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Making Of 'Scarecrow'

By Gabriel Pereira
Web: Open Site
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Date Added: 19th March 2014
Software used:
ZBrush

The second approach is a new way to do re-topology in ZBrush, involving the QRemesher tool. Basically you create some guides, inform the program how many polys the new mesh will have and voila! You have the new mesh.

If you want to then transfer the details of the sketch; duplicate the mesh that will have the new topology, use the QRemesher tool on the duplicated one and then use the Projection tool to transfer the details of the original one. The head, suit and the pants were created with this approach.

1851_tid_fig_4_.jpg
Using QRemesher

After all the parts of the scarecrow were cleaned up, the fun began! I set about creating all the details for each part of the model and refining it.

The extra meshes like hair, hand-straw and suit-tail were made with the CurveQuadFill brush. For the rope in the hat I used an InsertMultiMesh that I found on the ZBrush channel website.

The brushes that I used here in this stage were Move, Clay, Clay Tubes, Dam Standard, Smooth, Standard, Trim Dynamic and Polish brushes.

1851_tid_fig_5_.jpg
Clean topology

To sculpt the little folds on the suit I used the Dam Standard and Standard brushes with the property Gravity, with the value around 30 or so. This property gave a sense of weight to my image and was perfect to help me achieve better results for draping the fabric. The gravity property is on the brush menu under depth.

1851_tid_fig_6_.jpg
Using the Gravity feature when sculpting


Another important tip for doing folds and texture on clothes is to use layers. I used one layer to do the folds and another layer to sculpt the texture of the pattern. I created some basic UVs to sculpt the clothing texture.

There is a tool in ZBrush called UV Master, which is very easy to use. For example, in the suit, I created two polygroups – one for the leaves and another for the body – painted a line to attract the cut line and created some UVs on the suit.

1851_tid_fig_7_.jpg
Using UV Master

Then I created the layer for the pattern sculpt. Finally I used the Noise modifier located in the surface palette to apply the pattern I wanted to sculpt.

1851_tid_fig_8_.jpg
Creating the pattern

The pattern of the face was sculpted after painting the first pass of color. I used the UV Master again to create some UVs on the face. Then, with spotlight and a cloth pattern I polypainted his face and exported this painting as a texture.

1851_tid_fig_9_.jpg
Applying texture to his face

In Photoshop, I converted this texture to grayscale and saved a copy.

I transferred the grayscale texture to the polypaint of the face, then with a masking property called Mask by Intensity, I created a mask based on the texture I painted. Finally, using Inflate (under deformation) with very small values, I sculpted the pattern details on the mesh. After that, I transferred the color texture back to the face.

1851_tid_fig_10_.jpg
Creating a mask based on a texture





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