ZBrush How to use realism to create roles

to create any 3D role, delve into the knowledge of carving, re-topology, UV, displacement mapping and lighting, and the use of a variety of 3D applications. The case we are going to talk about today is to combine modo and zbrush®3d graphics software, and learn how to rationally set up and use displacement maps to improve the workflow. Of course, you can also use any other application to replace the steps in Modo,zbrush, as the output map can be used in any 3D software.

Setting appropriate displacement maps is tricky for any 3D artist, and they are essential in many cases, so it's important to drill down and learn how to use displacement maps when using ZBrush and other applications.

1, understand the importance of design

Before you start using any type of topology or UV, you need to have a good design. The clearer your design is, the easier it will be to operate later. If you need to change the design after the topology, UV, or texture is added to the role, the role becomes complex, so it is best not to make other changes in the design phase. In this process there is a common problem, that is easy to skip the main and secondary shapes directly into the detail section, the better your design, the more powerful the final image.

2. Using the Re-topology tool

Modo can be done in the topology, and of course you can choose other applications you like, Maya is a good choice. When you re topology, make sure the polygon is a little bigger to get more details. If you start with a small polygon, it's hard to get a clear model later.

3, the use of Udim UV mapping

When UV maps adhere to the Udim system, this means that you will not work in the negative UV space. Udim number starts with 1001, u=0,y=0, this setting can keep roles clear and better used. You can also use the Udim specification to easily export all permutation maps from ZBrush. In the figure above, the head of the model is split into two Udim, and the number of splits depends entirely on how close you are to the camera, and in actual production, a complete role may have more than 50-100 Udim.

4. Projecting the sculpture onto a clear model

To project a sculpture onto a clear model, you must subdivide the model to the highest level, which is ideal for 2.006 billion polygons. Next, go to store morph Target (using the bottom button of the interface) and create layers at the highest level to make sure that only the subtool you want to shadow can be visible, and cover areas such as lips, eyes, and cavities that are not properly projected. Then, click Tool>subtool>project>projectall in turn, and remember to set the PA blur-amount to 0 (the default is 10). Don't worry if you have an error, you can use the Morph brush to draw out the wrong area.