He has professional experience with traditional and digital sculpting, modeling, rigging and facial pipeline, animation, rendering, as well as art direction for characters, environments, effects and animation. Rafael has worked on more than 70 projects and over 15 companies doing cinematic production, game art, TV projects, printed advertisement, statue collection design and toy design. After that, he was hired at Santa Monica Studio to work as a principal artist on the God of War series. Learning ZBrush at your own pace has never been easier. He moved to California in 2013 to work at SONY (VASG) as a character art supervisor, where he contributed to 6 titles, including, Killzone: Shadow Fall, Infamous 3 and The order:1886. 2K views, 43 likes, 7 loves, 2 comments, 12 shares, Facebook Watch Videos from CGchannel: ZBrush Sculpting Workshop: Sci-Fi Design & Development: Improve your ZBrush sculpts with workflow tips and. In 2011, he relocated to Canada to work at Bioware (EA) as a senior character artist on the Mass Effect and Dragon Age franchises. After working as lead modeler for close to 3 years, he became a freelance character artist for cinematic, advertising productions and the toy industries, producing work for a great number of companies that include Hasbro, Marvel and Ubisoft. He began his career in 2004, working for advertising studios in Brazil. Rafael is currently living in Santa Monica, California, working at Santa Monica Studio on the God of War franchise. This "show" of pixologic's developer, and there is literally no better place to learn all zbrush's ins and outs.Rafael Grassetti Art Director at Sony Santa Monica on God of War In this tutorial, Ben Erdt shares his workflow for creating a sci-fi creature/character from a 2D sketch to the final production model ready for rigging and animation. What, I'd suggest to do, which is very important IMHO, is when you start a tutorial, use techniques tutorial gives you, and make your own chracter, don't copy the tutorial in 1-1.ĭon't deviate too much with the style or complexity tho.Īlso what I highly recommend is this playlist The Gnomon Workshop offers the most comprehensive set of Digital Production tutorials anywhere. from what I know he is not making tutorials constantly.Īand I don't have much knowledge about follygon. Have not done Olson's tutorials myself, but he is very good, but I'm not big fan of his style.ĭ.Ekren is also very very good, but I have not seen his tutorials, so I don't know how good tutorials they are. this is the character he is making in course, which i used. he uses Dylan Ekren's concept, in which I have learned from. Ehsan Bigloo, nominated as Best Creature Designer for two consecutive years by the Concept Art Association, presents his tried-and-tested workflow when designing awe-inspiring creatures for the entertainment industry. The model is then taken into ZBrush, where some hard-surface sculpting work is applied to create a final high-poly model. The Gnomon Workshop provides training that both educates and inspires for visual effects artists, concept designers, sculptors and comic book illustrators and traditional artists, using Maya, ZBrush, 3ds Max, Photoshop and Painter as well as traditional drawing and painting. Designing characters and creatures for film and TV can involve many processes. Deciding on a space-pirate, bounty-hunter-style character for this workshop, Ian kicks off the sculpting in ZBrush, working from a simple sphere. The one I like the most is Matt Thorup's tutorials. The work begins in Maya, where Sean demonstrates how to create a rough block-out of the weapon, using the concept as a starting guide and taking artistic liberties to adjust the model where needed. The class begins with the all-important reference-gathering stage using the free online tool, PureRef, as well as how to create a character synopsis that can help focus and guide efforts.
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