Hoping to learn ZBrush:
3D modeling is the process of developing a digital representation of any three-dimensional surface of an object via specialized software such as Autodesk Maya or 3DS Max; the product of which is called a 3D model. It can be displayed as a two-dimensional image through a process called 3D rendering, or used in computer simulations such as video games; and recently it can even be physically created using 3D printing devices. 3D modeling software is a relatively new medium and as technology and computer processing power continue to evolve, how artists interact with said medium is also evolving.
Throughout my higher education I have learnt the process of 3D modeling using the software Autodesk Maya. It has enabled me to achieve a high level of realism with my artwork as well as built an understanding of 3D digital practices. I have found that gaining optimum results in regards to 3D models is a blend of technical know-how and skill in using 3D software alongside artistic ability and excellent observational skills.
Whilst creating 3D assets in Maya can yield very high quality results, I have sometimes been at odds against some of the technical quirks of the software as I feel it isn’t an intuitive program in some respects. For example there are technical limitations to consider before creating 3D models in Maya, a major one being the ‘poly count’ where the complexity and detail of a 3D model is limited by the processing power of the artist’s computer. Depending on this and what the model’s intended application is, I have often had to limit the amount of detail applied to a 3D model. Today however, there have been several new creative programs that bypass a lot of the limitations found in traditional 3D software packages, and are now being used extensively within the major creative industries.
There is now a clear-cut difference between what is known as ‘3D modeling’ and ‘3D sculpting’. Until recently 3D modeling was the method of choice for creating digital assets for use within creative industries such as film and video games. Movies such as Pixar’s 1995 film ‘Toy Story’ used 3D modeling software entirely to create the visual elements of the film. In contrast ‘Weta workshop’ the visual effects company behind Peter Jacksons ‘Lord of the Rings’ trilogy (2001-2003) and the more recent ‘The Hobbit’ film series (2012-2014), made heavy use of Pixologic ZBrush, a digital sculpting utility intended to feel like working with a real medium such as clay.
I believe digital sculpting makes a positive change in how artists can now create and interact with 3D objects, catering more to a user’s artistic ability instead of their technical knowledge of certain software packages. This change not only enables 3D imagery to become more realistic, but also makes the process of 3D modelling more accessible for new 3D artists. Therefore in reflecting on my use of 3D software I believe that in order to fully realise my ability as a 3D artist, I need to develop an understanding of these new methods. I can then use this knowledge to help me achieve better results with my 3D art and improve my methodology as a creative practitioner. By undertaking this I feel it will greatly benefit not only my personal creative development but improve future opportunities of employment working in a creative industry.
SO, JUST WHAT IS ZBRUSH?
ZBrush is a voxel-based digital sculpting tool commonly used for the creation of 3D models for use within the game and film industries. The main difference between ZBrush and other modeling packages such as Autodesk Maya, is the interface. Everything within the program is displayed in ‘2.5D’ meaning that whilst the assets are technically three dimensional models, the program reads them as two dimensional, allowing it to process millions of polygons without needing a computer with a powerful processor. It is for this reason that major companies use ZBrush within their workflows, as they are allowed to create incredibly detailed 3D models, with no poly count limitation on quality.
ZBrush has gained a reputation amongst professional concept designers as a fast way to develop organic ideas for character design. The ZBrush method has many advantages over traditional clay or painting techniques. For example it allows an artist to make real time edits to their sculpt whilst sitting in front of a director, taking on board instant feedback as they work. Quick variations can be created with this approach, allowing each model to be compared with one another ensuring the best solution is arrived at as soon as possible. This not only speeds up the design process but also enhances the quality of the model, as massive design alterations can be made within seconds. Therefore there is far less of a wait for sculptural changes to be made. Huge advantages are offered to everyone from the designer to the director and the artists in the production pipeline by using this kind of digital workflow.
On discussing his experience with the inherent differences between 3D modeling and 3D sculpting, Scott Spencer a designer at Weta said:
“…It was a 4 year school and I did the animation program, which was quite Maya-centric. It was pretty easy to pick up on things. …However I could see a disenchantment setting in, because I couldn’t make things in Maya the same way I could in clay. That’s about the time that ZBrush took off and I was like ‘Yeah this is like sculpting’. Moving from clay to ZBrush is actually a really short step as far I am concerned. And I have done a lot of training for people with no Maya experience, who have just gone directly from being professional sculptors for 20 years, to ZBrush. It’s actually easier for them to make that step than a lot of Maya or Max artists who have been using that type of system for a long time.”
-Scott Spencer, Lead Artist, Weta Digital (2011)
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