Some close-up renders to check SSS Step 06: Fur Some close-up renders to check SubSurface Scattering effect
#MAKING ZBRUSH CUSTOM BRUSHES SKIN#
This gives a global Illumination effect.įor the skin I created a custom shader in the following way. And one environment light with HDRi was used for light distribution from all angles.
![making zbrush custom brushes making zbrush custom brushes](https://www.zbrushcentral.com/uploads/default/original/3X/6/3/63c4df6ceef29f14f1142a535e151791b9260567.jpeg)
All the area lights attenuation is on and sampling quality is increased to 5 for quality render. Specular map was made using mask by cavity feature in ZBrush and combination of displacement map. Made different color variation of the same texture and reveal each other using layer mask in different places. This way I get the vibrant color effect from the brush.īake the PolyPaint into texture and bring back to Photoshop. While texturing I used ZBrush's skinShade4 shader, using Standard brush with color spray setting and Alpha 58 or custom alpha I pick different color for different places and start painting. Step 04: Texturingīody texturing was done with brushes using various masking feature that ZBrush provides. Here is a test render with displacement only. You have to double click this shader and get into it to create all nodes.Īs I have maintained the scale of the model – which is based on real world scale – I will have less trouble to get the Displacement and detail which I already achieved in ZBrush. I Assigned the Houdini's Material Shader Builder to the body and did a special network to use the four UDIMs displacement maps with the shader. Did a basic lighting to check the Displacement and also created Mantra-PBR. I wanted to check all my Displacement details so I exported all the mesh into Houdini 14. With the help of a special workflow for UDIM in ZBrush, I output all the maps. I output all the displacement maps using following settings. Now every time we output any map, we have to show only one of these Polygroup at a time.Īt this point I was more concerned about displacement. I have to create polygroups based on these UDIMs (UV Tiles). This creature has four UDIMs so I follow a special workflow to output any map from ZBrush. The final sculpt Step 03: Displacement Output Also try to vary Z intensity while using it. For example the Smoothpeaks brush can smooth a stroke's relief details keeping the indent detail intact. Smooth brushes play an important role for creating texture and details including blending the brush strokes. Now this model is ready for skin detailing. With the unfold done, I arranged (in Maya) it into four UDIMs with some UV changes. However, before that I made the Polygroups in ZBrush based on Maya's UV seam.
![making zbrush custom brushes making zbrush custom brushes](https://i1.wp.com/www.zbrushguides.com/wp-content/uploads/2021/04/ZBrush_Custom_scar_brush_FI.jpg)
I did all the UV seams in Maya and imported it back to ZBrush to unfold the UV using ZBrush's UV master while enabling Polygroups.
![making zbrush custom brushes making zbrush custom brushes](https://i.pinimg.com/originals/bf/71/35/bf71355bface9c09eaae66d5ad7ad8c8.jpg)
Edge loops around the eye area, mouth and different joints were maintained in a way so that model can deform perfectly while animating. With the help of Maya tools and ZBrush's ZRemesher tool I finish the retopology process. With the final design done I take the mesh into Maya, match it to the real world scale and start retopology. Once I was happy with the basic shape, I added the Inflate brush into the process to change or make the shapes more appealing. To get the right shape I used Move and Clay Buildup for form building and Dam_Standard for relief and sharper detail.įrom Dynamesh128 Sphere I try to reach certain look of a character using TransPose, Move, Clay Buildup, Dam_Standard and Standard brushes with the help of masking. As it is already DynaMesh all I had to do Ctrl>Drag to blend the tube with the body. Then I used the TransPose Move tool to pull out the head and arm portion for later sculpting. With a very rough idea I started the sketching process in ZBrush using Dynamesh128 project from LightBox.įirst I tried to shape a ribcage, from there I mask neck and arm area and invert the mask. Part of the job was getting used to Houdini fur.įrom rough ZBrush sketch to final design Step 02: Modeling The intention was not to create completely furry creature but rather with a little fur to give soft feel, along with muscles and veins. Using these I tried to blend them to come up with this design.
![making zbrush custom brushes making zbrush custom brushes](https://www.zbrushcentral.com/uploads/default/original/3X/d/4/d483d9b8201e42377220e3ae23c314c9ed20cbe0.jpeg)
I gathered lots of references based on my original rough sketch, such as werewolves, Krampus, Sasquatch and lots of alien creatures. Later it was modified and finalized to the current design. The first rough thought was captured as a ZBrush quick sketch quite awhile ago. In the making of Slashcorch the Slayer I will explain how I come up with the idea for this fantasy creature and finish it up with the touch of fur and hair.