![]() Now with Non-Photorealistic Renders in the 3D environment, we can cut out some of those steps, particularly in the early stages of character or prop development by using the quick and easy NPR render tool newly released in ZBRUSH 2019. Create in ZBrush then send to Photoshop or other applications for integration into the 2D environment. ZBrush has always been an important part of production pipelines but not so much for the 2D visualizations. Those with enough 3D experience can work around just about anything but newcomers can struggle mightily with a wide-open workspace. It is nice though, to be able to render in the application that created the mesh, but 3D space isn’t the most intuitive for 2D renders at times. I wouldn’t be surprised if many fellow digital artists out there rely on other tools to get their NPR type productions. ![]() I must clarify that ZBrush cannot handle lighting setups as complex as the specialized software in this area like Octane or KeyShot, but it generates a great result to present your designs with a great quality.I also have to say that with all the other tools out there I’m a bit perplexed as to why Pixologic would spend time and resources for NPR when it can be achieved through so many other means. You can make different renders with different materials and then combine them in Photoshop to generate the final look. If you want soft or hard shadows, create rim lights, and so on. Just click on the render button and it’s done! You have control over the lighting parameters. ![]() The process of rendering in ZBrush is very easy and simple to use, you do not have to complicate it with advanced adjustments, light calculations, or manipulate boring parameters. Here I want to present some of the reasons why I like to work with ZBrush and do most of my concepts and final illustrations using the render engine that this software offers us. In this article I will talk about why I love the BPR rendering inside ZBrush and how this speeds up my workflow in different ways!Īs we all know, working as a conceptual artist requires not only artistic knowledge but also technical and specialized software management to be able to develop our work quickly, efficiently, and with good quality. My name is Santiago Betancur and I’m a concept artist, and I love to do characters and creature design. ![]()
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