Sculpting skin and scales is one of the most often requested workshops by ZBrush users. It requires, first and foremost, an understanding of the different zones of the face and the conceptual aspect of organizing form in one of the most difficult to organize environments, a crocodile's body! This workshop is created to set you on your way to sculpting using both a structured approach (breaking the form down into its smallest zones/elements) and freehand, everything and the kitchen-sink approach.
Chapter 1: Skin Reference
In this chapter we take a detailed look at photoreference to establish the different zones of the face and how our pores change shape. We also look at an overview of our sculpting process.
Chapter 2: Pores & Surface Noise
This chapter explores using Surface Noise to create a base layer of skin pores. We also look at skin pore alphas created by Rick Baker and Kris Kosta that have become the staple of ZBrush users for several years.
Chapter 3: Crosshatching Pores
In this chapter we look at creating hatch marks to bring our pores together as well as spend some time on the neck.
Chapter 4: Texture it up!
Once we have sculpted the pores its time to texture paint our model. This chapter shows you how we take advantage of our pore sculpt to create a more realistic texture.
Chapter 5: Effects of Age
In chapter 5, we switch gears and start to sculpt an older version of our character. We look at the bony areas vs fleshy areas of the face and prepare our sculpt for the wrinkles
Chapter 6: Wrinkles
In chapter 6, we add the wrinkles and skin texture that signify an older character. Special attention is paid to the tools and techniques that can speed up your workflow.
Chapter 7: Scales Brushes and New Features
In chapter 7, we begin our exploration of scales. We explore the new brush settings in ZBrush and the new scale brushes with an emphasis on understanding the concepts behind them.
Chapter 8: Scales Analysis
In chapter 8, we anaylze our photoreference to establish the patterns that we will have to recreate. We also look at the alphas and custom brush settings needed to sculpt scales.
Chapter 9: Using UVs
In this chapter, we switch gears and take a UV approach to sculpting scales. This requires us to look at UV Master but makes our workflow much more efficient and gives us a higher level of realism by sampling from reality.
Chapter 10: Using HD and Projection Master
In chapter 10, we use Projection Master and HD Geometry to create even more detail in our scales.
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