Ap­ply hair and fur to ob­jects

Save time in ZBrush, with Rob Red­man’s help.

ImagineFX: Sci-fi & Fantasy Art magazine - - Contents -

Al­though ZBrush may best be known for its sculpt­ing tools and for its feel of work­ing with dig­i­tal clay, it’s ac­tu­ally of­fers work­flows for many tasks. One of these is the FiberMesh tool set. Its sole pur­pose is for cre­at­ing hair and other fi­brous struc­tures. This kind of mod­el­ling is a par­tic­u­larly hard task to carry out us­ing tra­di­tional dig­i­tal tech­niques, partly be­cause of the com­plex na­ture of each fi­bre, but mostly down to the sheer num­ber of strands needed to make the end re­sult look be­liev­able.

Most 3D soft­ware has been de­vel­oped with a spe­cial­ist tool for the task and ZBrush is no dif­fer­ent. In­deed, it pos­sesses a par­tic­u­larly el­e­gant so­lu­tion, with just a hand­ful of con­trols that en­able you to work very quickly, along with real- time feed­back. Your view­port can han­dle the vast num­ber of fi­bres just as it can the mas­sively dense poly­gon ob­ject that ZBrush han­dles with ease.

The key to suc­cess with the Fiber tool set lies in mask­ing tech­niques. As you’ll see, work­ing with the strands is easy enough, but what will sell your model is the place­ment of the strands, so read on and find out how to do both.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.