Tony Leonard

The con­cept artist re­veals how he uses ZBrush’s tools

ImagineFX - - Art Tools Software -

You come from a 2D back­ground, so what got you into us­ing ZBrush?

ZBrush cap­tured my at­ten­tion back around 2008, when I started work­ing in video games at Game Repub­lic. I was look­ing for a tool that would be per­fect for en­trylevel 3D, to bet­ter flush out ideas that I was all too used to putting down in 2D, but had al­ways wanted to build in 3D. Dig­i­tal clay was the way to go, for sure!

How do you use ZBrush in your 2D work­flow?

Gen­er­ally, there are two ways: cre­ate a more de­tailed ren­der of a model/sculpt for use with paintovers, and now as a tool to block out oth­er­wise com­plex draw­ings where a 3D as­sist would ben­e­fit from hand-drawn de­tail – such as a de­tailed mecha de­sign, or en­vi­ron­men­tal el­e­ments.

How does ZBrush 4R8 make you more pro­duc­tive?

It would nor­mally take time to pro­duce a com­plex ob­ject while main­tain­ing per­spec­tive. Ver­sion 4R8, with its in­tu­itive and easy work­flows, means that I can model, bash out and con­cept an idea fairly quickly with even the sim­plest of mod­el­ling tools. What would oth­er­wise have taken me a lot of painstak­ing draw­ing and layout, now ends up tak­ing a frac­tion of the time.

As a teacher, what are the ba­sics you rec­om­mend that a be­gin­ner starts with?

The core idea my stu­dents learn is how to work with forms. Start by block­ing out, and then think about a first, sec­ond and ter­tiary work­flow ap­proach to build­ing up forms from rough to re­fined.

Tony is a 2D/3D con­cept artist. He’s worked at Game Repub­lic and taught at Nagoya Com­mu­ni­ca­tions Arts Gakuin.­sta­

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