ZBrush 3D Turntables
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Chris Carter

ZBrushCentral username: CHRIS-CARTER

THE MAINTAINER Turntable 1, 2 The Maintainer started as a base mesh in 3dsMax and ended up as a 58,870,096 polygon sculpture comprised of 43 subtools. It involved numerous sculpting techniques including brushes, displacement, stencils, and alphas. I did not use HD Geometry for this though, and next time, I plan to. I think it will make managing the model less problematic. This project also made the transition from 3.1 to 3.5R2 and select areas, like the gloves, were redone using ZB 3.5's planar and trim brushes, noise features, snap to track, and line guides. THE BOOT Turntable 3 The ABU Boots were built using a combination of ZBrush and 3ds Max. The base mesh was done in 3ds Max. I brought that into ZBrush as several subtools. I next focused on developing the broad forms with the move brush and the clay tubes. I used masking and the layers brush to develop the raised leather. I next used photos of real boots to create alphas which I used to apply the detail. Next, I needed wrinkles and this is where I prepared to split the one boot into two boots. I used the 3D layers to create two sets of wrinkles at a lower subdivision. The soles were simply created from a base mesh and an alpha taken from a photo. The eyelets were done entirely in 3ds Max. The laces were built in 3ds Max, with UVs done using Headus UVLayout. In ZBrush, I used a cloth alpha and the displacement features to apply the texture to the laces. The rest of the boots were sculpted in ZBrush, using Ryan Kingslien's brilliant Stitch Brush Set as a last step. THE TOOLBOX Turntable 4 The toolbox started in 3ds Max. I used masking to pull out the trim along the edges. All the affixed hardware was created using a mechanical type topology in max, but all the rivets were added using Tapenut1's handy rivet brush. Finally, for the detail, I built up the damage using 3D layers so I could go back and shave it down. This was done using slash, slash 2, mallet fast, and smooth, but also the clay, and clay tubes brushes. What I really enjoyed about this was all the learning through experimentation. The boots were a joy, but the toolbox really taught me a lot about creating hard-surface sculptures in ZBrush. I also got a lot of good exposure to MatCaps, an area where I'd been sorely lacking. ARTIST'S PROFILE I'm a 3D Generalist working for the 367th Training Support Squadron, USAF.  I'm also a student with Academy of Art University.  I'll be separating from the service very soon, so I can attend school full time. Email: zg.carter@comcast.net   Website: http://www.cgcarter.com
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