ZBrush for Con­cept Artists Vol 2

Ben Mauro’s sec­ond guide to ZBrush in con­cept art is so com­plete that you might not need the first part.

ImagineFX - - Reviews -

hange has come to the field of con­cept art. In this video se­ries, Ben Mauro shows how 3D pack­ages such as ZBrush help him to deliver the re­al­ism that art di­rec­tors now ask him for, even at the char­ac­ter de­sign stage. The first part (which we re­viewed back in is­sue 99) showed Ben cre­at­ing a pro­to­typ­i­cal bust for a crea­ture de­sign; in the sec­ond part, the de­sign is ex­panded to the en­tire body.

CThere’s a de­gree of over­lap be­tween the two videos, with both show­ing the ba­sics of ZBrush for new­com­ers, then block­ing out the form, sculpt­ing and re­fin­ing de­tail, tex­ture-paint­ing and Pho­to­shop post­pro­duc­tion. How­ever, the ex­tra length of this in­stal­ment (it’s over 90 min­utes longer than the first) gives Ben room to ex­plore other ar­eas.

To give an ex­am­ple, there’s a par­tic­u­larly use­ful ses­sion where he uses ZBrush to change the crea­ture’s pose from its ini­tial neu­tral stance to one that brings out its per­son­al­ity. Tak­ing this two-step ap­proach saves time be­cause you can do more sculpt­ing with the sym­me­try func­tion ac­ti­vated, which en­sures that the anatomy is prop­erly thought out.

The au­dio suf­fers from the same af­flic­tion as the first part, no­tice­ably switch­ing be­tween a live work­shop and a later recorded ses­sion. But on the upside, the ed­its are less fre­quent than last time, mak­ing this a more en­joy­able ex­pe­ri­ence. There’s also more scope for ques­tions from the au­di­ence, which al­ways yield some great in­sights.

If you’re look­ing for a broad over­view of ZBrush’s role in con­cept art, this is com­plete enough to make the first part re­dun­dant – al­though any­one look­ing to dig deeper will still ap­pre­ci­ate the ear­lier video’s em­pha­sis on char­ac­ter de­sign. For most view­ers, how­ever, this is a pretty de­fin­i­tive ex­plo­ration of its topic, from an artist who re­ally knows his stuff.

Ben Mauro’s sec­ond visit into the land of 3D con­cept art shows him cre­at­ing

this crea­ture, pose and props. In the early model (above), sec­tions are coloured for easy mask­ing-out. ZBrush en­ables Ben to por­tray his de­signs in a real­is­tic man­ner.

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