![]() I flew to LA, had a great interview and ended up working with them as an Art Director for three years, managing a team of artists. They were already a service provider for sculpting and scanning, but they wanted to open a digital art department and move closer to the film and games industries. Their work represented a balance between traditional sculpting and digital creation. I had always been a fan of Gentle Giant Studios, having seen their ads in Cinefex I really loved what they did. Once I graduated from university I began training other artists in the use of ZBrush. ![]() I had been working for a few years as a traditional sculptor and painter in the entertainment industry. TELL US ABOUT YOUR CAREER PATH AND HOW YOU GOT INTO VISUAL EFFECTS. But back when I started out I was completely self-taught, there were no instructions or YouTube videos to learn from. Now, I still write books on the use of ZBrush and have released instructional DVDs, which remains a secondary career path. I badly wanted to understand it and ended up studying it so intensively that I even wrote early documentation for the makers, Pixologic. I presented the ZBrush workflow to a professor at my university and he was sceptical about what was really possible. When I started using ZBrush, for the first time I felt like I was controlling something that was behaving like clay.īack in around 2002, it was relatively new (I was using version 1.5), and the idea of working in that sculptural and direct way was ground-breaking. Around that time I took my first class in Maya, but I felt that the interface between computer and human was non-intuitive and it really didn’t excite me ZBrush changed all that. I went to school for animation and did classes in stop motion. I inherited an old Commodore 64 when my brother grew out of it, but making art on a computer didn’t appeal to me. I wasn’t really interested in computers when I was a child. ![]() Even now, when creating digitally on a screen I still get that same sense of satisfaction from moulding and making.ĪT WHAT POINT DID YOUR INTEREST IN TRADITIONAL SCULPTURE MOVE INTO THE DIGITAL REALM? Initially I used traditional media, and I still love the tactile quality of painting or creating things with my hands. I guess it’s hard-wired into some people and I was exploring that quirk within me from a young age. There’s something very satisfying and primal about moulding the world around you into something new or that you’ve imagined. In an elementary school art class, when we were supposed to make a bowl, I made a demon creature which my mother still has. I began modelling and sculpting around the age of 8-9 years old, even making an entire human skeleton out of cardboard. I spent almost my entire childhood in an improvised art studio in my parents’ basement. WERE YOU INTERESTED IN ART FROM A YOUNG AGE? By creating concepts and visualising approaches the broad thought process is narrowed and honed down to take everyone closer to the final look of what they want to see on screen. The concept process can guide or elaborate visual ideas for anything from set extensions to creatures and anatomy. ![]() The concept artist is there to help interpret the artistic vision of the director, visual effects supervisor or art director. We caught up with Cinesite concept artist, ZBrush Jedi Master and Gnomon School instructor Madeleine Scott Spencer to find out more about her career path and what is involved in creating a shared vision for all to follow. The work of a concept artist is an early and pivotal part of the visual effects process. ![]() Buy issue 231 here or subscribe to 3D World here. This article was originally published in issue 231 of 3D World, the world's best-selling magazine for CG artists. Featuring a jam-packed schedule of inspiring talks from the industry’s most exciting practitioners, there will also be workshops, networking opportunities, a busy expo and lots more. On 13 March we’re launching Vertex 2018: a one-day event in London for the CG community. Here you can import and map images to the desired axis, there are also a number of options for adjusting the image in ZBrush, such as flipping the image if it is pointing the wrong way, negating the need to alter the images in an external app like Photoshop. Using the toolbar to the right of the canvas, turn on the X, Y and Z floor grids, now access the Draw menu and scroll to the Front-Back, Up-Down and Left-Right sections. While ZBrush only has a single camera, you can still set up reference images. If you are moving from apps such as Maya, Softimage or 3DS Max then you might miss the classic quad view that you can apply reference images to. While ZBrush only has a single camera, you can still set up reference images ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |