change my texture to poly paint. For this I certify
having a large amount of polygons – this is important because the colour
Rafael Ghencev
For more from this artist visit:
http://www.rafestuff.blogspot.com/
Or contact:
rghencev@yahoo.com
Beaten-Up ZBrush Character Creation
Created In:
ZBrush
Concept
This chapter I’ve been asked to model and
texture a “beaten-up” character in ZBrush. I
decided to create a boxer with some injuries.
Before starting the modelling process, I did a
little research about typical fighting injuries, and
then later did some more research to get some
references for the fighter too. With the concept
starting to mature, I began the modelling
process.
Final Details
Here the shape is finished and I can start to
add detail to my character, so I continue now
with the Standard brush and refine the wrinkles,
working details into his mouth, eyes and neck
areas. For the body I also add some more detail
to his muscles and some of the folds of skin
between the chest and arms, to achieve a more
natural look. For this I use the Inflat brush to
approach the normals and to make it look like
the skin is pressed against more skin (Fig.05).
his nose a little and his mouth, too. Then I start with the Clay brush and
the Standard brush to add the swelling around his eyes and his mouth, as
if he’s taken a real beating. Then, with the Inflat brush, I dilate these areas
to make it look like there’s a lot of pressure behind the skin (Fig.07).
The Blood
Here I’ll show you a great tip about how to create drops of blood! Pressing
the Control button, I paint some areas like little blood drops. Then, in the
SubTool palette, I decrease the thickness value and press the Extract
button. The selection will create a new tool with the same shape of this
selection. You can then model in the new tools to give a more natural look
(Fig.08).
Finally, here is the result of the sculpting change it to suit my needs for this character At the top and bottom of his right eye, I paint
process (Model.01). piece. I pick a simple brush in the Projection some cuts in using a red colour, as if he’s
Master and start to paint some colour variations received lots of punches (Fig.09). At the bottom
Texturing onto his swelling eyes. I then pick a purple of his eye I paint some blood dripping down his
At this point I decide not to lose time by starting colour and start painting his injuries. I find a dark face (Fig.10). For the eyes, I project them and
from a new texture and so I select a base green colour to paint around his swellings ideal paint many different shades of red around the
texture that I painted for the last character, and to show the bruising. pupil (Fig.11).
Rafael Ghencev
For more from this artist visit:
http://www.rafestuff.blogspot.com/
Or contact:
rghencev@yahoo.com
Created In:
ZBrush
For the teeth I select the Standard brush and start to draw the teeth one
by one. With the same brush, but now with Alpha 38, I start to add some
cavities and refine the divisions between each tooth (Fig.07).
For the tongue I use the Transpose function to add good movement to it,
and then select the Standard brush to detail the shape of the tongue. To
give it some texture I select the Clay Tubes brush and modify the strokes
to Color Spray. To finish up the tongue, I use the Standard brush with
Alpha 38 to add some fine wrinkles (Fig.08).
Final Details
Using the Standard brush with Alpha 38, I refine the skin around the
muscles. I do the same for the wrinkles inside his mouth, and on his neck
and brow. It’s always really important to work with references, especially
Free Movies:
Rafael has provided us with 13 movies this
chapter that track the process of his zombie
character creation. Please be aware of the large
file size when downloading the movies that
accompany this chapter – simply click on the
“Free Movies” icon, download and enjoy!
Rafael Ghencev
For more from this artist visit:
http://www.rafestuff.blogspot.com/
Or contact:
rghencev@yahoo.com
ZBrush Character Creation Vampire
Created In:
ZBrush
References
I start out searching the web and books for
references. Something I find very useful is to put
together a visual ideas sheet, with references
on the appropriate themes. This sheet makes
good inspiration and provokes ideas and in this
case, I fill it with vampires, from historic ones up
to today’s modern re-interpretations. I want to
stay clear of the sexy female vampires, or the
twilight hero vamps, and look towards a more
classical approach: a dominant, mid-40s male,
strong in build and character. For the pose, I
want something “in the moment”, capturing an
expression for the viewer to piece together.
The mouth will play a big part in the image by And with that said, it’s time to move onto
housing the terrifying fangs, so while pulling creating the teeth now. I create a new ZSphere
a face in the mirror and using the reference and using symmetry I add three new spheres
images, I sculpt the lips (Fig.09), using the on either side (Fig.10). Using the Move tool
Move, Clay and Inflate brushes. It’s important with a very low ZIntensity I can position these
here to remember how the jaw moves the lower spheres in a gum-like arc shape. Clicking
lips down, and how the teeth and gums will “Preview” under Tool > Adaptive Skin will show
shape the way the lips sit over them. us how the model will look. The default settings
Texturing
Texturing a character is a vital part of achieving
a finished piece – a part that can be feared.
There is no reason to shy away from texturing
models within ZBrush as the tools are designed
to be intuitive and efficient. I spend some time
blocking out my colours using Polypainting.
Setting my Clay brush to RGB and turning off
ZAdd, I make sure Tool > Texture > Colorize is
on, choose white as my colour and hit Colour >
Fill object. This bakes in the colour white onto
my model, and now I can start painting it.
and I draw upon those and Projection Master I project hair textures onto the model from the
to texture the vampire. Using a Plane3D tool side, top and back, using the Clone brush to
and Projection Master, I drop the model onto clean up any transitions and problem areas.
the canvas and drag out a Plane3D. Rotating, Cleaning up and projecting small areas until
scaling and positioning it over the area in the whole model is done is by far the most
question, I load in the particular texture and time-consuming section. As you can see in the
turn off ZAdd. Using the fast preview I can see image, once all these parts have been projected
the outlines of the model where it’s going to be using the ‘Fade’ setting of Projection Master,
placed. This is really useful for visualising where they blend together very well to complete the
you’re putting the texture. head texture (Fig.22 – Fig.23).
Rendering
Rendering brings life to characters; it’s where
we get to use all the fancy effects programs
shipped with ZBrush and it’s where we can
achieve realistic lighting and materials, model
our character with light, and really sell an
illustration (Fig.24).
To end, I’ll finish on a tip for creating video within ZBrush: Turn off
Anti-Aliased capture if your PC is anything but extremely high-end. The
Joseph Harford
For more from this artist visit:
http://josephharford.com/
Or contact:
Josephharford@googlemail.com
Movies 1 - 3
Movies 4 - 6
Movies 7 - 9
Movies 10 - 13
Werewolf ZBrush Character Creation
Created In:
ZBrush, 3ds Max & Shave and a Haircut (plugin)
Concept
Hi everyone, I’m back to work on a new
character – a werewolf! Before I start any
project, like always, I search for references
on the Internet. In this case, I searched for
photographs of real wolves to help with the
creation of my character.
Basic Shape
To start this character, the first thing I do is to
have a think about how to start the creative
process, using the references gathered to
put together some ideas. I then kick things
off by loading up my base mesh and putting
the teeth into my new scene that I created for
the last character (Zombie – February 2009
Issue #042). Working with Symmetry turned
on I select the Move brush and play around
a little, using the brush in a large size, simply
searching for a good form/shape at this stage of
the game (Fig.01). Remember the importance
of concentrating only on finding good shape and
form at this early stage of the process? of the entire model. I then select the Standard Until now, the important part of the work has
brush and start to draw some specific volumes been in finding a good structure and shape for
With the basic shape solved I can start to in the eyebrow and nose areas. At this point, the character. Details are not important here.
refine the model by adding one more level of I decide to change his facial expression using You need to keep calm when sculpting and
subdivision. Now, using the Clay brush, I can the Move brush with a high radius – just to add learn to walk before you can run – there is no
start to draw the bones and muscular structure more to character’s face (Fig.02). use running into the next stage without properly
establishing a good base shape that you can
work from. So with this now done, we can
proceed to the next step.
Teeth
To create the teeth I make some divisions, and
then, selecting the Move brush, start to push the
major teeth – therefore creating the canines. I
select the Standard brush again to create the
separation between each tooth. To finish up
the teeth, I choose the Clay brush to sculpt the
gums and to refine the volumes of the teeth,
giving them a more natural finish (Fig.06).
Hair – in ZBrush So to create my werewolf’s hair in ZBrush, I some flow in the movement of the hair. I select
To create the hair I have decided to show you start by selecting the Clay Tubes brush; this tool the Standard brush with alpha 38 and a low
not one, but two possibilities; the first one is to is great for creating large, flat volumes and is a radius and I start to draw some little edges to
create the hair in ZBrush, and the second will variation on the Clay brush tool. With this tool I give the beard a more interesting look (Fig.06a
show you how to use 3ds Max. start to sculpt the form of the beard, trying to get & Fig.06b). I then use the same process to
Hair – an Alternative
Approach
To create the hair in 3ds Max, you can either select some tools from the styling menu. Once The process of using the Shave and a Haircut
use the Hair and Fur function in Max, or you can the styling process is done you need to set plugin is very similar: The first thing I do is to
try out the “Shave and a Haircut” plugin (http:// the finished style and then go to the general export the low-resolution mesh to 3ds Max and
www.joealter.com/). To use Hair and Fur in parameters to change some values. This is make a selection of the areas where I would
Max, I export the low-resolution mesh to Max important as the hair is going to be transformed like to create hair (Fig.07). After I select hair
and make a selection in areas where I want into a mesh. So I decrease the hair count, and fur in the modification list, the hair will be
to create the hair. I then select Hair and Fur in increase the hair segment and increase the root applied onto the selection – but the hair will look
the modification list and hair will be applied to and tip thickness. Then I just need to click on weird because you will need to comb it! For this,
the selections; however, it will look awkward Hair > Mesh and export the mesh to ZBrush. simply push the hair into the style you want,
because it won’t have been combed at first. Once back in ZBrush I can then add some using the styling menu, and play around with
To push and pull the style into place, simply divisions to smooth the hair. some of the tools to comb your hair into position.
Once you’ve finished the styling process, you
need to click on the Finish Styling button, and
go to the general parameters and change some
values. Once again, this is important because
it will transform the hair into a mesh. So in the
parameters I decrease the hair count, increase
the hair segment and also increase the root and
tip thickness. Now it only needs me to click on
Hair > Mesh and export the mesh to ZBrush
(Fig.07).
Created In:
ZBrush & 3ds Max
Introduction
It’s a pleasure for me to do a part of this tutorial
series. Rafael Genchev is an awesome artist
and my style is a little different from his, so I for references that can help me later on. For drop my base mesh into ZBrush, I add a few
will try to discuss a little about my process of example, with this project, I’m going to need extra more loops into areas in 3ds Max (Fig.01).
creation in this final chapter of the series. images of injured people, scars, things related With all my references at hand and the main
to flesh, teeth, etc. All these kinds of references idea in mind, I start to work with the Move tool
Concept will help me to create a piece that is more and find the best proportions for the model. In
When I think about this theme, the first thing organic and believable. this first stage I always work with the lowest
that comes to mind is a human that had been subdivision, but I subdivide the model first to the
totally rebuilt. Because of this, I’m going to move Defining the Initial 4th or 5th division so that when I divide it later, I
away from the classic Frankenstein’s Monster Shape don’t loose some proportions with the smoothing
look and try something different with this Before starting a new project it is always good to of the divisions.
tutorial. I always search for lots of references stop and think about potential future problems.
before I start anything – not always just for For this one I know that I want to try something For this model I know that there will be some
things specifically related to the theme, but also different with his mouth and eyes, so before I details that the main topology won’t allow me
Final Details
With the model in its final shape, I can start to
add small details, using the Standard brush
with Lazy Mouse turned on. This way I can get
clean lines with a small brush size. I start to
refine wrinkles, veins, and work on small details
on the eyes, mouth and scars. Once satisfied I
then draw further details using the Inflat brush
to make it all look more natural. And at the end I
use alphas to add small pores and blemishes.
Texturing
For textures, the most important thing is to look
at references. This is when every reference
becomes important; a small detail on the image,
Materials
I like to use different materials on my models.
To apply them you just need to turn on the M,
instead of RBG, and choose the material you
want – hit draw in the fill palette. For the lips I
want a glossier material so I use the ToyPlastic I hope you have enjoyed this tutorial. It was a
one, mask only the lips and apply it only to the pleasure for me to do this chapter after all the
masked area. For the face I use the SkinCore awesome characters that Rafael Ghencev has
material, and by flipping the mask I apply it to created over the previous chapters. So thanks
the rest of the bust (Fig.11). for reading, and happy ZBrushing!
Rafael Grassetti
For more from this artist visit:
http://grassetti.cgsociety.org
Or contact:
rafagrassetti@gmail.com
Introduction:
The original character of the Swordmaster
was created by Seong-wha Jeong and we
had 3DTotal’s in-house 3d artist Richard
Tilbury, re-create the character in 3dsmax
as well as create the textures in Photoshop,
in our new precise, step-by-step tutorial for
highly polished, low polygon game character
with detailed texturing for real-time render-
ing. We have also converted the tutorials into
Cinema 4D, Maya, Lightwave and Softimage
platforms. Even if you are not a user of one of
them, the principles should be easily followed
in nearly all other 3D applications.
Part 1 - Modelling:
- Complete step by step modelling of the Eva Wild character.
- Teaches the importance of studying human anatomy.
- Provides clear diagrams showing muscle flow and bone structure.
- 14 hours of comprehensive training.
- Suitable for artist of all levels.