Overall, I think Gnomonology is a great concept. Very reasonably priced tutorials for instant download offers a great asset to any aspiring student, or professional, who would like to improve their skills. I also like the fact that it's an entirely digital, remote solution. I can upload the tutorials from anywhere. When I pull a Salinger and become a recluse somewhere in the woods of North Dakota, I'll still have the option to upload a tutorial or two under a pen name while I'm using moss and smoothed mosquito larvae to make a rudimentary, next generation, Wacom tablet.

3DTotal: How important do you feel ZBrush has been in advancing 3d organic modelling and how do you see packages like this developing in the future?
Zack: I think this software has made the digital sculptor more valuable than the digital technician. Before, to a large degree, a digital technician could hide a lack of artistic skills behind the cloud of an unintuitive software interface. Now, the ease of translating traditional skills to a digital media has
   
brought the artist back into the equation as an integral, valuable part of the digital process

3DTotal: Can you describe your typical workflow before beginning a new character in a package such as ZBrush?
Zack: Typically, it starts with gaining an understanding of what the character needs to portray. I'll look for a potential direction from the script or a conversation with a Production Designer, then rough out ideas on paper. I usually scatter those drawings/paintings around my desk then block out a
    
    low resolution box mesh in Maya. From there I'll import the box mesh and start on the design sculpt. The design sculpt is an unorganized mesh that allows for the greatest flexibility when creating the character in 3D. I typically don't use image planes, but I think that's just a personal preference. Once the design sculpt is signed off I'll hand that mesh off to be re-topologized in ZBrush. This is where edge-loops and other animation needs are addressed.

3DTotal: You mention handing the mesh over to be re-topologised. How close to a final, animatable version does the design sculpt have to be beforehand in terms of
   

the poly configuration or is this not too crucial?
Zack: The design sculpt mesh is essentially irrelevant. This allows you to focus on the design, proportions, rhythms, and weight, as opposed to which way an edge loop is flowing. I keep the mesh for a design sculpt as low and nondescript as possible to avoid making creative decisions in a traditional, non-intuitive, poly modelling software.

3DTotal: Can you describe the differences and limitations of working on a game compared to a film for example?
Zack: From a visual design perspective, films and games share many global concepts. In both, it's often the schedule and budget that put the greatest limitations on the creative potential. There used to be a time when all the best designers were in Film. Today, that line has definitely blurred. Some game designers are now setting the bar for design. In both media, you need to have a strong team championing the ideas, and visual integrity, throughout the entire process.

3DTotal: How crucial are both your 2d and 3d skills in your line of work and do you think you could be as successful by focusing on only one discipline?
Zack: I think I could get by pushing a broom. I guess the real question for any artist is would you be happy doing that? I'm hell bent on creating my own content now and feel that having an in depth understanding of both 2D and 3D is necessary to achieve that.

3DTotal: If a complete novice approached you and said they wanted to become a 3d character modeller where would you advise they begin and what advice would you offer them?
Zack: If your end goal is to become a character modeller and you would like to do it as quick as possible, I would recommend moving to a city like L.A. that offers a high concentration of potential employers and training facilities. I would try to find a school like Gnomon that hires teachers working in the industry to allow you direct access to those contacts. If your end goals involves more than just working in the industry as a character modeller, I would recommend attending an established art school to build your foundation of artistic skills and understanding.

Releated Links:
Zack Petroc - website
The Gnomon Workshop
Gnomonolgy
ZBrush

  
 
 
 
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