Gnomon Workshop Announces 14 New DVDs for the Holidays
Just in time for the holidays, The Gnomon Workshop has produced 14 more instructive DVDs for release on Dec. 15. These new Digital Library titles, from artists Kevin Hudson, Matt Hartle, Ethan Summers and Sean Mills, give you a multi-layered look at modeling, Paint Effects and mental ray.
In addition, The Gnomon Workshop introduces the industry's first ZBrush titles. Artists Meats Meier and Zack Petroc take you from the fundamentals of this powerful application, through pipeline, sculpting and workflow Maya.
* INTRODUCTION TO ZBRUSH: TOOLS AND WORKFLOW WITH MEATS MEIER
Designed for the artist new to Zbrush, this two-disc set features a full six hours of lecture, which will teach you everything from the interface to all available tools. Meier teaches you about Pixologics 2.5D pixol technology and the interface that controls a unique hybrid of painting and 3D, blurring the line between pixels and polygons. Meier goes into detail explaining tools to create, manipulate and sculpt multiple-resolution 3D objects. You’ll also learn various methods of creating and applying textures and materials to your geometry as well as Zbrush’s efficient, integrated multi-limbed polygon modeler, Zspheres. Meier will then show you how to use the ultra-fast renderer to create final images and scenes.
* ZBRUSH PRODUCTION PIPELINE: ZBRUSH AND EXTERNAL 3D PROGRAMS WITH MEATS MEIER
This DVD focuses on the relationship between Maya (or any 3D package) and the wonderful sculpting, texturing and displacement creation tool that is Zbrush. We discuss the basics of ZBrush, focusing on working efficiently, moving your work between applications and rendering the results within your favorite renderer.
* DIGITAL SCULPTING: HUMAN ANATOMY ZBRUSH-TO-MAYA WORKFLOW WITH ZACK PETROC
In this DVD Petroc presents a modern approach to digital sculpting that includes technical discussions, and features in-depth techniques for adding life and realism to your characters. Using a Maya-to-ZBrush workflow, the viewer takes a step-by-step look at how underlying muscles and bone structure affect the true form of the human body. The Maya content highlights creating and preparing a low-resolution base mesh, and includes techniques that apply to other Poly modeling packages. The central part of this demonstration takes place in ZBrush, with a comprehensive description of how to develop anatomy while adding weight, balance and realism to your character. Finally, Petroc showcases techniques for using the detailed ZBrush mesh to create an organized animatable mesh in Maya. This lecture is intended for all students and professionals who wish to strengthen their character work through furthering their knowledge of human anatomy.
* POLYGON MODELING 101 SURFACE MODELING FUNDAMENTALS WITH SEAN MILLS
Using Maya’s suite of polygonal modeling tools, Mills starts by creating hard surface forms, before moving to more complex and detail-oriented shapes. The way you build your model, whether you make it accurate and detailed, or rely on informed cheats, depends on its function in the shot. The ability to have complete freedom with the model depends entirely on its level of realism: The more accurate your model, the closer your camera can come to its surface. In this lesson, we build a visually functional electric guitar, teaching you the basics of polygonal modeling and leaving you with the tools you need to build a variety of hard-surface objects.
* CREATURE HEAD MODELING POLYGON MODELING TECHNIQUES WITH SEAN MILLS
In the second DVD of this Polygonal Modeling series, Mills moves from relatively simple hard-surface forms to the creation of more complex and detail-oriented shapes. In this lesson, Mills models the head of an intricately detailed, four-eyed creature. Using a series of photographs of a maquette (hand sculpted by Neville Page), Mills introduces you to the principles of using high-resolution polygonal models. Utilizing Sub division surfaces, he shows you how to sculpt your model with realtime feedback of the high-resolution surface. You’ll learn to create an intelligent edgeflow around your model’s primary forms, one of the more complicated tasks associated with polygonal modeling. Finishing the process, Mills shows you how to return those changes to a low-resolution cage where you can further modify your polygonal model.
In addition, The Gnomon Workshop introduces the industry's first ZBrush titles. Artists Meats Meier and Zack Petroc take you from the fundamentals of this powerful application, through pipeline, sculpting and workflow Maya.
* INTRODUCTION TO ZBRUSH: TOOLS AND WORKFLOW WITH MEATS MEIER
Designed for the artist new to Zbrush, this two-disc set features a full six hours of lecture, which will teach you everything from the interface to all available tools. Meier teaches you about Pixologics 2.5D pixol technology and the interface that controls a unique hybrid of painting and 3D, blurring the line between pixels and polygons. Meier goes into detail explaining tools to create, manipulate and sculpt multiple-resolution 3D objects. You’ll also learn various methods of creating and applying textures and materials to your geometry as well as Zbrush’s efficient, integrated multi-limbed polygon modeler, Zspheres. Meier will then show you how to use the ultra-fast renderer to create final images and scenes.
* ZBRUSH PRODUCTION PIPELINE: ZBRUSH AND EXTERNAL 3D PROGRAMS WITH MEATS MEIER
This DVD focuses on the relationship between Maya (or any 3D package) and the wonderful sculpting, texturing and displacement creation tool that is Zbrush. We discuss the basics of ZBrush, focusing on working efficiently, moving your work between applications and rendering the results within your favorite renderer.
* DIGITAL SCULPTING: HUMAN ANATOMY ZBRUSH-TO-MAYA WORKFLOW WITH ZACK PETROC
In this DVD Petroc presents a modern approach to digital sculpting that includes technical discussions, and features in-depth techniques for adding life and realism to your characters. Using a Maya-to-ZBrush workflow, the viewer takes a step-by-step look at how underlying muscles and bone structure affect the true form of the human body. The Maya content highlights creating and preparing a low-resolution base mesh, and includes techniques that apply to other Poly modeling packages. The central part of this demonstration takes place in ZBrush, with a comprehensive description of how to develop anatomy while adding weight, balance and realism to your character. Finally, Petroc showcases techniques for using the detailed ZBrush mesh to create an organized animatable mesh in Maya. This lecture is intended for all students and professionals who wish to strengthen their character work through furthering their knowledge of human anatomy.
* POLYGON MODELING 101 SURFACE MODELING FUNDAMENTALS WITH SEAN MILLS
Using Maya’s suite of polygonal modeling tools, Mills starts by creating hard surface forms, before moving to more complex and detail-oriented shapes. The way you build your model, whether you make it accurate and detailed, or rely on informed cheats, depends on its function in the shot. The ability to have complete freedom with the model depends entirely on its level of realism: The more accurate your model, the closer your camera can come to its surface. In this lesson, we build a visually functional electric guitar, teaching you the basics of polygonal modeling and leaving you with the tools you need to build a variety of hard-surface objects.
* CREATURE HEAD MODELING POLYGON MODELING TECHNIQUES WITH SEAN MILLS
In the second DVD of this Polygonal Modeling series, Mills moves from relatively simple hard-surface forms to the creation of more complex and detail-oriented shapes. In this lesson, Mills models the head of an intricately detailed, four-eyed creature. Using a series of photographs of a maquette (hand sculpted by Neville Page), Mills introduces you to the principles of using high-resolution polygonal models. Utilizing Sub division surfaces, he shows you how to sculpt your model with realtime feedback of the high-resolution surface. You’ll learn to create an intelligent edgeflow around your model’s primary forms, one of the more complicated tasks associated with polygonal modeling. Finishing the process, Mills shows you how to return those changes to a low-resolution cage where you can further modify your polygonal model.
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