本视频教程是由Gameartinstitute机构出品的ZBrush逼真游戏人物角色实例制作视频教程第二季，时长：超过20小时，大小：5.4 GB，MP4高清视频格式，教程使用软件：ZBrush 4R7，Maya等，共15个章节，语言：英语。

Zbrush是传统和创新工具的完美组合，让您创造复杂、高品质的图形，快速有效地表达自我,这些功能曾经在《指环王3：国王归来》这部影片的数字建模方面被广泛运用（主要是魔兽）。它能给於您即时反应，即时绘制您的图像，它也非常适合於情节串联图板和概念化设计，功能足於将您的作品打造完美。直观、易於使用和功能强大，Zbrush将激发您创造多面的、震撼人心的图像，不管您是个新手，还是位专业人士。Zbrush独特的2D和3D功能的组合将产生动人的效果，不需要您经过痛苦的漫长学习。

ZBrush 是一个数字雕刻和绘画软件，它以强大的功能和直观的工作流程彻底改变了整个三维行业。在一个简洁的界面中，ZBrush 为当代数字艺术家提供了世界上最先进的工具。以实用的思路开发出的功能组合，在激发艺术家创作力的同时，ZBrush 产生了一种用户感受，在操作时会感到非常的顺畅。ZBrush 能够雕刻高达 10 亿多边形的模型，所以说限制只取决于的艺术家自身的想象力。ZBrush软件是世界上第一个让艺术家感到无约束自由创作的3D设计工具！它的出现完全颠覆了过去传统三维设计工具的工作模式，解放了艺术家们的双手和思维，告别过去那种依靠鼠标和参数来笨拙创作的模式，完全尊重设计师的创作灵感和传统工作习惯。

Game Art Institute Character Creation For Games with Adam Skutt Updated Sept 2016

Info:

Curriculum

Assignment #1

Heroic male, age 25 – 40 for example. (topic of character can be discussed, must be humanoid)

Create a hero worthy character from the chest up. This character should be in the realm of characterized

realism. Think Marv, from Sin City. Learn to make choices that help sell the characters personality and

purpose.

For the first project I will go over gathering reference material, establishing a concept/plan of action and

high poly modeling techniques in Zbrush Maya.

Week 1 Demonstrate head sculpting techniques: primary, secondary and tertiary details

Week 2 critique and more demo for high poly clothing and costume elements creation.

Week 3 final critique of high poly model

Assignment #2

Creating a low poly mesh for next gen assets.

Week 4: Using Maya I will demonstrate and discuss optimal topology flow for realistic facial deformations for in game and cinematic characters. Several different topology approaches will be discussed and the pros/cons behind each. Furthermore, students will be shown how to approach topology for clothing, with and without, wrinkle maps and to lessen texture distortion from deformation.

Assignment #3

Creating optimized uvs

Week 5: We will start by creating uvs for the head, and discussing pros and cons of shared uvs within a production pipeline. Later in the lesson I will demonstrate my approach to laying out proper uvs for clothing and costume and elements, and share uv tips and tricks I’ve learned throughout my career.

Assignment #4

Texturing painting and material setup

Week 6: I will go over and demonstrate several methods for painting the head, and then expand on my preferred technique using Mudbox, substance painter and photoshop.

Week 7: Finalize texture creation for heads, and continue on with costume and clothing elements.

Week 8: Review of final textures. Begin discussion of material setup within marmoset and the dreaded video game hair cards. (we will discuss hair card techniques, although the final look depends highly on what game engine and tech is being used.)

Assignment #5

The goal of this assignment is to produce the best possible presentation of the realtime model you have created during this course. We will discuss lighting and composition, material and texture tweaking and low poly adjustments to really nail final silhouette.