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Hi Laura! I have a question, in which order do you think is better to create details in zbrush? First the seams and then the folding or the other way around. It sometimes happens that when I create the seams first then when sculpting the folding and smoothing them i completely destroy the seams. Do you have any tip on that?
That’s a great question. Creating the seams first is a great way to see where they are and in turn, sculpt folds that interact nicely with the folds but as you’re saying, there’s the issue of smoothing and how it destroys the seams. Here’s a good, easy workflow: 1- Instead of sculpting the seams with the seam brushes, use something like the Pen Sharp brush (from the handouts) to suggest where the seams are through Polypaint. As you can turn polypaint on/off, easily erase the seams and add them back and/or edit the polypaint opacity it’s a great way to preview the final seam placement. 2- Sculpt your folds and finally 3- Sculpt the seams, optionnaly on a separate layer so they can be toggled on or off.
Hi Laura! I’ve noticed that you have textile bump texture right on the high-poly in Zbrush. Do I understand right, that we need to have these micro details on the clothes before the texturing stage?
Hey Larisa, I’m trying to find the exact moment in the video where this happens but I can’t find it. I think you’re referring to the idea of putting high-frequency details on the surface using Surface Noise? I do that sometimes just to see what the cloth looks like with those details but I turn those off before baking.
I meant the surface of the lab coat. Ok, clear, thanks. One more silly question :). If one, for example, needs to use tartan textile texture, and our clothes have a lot of folds, the sleeves are rolled, etc., how we can manage the retopology and texturing to get the realistic placement of the tracery? Thanks.
Through some careful UV layout. Cut the UVs along the garment seams and orient each shell in such a way that the pattern is oriented the way you wish it to be.