Taking Clothing into ZBrush

-

Taking Clothing into ZBrush



The method for taking the retopologised clothing into ZBrush was also taken from Ben's 3D Gladiator tutorial.

Firstly, I imported the retopologised 'low poly' and the simulated 'high poly' into ZBrush. 

Then, to add thickness to the low poly, I used the Panel Loops button found under the Geometry>EdgeLoop tab. This allows control when adding the how thick you want the extrusion to be and how many inner loops you want. Also, by using this method, I was able to keep the thickness consistent on fabric that was similar.

Once the thickness was added to the low and high poly meshes, I used the 'Project All' button to conform the low poly geometry to the high poly, stepping up one subdivision at a time until the low poly mesh was dense enough to attain all of the projected detail.



Low poly mesh with thickness:


High poly mesh with thickness:


Projecting high poly onto low poly:



This process was repeated for all of the pieces of clothing then inserted into the scene with my character. From there it was just a case of sculpting and making adjustments to the outfit, making sure to follow reference.

Below is my current progress on the clothing sculpt.


Comments

Post a Comment

Popular posts from this blog

Morph Target Practice

-
Image
Morph Target Practice In order to find out if the my idea for my project would be feasible, and to understand the process of animating the morph targets on my character, I carried out a basic test in Unreal Engine 4. Firstly, I created a deformed variation of my model in ZBrush using the same mesh, so it had the same geometry and UVs. I then exported both the high and low poly models of the man and deformed man, then imported them into 3DS Max. I used the Morpher modifier in Max to pick the deformed mesh for my model to morph into. I then exported the original male mesh ready for use in Unreal. Inside Unreal Engine, I used the Normal maps for both of the models, which I had previously baked in Substance Painter, and set them up to blend in a material. I then made an instance of that material so that I could change the properties of the parameters I had exposed. Inside Unreal, I used the 3rd Person Character template to give me a start with a ca
Read more

Tertiary and Micro Details

-
Image
Tertiary and Micro Details After finalising the secondary forms of my sculpt, I went on to adding all of the tertiary and micro details using alphas, surface noise and hand sculpting. I utilised the use of Texturing.xyz alphas as well as some free brushes and other alphas found online.  The process is fairly straight forward, I added a new layer for each detail that I was working on so that I could easily adjust and blend the mutiple levels of details. I then used the alphas with the standard brush set to drag rectangle then worked my way around the model. I kept the details generic and broad at first, then went over them again with more care and attention. When starting off applying tertiary and micro details, the mesh feels really smooth and empty, so I added some  surface  noise to the mesh before hand to break up the mesh a bit and make it less pristine. This also helped add a more organic feel to the model. From a distance the skin detail isn't t
Read more

Transformation Animation - Animating in 3ds Max

-
Image
Transformation Animation - Animating in 3ds Max I decided to animate the morph of my character in 3ds Max using the morpher modifier and the rig from Mixamo. I chose to animate in Max, rather than handling all of the morphs in Unreal as it was quicker this way and I was more confident using Max when it came to animation.  I experimented with a few different animations first to get a feel for how I wanted my character to move and react to the transformation. I made sure that the iterations were rapid so I could rule out what I did and didn't like quickly. When it came to using the Morpher modifier, animating the morphs was fairly straight forward as each morph slider could be keyframed, meaning that it was just a case of setting where I wanted each morph to start and stop. I was originally going to have a transformation including the entire body, however as time went on I realised it would take too long to achieve, so I decided to just stick to the head. The biggest
Read more