Modeling and Sculpting a Iguana using Maya, Zbrush and Substance Designer (FREE model download!)

hello everyone welcome back to my channel it's been a little while since i had any new content i'm very happy to show you my modeling process of this iguana in this video and the full model of this iguana is available for download on my gumroad page completely for free in this download you will get my maya singh my fuji brush thing and also my substance designer scene where i used to create some of the scales if you're interested in the texturing process of this iguana the course is live right now on my camera right now and i also have a 25 off with a coupon code iguana7 for the first seven days of the course release this texturing process was completely done in substance painter so you will also get the substance painters seen with this course this is a step-by-step process of the entire texturing process i recorded in real time so if you're interested in that definitely check out my gumroad page okay now let's get into the modeling process of this iguana so for the base modeling i did everything inside of maya i could have maybe sculpt the dynamesh and re-topple this but i chose to just go the traditional poly modeling route not for any special reason i've done the dynamesh and retypologize way many times in the past so this time i figure i'll just take some time model a usable base geometry and just sculpt from that as you can see i find the profile picture of the iguana and i'm using image plane to help me with modeling one thing i like to use a lot while i'm doing traditional modeling for something like this is to use the sculpting tool sometimes can be very slow try to pull points one by one with the cursor with the sculpting tool using the brush i'm basically using the same feature that maubox has so it makes the adjustments so much faster and i find that really helped me to build a very good base model during this process i constantly refer back to the side view camera so i make sure i match the image playing as closely as i can i know my final model is going to be a bit different but here at least it really helps me with proportions this is the base model after i finish the whole typology it's kind of funny looking back at this now after i finished everything the proportion actually is not that great but i guess it's a good enough star for sculpting and i probably fixed most of the problem inside of zbrush it didn't look weird on the picture i use as image plane but right now look at him the posture he almost looks like a human now it's time to start adjusting the proportion and anatomy inside of zbrush i have collected a lot of iguana references and i put them all together in a pref in a different screen and all those references are also available for download with the model files so at this point it's just pretty straightforward looking at the reference and try to fix everything wrong that i can see after spending fair amount of time sculpting this says what i have so far i haven't started doing any sort of scales this is just try to capture the basic anatomy of this iguana as much as possible now i'm happy with the basic anatomy i'm going to start to work on putting some scales on him and there are two ways i kind of want to do it one is something i've done before i'm going to import this geometry into a mari scene and i'm going to create some scales inside of substance designer and try to create a displacement map instead of mari first for this displacement creation process i want to use a decimated version of the sculpt i have so far so i can actually see all anatomy inside of mari when i work on it so i'm going to use decimation master just to reduce the amount of topology i have to using mari right now i have around 5 million polygons and that's a little bit too heavy once the decimation is finished i'm going to use merge visible to combine a version ascending tamari but definitely remember to click the uv on so the version i sent has the latest uv that i just created i'm going to import this geometry into maori by creating a brand new project and i will navigate to where i saved out the geometry after that you should be able to see your geometry inside of mario with a very basic shader on before we can do anything inside of mari though we need the basic tonable maps for some scales and i decided to create them instead of substance designer again some of the skills is following the old version i did for chameleon and some of them are new and everything is included in a download so i'm going not going to go through all the notes with you you can just download the substance designer file and take a look yourself once i exported all my substance designer tileables i'm going back to mari and going to start to tile some scales on him i have done the same process for my chameleon in another video a long time ago so the basic process is still the same first thing you want to do is to make sure that this new channel you just created where you're going to put all your tolerables is a 32-bit because at the end this map is going to be used as a displacement map inside of zbrush once i created my first merge node i named it near mouth that's because i'm going to use the tolerable that i created for specific the kind of scale that's around the mouth for this texture i'm actually not going to use a towelable for the model i'm actually just going to use projection because how the scale is laid out around the mouth is extremely specific it's just easier to actually project it probably faster too for the other area of the scale though because it's covering a lot more area and the direction of it is not as specific as this one i'm going to use tolerable to do it to try to cover as much area as possible and just going to control the area with a mask for example for this area of the scale which i see mostly underneath the mouth i use the tonneau bowl to tile the entire thing and actually adjust the direction of it to make sure i try to match the reference as much as possible and then i give it a mask so it only shows up right underneath the mouth area this is what the finished version looks like it's pretty messy i actually already tested a few times inside of a z brush some of them a little bit too strong so i adjusted them but this is really just giving me a starting point i know i will have to re-sculpt a lot inside the z brush i already tested the first displacement for the head i'm going to import the body one so to do that i'm on the body geometry first you want to make sure you have enough resolution for a displacement so i'm going to subdivide it a few more times to 2.7 million polygon maybe that's enough and i'm going to turn on texture map and i'm going to my displacement map tab before that though i want to create a new layer because i want to have a control over what i'm about to import first i'm going to export this body texture from mari after that i actually want to go to photoshop first i want to flip my texture here but i also want to do something else a lot of times when i displace my displacement from mari inside of zbrush i see a lot of artifacts and my mother friend chris told me this little trick so i have this texture from surface mimic that i purchased long time ago so apparently if i move my displacement into this surface mimic photoshop file and save out a new file from that i don't see the artifacts anymore and i'm not really sure exactly the reason for that and how why it works the way it does but it does reduce my artifacts and i have been using this little trick ever since so under the displacement map tab i navigated to the map i just saved out and i cranked up the intensity and now you can see my displacement map actually on my geometry a lot of things are looking super flat and a little bit too generic i know i will have to sculpt a lot to make it better so i dive straight into the sculpting process there's a lot of artifacts there's a lot of things i didn't want it to be there so a lot of smoothing a lot of using standard brush to refine the shape and actually i ended up having to erase a giant chunk of area because the scale just does not look like the reference at all and i did hand sculpt some area as well at the end of the day subject like this has always been somewhat harder subject to do the scales do have a pattern in different area but at the same time every scale is different in nature so try to capture that is actually a lot of work to be honest i think my initial displays quality was pretty bad maybe i should have made a better scales from substance designer so i decided to use another method i decided to use alphas as well to help me make the scales a little bit more customized because i'm lazy i actually purchased a pack of alpha from our station it's working pretty well for me so definitely go check out this artist's page i will link this page down below in the description i was especially unhappy with what's on the back of the head so i'm actually gonna use a morph brush to reverse it back to before there's any displacement and i'm going to try out one of the alphas i just purchased so i'm just loading it into a standard brush and drag and drop i think this will give me a slight better base i will still need to sculpt afterwards once i've done certain amount of sculpting i also like to test my current sculpt inside a substance painter as well so i would export a low resolution mesh and bake the high resolution detail on top and i will try to throw some very simple material on it just to see what kind of like curvature and cavity i can get from the current sculpt and maybe possibly i will have to improve it to guarantee that the texturing process is going to be easy this is not really part of the modeling process i'm just thinking a little bit ahead as a texture artist i know i will texture everything inside a substance painter for this and what kind of bake i can get from the current sculpt is extremely important i just want to make sure that is all good before i move on to the next step after all the sculpting this is what it looks like there is couple spots i think it looks pretty wrong especially the area right behind the eyes i don't think the scale should be laying in such direction but at this point i'm just so tired from it i want to move on from it and i want to start the texturing process one last thing we have to do before we can start texturing are the eye geometry so i'm building this little two flash pieces right at the corner of the eyeball i think you see that in reptile a lot this kind of anatomy after that i created a pretty simple disc for the iris color and also the black area in the center of the iris originally the center is round i'm just going to use a sculpting brush to make it more of a football shape i find that's one of the biggest characteristics of iguana how is the iris is different from maybe like a human iris after that is done i will put it in place and the only other structure this eye has is just a sphere which is going to be the transparent area of the eye and that is everything i've done for the modeling for this iguana it's just a quick run-through of the major steps i hope you got something from this and if you liked the video click the thumbs up and subscribe to my channel i will see you guys in the next one

Channel: Artruism Digital

Views: 37,155

Keywords: substance painter, substance painter tutorial, substance painter tutorial beginner, substance painter 2021, zbrush, zbrush tutorial, zbrush 2021.6, zbrush beginner tutorial, zbrush timelapse, 3d video, 3d vr, nft, zbrush character modeling, substance painter character, substance painter character texturing, substance painter stylized, substance painter blender, substance painter realistic skin, substance painter creature tutorial, creature texturing in substance painter

Id: 9k9tUYfywTQ

Length: 12min 36sec (756 seconds)

Published: Mon Jul 26 2021