Model a scene for a paint-over

In this two-part work­shop Ara Ker­manikian re­veals how he uses ZBrush to model a sci-fi com­po­si­tion, cre­at­ing a strong ba­sis for a paint-over

ImagineFX - - Contents -

Ara Ker­manikian uses ZBrush to model a sci-fi com­po­si­tion, ready for a paint-over.

In part one of this work­shop, I’ll use ZBrush to model the main forms of a scene, set dress it, add light­ing, de­cide on a strong com­po­si­tion, and then ren­der it with a toon shader. In part two a snap­shot of the 3D scene will be used by Scott Zen­teno for a 2D paint-over.

Many artists and stu­dents port­fo­lios I’m asked to re­view are often chal­lenged by the same ba­sic fun­da­men­tals. The pri­mary chal­lenge is cre­at­ing a com­pelling com­po­si­tion. The artist may have good painting skills, but if the sub­ject is framed in an un­flat­ter­ing way at a bor­ing an­gle of view, then it will fail to tell a story or com­mu­ni­cate the artist’s in­tent.

The sec­ond big­gest chal­lenge is en­sur­ing cor­rect per­spec­tive. Un­in­tended er­rors in per­spec­tive and fore­short­en­ing can im­me­di­ately cat­e­gorise the work as un­pro­fes­sional and throw the viewer off.

The third chal­lenge is in­cor­rect light­ing, where in­con­sis­tent val­ues in the im­age cre­ate an un­canny look be­cause light and shad­ows aren’t painted ac­cu­rately. Some of these works can be res­cued by an ex­pe­ri­enced artist’s cor­rec­tive paintover. How­ever, most are un­for­tu­nately dis­carded.

Cre­at­ing a sim­ple model of your com­po­si­tion in ZBrush over­comes these is­sues be­cause you can fame “the one” com­pelling com­po­si­tion, or many cam­era vantage points that tell the story. Cor­rect per­spec­tive is a given, and just as you’re able to it­er­ate fig­ur­ing out the right com­po­si­tion, you can it­er­ate light­ing and shad­ows.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.