For the barrel, I had already created UV maps and colour texture. So what I did was to use the colour texture in Photoshop and desaturate it. Then I have played with Levels and adjusted the brightness/contrast on each layer to create a mask. When a mask had been created I used it in ZBrush for masking the intensity. This mask then served as a template for sculpting and it also helped me to fine-tune the details on the barrel (Fig. 10). Â
Creating a rope by drawing a curve with a custom brush – Тренинги «ZBrush»
– [Instructor] Earlier in the course, I showed you how you can create a rope around the neck, that we utilized working with ZSpheres. This time, I’m going to take a slightly different approach, and work with the Insert brush. Now I’ve already created a brush, a custom rope brush, that I’ve handed off to you, it’s in your folder. And if you put in your brush presets it will automatically launch with ZBrush. And we’re going to build this rope, waistband, or belt, that goes around the character. Now to do that, I could work with the torso geometry. But in this case I’m going to actually work right on top of the Sphere, that I distort a little bit better, so that I have more control over the rope. And you’ll see what I mean in a moment. So to do that, I’m going to start off with the new Sphere. Make it a polymesh 3D and divide it up. I want the rope to essentially go around the Sphere, there will be a knot, but then there will be two edges that sort of flare off, now it’s up to me, how I want to go about sculpting that. Do I want to do the rope all in one go? Or do I want to break separate pieces off? And to be honest, I can go either way with that. Sometimes it’s easier to actually have separate geometries, separate subtools, and then just marry them together later. Most likely, that’s the way I’ll end up going, but I’d like to show you, how I distort this Sphere, just to add a little bit more interest, to the tutorial. So, first thing I want to do is actually deform the Sphere and flare it out a little bit towards the bottom. I’m going to activate symmetry. I’ll turn on the X and my Radial Count. Actually we want Y for this, and what I want to do is just start to inflate the ends of the Sphere. Okay, and that is just bringing it out a little bit. There’s obviously many different ways that you could inflate the edges. I’m just doing this very quickly. Okay. So the first step in working with the rope, is I need to activate the Insert brush. I’ll switch over to my brushes and I’ll locate the Insert MI rope brush. And what this brush is basically, it’s one section of a rope that will step and repeat itself. But before I can actually use it, I need to create a curve that we’re going to set it to. So I’m going to enable my Stroke, turn on Curve and Curve Mode, and now I’ll be able to actually draw a curve onto the Sphere. Now before I draw my Curve, I need to delete the lower geometry, because the curve likes to work on one subdivision only. So once again, I’ll begin drawing my curve. I’m going to wrap this around quickly. And come back around. Okay? So now you can see I’ve wrapped the curve which has automatically attached to the rope. One of the neat things about working with this technique, is that I can now continue to move the rope. I can move the curve, any way that I’d like. So I have the ability to actually re-position this, accordingly. It takes a bit of time and finesse, but once you have it and you’re happy with it, we’re now ready to move on to the next step. You’ll notice the first thing that we have is gaps between each of the segments. Now in order to fix that, we have to go into the brush modifier. So what I’ll do is go under ‘Brush’, and I’ll select on the icon so that we bring it over to our drop down. And now under modifiers, what I’m looking for is the section just under TriParts where I have Stretch and Weld points. I’m going to click on Stretch, which will automatically stretch out the pieces but I won’t see the results until I click on the curve. The moment I do that, it actually repairs itself. You’ll notice there is still some gap happening with the geometry, because it’s not perfect. To fill in that gap, I can work with the Overlap. Now Overlap is very sensitive so you have to work with it in low, numerical count. I’ll go ahead and use it point zero zero one to start. Once again, I need to tap on my line. And that tightens it a little bit. I’ll probably up this to point zero zero two. Once again, tap it. And I’m going to leave it at that. I do have some Seam here that I’m not happy with, but I’ll fix that later on in my sculpt.
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Concept
Because the illustration was for a “Strange Behaviour” contest on CGTalk, I had to be very careful with the initial idea, the planning and the basic concept stage for what I wanted to do. The idea was simple: I wanted to tell the story about today’s problems and the huge impact of what is happening to the environment. I thought this could be a wonderful opportunity for an illustration.
So, the first thing that came to my mind was to select a character. I decided to make a scarecrow in a field. Once the character had been decided, I began working on the initial sketch. I always try to find as much reference material as possible as this helps me to define things quicker and also serves as some nice information as to how the textures should look.
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The scarecrow had to look believable and I wanted to incorporate a classic look: huge hat, old trousers, ripped clothes, exposed parts filled with straw, old wooden sticks, huge boots and big eyes. The proportions needed to be human, although slightly exaggerated (Fig. 01)
The second stage was imagining the crows. The crows had to look like flying evil creatures who were trying to wreak their anger upon the scarecrow. In the end, I wanted to retain the same bird look with bigger heads, claws and evil red eyes. With 2 characters, the story was simple.
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Because of the polluted water in the nearby area the crows had mutated. The environment has been filled with radiation which has caused the birds to become aggressive, and so they wreak their anger upon the nearby scarecrow that has frightened them in the past. The scarecrow tries to escape, but it is stuck in the mud.
The environment had to be depressive, dirty, polluted; it had to be filled with radiation, dust and smoke; it had to reflect that “moment”.
I drew a few quick sketches for the composition elements, to see how it would all work in the final image. Of course, at this stage, nothing was carved in stone!
Modelling
Once the concept stage had been established, I began modelling the actual scene. At this stage, I was open for all the new ideas and changes to the actual concept of the main characters.
Scarecrow: I established the base body geometry from a box, and used the polygon modelling technique. Once the basic proportions had been established, I began working on the main silhouette. Once the silhouette has been defined, I began modelling details, like clothing wrinkles, pockets, small patches, buttons, rope and straw. For the buttons I used a cylinder, and the rope was a lofted surface with basic shape as a circle. For the belt, I used a subdivided plane and formed it into the correct shape, and then I made holes and extruded the faces. The belt buckle was made from a modified torus (Fig. 02 & 03)
The straw was made with paint effects in Maya, using the brush inside visor (grasses-straw). I created a few small strands of straw and put them on the scarecrow (Fig. 04).
Crow: Here is the basic process for the crow. I used a box and shaped it into a desired form (Fig.05)
The feathers were made from a simple plane and UV mapped. Then I simply duplicated it and formed them into a wing. I also used an opacity mask to form a feather, for faster rendering (Fig.06).
For the wheat, I created a small seed then duplicated and rotated it until I got the whole husk. Then I modelled the stem from a cylinder and made it more uniform. To create leaves, I used a plane and properly formed it into the right shape.
Other objects, such as the barrel, wooden sticks, and power plants, were all made of cylinders. For the grass I used paint effects to create small strands of grass. I sowed the grass onto the field mesh by duplicating them (Fig. 07).
Z Brush
Once I was satisfied with the modelling stage I decided to make some parts more detailed, using normal maps for faster rendering. To create normal maps I imported the OBJ format of the scarecrow into ZBrush and began sculpting each piece of the scarecrow individually. Because I had to generate normal maps inside Maya, I kept the poly count at a maximum of 2 million polygons for each piece for easier baking. The idea was to use high polygon geometry on lower resolution geometry, without losing all the detail. I decided to use normal maps instead bump maps (Fig. 08).
In ZBrush, I used a standard brush to define large wrinkles. I used the smooth tool to achieve a beautiful transition. After large wrinkles had been defined, I went into smaller detail using the lazy mouse feature to smooth curved lines. I usually use the lazy mouse at subdivision level 4, to avoid doted lines. Once the sculpting had been completed I exported the high poly mesh into Maya as an OBJ. (Fig.09)
