Over the past 6 months or so I've taken a detour from the 3D art world and been focusing on more traditional drawing. I have a habit of doing things backwards in the creative world so I felt like my traditional art skills could do with some practice and I must say I've really enjoyed the simplistic feel of pencil and paper.

I also recently explored some digital painting in photoshop using my Wacom tablet and it was a lot of fun. I have intermediate Photoshop skills which helped at lot when getting started but I also found a lot of inspiration and tips on http://www.ctrlpaint.com/ which has some amazingly simple free videos which breakdown digital painting techniques. I strongly recommend this for anyone looking to get started with digital painting in Photoshop!

I'm expanding my blog site to include some samples of my digital painting and traditional drawing work so be sure to check back.

For now here is my first completed digital painting!



Most 3D artists would agree the creating solid UVWs is critical, but also sucks balls. For me personally, anyway that I can get decent UVs created in the fast possible time is a winner!

If you are working with Zbrush and 3ds Max this workflow is fast and can be useful for a lot of situations.

1 - GoZ
Make sure your GoZ is setup between Zbrush and Max and make sure it is working correctly so you can freely send meshes between the two software packages.

2 - Setup Seams
Zbrush's UV Master is awesome at unwrapping meshes with little or no UV distortion. Where is fails is creating seams in the right places! You can use the control painting options, but I find this barely works at directing where the seams will be. So the best option for seams is in Max.

Import your low poly mesh into Max and apply a UVW Unwrap modifier. Then create the seams in the places that you would like. E.g. inside of the legs of a character model or any 'unseen' places. Once the seam are created you can just select the whole model an 'quick peel' this will create some UV islands, but the UVs will be distorted...but thats ok because we'll get Zbrush to unwrap for us.

3 - UV Master in Zbrush
Use GoZ to send the Max mesh with the seams back into Zbrush. From there open UV master and ensure you have 'Use existing seams' on. Click unwrap and your done, if you flatten the model in Zbrush you will see it has nicely unwrapped the model using all the seams you setup in Max!

4 - Pack the UVWs
You could be happy with the process at step 3, but if you want to arrange the UV islands for painting textures etc, simply GoZ the mesh back to max, apply the UVW Unwrap modifier, open the UV editors and arrange the islands as required. Job done!

So this obviously isn't going to get 100% perfect UVs and some 'purists' would say you need to unwrap all the UVs in Max or other unwrap package to ensure perfect UVs with zero distortion.

But for most situations this is a great fast workflow that yields decent results.

Happy UV'ing!


First post for 2016!

Late last year I spend quite a bit of time in Unity and modelling some pow poly chars which I will post at some stage.

I lost a bit of motivation and inspiration so I moved onto some character concept work in Zbrush. I wanted to build something quite alien this time and I blocked out a sort of scorpion character which I think turned out well for a quick sculpt.

I've since scrapped this concept and gone with a new variation which I feel has a better impact.

I've enjoy not rushing this initial part and really taking the time to find a base that I like. It is liberating to scrap one idea and move down another path!

Here are some shots of the scorpion char and this is as far as it will go.



Managed to put in some solid time over the past couple weeks to finish this one off. I'm actually really happy with how this one turned out. I definitely feel I've improved a lot in a few areas. Always learning though, never 100% satisfied, but great to call another image done.

Workflow
Sculpting and poly-painting in Zbrush, modelling, shaders in 3dsmax and rendered in Vray. Post production in Photoshop

Things I like
I think the number one thing I like most about this project is the rendering and lighting. I went for a brighter image and used HDRI image based lighting. Definitely helped add some life to the character. My Zbrush to 3ds Max workflow is much smoother now, especially in the areas of normal maps and displacement.

Things I Dislike
Some of the smaller objects shaders and textures are not very polished, I also don't particularly like the glass shader used on the windows, I think that could have been improved. I also had issues with 3ds max hair and fur and had to resort to straight fibermesh export for the beard, but I actually think it looks ok.

Things I Learnt
Lighting would be the number one area I feel I improved. Also the SSS skin shader is also the best one I have done yet!.

Next i'm going to do some more low-poly art and work on a Unity project for a while. No doubt another character render will be on the cards at some stage.

Heres the final image.



Slowly found some time to work for on my Gnome character. I had some instability issues with Zbrush when I was trying to apply various surface noise on the hat, so I ended up going with texture based bump and displacement.

I'm now about 1/4 the way through the texturing and shaders so hopefully another update really soon.


The idea for my next image came to me from a few different points of inspiration. One part came from the mother of one of my step-daughters friends bought us a small hairy gnome ornament, it intrigued me as it had a lot of hair and a beard and its hat covered its eyes. Another part of inspiration came from chatting to some mates at the pub who were talking about living in a giant hat..all very bizarre I know! Ultimately the idea was born, I wanted to create an interesting gnome character that had a village or house in his large hat! Lets see how it turns out.

Heres a couple of WIP screens.

Building a base mesh in Zbrush.




Creating some clothes in 3ds Max.


I've been working on and off on this character for quite a number of months. I've called it done on 31st December 2014.

I feel like i'm always saying i've 'learnt a lot' doing this project. But I really have learnt a lot! From sharping up the displacement workflow, to experimenting a lot more with shaders and Vray render settings. So ultimately I think I've improved in a number of areas, but still so much more to learn and try.

I'm going to try something new to accompany my completed images, a small summary of things I've points I like, points I dislike and things I have learnt.

I'm next project will be something a little less intense and hopefully a bit more 'fun loving'. Keen to spend some time sculpting in Zbrush again!

Things I like

I'm happy with my displacement workflow this time around and I feel I can now get decent quality displacement maps out of Zbrush and rendered in 3DS Max Vray

I'm also happy with some of the shader work in the this project. Especially spent a lot of time working with the SSS2 shader for the skin.

Things I Dislike

Hair! Hair was definitely a challenge and I spent a lot of time testing different work flows for hair. In this project I settled with a mix of 3ds Max Hair & Fur modifier and also exported Zbrush Fibermesh.

The character also has very little hair because I was not happy with any other hair styles I came up with.

I also had trouble with post production again and still couldn't get multiple render elements to work as layers in Photoshop or After Effects. I also find that by that stage of a project i'm usually ready to move on. I'll need to do some more research in this area.

Things I Learnt

I learnt a lot about Vray in this project and many different render settings and parameters and how they effect the final look. I also spent a lot more time playing with shaders and textures.




I've called this post 'Cheap Hair & Fur' for the simple fact that creating decent hair systems in various cgi packages generally involves purchasing some pricey addon. E.g. HairFarm.

While i'm sure these addons make life easier I wanted to experiment with some workflows that used some of the inbuilt tools available in the software packages I use already. That being Zbrush and 3ds Max.

In the past I have experimented with Zbrushes fibermesh. This can get some pretty cool results and I love that you can polypaint straight onto the fiber.

Basically the Fibermesh workflow involves masking areas of your mesh from where you would like the fiber/hair to grow and then using the various 'grooming' brushes to style the hair. This is the area in which is lacking, the styling. The grooming brushes seem to be a brute force styling process which doesn't allow to much control. You are also stuck to rendering your Fibermesh in Zbrush.

One tip i'd like to share for fiber mesh is to split your desired hairline into multiple polygroups to help with the styling process, much how real hair grows.

Here is an example of grouping the mesh in preparation for growing Fibermesh.



Now the next hair workflow I have been experimenting with is the native Hair and Fur modifier in 3ds Max. I must say I've never explored this in detail because I had read, more than once, that it is not worth any time. But I must say its actually a fairly robust system.

For one, you can render it in either Mental Ray or Vray my renderer of choice. The styling tools are very handy and have lots of options to tweak your hair to get the style and look you want. And you can also apply specialized Vray materials to the hair. The speed of the renders during my testing were also quite decent.

If you are rendering a hi-poly model in 3ds max I recommend creating a low poly proxy as the mesh to which you will 'grow' the hair. I found using the free form poly tools and drawing a low poly mesh over the hi-poly model a good way to work. This makes it easy to adjust the hairline as well.


Once the hairline base has been created we can apply the Hair and Fur modifier. Using the styling tools i found it relatively easy to get a hair style I was happy with. Its not perfect but with a bit of playing around you can get some cool styles. Parameters such as Hair Tip and Root thickness and Hair Count will play a big part in how the rendered hair looks. You can also use the extra features such as Flyaway to get a more realistic look. I suggest playing with them all. See my settings below.


Here is what the hairline mesh looks like with the styled Hair and Fur modifier applied in the view port.


Finally, as I am rendering in Vray I applied a Vray material to the Hair and Fur modifier. This greatly helps speed up the render time. I used the VRayHairMtl as the base shader and I applied the VrayHairInfoTex map to the transmission_texture slot to give some variance in the hair shader, otherwise all the hairs would look the same.



Here are the settings I used for the VrayHairInfoTex. Basically this will blend between two colours along the strand of each hair. Adjusting the bias parameter will affect the distance before the blend. Again experimenting with various settings can produce vastly different results.




And here is a test render of the Hair and Fur on my model.










Been jumping around on a few projects lately and dam Elder Scrolls Online as also drawn my attention a bit too much!

But I'm working on a project that will involve many different scenes. I just wanted to make a quick post if even for my own benefit of a couple lighting only indoor shots rendered in Vray.

I'm in the process of texturing now and I also have a character from Zbrush I will be putting in the scene as well.



Here are 3 viking speed sculpts I did about a month ago. The object and the current project I'm working on is taking one of these concepts and re-topo to a game suitable model, something fairly low-poly..under 5k polys. The hand painting the textures, I'm also doing a lot more tradition drawing lately, anything to help strengthen my art skills.

Here the viking concepts.


I finished my latest image about 2 weeks ago. The total process for this one was definitely longer, especially since I tried out a few sculpts first to find a direction I wanted to follow. Was a fun project to work on and I learnt alot about vray and shaders in the one..

Some more low poly stuff is next in line.

Heres the final render.


I've finished my 'thumbnails' for my latest zbrush project. I do like the idea behind 'thumbnails' and it definitely helps with the create process in the early stages and helps lock down a more solid design base. Following the instruction from my Bryan Wynia video, he used photoshop to extend the thumbnails, which I have also done, but I feel my sculpting is a lot stronger than my drawing.. I also didn't do as many, only 4 in this instance.

I've decided to go with number 1 below.


Hey all, so i'm back in Zbrush after a bit of a break playing with Unity.
I've been following some tutorial videos on CGSociety by Byran Wynia.  He uses an interesting concept called 'Thumb Nailing' which basically involves speed sculpting three ideas in Zbrush then using photoshop to paint over so you ultimately are left with 20 or so thumb nail images of potential designs. I really like this idea and I hope I can come up with some cool concepts.

I'm going with the idea of an 'Alien host' I want to make something really confronting and shocking. So far I've completed 2 sculpts and I'm excited to do the third.

Heres a quick look at the speed sculpts so far!





Lately I've been spending a lot of time working on a Unity3D project, not only from a texturing and modelling point of view but also from a software coding point of view. Its been years since I actually wrote any decent code but I must say I still remember quite a bit and I've managed to pick up a lot of C# in Unity really quickly.

I'm currently pro-typing my own game, possibly for a mobile platform, if I can get something to a state that I'm happy with I will approach a few of my software developer mates and see if we can take it all the way.

But in the mean time here is a little sample of a low viking character I created for the unity project.

Low Poly Viking


Hand Painted Texture



 
After finishing my goblin project, which was all about high-res detail and epic render times, i've turned my attention back to low poly work for a Unity 3D project I'm working on.

I'll definitely get back to the high res stuff soon though as I have an idea in mind for my next project! But for now i'm working on a simple low poly character, i'm again tackling the hand painted textures, which is the biggest challenge for me.

But I'm always so impressed by how cool some of those textures can look. I'll post some WIP shots in a few days, but for now I want to leave you with this little gem I found!

You may note that in 3ds max when working with textures, they appear lower resolution in the view-port window. This isn't so bad when you are working on a rendered piece but if you are creating real-time art for a game engine you'll want to see your textures in high quality in the view port. This little max script lets you control it all via a handle little UI that you can make to a menu or keyboard short cut.

Nitrous Texture Tweaker 


I finally completed my goblin prison warden scene. This final render was constructed with Zbrush, 3DS Max, rendered with Vray and post processing in After Effects and Photoshop. The last few stages were a little bit rushed but I'm pretty happy with the final image. Full sized image here



Things are coming along quite nicely on this project, I've learnt SO much!! This test render actually marks quite a turning point in my creative development.
I have now ironed out my Zbrush to 3DS Max workflow. Displacement with Vray works really well if the settings are perfect!
I'll be sure to added some detailed information under the Learning section of this blog relating to displacement once i've finished this project.
So the scene and all the modelling is done! (minus) the eyes for my character.
From here i'll be experimenting further with rendering in Vray and moving onto textures and materials!

Still plugging away at my goblin prison project. I've now pretty much completed most of my Zbrush work for this phase and I'm happy to say I've finally bedded down my workflow of Zbrush to 3dsmax! This has taken a lot of time, experimenting reading etc, but I now have a method that can get great results in Vray for 3dsmax! Looking forward to some great renders!

As a side note I've read a lot of tutorials and posts stating that Zbrushs UV workflow doesn't yield good results, especially when using displacement maps. I must say I don't agree. At least in this project using UV master or even the AUVTiles has worked nicely, even with poly painted textures. Still, having said that, if you are painting textures in 2D say in photoshop then you'll need better UV layouts than the ones Zbrush generates.

So to show off my new workflow, here is some quick Vray renders of the goblins accessories, all using displacement maps on low poly meshes and also using poly painted textures.

Dagger in Sheath


Pants and Belt


Leather Shawl 


Leather Cap


Bone Pendant 


I've been experimenting a lot with Vray in 3DS Max, a renderer that I have not had much experience in. The main reason why I started looking at this render was I found an amazing site that has a perfect displacement from Zbrush to Vray workflow.

This area was a big unknown for me as I have never taken anything from zbrush into 3dsmax before, so I needed to bed down my workflow before I could fully commit to finalizing everything in zbrush.

The artist who put together this tutorial is Akin Bilgic and the workflow can be found here http://www.cggallery.com/tutorials/displacement/

He also has some really great work worth checking out.

So now i'm going on with creating the accessories for my goblin!

Heres some Vray test renders as well.

Vray Test Render - No displacement, lighting test


Vray Test Render - Subsurface Scattering and Displacement


Been a while between posts, but nothing new there. I've been working on a new project and I said this before but this time it is going to be a lengthy and more complex project. I'm not going to give too much away but I plan to render the final scene out in 3DS Max. I'll also sculpt some parts in Zbrush so there will be a big learning curve on the pipeline between the two systems,

I've been following some sculpting tutorials on Digital Tutors and I've pretty much completed the base sculpt which as I hope you can see is a goblin. 

I wanted this character to be frail and emaciated, as opposed to the typical bulky warrior type. I also wanted him to be old, which will hopefully set off the entire scene nicely.

Heres a few WIP shots then a test render of the naked goblin at the end.

Accessories and 3DS Max testing next!

Initial base mesh with minor sculpting


Some more sculpted details


Adding gums and teeth


More detail, sub div 4 here I think.


Base polypaint


ZBrush Render


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