Viewers: in countries Watching now:
Watch as author Ryan Kittleson introduces the skills digital artists need to create photorealistic 3D creatures for film, video, and game production. This course covers basic design, sculpting, texturing, posing, and lighting and demonstrates real-world workflow, starting with the basic sculpture in ZBrush and moving it into Maya for finishing, while editing textures in Photoshop.
Let's leave the digital studio for the next couple of movies and take a minute to focus directly on the concept of the creature. Using traditional drawing materials can help ideas flow without fancy software and buttons to get in the way. One thing that trips up a lot of beginner concept artists is that they compare their drawing skills to the slick finished work of professional artists. Finished concept art is usually very highly detailed, beautifully rendered and painstakingly crafted. Beginner designers often feel like every drawing they do has to live up to those standards or they're just not cut out to be a concept artist.
I'm going to let you in on one of the biggest secrets in concept art. Those slick paintings that look so good are just the end result of a whole process of sketching. Before sitting down to create finished art, a concept artist will go through page after page of loose doodles that they probably be embarrassed to show their mothers. Some of the doodles I make are so abstract that they don't even seem to be relevant to the project. It's just one way of loosening up your mind and your hand so that when ideas come you'll be ready to capture them.
The biggest mistake you can make is to try to sit down and just do that one finished painting or drawing. When you never see the stacks of sketches that built up to a finished drawing you can get a distorted idea of how the artist created it. You may get discouraged that your attempts at finished art either look awkward or unrefined, and think that you just don't have it in you. The problem is not necessarily that you're a bad artist but rather that you didn't realize that a ton of rough drawings must precede the finished work.
These rough drawings help you explore different ideas and designs. They help you read out clich degrees or bad ideas. Loose or accidental scribbles can inspire new ideas you never would've come up with otherwise. I try to avoid laboring over a single drawing and making it anatomically perfect and beautifully rendered. In your sketches try to loosen up and do pages full of quick, gestural shapes, then once you've got lots to look at, take a step back and examine what you've come up with.
Nobody else needs to see the work at this point. You understand that the squiggly line represents a backbone. Keep the drawings so fast and loose that only you understand them. Don't worry about any details of the creature at this point. Just deal with the overall shapes. Never fall in love with your first idea or design. Always work out variations and different ways of looking at it. Very rarely your first idea will be a winner but if you don't do a whole bunch of alternatives, you'll never know what else you could have done.
You will never have the confidence of saying this idea is the best compared to all the rest.
There are currently no FAQs about Digital Creature Creation in ZBrush, Photoshop, and Maya.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.