End Of The Journey
This illustration project was based on an idea from my #TinyDailySketch project from last year. It was modeled entirely in ZBrush 4R7 and rendered with BPR using custom comic materials. For the vehicle, I used a very standard hard surface modeling workflow, including primitives, trim curve brushes, and ZModeler. For the environment, I created a series of ‘double action brushes’ for rocks and gravel that made it very easy to add details.
Modeled in ZBrush. BPR to render the ‘linework’ and Photoshop for colouring and compositing.
To get the comic art style I used the same workflow I shared on my ebook ‘ZBrush Comic Style Render’ that you can get from the ebook page here The material I created for this specific project is very similar to the ‘Super Comic S4’ shader that you can also get from the MatCaps and materials page here.
Colour Palette exploration in Keyshot
In this project, I used the ZBrush to Keyshot bridge and Keyshot not as my render engine, but as a tool to develop the colour palette. Once the ZBrush model was ready, I sent it to Keyshot to test different lighting scenarios to create the mood of the picture. I also created a series of custom HDR images with bright colours to test the different palettes for the final illustration.
Here is a scan of the original idea for the illustration (a quick sketch from the #tinyDailySkech project – 2016).
I liked the proportions from the 2D sketch, so I tried to maintain the relation between the main shapes while modelling the 3D version. It looks like the model is quite detailed, but the base of the mesh is really simple Every part of the mesh can be modeled from primitives: Squashed spheres for the tyres, half spheres for the lights, inserted cylinder for the pipes/exhousts, etc.
Once the big areas are blocked out, you can use masking and extract technique to create a bunch of details out of the primitives: the mudguards from the tyres or the cage from the body of the vehicle.
Linework refinement and colouring process.
I rendered the image in ZBrush BPR which allowed me to also get an alpha and a ZDepth pass for compositing. In photoshop I used a hard solid brush with pressure enabled for size, to clean the and refine the lines. I drew the background and planets to finish the composition and started to add colour based on the keyshot render tests.
Each colour tone has its own layer. I rendered the same angle a few more times, but altering the shadows and contrast a bit. Since those renders are black and white I used them to mask out areas of colour and to create the transition between the colour hues.
Building those rocks!
If you are interested to know how the rock formations for this illustration were built, check the PART 3 of the ‘double action’ brushes tutorial series and/or download the custom brushes pack!