#SKIN BRUSHES FOR ZBRUSH BY RAFA SOUZA SKIN#

First I selected one of the HDRI available in Marmoset. Now it's time to create the lights, so that rendering becomes more interesting. Marmoset scene Step 9: Lighting in Marmoset Toolbag

#SKIN BRUSHES FOR ZBRUSH BY RAFA SOUZA SKIN#

I used the SSS to make the body texture more like the skin and the Fuzz to create a cloth-like texture. I've created additional maps for SSS and Fuzz. In this step, we import the decimated model into Marmoset and create the materials to place our texture maps exported from ZBrush and Substance Painter. Importing the decimated ZBrush models, I used Bake Textures to generate the Ambient Occlusion from all parts of the model, so I got better results in the final rendering, with more realistic shadows between the objects of the character.īaking AO Step 8: Importing your model and creating materials in Marmoset To generate extra maps for my character I used the Substance Painter. Step 7: Generating AO in Substance Painter To help me with this workflow, I used UVMaster to create the UVs and export them to Render in Marmoset. In this project my intention was only to render the model in the Marmoset Toolbag without doing Retopology, so inside ZBrush I texturize the character through Polypaint, and used the Decimation Master to make the model lighter, so that it could import into Marmoset. And finally to detail I use an excellent brush created by the master Rafa Souza, the MuscleFibers that gives me an excellent cut to make each hair strand. I always work with Polygroups so it makes it easier each time to position each part of the hair using the MoveTopological brush. In my workflow I use the CurveTubeSnap brush to make the base wicks, which are bigger, and then I make the wicks smaller.

The hair is a very important part because it changes the silhouette of the character.

For hard surface parts, I like to use creasePG, it helps me to leave the edges harder without having to add more edges to the model. I make the accessories in the same way, and I use the Zmodeler brush to give thickness and make secondary details in the pieces. To model the clothes, I make a mask and create a Polygroup with the shortcut Ctrl+W, and then I use the Zremesher to leave the mesh cleaner and good to work with. Try to find a strong and attractive silhouette (at this stage I have already blocked the hair, to help me in the dynamics of the pose).Īfter being satisfied with the body of the character, I start to make the clothes and accessories. Use the Transpose Master with the help of the mask and make adjustments with the Move brush. Pay close attention to the silhouette and try to make it as strong as possible. This step is very important, so have patience with your character. (Always try to make the silhouette more interesting, so your characters will always have more personality.) I usually start blocking with a sphere and use the dynamesh to get to the correct shapes and proportions. In this part the main objective is to build the character with the correct proportions and volumes, always worrying about having the most correct silhouette possible, without worrying about details. You can organize it any way you feel best. During this process I like to use a program called Pure Ref it is an excellent program and helps to gather all the references together. Look for good references, with good lighting and good resolution. This step is one of the most important during the work. I will guide you through the workflow I used in my latest personal project 'Magneto Fan Art.' The idea here is to give an overview of my process to make a 3D sculpture from the block to the final render. I am a freelance 3D character artist currently living in Belo Horizonte, Brazil.

Skin brushes for zbrush by rafa souza