ZBrush how to carve a leopard gecko?ZB leopard gecko carving tutorials

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ZB Leopard Gecko Carving Tutorial:

A model reference

Choose to create a leopard gecko is because you can get the skin when observing them, movement, appearance and all the details on the overall anatomy. Before starting a project, a lot of time needs to be spent doing research, looking at videos, images, and anatomical references to get a feel for the project and all the models being worked on. References can be put into PureRef to organize. II.ZBrush Production The ZBrush workflow is very simple. Start each project by making a simple sphere and use the DynaMesh feature in ZBrush to mask the base mesh. Use standard brushes such as Move, DamStandard, ClayBuildup and drawn masks to quickly extrude the part. At this stage, make adjustments to the mesh, then open and refine the mouth using a simple paint mask. Make the tongue a separate sub-tool to control the area underneath the tongue. Apply some alpha. when using alpha for, say, leopard skin, set the alpha strength to a very low value and turn off X-symmetry. Use the first layer of alpha for detail sculpting so the model has something to start sculpting details. Things are slightly different when using scanning textures (Texturing.xyz, etc.), but for this model, it is possible to use this and sculpt the details by hand. When it comes to new projects, you need to think in steps/layers. Third, making the rock bedrock was also created in ZBrush. Use the same workflow as used for LeopardGecko to mask the two parts of the rock, and for the base details, use the TrimDynamic brush with square alpha to create the stone/rock look. Import PluginUVMaster to create quick UVs before exporting the model.The main details and colors were created later in MarmosetToolbag using tileable textures. Split the model a few times to get enough polygons for displacement mapping and then manipulate it in MarmosetToolbag using the displacement functions (rotate, scale, etc.). Using this method allows for great flexibility in rock detail. Directly into the software and change the details and appearance of the rock. Fourth, model texturing When it comes to texturing organic models, use polypaint in ZBrush to get an idea of the final look and quickly fix parts you don't like. When the sculpting is 80% complete, polypaint the texture and see how it looks, then sculpt the details and work on the texture. If you want to change something big, use the layer system in ZBrush and bake the layer down to prevent the file from getting too big.SubstancePainter is an important part of the texture workflow, use this software to complete the diffuse channel and have control over the glossy/specular reflection channel. In this particular project, the glossy part of the leopard skin was very challenging as it had many different values. V. Texturing the skin Start the texturing process with polypaint in ZBrush, using standard ZBrush and a modified specific alpha plus the DragRect function. You use the desired alpha, the concrete alpha is suitable for organic polypainting because it has a lot of good information. In it you can toggle the alpha. and then apply a number of different mid-tones to the skin. the key reference for analyzing the project at this stage. Starting with the mid-tones of the base color, use darker and lighter tones to break up the color. When it comes to polypainting and breaking down colors, the cavity mask is a very useful feature to control what the brush affects. At this stage, texturize the black skin patches. When producing the overall result of the polypaint, use the Noise Generator feature with the Noise Plugin option to create black spots on the skin. Using everything as a mask and doing a mask cleanup, manually add and remove some spots, using the MaskPen brush with stone alpha and DragRect strokes feature to break up each border of each spot. Then fill the mask with medium gray and break up the gray with black, white, yellow, red, green, and blue to create realistic spots. And use normal masks and the usual polypaint workflow to refine certain areas. VI.Topology UV Before importing the model into SubstancePainter, re-topologize in Topogun and finish baking in MarmosetToolbag. For baking the replacement maps, use ZBrush, and for creating the UVs, use Blender. setting up a good topology for the model with clean loops makes everything else easier, like creating the UVs and baking all the different textures. For LeopardGecko, use the UDIM settings to get high resolution mapping. Two setups are created, a normal UV-UDIM space for ZBrush replacement baking, and a final texture section in SubstancePainter. The second contains all the UDIM islands in one place, providing different materials for the MarmosetToolbag. Since Marmoset does not like the normal UDIM space. VII.Model RenderingFor model rendering, try out the new ray tracing feature in MarmosetToolbag4. It was fun to tweak all the different materials for each body UDIM section, combining normal mapping details and SSS options to set the proper amount of displacement. I liked tweaking the options to push each material a little deeper each time I worked with it. The lightning in the scene was created using Marmoset's 360 degree panoramic HDR image without any sub-lights. Three rectangular directional lights were added incrementally for a 3-point lighting setup (main light, fill light, and backlight), all of which had different intensities, with the main light being the brightest. When setting up lights in Marmoset, start with the HDR option and add the other light sources one by one starting with the main light. And make lots of adjustments, check out reference videos and images. For the images, post-production is done in Photoshop. First open the content in a file (final render, ID channel, depth channel, mask channel, etc.). Next look at the level adjustments and tweak them slightly, using the CameraRaw filter section to adjust the image. Next focus on the lighting and shadows and adjust them with the Lighten and Deepen tools in Photoshop, adding a small amount of blur using the Marmoset's Depth channel when finished. Any depth channels from other software can be used in Photoshop to blur the image, just add them to the alpha channel to add a bit of noise to the image, this is a great way to add a bit of realism. Finally check and adjust the layers until you are happy with the end result. Eight, the conclusion of the leopard gecko model carving is complete, painting the leopard gecko's skin is very challenging, because the leopard gecko's skin in a variety of colors.

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