Even then, when I still had no roof, I knew I want to create a dome appearance on the upper ceilings. After sculpting them I did an initial texturing pass. Once I had all of this blocked out, I set on to sculpt further all of the above described assets. The walls above get to host some circle cut windows. It creates a dome like appearance where the pillars are. I then added one upper level of walls - the ones where the circumference of the room shrinks once for the first time. I added little bridges and a bunch of pillars. I put in the middle platform so the orb is centered, floating on it. My approach to putting the place together was as follows: I blocked out the lower levels walls.

Taking a step back, in this screenshot seen below we can see my initial blockout of the ceiling. I also mentioned that we should look at the upper parts of the scene too, and briefly talk about the wall pieces, windows, and dome elements there. I did, however, slightly skip over looking at the lower walls of the environment and what I did with their sculpts.

You could revisit those screenshots over here - The Amarantos Ritual - 02 - Reference. I showed how the mesh underwent a few changes, getting it from alien crop circles appearance to a more ordinary brick and pavement look. He has worked as a visual effects artist on commercials, television, games, and feature films for decades, with credits including 10 Cloverfield Lane, Star Trek: Beyond, Aquaman, Power Rangers, Swamp Thing, and John Wick 3: Parabellum.At the end of the previous blog entry we looked in detail at the center platform and its sculpt. He has now authored multiple video series for The Gnomon Workshop on ZBrush and Maya and was honored to be a guest lecturer at Harvard Medical School. He has written several top-rated books on both ZBrush and Maya, as well as numerous tutorials and articles for leading industry magazines such as 3D World. Įric has been working as a professional CG artist since 1998 creating animations and images for both the entertainment industry and scientific visualization. He creates training titles for The Gnomon Workshop and has also taught ZBrush and Maya classes at Gnomon School in Hollywood. He has taught numerous workshops for The Gnomon Workshop and is one of our most-viewed instructors.Įric Keller is a veteran CG artist with over 20 years of experience creating models for feature films, episodic TV, scientific visualization, planetarium shows, VR, AR, 3D printing, and jewelry design.

This workshop aims to teach you the skills you need to apply to any creature design and is suitable for those looking to create highly detailed scientific visualizations, as well as artists wishing to create high-quality assets for animation, VFX, and games.Įric Keller is a veteran CG artist with over 20 years of experience creating models for film, TV, scientific visualization, planetarium shows, VR, AR, 3D printing, and jewelry design. Once the sculpt is fleshed out, Eric demonstrates his approach to applying color to the model using ZBrush PolyPaint for the first round of texture, before exporting the model and textures into Marmoset Toolbag for the final texturing and rendering stage. Using Eric’s reference images along with anatomical diagrams available online, Eric shows how to block out the initial shape from scratch using ZSpheres before adding and refining each part of the mantis, step by step. This comprehensive tutorial highlights many of the features released in recent versions of ZBrush and starts from the absolute beginning: photo references. The Orchid Mantis - scientifically known as the Hymenopus coronatus - takes the center stage in this video workshop created for intermediate and advanced ZBrush artists. Follow along with the project files provided, including Eric's personal references images, and sketches, along with his ZBrush Project files and the final Marmoset Toolbag render scene. Eric Keller demonstrates how to accurately model a unique species of Mantis using ZBrush and Marmoset Toolbag in this 5-hour video workshop.

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