There should be a punch line to go with that, don’t you think? I don’t have one. It’s what I worked on this week. In addition to trying to finish putting the Art room back together and figuring out what to do with the stuff that maybe doesn’t belong in there.
At the end of last week’s post I made mention that a date has been set for this year’s ZBrush Summit. As I thought about whether or not to make plans to go in person this year, I thought about how I haven’t really made a lot of progress in my ZBrush skills. I’ve
made a little, but not a lot. I haven’t been spending much time working in ZBrush, I’ve spent it in 3DS Max or Maya where I am comfortable creating lower poly characters that I can then, hopefully, rig for posing in a variety of different ways. In ZBrush, I am still venturing through “the valley of suck”. That’s not to say that everything I do looks awful. It doesn’t. But it’s certainly incomplete. So I got to thinking that I might want to make another effort at improving my ZBrush skills. With that in mind I popped over to YouTube and watched some of the ZClassroom videos as a refresher. That also provided some inspiration for a little experimenting.
The results of the experimenting in ZBrush are this character, or rather, start of a
character. I have previously tried to create a Squid in ZBrush and as I was doing it I discovered that I started too small and didn’t have the room to create the mouth or beak that is in the middle of all the tentacles. The video I was watching was doing a lot of moving a mouth around to open it and hollow it out and reshape it and so on. It’s a technique I’ve read about, and then tried to implement, and I’ve probably even seen it
before. This time the lesson stuck. So back to this beak. I decided I would give the squid a try again only this time I would start with the beak on the inside and then work out from there. I’m not sure how well it’s going to work but this is the start of that.

The squid head then led me to messing around in my sketchbook and I came up with Squiddy. Don’t let Squiddy’s slouchy posture and apparent delinquent attitude fool you. Squiddy is extremely intelligent, did well in school and all of that. Squiddy just can’t be bothered to explain it all to you. I’m thinking this sketch will be my model going forward on the Squid sculpt. We’ll see. Though, it is a design I would like to be able to rig for animating. Who knows, maybe I’ll get that figured out.
I got a little more work in on the FunkyBird. I’ve got some shape to the leg and kind of know what I’m going to do to finish it off. I just can’t decide if I should go ahead and model feet to go in the bulky boots and then model the boots separate. That’s probably what I should do. Now that I’ve decided that I’ll be able to move forward with the foot and get started on the arm. I still need to work on the face too. That will be interesting. Or not. I have a suspicion that I might not have enough polygons. Guess I will find out. Here are a couple of views of the leg. You can see that once I got a length for the thigh then I went ahead and tapered it. I’ll want to put in a knee and then get in the lower leg and foot.
I didn’t sketch the lower part of the FunkyBird originally so when working on that part, I’m really making it up as I go. Which is fine but it can make it slower to make progress. I’ve got a better idea of what I want to do there now so with enough effort, I could start to make good progress.
I was thinking about how my dilemma with wanting to progress in ZBrush and yet wanting to be able to rig and animate my characters, with relative ease, for me. And I think I’ve got an idea. Sometimes when I doodle I do a sort of bust of a character. Most of the time I don’t get it all filled out but I’ll have an outline and it may include a slight pose which can give a hint of attitude and personality. But not all of these busts, do I want to turn into models to animate. At least, I don’t think I do. So it occurred to me that I can use some of those doodles as reference for sculpts in ZBrush and that would give me something to practice. I still have my other characters and then I have these. And if one of them turns out to be something I want to expand on, then I guess I get to learn how to do that.
That’s my plan for now. I don’t really know how successful I will be at it until I get started with it. It could end up being a lot of fun. Who know’s what you’ll get to see.
as Maya calls them, for the rig for the Worm Guy. And then I had to try to setup the IK handle and so it went. The thing about the Worm Guy, at least this incarnation of him, is that all I really want to do with him is to bend his body. I didn’t want to model him in pose because then I’m stuck with that pose if I want to use the character again, or I have to model it again, or I have to do a lot of work to change the pose. If I rig the character, even a little, then I can do more with it later.
Creating the joints wasn’t too bad. It didn’t make much sense to me at first and I think it will take some getting used to compared to 3DS Max. I managed to figure it out. Adding the IK handle which creates the constraint for how all the joints flow was a little tricky. When I first created it, and then tried moving it, the thing had him bending in on his belly, like doubled over laughing. Which would have been fine if that’s what I wanted. But it wasn’t. I tried a couple of things to get it to work and it wasn’t happening. I finally decided to just rotate the Worm Guy 180 degrees and then apply the IK to the joints and it worked.
That took a couple of tries. Then it was time to figure out how to weight the joints to the skin and make everything look reasonably right when I started bending him. The first try was a mess. The second try took some work and I had it. I thought I was all good and then I deleted the history and lost all the weight settings. Ugh. Third time was the charm and I managed to not take quite as long as I did on either of the previous tries. I might like weight painting in 3DS Max better.
Twice this weekend I sat down to work on rigging the Worm Guy. The first time I got side tracked with the materials. I wasn’t too excited about the way the colors and materials came out when I rendered them initially. He looks too much like Ironman. Don’t get me wrong. I like Ironman. I just wasn’t going for that look on my Worm Guy. So I fiddled with the materials some and kept trying to get closer to the cartoon like look that I had in mind. That took some real work. Arnold didn’t want to do things the way I wanted to do them. I finally got some things figured out, like to use the color correction, or even to save as an .exr file. I figured out something else when I did the renders for the posed version of the Worm Guy. For that I used Maya’s render window and set it to use the Arnold renderer instead of what I had been doing which was using the Arnold Viewport. This got me what I was expecting. Finally.
renders so you can see some of the difference and here he is, the Worm Guy, rendered in his final pose. At least for now.
can set the smoothing to happen at render time so you can save on your poly count? I was working on the Funky Bird and decided to test that. Normally, I will smooth the model before I do a test render to see the work as I’m going along. I had done that and saved it. Then I turned off the smooth, rendered with Arnold where I had set up my smoothing. Sure enough. I had to take a screen shot so you could see. Pretty cool stuff.

colored walls and I found out last summer that it doesn’t cover easily. Now, that color

trying to get that a little more the way I want. At some point when I saved out a work in progress render I got distracted and started playing with the Arnold Render Viewport and all the settings there. I was right about it needing lights. The Arnold renderer doesn’t seem to like to work with the default lights. So I spent a lot of time fussing with getting some lights that are bright enough and show things off nicely. I also played with the smoothing at render time option. That I like. As far as any other work on the bird, I started adding a leg. The way the leg comes down off the lower torso is going to be pretty defining for the look of the character so I think I want to get it in pretty quick. It will also help with placing the arms when I get to that point. Here are a few renders of it so far.

So I suppose it shouldn’t be too surprising that by the end of the week my brain was ready for a rest.