The Art of Rafael Grassetti - 2019 ZBrush Summit

I have the gentleman I'm about to present has tremendous following as you can see we're it like now it's like beyond standing room they're actually sitting on the ground they've come to see to see you do your thing it's you're an old-time buddy of mine so it's my pleasure to introduce you without further ado Raphael grazetti make some noise there you go thank you it's good to see you oh okay we good yeah all right it's better more good bad good all right thanks for coming guys it's been a couple years since we've done this I think so I brought a lot of stuff I'm not gonna be showing much inside of ZBrush I did record a lot of things I've tried to do this presentation before and some people might be here that seeing this and it was a lot of stuff very hard to go through everything so I apologize if I'm going too fast or too slow and it's a few things but I'm gonna try to just kind of catch you up on a lot of things that I've been up to in the past year or a couple years more like the past year to be honest because uh you know finish the finish go to war it's been a year a little over the year over a year but it feels like in a while you know well it feels like years to me it feels like more than more than one year but I want to touch base on that a little bit and then just jump in on more the personal work that I've been up to this past year I've been doing a lot of stuff and we can kind of talk about why and some of the things that I've been trying I brought Yoshimitsu project so we can take a look and go through all the design process that that I did that and time-lapse of everything and that's why it's gonna be crazy fast so we can talk about a little bit of the why and and behind the scenes I brought a lot of the a lot of my personal projects to talk about the rendering process things that I've been trying things that I find useful and and why I'm doing certain things and we're going to talk about 2d printing that's kind of the new thing for me for the for this past few months and I want to share with you guys some of the things that I found and things that I've been trying so yeah that's insane it's a lot of stuff and we only have an hour I thought we could have an hour and a half I don't know if we gonna have questions or not but we'll find out at the end of this so yeah for nice so I you know the big guy I want to just talk the reason I wanted to talk about go to war or at least address it is for you guys to at least talk about the process and the differences that I've been having with this versus my personal work a lot of this stuff like takes a long time yeah I spent more than a year working on this guy and in a lot of people that might see my work online personal work and in the things that I've doing like a day a couple days you know I think like you know a kratos would take a couple days and it took like more than a year to figure out the design to build this thing from scratch we went through the you know all the anatomy everything sculpted in ZBrush we did the blend shapes so the main tool that we use here for what ZBrush but of course for those who work in the game industry know that there's a lot more that goes behind just a ZBrush sculpt we actually did a talk beginning of this year or last year here about all this stuff so make sure to check that out if you haven't yet just kind of talk about like you know the process for the game a lot of the early explorations I had a chance to do a lot of clay sculpts early on so there was a lot of fun a lot of fun trying to figure out the the new IP trying to figure out like the characters and everything and working in parallel with ZBrush and then you know working with the team and finishing out the assets if you guys have any any questions you know after the show I'll be happy to answer well yeah I just want to brought these to kind of illustrate that these take a long time you know from the design to the 3d to the sculpt then to lope to the low-poly we do the low poly Maya or topogun some guys use topogun to the baking and X normal at a time a lot of people are migrating to like substance doing bake bakes and substance and all that but I you know used a lot of X normal I don't have time to do a lot of these things anymore since I've been kind of changing I guess roll inside the studio but these are some of the paths I had a chance to create from the game and this was super fun to a lot of ZBrush very fun stuff so yeah throughout that it was you know around three three to four years of production I made tons of characters for this game so this is just a few of them so that brings me to more the personal work after we shipped that game and I was moving more to a more of a director's role like a lead lead role I was doing less and less art throughout the you know that time so I start focusing a lot more and how can I convey an idea or express myself without having to spend you know weeks and months inside of ZBrush to finish our character or to give feedback so I started to do a lot more the quick sketches and I at work I was doing a lot more paint overs giving feedback and working closely to you know visit of artists and its kind of seeing what's out there and what people have been using a lot of concept art is a pretty much all of them are using more 3d tools these you know this base things are changing so I'm starting to just try try out some some stuff for those who follow my work for years know that I've been doing a lot of a lot of ZBrush renders throw my my career and just trying stuff working with the guys at pixologic and and trying to figure out best ways to showcase the models inside of ZBrush these are ZBrush renders so doing a lot of passes and then composing them back in Photoshop so every model that I do I try to try something new or try a different paths that might bring something to to you know to the end result so I brought these to show you guys just the passes later on so then I started to do a lot more just two days projects like these were sculpted in one day and then the other day was rendering in that stuff one should really try to get the idea out there I brought these to show you guys how far I went into the sculpt to then like the more I the more I was doing it the more I was realizing how much you need to push and what how much I was comfortable inside of Photoshop or you know because I didn't start doing renderings outside of ZBrush but how much I was comfortable outside of ZBrush to then put a stop in it and know the end what the end result would be and you know metals trying out different things trying out skin which is kind of tricky to do in zebra then went to like same thing like maybe China the more I die tomorrow I was doing these the more I was understanding the pipeline that I needed to have and the more I was building up a library of things that I needed so like hands hair faces I was kind of building up their library to be able to pull off like bigger projects and things like that Anatomy models I didn't bring that into this presentation but that the Avengers one like if you turn it on the side of the camera it was all it was all floating and broken and all that stuff so a lot of the stuff was more on that with that kind of printed printed or printed ad mindset where things are made for that shot and I'm rendering that and painting that so there's a lot more of a design piece a concept or piece then you know then a 3d final project and that's the one thing in the reason I you know we're talking about this stuff and I wanted to kind of always touch on that is the differences between concept art and character in general right like for when I started my career when I when I still do work as a character artist I think there's very different from the stuff that I've been doing you know today I'm definitely going more on the design concept or kind of process where before you know going through sculpting the character topology baek's being able to reproduce a concept that already exists those things are always the things that are very important for a character artists so just keep that in mind you know understanding what it takes and how are you gonna build up a portfolio if you are starting because it's very easy to get lost on things like this and this has its place for a character is of course because when I'm when I'm doing these I'm training my artistic eye my design sense like Oh everything composition it's super valuable and and I started doing these because I felt that there was a gap in my knowledge for that so just keep an eye or keeping in mind that a lot of the things that I was doing early on when building a portfolio building a character from scratch trying to show the workflow and the tech aspects of everything that is important for those who are trying to get a job as a character artists so just just keep that in mind then I don't want to go too deep into like the social media stuff and and the reason why I was doing certain things but we're gonna talk a little bit about that throughout the presentation because I started doing a lot more things that were there was in the pop culture that I was enjoying at the time I have early a young kid that is also into a lot of those things so I did start doing a lot more the things that I that I'm passionate about and I talk a lot about that at the podcast that we did early early today we're you know some of the reasons why I've been doing or or moving into more this kind of stuff because it's something that I'm passionate about like when I started in advertising I did all tons of this stuff like when you when you work at advertising especially the time that I was at advertising was a lot of the time where the little mascots were very popular on TV so I was doing a lot of that back then I don't even know if you call it mascots in in in the US but I guess so that was kind of like me going back a little bit and and trying that stuff like I still think I need improve a lot on that on just a stylized kind of genre and I'm gonna try to do more especially designing stuff myself all these are we creations of existing IPs but I want to try to do more and create a stuff for myself and the only way I'm gonna do that is by practicing and understanding when I'm doing these I'm studying it behind the scenes like what like why is he working what things that are they are more relevant the same thing for these guys there's definitely understanding like what what do I need to do to make it presentable how far do I need to push what is what is cute was creepy what's the in-between so even when I started these are this is about like two to three hours each to try to get it the sculpt and the painting painting on top so I got really fast on just sketching out the characters and then bringing Photoshop and and I just painting on top and presenting it so this was kind of a challenge that I said myself to do early this year I think I'm made like what is it twenty-something of them say you I'll make a makeup very intim that's you oh yeah but these are super fun and in it it kind of started as a simple just kind of you know fun task but I learned so much and I definitely can see the improvement from when I started to where I am now and how fast I can pull these off so I was doing like when I started I already had a few done because I sent myself to post it it every day these were kind of like dailies that I was doing and I the way I was able to pull that off as like through the weekend I will do three or four of them and then throughout the week I was I would do like one or two to be able to to you know make sure I was able to post it every day because with work and family and all that stuff is very hard to then dedicate every single day to to these things yeah well super fun we can talk more about that later on and also doing like just Quaker studies on trying to get a bust do a render in ZBrush and then starting or just to just so be clear I forgot and these are later on this end a year I was doing a lot of ZBrush renders these were done in Arnold and in 3dsmax so that's another thing that I've been exploring is just setting up scenes too because these are a little later than the smash it's kind of auto or out of order and these are Arnold renders and I've been setting up scene setting up lights again trying to set up that library that's easy as a concept artists or visit of artists to like pitch ideas and being able to drop in the model and have it and set up ready to go like I'm not for every scene setting it up and we talk more about that the back today these guys or rendering ZBrush so it's the same thing like rendering passes composing in Photoshop and then the final paint job is like minimal but it helps a lot I think when we get to that point where the detail and the precision is the important thing it usually takes the longest right so for me being able to sketch it and get it close to what it needs to be it's fast you fast and it's something that I think I've done it enough that I can get to a result that I'm happy with faster than been before but when to get to that point it like finish it out you know doing all that you know the the saliva and all that stuff like that stuff takes time especially if you're gonna render that inside of ZBrush so that's the kind of stuff that I'm doing outside of ZBrush a lot of the cleanup especially on the hard surface it takes time to clean up stuff to get it to be perfect so a lot of the things that I'm doing in Photoshop is polishing it up doing the final touches and I'll show you in a second this is a little more recent stuff that I've been messing with and it's same thing like I did this first from ZBrush rendering ZBrush and I did a lot of a paint over on top to get changes that I wanted to make in the design this is kind of a regional design then straight in ZBrush so I was doing similar to the paint overs that I do for like other artists I'm trying to do that for myself and put it in Photoshop do some quick notes and and bring in references compose it come up with a final design and then I'll bring that back to ZBrush and then Reese coped it apply the changes and this was render in 3ds max using Arnold and then a final touch is done in Photoshop so there's you know a lot of things I feel that now I'm getting to a point where that cycle of like that process is becoming a little bit easier so I can do these a lot faster and then this guy a very similar process this was more of a kind of design challenge that I set myself to do a little more complex than some of the other characters like this definitely took more time than a couple of days and then you know same thing this was rendering ZBrush very very straightforward but I want to show you guys a little trick some tricks that I've been using on these to be able to get to this result inside of ZBrush but before that I brought just just behind the scenes of how I got to that point so for those like this is a pure F board and this is a very simple one for those who haven't used pure F before is kind of reference layout software that's very very easy to use user friendly and free you can get it so this was a redesign of the Yoshi the classic Yoshi meets another recent ones those are kind of bad but the old Tekken the Tekken 3 the good stuff the the sword pounding guy to get it to make it a new take like this is a lot of the things that I've been doing recently professionally as well so you can kind of have an idea of how I started to think about this I always have and this is a very kind of simple board to be honest like some of the other projects that I've done have massive massive boards so this guy if you if you know if you notice there is you start I start with a this work even better for those at home so I started with kind of like the main reference and even if this wasn't a redesign task if this was more of a just existing concept or a new concept I'm always gonna have a main inspiration for for the project and this is kind of what this is right here then I'll start having like some some real like real materials real reference some rendering shaders that I like I'd like to have everything kind of ready to go and and almost taking what's in my head and putting in in paper per se of like here's everything that I'm gonna reference to when I'm going through this so if it is modeling I have reference for models 3d models to get to the that got to the same quality that I've that I'm trying to get to like same thing down here these are more 3d models reference 2d more reference then I have real life reference and that goes for like real real life materials too like real armor anything that will help me to bring this to a more realistic take on it they don't have concept art that really inspired the some of the tweaks that I'm gonna make to the design and some of the references that I'm gonna bring bringing to you and then you know again I'll have shaders renders and then I'll have kind of final presentation which is kind of I can't really zoom in because it's just a photo but kind of final presentation of how I want to present this so if you can if you put a lot of these together you do start seeing where what I end up with and I try to do this for every project just like get lost especially if I'm trying to execute this on a very short time I'm trying to get like this this this and this let go that's execution and then I'm done if I start to like be unhappy with certain things and I have to go back make changes like that of course it's gonna start taking it's gonna take a year and a half like kratos dead and that's why it took that long so yeah this is the time-lapse of everything you know I want to point out a few different things while we watch this but it's very fast so maybe we can play twice if it's too fast but I started with a the bass match that I have of my human character that I made for the Anatomy it's like Anatomy base base mesh and then from from there I'm like sketching out a lot of things inside of that with using clay very straightforward I'm trying to get a lot of the shapes on top of the model I'm not like a painting a sphere a painting objects trying to position in place I'm sculpting it on top of a mannequin right and then from that I'm describing it's gonna be fast from that I'm gonna start extracting stuff from the from that mesh and that's the way I tend to that's how I find to be very fast blocking out a lot of these things that have a lot of accessories it's because I'm already have things in place they already have the shape that I want all that I'm doing is extracting zremesh finishing it out and I'm doing that for everything this way when I'm get to that point everything is in place everything is ready to go then after that is just detailing so I'll play the video we'll talk about what what's happening so you see like from the from the base mesh using masks I'm using clay I'm sculpting a lot of things trying to block everything from that from that piece the things that I'm extracting is because I use a lot of dynamesh when I'm doing these and I start extracting pieces so the dynamesh doesn't overlap or destroy what's been done so a lot of it like for example those plates of course they need to be able to separate piece because if I start Dinah meshing what's what's up there is gonna start merging all those pieces together so I'm still being smart on what I'm doing but it's very much like doing on top of that piece so for now like now I'm just extracting things use a lot of masking extracted that face I'm sculpting that mask and the brushes here are very very straightforward move clay standard that's all that's all I need so we're doing a lot of like trying to get the shape of course I'm looking at references while I'm doing this too fast and there's only like twice as fast as its speed up twice twice I think no it's like 30 times but you can see now like after I have all the pieces then this is there still merge together so like all that that I'm doing is like by masking so for like that trip the trapezius piece to that chest piece they're all one piece and I'm masking it pushing it out trying to extrude it but keeping in keeping within that same mesh as much as I can I try to avoid splitting it up too much unless I really needed to refine it or zremesh it or do something like that so after I have this blocked out then I did a transpose master to just get proportions right and then from now I'm gonna start really going piece by piece and doing a similar thing that I did to the whole thing but I'm doing it piece by piece and that's when we start getting into like the the finer details or the smaller pieces you know originally originally I did this piece to try to just do a concept piece so wasn't thinking too much about topology or or anything to be honest like even things clipping through the face that he doesn't even fit inside that mask is just he's just part of it because I then I was gonna paint on top but the more I was doing it the more I just decided to do as much as I can to not paint or paint the minimum that I had to just to try to get the quality a little higher than the stuff that I was doing early on so a lot of these things I'm using promotes what was already there and then I'm extracting it cleaning it up now you can see like from that chess piece now as a time I'm really taking that subtool and splitting into parts and then from there I can zremesh I can clean it I can do a lot of things and this is very dirty very dirty work if you're at the studio and you're doing this kind of stuff it's not cool but again this is just to try to get the idea fast I'm closing the fist because I want to again make it make it fast make it easier here I'm doing the ropes so there one roll of ropes and I'm duplicating it creating a chain or a rope not a chain and then from there I dynamesh it all together and then I'm just banging it in place so very straightforward here simple details when we get to this at this point is patience and a lot of doing the same thing that we've doing before but like every time you go in first path second path surpass like you just get deeper and deeper into that we find him at the refinement of the piece but it's the same process you just you just do spend more time on it that's the thing and you can see I'm not really spending a lot of time in just one piece that's the super that is super important especially if you're designing it in the fly without a concept art I'm going overall looking at everything then going back spending a time on a piece then putting a pause moving into the whole thing looking at everything going to another piece like if I spend just a lot of time on this chess piece and then try to make that perfect everything else will not be done or not to par with with that chess piece and then later if I want to change it then I'll be resistance to change changing it because I spend a lot of time on it so definitely bouncing around going back and forth trying different things is super important there's a cool little trick to to when I get to this point of just finishing out a lot of the models I do a mass by cavity and invert that and just a little inflate and that sharpens that everything like that's usually if you're trying to finish out a model as a this cool little trick to just get it to look look finish that's what I'm doing here so I'm not really sculpting a lot of things should have put a message of seizures at the beginning of this she's watching for too long well yeah we trying to go fast cuz we have we have a bunch of stuff to talk about but hope this makes sense a lot of it now is like I'm extracting it from existing models bringing in tubes and why not when we got to this this point is a lot of like I found a language that was working it was kind of a challenging part to this just because there's not a lot of armors that have this kind of detail when you start looking into Chinese armors and and Japanese this is a lot more Japanese but there's a lot of Chinese influence on the own armor and that's when the reference from those historical references of armors I come in a place of like trying to find that language and I try to replicate some of the Chinese stuff but it was kind of tricky to do it on a shoulder pad since there's kind of a more gamey shoulder pad so I think finding that language this was more part of the oath at all design so I was trying to reflect that into some of the other pieces but it was it was a kind of a a little bit of a challenge to get to find something L was working you know nobody wants to do legs like so this is kind of a boring part too let's try to get get it done I know even in the even in the 3d is sucks right so the thing is here so here's a composed render that I did for that for that final piece so this is not just it is kind of a straight out of ZBrush but the the only thing that's tough in ZBrush so you can when you do like mad caps and you paint on on different objects so let's say I have a metal piece a metal chess piece and I have a cloth neck I can assign materials to those to those objects but then I kind of lose a little bit of the control later on so that when I do these things I try to have a lot of contour a lot of control inside of Photoshop so I do render passes in ZBrush is very fast to render so I do a lot of different passes of like I'll do a metal shader and then I'll do a cloth shader I'll do a skin I do a standard and I do all kinds of lighting scenarios and then later I'll bring that in Photoshop you know compose everything and then I'll do a mask id just with like flat colors if you've seen there's a tons of like stuff that I've done before you can find of that process and a lot of people use this process of like doing IDs and doing all these render passes and then I bring into Photoshop and then with all the the light directions that I have I can start you know slowly changing the opacity and changing that light direction which gives me the freedom to later on change the style of lighting that I want so this is just kind of a basic lighting that has a little bit of GI fake because I did a bunch of like different lights and they're they're little some of them are kind of I guess bleeding into the other passes to give that GI feeling then from here what I would do is I'll also render all those passes with no specular I put this back to like a minimum maybe like 2 or 3 or 4 just have a little bit but nothing that's so I'll go back nothing that's super there is back here for sure of course but it's very minimal and then I'll do the render spec pass is separate because then I can come in and with a kind of a black and if I put my diffuse to black and I only do the spec I can compose it later with a screen mode and get that spec to pop and then because we can't really paint any specular inside of ZBrush yet now that I know that we can but maybe maybe don't hear me Edmund then in Photoshop I have that control I can come in with textures I can throw in masks on top of that spec map and create a little bit of that spec specular map information that I wouldn't be able to do inside of ZBrush this year I'm just flipping back and forth and you can see it's very subtle but I'll do what I'll do is I'll do a bottom light then I'll compose it I'll make it a red kind of bottom light again with the dark diffuse there's a very dark light just a little bounce red bounce there bring this to life a little bit so that's kind of like bounce bounce to the bottom there and then I'll do a couple back lights and those are very straightforward just kind of coming in with the screen very contrasty and then screen mode to bring the backlight and then here's what starts to get interesting from here to here it's all pretty much the same passes that I have but now because I have everything available I can come in and start playing with the speck maybe bringing that all those lights down so the SPAC pops and then I'll force that back light even more so I can see like backlight you know very rim light only on the edge and then I'll bring that rim light on the side and so everything is available in the way I'm structuring my layers I can easily create a lot of different lighting scenarios with the same setup and then from here to here what I'm using it is a the z-depth pass will give me so I can do up deathful feel like you know all those kinds of things I can also use to change the focus a little bit of the model and bring in bringing the focus to the head and darkening the rest so I'll put the z-depth on top of everything and then from here to here a little level levels correction and then from this is what I what I ended up with in ZBrush purely ZBrush and then from here to here is more of a color correction just a little bit of the proportions on the legs since we didn't spend too much time on the legs and gotta take him up a little and then doing some color adjustments and the eyes we can really do a massive in ZBrush yet what it's coming so yeah so you can see like from here to here is very subtle very subtle changes I do go in I start sharpening a lot of the details where I have to you I didn't have to you a lot on this model but you see on some of the other ones where I kind of come in start to like very very straightforward with like just lines and sharpen some of the things that that they were kind of loose all right in this guy this guy is a very different process and it was a very early on that I was trying these techniques and everything so this is you can see the difference from from that one to like kind of what we ended up in ZBrush and this is a very quicker sketch just a couple days trying to I did the whole body and then trying it out bringing into Photoshop as is the passes were kind of rough we was a lot more I wanted to practice more of the concept and drawing on these but I wanted to have a solid base I'm not the best I guess concept artists out there so very strong base to then start cleaning it up bringing photos just some you know some of the clean up some of the stuff especially on the chest you can see you know I start cleaning it up a lot of these edges so again this model was purely created as a concept art piece and then later on I finish it I printed it and I'll show you what it takes to get there in a second but yeah cleaning start cleaning it up all the lines you can see the helmet is very much of a rough sketch doesn't have a lot going on then bringing in a little bit more of the metal rendering try to change a little bit the I guess the metal how he was behaving oops all over the place so yeah changing some of the highlights really like painting try to paint light at this point adding some textures so this piece you know I love to do another one when I'm actually scope the whole thing I think you look much better but again this is was more and a lot more of a concept art piece that I put together same thing for this guy and you can see and here's kind of like the how far I was taking some of these pieces that I was spending like a day and just trying to block it out everything and again like very sketch very similar to the process that we saw in the ocean Itza but instead of like going in extracting pieces cleaning it up spending a time so probably take me a couple days to like clean up to two final but here I decided to stop and just do it just do it in Photoshop do it more as a concept art piece so here's a final kind of take on that for from the ZBrush path it was a very similar thing to do Shimizu render passes trying to get all the metals compose it getting all the backlights everything to look nice and then from here to here like that's the clean up in Photoshop so you can see I have all my information on kind of like you know the design elements and where materials were supposed to react and behave and all that stuff but you know from here to here that there is a big kind of jump and for me to get to this the only inside of ZBrush will take me some time so that's the kind of like things that I've been exploring just to try and convey an idea but still use ZBrush as the main tool to get some of these things across and if I were to go back and finish it like I did with a predator that I have a strong target to to hit so that's kind of what we're talking about for the de Nova the beginning was super rough and to get to this final quality it's kind of what what I'm talking about like going back cleaning it up so I brought just comparison of like the model for the sketch that I made just to try to get versus like the final that I use it a print and everything so here's all like I'm doing everything with masks doing it brushes a lot of like the slash brush to create those lines masking to try to get it as clean as I could but to get to here to here here I'm extracting everything I'm trying to clean up with with H polish try to make everything perfect you can see the difference on the helmet what everything like I had a very strong target to go to try to hit like even the back I didn't design on that sketch so all this was like doing like loops masking extracting everything inside of ZBrush of trying to try to clean up and then the all the patterning on the on the arms and abs it's all like just alpha so I'll do a mask on that's the area apply an alpha using what do we call it surface detail something like that so what I wanted to show here you guys is that for this to be ready to print what I'm looking for is that the mesh is clean from the outside so even though I scoped it all this using separate pieces pieces separate meshes before I send it to print this stuff I'm looking into the inside make sure everything is combined I'm using dynamesh to combine everything and I'm going on the inside with the double-sided in looking at the inside see if there's any floating mesh see if there's any thing that's like penetrating into each other and cleaning that up the way the way I'm cleaning that up is I'm deleting it dinah mashing it again going in just seeing if everything is a shell like if there's any anything that would create a fail print is you can find it here and I can show that by by just looking at this yoshimitsu piece so there's like the final not the final final that I sent to print but this is one of the versions that I combined everything so I call that the face was sculpted in in a lot of different pieces so here I'm going in combining into a dynamesh make sure it's all one piece and then when we look it from the inside we got to make sure it's all just a single shell when you are sculpting kind of like very dirty like I was doing it you find a lot of bad things when you get to this point that you have to clean up so what I'm looking at is like is there any piece that I was floating before I had a gap that you can see the interior like all this needs to be just a one single shell to avoid any prints so you can kind of see I think in this piece yeah because before you can see here like this piece that is just floating inside this will be floating as all the printer will try to replicate that and you most likely get a failed print when you when this happens so if you look at the actual model and you can kind of see that that piece was is all over the place because it's all like interpenetrating stuff so the reason I do although the way I do to clean this up is like I start isolating that part I'll remove it I'll delete it and then I'll dynamesh it again to a point where there's nothing left you can kind of see here just how this thing was built before you knows this is the final one but before this was kind of like very very messy and a lot of these pieces were floating penetrating within each other so when I start combining all that stuff of course I'm gonna have issues but that's kind of what I'm looking for like all these little things like make sure the nothing is floating so if you look at this one that's all combined you know looking from the inside it needs to be everything needs to be just one shell so that's kind of like from that just quick sketch to get to this point it does take a while and it's a little boring process to do but like it needs to be done and it's very straightforward like a lot more technical I'm just pretty much looking at and try to understand what the printer was gonna try to do and remove everything that's like free hanging and and that's gonna create problems so that brings us to more the 3d printing stuff that I've been doing or messing with and I got into this journey of like 3d printing this year really to try to make it more affordable for myself because I was doing a lot of like very expensive prints before and I just want to because I'm doing a lot of these sketches and try to get stuff out fast I just wanted to print stuff in heaven right and being able to like you know knock a sketch out tonight and send it to a print without worrying of like how much it was gonna cost or or if it's gonna fail in this try stuff learn so I've been messing with like a couple different printers for those of you follow me following me in social medias probably seen these but these are the main ones that have been messing with the photon s is a resin printer it's a small smaller print is there has a smaller print pad you can you can't really print stuff too big but the quality is very comparable with the highest printed result there and it's very cheap and the resin is cheap there's no assembly that needs to be done so for these sketches that I was doing and I just wanted to see like a little bus tour I want to play with it and understand a little bit more in making mistakes and all that stuff this was awesome is one of my favorite printers that I have right now and I'll show you some of the behind the scenes and and we'll talk a little bit about that the resolution is very comparable with like the high-end printers out there and he's got great resins and great support the other one that I've been doing a lot a lot of expen experiments with is the creeks reality series like the end of three the end of five the CR ten those are very similar printers and these are filament printers so you like you probably see you still see the lines but the quality is getting very good very good and this is a very cheap to 230 bucks you can buy like a big roll of filament for like 60 50 60 bucks and you can print you know tons of stuff with it so anyways the reason I want to bring this today is it's just again at least share with you guys or expose a little bit of the things that I've been playing with because I think we need to do more of that I think once I got exposed to these type of printers it kind of opened up my eyes a lot to the different side of the industry where people who are using these and trying and I think we we are at the other side of things when we are the creators and we are making these things so I think the more we get exposed to these and we try it out I think the more we're going to help for the technology to grow so oh definitely recommends you guys have the chance to to play with these these are pretty good the the ender series that there is some assembly that's needed and the learning curve is a little it takes a little while but I learned a lot more than with the resin printers because you have to know about like nozzle temperature bad temperature like if you mess with filament printers you probably know what I'm talking about but it's very rewarding like I learned a lot more about 3d printing by using one of these then you know 10 years that I've been doing this so I definitely recommend so here are some examples of the photon that's the the resin one that you can get very good qualities we're very cheap like from ground to get to this point you probably cost me like 300 bucks which is like the price of you know resin if you want to print with some some other printers so like very very user-friendly but I definitely recommend so I have a little video of some of the things that are probably seen like all my socials but this is that this is the printer kind of like in action you can kind of have an idea of like the print bed and and some of the results of the things that I've I've been getting this is pretty much like plug and play you just put the resin in and you get you know the print out so I'll be having very happy with just just being able to print something overnight without costing me more than 20 bucks you know and there's the quality with that with the printer it's like pretty impressive they have like a tons of different printers so yeah not not I mean the reason I'm bringing up this printer is because I have it but there's tons of like LCD printers out there that you could they could get your hands on for you know not to know not a lot of money so definitely recommend you guys checking it out there's a quick video of the Ender which is the filament one just to show you guys a little bit of that process which is a lot more assembly that that's needed but again very straightforward that was my dog doesn't help with the fur with the hair yeah assembly but very straightforward to put together here's a little bit of the learning curve to get things you know you know level to get here's some failed prints and you still see the lines so there's a little bit of light learning and trying to get everything leveled up and perfect but again the the the community out there is incredible like there's so much stuff out there that I that I didn't have exposure before so I definitely recommend you guys looking looking and trying to print out so many of your models because not a lot of people are doing that and there's the yoshimitsu was actually printed on that machine which is a $250 machine which is crazy to think about you know but so the technologies is changing quite fast and this is just me painting that the piece so the painting for those who probably seen in or haven't seen it I'm just using acrylics and washes and airbrushing like very very straightforward on the miniature miniature painting style so yeah so for me like even thinking about thinking back six months ago and being able to print this in a $250 machine it's like it's crazy and I very excited to like there's a lot of new printers coming out bigger printers on the with the resin LCD eco resins like I think the future is is really awesome for these for the for the technology and I think us as being on the other side have kind of the edge of like creating our own projects and being able to you know push this to the to the max so this is a little project that I did for for lightbox last month which is kind of pushing it a little bit I guess taking everything that I've been studying since to this point you know this past six months and try to combine it like I was doing it very complex piece from scratch and designing it trying to design with no concept or anything and then splitting it up into a bunch of parts I was then I was gonna challenge myself to print these on like the bigger parts printing on on the Ender the smaller parts I was gonna print on the photon and I was gonna try to sculpt a lot of things by hand and then see see how far I could push it and you know and start to combine a lot of those things so here's a little bit of that process so you see I printed the head and the two boots on the same on the same bed on the photon and then clean it up and then the quality is just you know spot-on and then I went and start printing the chest in and ER just to try to get I could possibly print this on the photon but I'll probably have to split it and I didn't want to split it and I just printed on the ender so that's the process on that and it came out again pretty spot-on too because the print is big it was easy to and you know because they have like these different printers it's all the same file I can you know they should just work then I printed their legs on I printed the arms in the Ender and then starting to put together this is kind of like daily like I'll set it I'll leave it running go to work come back and they'll be done so it's kind of like the each print took like a day day and a half and then as you noticed it would build you know the nozzle we just drop the film and build it up and print the arm nozbe so I was impressed with some of the results that I was getting with the with the Ender on this stuff like all the details are there and then I start to then push it a little bit more and then print that base like the base was massive and it was probably a mistake that I try to print that he's that big then I got a couple glocal I had to borrow his machine to try to get it printed in time for lightbox so I was printing like running a lot of printers at the same time try to get it get it to be done in time and then I decided to yeah here's one piece so I split it up had in four and that that bed is big but the head is like is like life-size like a head so just trying to like get all the pieces to print in time and then I decided to sculpt a lot of things by hand because I didn't I wasn't gonna have time to print it but again this just shows like the potential that some of these things have and then this for like very cheap being able to get this this like big piece done for you know with the with a pretty good quality so a lot of the things like very exciting for me like to being able to do a lot of these quick studies and sketches and be able to knock how a lot of models fast and be you have access to this kind of technology I think it opens up so much that I want to explore and being able to like just test out things like how what can I test and make different prototypes for different toys and statues and stuff like that and being able to design my own stuff using ZBrush evey and get from that initial sketch to clean it up and then you know make print ready and being able to you know execute it with a very short budget it's like it's very exciting so again I mean it's been all over the place but I hope it makes sense and I can probably you know try to share everything has been going on and maybe you can pick pick out a few things that maybe will help you guys somehow but that's that's it yeah okay it's too fast I get what's up time yeah of course we have time but they're gonna they're gonna maybe have questions right oh yeah let's start off by opening up the floor here inside the green-screen hangar how about one more round of applause that was great okay so any questions oh hey speak into the box speaker box okay yeah when you um hold okay it's actually a microphone check check check Hey okay so when you print a big parts like that and you want to sculpt the other ones by hand what are you using wink epoxies or a polymer clay so ever yeah epoxy monster clay but most clay doesn't harden but I do a lot more a lot more the traditional stuff that I do is in monster clay and then I use some super sculpey for things that I want to bake before the fixing stuff in the princes epoxy yeah very straightforward now firstly I want to say thank you so much for presenting this amazing word and amazing workflow thank you I was really curious when it comes to texturing do you uh do you read apologize then texture or do you use like UV master in ZBrush or how do you go about texturing alright so I do a lot of it's all poly paint so nothing have UVs even the stuff that I'm doing in in max these days I'm doing everything with a vertex color this is speed up the process so the time that it takes to like set up shaders and things like that I'm going through and doing it everything with exporting vertex and then with a plug-in I will import the poly paint inside of Max and I'll use that to drive then all people want to get in here but the shaders then do a lot of like a you know high mass so death-mask to do like cavities out of procedurally inside of mags but everything that there's no you've ease or anything it's all done in shaders here cool Arnold oh yes a what what's the rendering it's Arnold you just want to throw that box in his face louder that was a question right like what rendering speaking to the top of the bus is this it yeah okay cool cool my question was what render engine to use in 3ds max considering that mental ray oh man dead and the studio without the box but now with the box I can really say that again sorry louder louder Marley what's your engine in 3ds max yeah yeah it's Arnold there you go yeah perfect okay could've made State hey next question all right thanks hi my name's Shane a lot of your models have really great lighting in presentation can you talk a little bit more about your techniques whenever your lighting your lighting techniques yeah got it talk a little bit about your techniques I got it I got it okay all right think I mean we kind of touch base a little bit during the presentation is just more even what I'm doing in max it is a lot more of like that kind of three point light set up inside of Arnold with big kind of light boxes in presentation I mean definitely varies and to be honest I'm still trying to find like what's the best way to present some of these things I do want to do a lot more of like I guess warbling like putting environments and things like that like that's kind of the next step I think I think you know that predator like has a little bit more of that so that's kind of what I'm trying to try to do more but yeah a lot of I mean it's kind of the cliché three-point lights set up that uh that kind of varies a little bit between projects but that's kind of what what works for character is like if you sort of go too crazy like it's okay so it's it's a balance especially now going into more this concept art and and and vis there were you a lot of the times you hiding his bed is better but that goes against like the character when you just want to show off your model and it's like look at look at all this work that I put into this piece and that's one of the things that I'm trying to disconnect myself a little bit from but is it's hard I can I think my brain doesn't switch that doesn't flip that switch that easy but again yeah just trying to find like what's the best way to present it for character art I definitely like the 3-point light little some rim lights and yeah hope that answers on yeah talking to the box right there yeah the round push guys eye with your physical 3d printed models when you go to paint them are you just using an airbrush to get a matte cap on everything yeah so airbrush with acrylics the question is you have pre painting the 3d models the printed models idea airbrush and then I brush to get the base and then go into acrylics to get like all the details and then everything else just washes on top so washes to get all the details to sink in and then after just dry brushing for highlights we're like a we're like a dry brush I mean it says dry brushing yeah oh hey so when you're working on those quick sculpts they're just you know for a ideation and you know your sketches do you worry at all about topology or you know having good low subdivision levels or anything like that or just go like straight up dynamesh it straight up dynamesh and then like that's like a new saying is that straight up dynamesh dynamesh yeah yeah yeah dynamesh then polypaint on tops and then do all the render passes and then paint on photoshop on top but I do do some like depending on what it is like the zebra machine to get it somewhat clean is important but it varies yeah I think I'm getting the wheels of so that twit hold on a second I'm sorry that's exactly what you just yell it up that's good was this okay so we're gonna take it to the Twitter you know when I was a kid being a twit was something that was not you're trying not to be one but anyway that's a whole other from another time he's a Highlander this question comes from sorry this question comes from Uncle Jesse does Raphael have a favorite go-to character that he likes to design you know a favorite character that like a go to that you'd like to design other than cradles I'm sorry big I have a lot of spite of myself on my on my portfolio just cuz probably cuz it's it's faster to do yeah there's some masks and you're done okay hope we get shift gears get you to Luigi Luigi okay cool that was nice oh you want me to say Luigi no I don't want you to say anything live studio honey is like a pass any crowd around the world say Luigi I'm just kidding weird that box go okay okay yeah you're okay yeah couple more is okay yeah whoa time out a second here the gloves are off Anna what's happening just talk right into it don't be shy so you have like legendary status when it comes to discipline and time management's like you have a family you have a huge full-time job narcotics and that's how you do it Louie can you tell us pretty sure you get this question everywhere you go can you tell us a little bit more about how you are so disciplined do you think about that stuff well thank you no I think it really changes every year I feel like it doesn't it there's no like I guess real answer to like you know how or why is just more of the way I think about it as always I always start something like even if I don't want it to do any work I always start something cuz then after I start it's you know it's easy for me to go back to it but when I don't have anything started that's when I don't even want to sit down or do anything or it's very easy to go and just watch a TV or something or just rest for the day but I get more joy I get more joy when I do do stuff then I when I sit down and do nothing because I know the next day I'm like man I could have sculpt something but by now you know and when I'm doing it I'm like enough in a in the flow and I like it and I get something out of it so I just forced myself to start something I think after that it goes a lot easier and a way to to make it easier to start it's to make it whenever you or the place are you working to make it it like as comfortable as you can make it and as inviting as you can so I've one of my dreams when I was starting it was to have my own office and to have my space and be like amazing I can just shut the door and be there like that never work specially with kids and and a family so I think making it part of like more accessible when I start to bring in my kids now and to like show it to them and make it like even though it seems like I'm very strict to the schedule like I might write ooh have those openings to like make it more enjoyable and then when I have to stop and putting in the time that's when I do it and then that's when I I shut myself and like use focus booster and all that stuff that people like us don't so I used to be the non sleeping guy but now I can't either otherwise next day I'll be miserable okay cool so good question now I'm gonna go to the Twitter and then I saw you don't you worry I'm gonna toss this brick your way and I got you Doug e dougie wants to know during the high speed video demo I noticed your mesh is colorized at an early stage at what point do you choose a color palette for the sculpt the dougie question please the Doug II question love you that's the Doug like are you branded that the dougie question as soon as I can to be honest like I think caller indicates so much on the design that I spent the more the fast as I can I just throw some color in I'll do that so yeah [Laughter] okay I'm Margaret and I'm a beginning artist when it comes to lady art and everything and I really admire work and so far I've been asking for so far I've been asking for advice and everyone tells me like they're the one thing that beginning artists should learn when weathers 3002 T is anatomy in your opinion what's your advice when it comes to giving out any more advice so I think Anatomy is one of the most important things you it's not the first thing you need to learn though like I think Anatomy comes when when you're trying to trying to do more of the hey distracting her I'm sorry Tyler boy's got to be like a bean in the head I'm just curious I know but I have a relationship but I think it's a third there's a time that you need to learn a lot Anatomy like people who start straight and kind of jump into Anatomy you have problems learning that because I think you need to go through basics first or like trying to replicate props and things like that to get used to the tool especially in ZBrush that's so easy to go and just do whatever you like and and the tool is so you know easy to use so yeah I think you know as long as you you uh you know how to use the tool then you're starting to design characters then before you even do that I'll say anatomy is the step in between because it is one of the core things that you need to know but there's there's a point on that you have to focus on that the one thing that I see a lot is the people who jump straight into designing in ZBrush before even learning how to how to make a prop or how to look at reference how to study Anatomy make a human body and make a creature and all of that following very strict constraints and references and then designing so I think that's kind of like you have to go through the stages and I think Anatomy is one of them if not the more important one you make a mouse remember when I started the when I started the the thing that you made it was like a mouse brick and there'd ego like you have any process about clean you know your scopes before like or just go straight to painting for the end of stuff oh yeah for the filaments yeah so that was one of the things that I had to learn and just playing playing with different materials because I used like a lot of the PLA filaments know who asked that question and the PLA you can't really there's no solvents that work with it so it's very hard to clean the lines so I started using the PLA PHA there's a little bit of PHA you can find online that the PHA is reacts to acetone so you can dunk that in acetone and clean it very easily and that was [Music] so that that dad kind of changed a little bit for me or helped a lot but there's still a lot of sending that needs to go in and yeah so there's a caller fat filament that's PHA that's very good that's the end of my presentation my guy man I'm a guy okay what do surprises everybody having a good day your day to inside

Channel: Maxon ZBrush

Views: 172,042

Keywords: zbrush, zbrush tutorial, zbrush speed sculpt, zbrush beginner tutorial, zbrush 2020, pixologic, zbrush free, z brush, sculptris, pixelogic, zbrush download, zbrush core, zbrush trial, blender, 3d modeling, digital sculpting, zbrush student, realistic kirby, realistic yoshi, super smash characters, god of war kratos, 3d printing characters, how to 3d print, realistic mewtwo, rafagrassetti, rafgrassetti, realistic pokemon, rafael grassetti, Creality Ender 3, Anycubic Photo S

Id: VmUikhiWu8c

Length: 63min 22sec (3802 seconds)

Published: Mon Sep 30 2019