This will help to keep us focused, as we will know exactly what we are going to build and in what order. Planning things ahead and separating the parts with different colors means that when we begin sculpting, we know that we will have X number of parts to take care of, and we can address them in an orderly fashion. For example the hair will be a single SubTool, the jacket will be another, and so on. It is not necessary to do this every time but, especially when starting out, it helps to visualize things much more clearly before jumping into ZBrush.Ġ1b Key visual markers to pay attention toĠ1c Break down the anatomy into parts Step 03: SubTools breakdownĪnother thing that is useful to do before we start sculpting is to separate the concept into parts - different colors - to help us see what we will end up with as a final result in terms of SubTools inside ZBrush. We will be building everything with primitive shapes, especially the base mesh, so this stage helps us to separate the main elements and keep an eye on proportions. To help us visualize what we will be building in ZBrush, it is useful to identify the character's anatomy in an image-editing software such as Photoshop by separating it with different colors for the different parts. Tapered shapes as opposed to parallel lines add interest and direct the viewer's gaze parallels are boring to the human eye. Straight versus curved lines, and complex versus simple lines, are indicated in orange and red, respectively using contrast between areas of "visual rest" versus "visual interest" creates a stronger design. The line of action shown in green indicates the gesture of the pose and distribution of the character's weight. With that in mind, image 01b shows the key design choices considered in the concept so you can take these forward when you move on to creating your own character at a later stage. Sculpting is exciting, but understanding design principles and fundamentals is also valuable, because ultimately it is our mindset that will allow us to create characters no matter what software we use. Our objective will be to sculpt a female character with a distinctive and appealing design that tells a story. As this is the first project in the book, we will work with a design that is simple to translate into 3D, with a focus on anatomy and readability. Image 01a shows the 2D concept we will work from in this project - a brave dragon slayer named Kyra. Though the emphasis will be on creating an "organic" subject, the project will also introduce you to some "hard-surface" modeling techniques to create weapons and accessories, which will prime your skills for creating more pronounced hard-surface elements in the next chapter. ZBrush sculpting is renowned for its resemblance to clay modeling, and that is the type of quintessential ZBrush process we will be learning here: building up the design piece by piece, with a focus on sculpting simple shapes informed by strong core principles of character design. This first project will guide you through the creation of a stylized fantasy character called Kyra. If you're new to ZBrush, try this free sample of Beginner's Guide to ZBrush to discover how to create a simple character base from scratch! If you prefer, download this sample as a PDF!
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