Get Slapped, LLC, a vibrant indie game development studio and multimedia company nestled in Southern California, is renowned for crafting boundary-pushing games that defy convention. With a diverse team boasting decades of professional experience, their creativity flows like a fine jungle juice, blending seamlessly to concoct innovative gaming experiences.
Embracing fresh perspectives, the team welcomes new faces to infuse their ideas into the mix, while honoring the wisdom passed down by industry OGs. Amidst this collaborative spirit, Get Slapped!™ emerges as their latest creation—a slap-stick action comedy arena fighting game with an evolving narrative and an ever-expanding roster of fighters.
To bring their vision to life, the team joined the Reallusion Pitch & Produce program to leverage cutting-edge tools like Character Creator, AccuRIG, Cartoon Animator, and iClone, pushing the boundaries of gaming innovation and delivering an unforgettable gaming experience across multiple dimensions.
“When you’re starting out, finding a software suite that offers flexible aspects of production can be critical. Reallusion has been an amazing jump off point as we push to discover innovative visual storytelling, and hone our pipeline. There’s no doubt we’ll be continuously visiting these tools along our journey.”
Tk Gorgonia – Creative Director / Producer / Virtual Production Specialist
Q: Greetings, and congratulations for being part of the Reallusion Pitch & Produce program! Please share with us the premise of your game Get Slapped!™ and tell us about your team.
Hello! And thank you! We’re happy to be a part of it! Our game Get Slapped!™ is a slap-stick action comedy beat’em up fighting game, with an expanding narrative and roster of fighters. The idea came from fusing the idea of slapping competitions and South Park humor.
Our team is mostly based in Southern California. At our peak we had 40+ members, with many different skills and backgrounds, from over 6 different time zones, all across the globe ! I’m extremely proud and grateful to see what we have accomplished, and to be serving the team.
Q: Your team used AccuRIG to rig unconventional characters for your game. What are the advantages of using AccuRIG? and how were these characters originally created?
Reallusion’s AccuRIG was integral in getting a quick rig on our 3D models in order to test, and have for real time, when giving creative direction on our motion capture shoots. It also provided faster feedback and iteration when improving the overall rig’s movement.
Our Slapican characters are bipedal, but their eyes are essentially where our human chest would be. Early on we would take our character model, and AccuRIG it in less than 15-30 minutes, and be able to achieve improved eyelines for our performances.
Q: Get Slapped has also been experimenting with Cartoon Animator’s 2D capabilities for future updates. Can you share with us why you decided to use Cartoon Animator, and what future projects you have in mind?
Coming from a mocap background, Cartoon Animator always piqued my curiosity on “what if we could mocap 2D animation?”
Thinking of the possibility of exploring different styles and in-game slap dimensions where 2D and 3D characters interact is a fun challenge, and I believe there’s something innovative to be achieved by utilizing such software to explore the next level of 2D production.
Q: For your game, Character Creator has been used to characterize and retarget, to later view and clean up mocap data in iClone. What are the benefits of using iClone versus other mocap cleanup tools?
Utilizing iClonehas been handy for having specific tools and set ups for foot contacts, hand poses, and prop interaction. Overall it’s a more budget friendly solution when starting out and figuring out a pipeline, especially if you want to consider realtime solutions. The learning curve with any software takes some time, but documentation and support from other existing software can be scarce in comparison.
Q: Players will be able to download Get Slapped on STEAM. When will this be available, and where else can fans follow your game?
Early Access is available now on our website getslappedgame.com! Early Access is available for wishlist and soon coming to the Epic Game Store in the upcoming months.
Bradley, a seasoned 3D character designer and modeler, lives and breathes the art of crafting top-tier assets for games and animation. With years of experience as both a freelancer and a contributor at Bungie and Electronic Arts, he has honed his skills across various domains: from digital sculpting and character modeling to creature design, 3D visualization, rendering, and texturing.
Why I chose Reallusion Character Creator and ZBrush Pose Tools
I embarked on the Guyver project to explore what Character Creator Pose Toolscan really do. Posing hard surface objects in a way that ensures correct deformation typically demands a deep understanding of weight painting, binding positions, and, of course, time. However, using Character Creator’s Pose tools simplifies all of these tasks and makes them genuinely enjoyable! Additionally, the Hard and Soft skinning process streamlines rigging for characters. Hard skinning is ideal for objects that shouldn’t deform, while soft skinning allows for bendable parts. Creating a character like Guyver, who wears armor but also has flexible components, becomes both fun and challenging.
Detailed Walkthrough
ZBrush Modeling
Original Published Guyver look. Copyright Kadokawa Pictures Inc.
When creating most of my models, I begin by gathering references for the object, including anatomy images. Then, I embark on shaping the initial blockout. During this stage, my primary objective is to capture the essence of the character. This essence might manifest as unusual body proportions or, in the case of my current model, distinct silhouettes for the helmet, shoulders, arms, and leg armor. As I progress, I meticulously refine each section, ensuring a consistent level of finish throughout the entire character until it reaches completion.
Adding details for Guyver in ZBrush. The polygon count should not exceed 300K quads (600K triangles)
GoZ and AccuRig
Before proceeding with rigging, I ensure my ZBrush scene is tidy by doing the following:
Clean Up: Remove any unnecessary elements.
Naming and Splitting: Assign clear names to objects and split them as needed. This way, I can easily select the relevant components during the rigging process.
Grouping soft mesh and hard mesh accessories
After transferring my model from GoZ to Character Creator 4 (CC4) and positioning my guides, I proceed with the AccuRIG process. Within AccuRIG, I uncheck the ‘All Meshes’ option and instead select ‘Selected Meshes.’ The purpose behind this choice is to ensure that everything I specifically choose will be assigned the soft skinning algorithm, while any unselected elements will be categorized as ‘accessories’ or undergo hard skinning. This distinction is crucial, especially for hard armor components on my character, as it prevents undesired deformation.
After completing these steps, you’ll notice objects marked with a ‘glasses’ icon, which signifies they are accessories. Additionally, objects assigned to soft skinning will be ready. And just like that, you’re all set to begin posing!
Choose selected meshes for soft group accessories. Detailed hierarchy look for Guyver’s armor pieces.
Posing in Character Creator
Now that everything is set up, you have a couple of options for posing your character:
Manual Posing: Select the rig and begin moving and rotating the bones manually. This approach allows for precise control over each pose.
Pose Library: Explore the incredible pose library. Choose from a variety of animations or poses to apply directly to your model.
Hybrid Approach: Feel free to combine both methods for maximum flexibility!
The beauty of this process, as opposed to posing in ZBrush, lies in its flexibility. You’re not committed to a single pose—you can freely explore what feels right or visually striking. Save those poses along the way and continue searching for what truly makes your character stand out. The real magic? You can reuse these saved poses on other characters! Imagine creating a fantastic pose that doesn’t quite fit your current project—no worries, save it for later use!
(Left) Use the animation library and find suitable motions for character poses; (Right) I’ve found some nice poses for Guyver!
For this pose, I adopted a Hybrid Approach. First, I explored the fantastic animation packs available for purchase in Character Creator’s store. I selected a few fight styles and then manually customized them to achieve the unique look I desired.
For my final look, I opted to adjust everything manually. I came across a captivating pose in one of my art books that truly resonated with me. Although this approach might require some additional cleanup, it’s not a concern.
Fine-tuning in ZBrush
After finalizing my pose in Character Creator, which covers about 95% of the work, I turn to ZBrush for the remaining 5%. The advantage of using Character Creator (CC) is that it poses our character at the lowest subdivision level, preserving all the intricate high-level details. In ZBrush, my task is straightforward: I adjust and refine the shape to match the new position provided by the rig. Additionally, I address any clipping issues that may have occurred during the posing process. The end result? A fully posed model that is ready for rendering or 3D printing!
Fine-tuning Guyver’s body details in ZBrushGuyver’s body parts by different grouping
Splitting for 3D Printing
Here are some pro tips for cutting and keying a model in Zbrush for 3D printing:
Clean Splitting: When splitting your model into parts, use Boolean operations to cut and merge the sections that need separation. Keep the connections clean to ensure easy assembly once the figure is 3D printed.
Add Keys: To ensure proper alignment during assembly, add keys (slots or pegs) to the parts that need to be connected. These keys should have some space to account for material shrinkage and deformation.
Edge Cleanup: Create clean edges for each part to avoid gaps and light leaks when assembling the printed pieces. Use tools like “Union Meshing” and “Sharpen Mask” to refine the edges.
Dynamesh Unification: After splitting and keying, use Dynamesh to unify the mesh density and preserve sculpt details. This step ensures a consistent surface for printing.
Remember to consider the material properties (such as shrinkage) and test your design before printing.
Final thoughts
Since discovering and utilizing the Character Creator pose tools workflow, I’ve abandoned all other methods for posing my characters. The process is not only straightforward but also enjoyable and creatively fulfilling. I highly recommend it to anyone seeking a complete process for efficient character posing.
Simulating realistic crowds has long been a challenge in game design and character animation. Fortunately, Reallusion has created iClone Crowd Sim, an advanced tool that can handle these complex simulations in a way that is intelligent and consistent with the environment.
Adding to this great new development are advances in generative artificial intelligence technology, resulting in a truly dynamic solution that, until now, has involved purchasing several additional programs at a very high cost. This tutorial takes you step by step through the creation of crowds using AI to generate textures and the new features in iClone Crowd Sim.
Step 1: Prepare your base characters
The first step is to choose the base characters you will use to generate variations. You can use hyper-realistic character packs offered by Reallusion for Character Creator (CC) or create your own. It will be enough if you have a few to simulate a large population but to work properly, each one must have unique elements.
For this, you can use the “Hair Builder 2 – eGirl” package to increase the attractiveness of your characters with a wide variety of high-quality hairstyles. On the other hand, for clothing selection, you can purchase the “Jackets and coats” package to apply directly to your characters. This pack contains up to 8 types of jackets and coats scanned in 3D in high quality with a low poly methodology designed for video games and film productions.
Step 2: Generate AI facial textures
Export the facial texture of the base character you want to modify from Character Creator. To generate realistic facial textures from these textures we will use Stable Diffusion. An open-source diffusion model in which we will install “Mitsua Diffusion One”, an ethically developed model. Find and download the Mitsua Diffusion One model from its official website and place it in the corresponding folder of your Stable Diffusion model.
Then load the base texture in “Picture to Picture” mode and create a prompt such as: “hyper-realistic facial texture, highly detailed photograph, with very diffuse light”. Generate several images by adjusting the model settings without giving the AI too much creativity until you get satisfactory results.
Currently, it will not be easy for the AI to generate the texture at the resolution and hyper-realistic quality in the details we require. To make up for this we can use Photoaid.com or other similar software to increase the resolution of the generated texture and improve the overall definition.
Before applying the texture I recommend taking it to an image editor in which we overlay the original texture and the generated texture. This way we can replace the parts that the AI has not recreated well (such as ears or nostrils) and that might not put the texture back on the 3D model.
When we apply this texture to the face we will see that the character does not look the same, as we are looking for, but there is still one more step to generate a face different from the original; the texture of normals. To create a normal map taking as a reference our generated diffuse texture we must first convert it to a black and white image. Applying a contrast filter will further improve the result of the reliefs of the face and its definition. Finally, you can use free tools such as SmartNormaps to perform this conversion quickly and at the resolution you want.
Step 3: Generate textures for clothing
You can use AI to generate cool designs and patterns for your characters’ clothes. It is best to start with a basic sketch in a square format, in high resolution and light color so that the texture is easy to multiply on top of the clothing texture. It doesn’t have to be very concrete, the important thing is the silhouette and the space it occupies, create a simple sketch of the design you want to generate.
Generate the image in the same way you generated the face texture and make final adjustments in image editing software if necessary. You can even generate patterns to apply to clothing if your version of Stable Diffusion is available.
AI generates seamlessly tileable texture patterns for clothing texturing.
Step 4: iClone Crowd Sim
After preparing the characters for our simulation, we’ll proceed to import the scenario from our Unreal Engine project into iClone, where the crowd will be positioned.
Select the “Generate NavMesh” tool in iClone to define the traffic zones automatically. This intelligent tool delimits the areas where the characters can walk on the 3D mesh and generates the margins to avoid collisions.
After doing this we can also create paths for the characters to follow using the “Path” tool. This will allow you to control where you want a group of characters to move.
It deploys the “Generate Crowd” menu to populate specific areas with animated characters. The menu allows us to enter characters from our “Content” menu, on the one hand, and movements for the characters on the other.
When introducing several groups of people on stage, it may be necessary to use Navmesh barriers. They are useful because they prevent characters from overlapping during their animations and pedestrians can realistically dodge and avoid obstacles.
Step 5: Export your crowd to Unreal Engine
Finally, we are going to export, in a simple way, the crowd simulation we just created in iClone to Unreal Engine. My aim here is to render a beautiful animation. To do this you need to have the latest version of Unreal Live Link installed so that importing characters into Unreal Engine is faster and more efficient than ever. Remember that you have several tutorials about this process published by Reallusion.
I utilize the Unreal Blueprint to implement the random material feature, allowing for the application of AI-generated textures to both clothing and faces in a randomized manner.
To avoid the repetitive appearance of cloned characters in the imported Unreal Engine scene, we can utilize randomized materials in Unreal 5. These materials not only enable us to change clothing colors but also incorporate AI-generated facial and clothing textures.
While creating these textures involves multiple steps too complex to summarize here, I recommend watching the associated tutorial. It provides detailed explanations of the process, explores texture generation methods, and introduces a technique for creating textures tailored for CC characters, utilizing Reallusion’s hyper-realistic materials upon character import.
That is all! I hope you like the final result and that the tutorial has helped you.
Learn more
Explore iClone for creating 3D character animation
Create crowd animation with iClone Crowd Sim features
What if you have an old project that you want to bring to life using Character Creator, but it’s on legacy topology, or even just a sculpted dynamesh sketch in ZBrush. In this workflow, we’ll take an old ZBrush bust sculpt with arbitrary, non-CC topology, use Headshot v2 to update it to CC topology, which you can then decide if you want to go the body refine GoZ route (see the body workflow article) or the Face Tools route (see the Face Tools workflow article) to fine tune and finish out your character.
GoZ Neutral Base for Scale and Positioning
Our old projects might be in a weird location or scale — let’s bring a neutral base into ZBrush so we can use that as a guide for where our ZBrush mesh needs to roughly be placed. In CC, click Load Neutral Base, and GoZ that over to ZBrush. The pose doesn’t really matter, again we’re just going to use this for scale and positioning.
Load Neutral Base
GoZ Neutral Base to ZBrush
GoZ from Character Creator to ZBrush
Scaling and Repositioning Legacy Projects
In ZBrush, import, open, or load your legacy ZBrush sculpt, and append it to your neutral base. In our case, we’re going to move, scale, and rotate our dynamesh ZBrush bust sculpt to roughly match the head scale and position of the CC neutral base.
Moving and scaling your ZBrush sculpt into place
Prepping the Legacy Sculpt and Export
We’re going to animate our character’s expressions, so remove any “built-in” expressions from your ZBrush sculpt. Don’t worry about adding mouth bags or anything like that; Character Creator will add those for us when it converts our legacy sculpt to CC topology. You can go ahead and delete your neutral base subtools that we used for scale reference, and with your now properly scaled and positioned ZBrush mesh selected, choose Tool > Export > FBX.
Tool > Export
Tip – remove expressions from your sculpt before exporting into CC. We’ll be adding expressions later!
Polycount and Decimation Master
Try and keep your sculpt under 5 million triangles for a more responsive bake in CC later. If needed, go to the ZBrush Plugins menu > Decimation Master, reduce the resolution of your mesh, then export.
FBX Export Options from ZBrush
Importing into Character Creator
Import as Prop
Importing your exported .fbx into Character Creator is super easy; just drag your exported FBX into the CC viewport, and choose the Prop option. Select your prop, and click on the Headshot2 button in your menu toolbar
Launching Headshot 2.0
Align Points placement
Aligning Points
When Headshot v2 launches we’ll automatically be placed into Align Points mode; click the Auto Detection button to automatically place the points from the CC topology head onto your sculpted head. Click and move the points so they correspond to the same areas of the face, matching the placement between the CC head and the sculpted head. If you have shapes that deviate considerably from the base mesh forms, feel free to click to add more points as needed to help the base mesh find your sculpt, such as the exaggerated ears in our case. When you’re done, click on the Head Gen tab at the top of the Headshot v2 interface.
Adding a few more points for extreme shapes
Head Gen
Head Gen – Whole Head option
The Head Gen section allows us to choose what parts of the face or head you want the CC mesh to snap to. If you have a sculpt where only the face is viable, you can choose the face option, or use the Mesh Selection section to fine tune what areas are represented in your sculpt. In our case, since we have an entire bust, we’ll use the whole head.
Refine Mesh
Click on the Refine Mesh tab, and use the “Move”, “Smooth”, “Clone”, and “Project” brushes to match the CC mesh to your sculpt. If your mesh is symmetrical you can use the Symmetry Edit option to speed things up, and you’ll probably want the Conform to Source Mesh checked on, so as you move your mesh, it will snap to your sculpt.
Refine Mesh
Attach to Body
Attach to Body with Source Mesh for our Normal bake
When your meshes match, click the Attach to Body button, and choose the body shape/type that most suits your character. For the texture bake options, we don’t have a polypaint or texture for our sculpt, so we’re going to choose Textureless for diffuse, and From Source Mesh for our normal.
Changing Body Proportions
Right now our character has basic human proportions; let’s make our character a little more unique by using the Morphs tab sliders and/or Morph button in your toolbar to click and pull the proportions of your character around to dial in the exact body you want your character to have.
Using Morphs to change proportions
Attach to body default
Morphs to change proportions
Adding Skin Textures
Since we didn’t have any textures or polypaint to bake to our head, our character is textureless — let’s fix that! In the Content tab, navigate to the skin folder, and double click any of those options to apply a character skin. In our case, we’ll use CC4 Kevin’s textures.
Applying CC4 Kevin’s skin to our character
“Ignore Head Normal Texture” checked on
In the resulting dialog box, use the defaults, but check on Ignore Head Normal Texture; this will keep our baked Headshot normal map instead of replacing it with Kevin’s.
Applying Teeth and Eye Materials
We’ll apply teeth and eye materials in the same way; Navigate to the teeth and eye sections of your content browser, and double click any of them to apply it to your character.
Applying teeth to our textureless character
Applying eyes to our textureless character
Expression Wrinkles
At this point, you can also apply the neutral expression wrinkles, Kevin’s expression wrinkles, or wrinkles from the Wrinkle Essentials pack if you have those. You can use these expression wrinkles as-is, or as a base for your Face Tools fine-tuning pass, or get rid of them entirely and sculpt them yourself, again using the Face Tools plugin.
Expression Wrinkles content
Neutral Expression Wrinkles
Kevin Expression Wrinkles
Deep Saggy Wrinkles from Wrinkle Essentials Pack
Finishing Your Character
In conjunction with expression shapes and wrinkles, we also have the body to consider — at this point in the Headshot workflow, you can choose whatever workflow works best for you.
CC Model with skin textures applied
Updated ZBrush head and body sculpt
CC updated with the Substance Painter bake & texture pipeline
“The Goblin Body and Gear” article will walk you through refining the body sculpt and texturing in Substance 3D Painter, and the section just above this one will show you how to take the result of that workflow into Face Tools, where you can then refine the face shapes and expression wrinkles.
Goblin Body & Gear Workflow
Vampire Face Tools Workflow
Or, you can jump right into Face Tools: the “Vampire Face Tools” article will walk you through how to refine your base head, expression shapes, and expression wrinkles, and then show you how to follow back up with a refined body that matches your head.
Either direction you take is completely up to you; Character Creator can support however you like to work, and remember, you can ALWAYS open files, relink, and refine at any point, in any order. Character Creator is the ultimate flexible solution for character creation — the technical heavy lifting is provided by the suite of easy to access, low barrier to entry tool sets, and allows you, the artist, to focus on compelling visual storytelling!
About The Author
Michael Pavlovich earned a Bachelor’s degree in Computer Animation from RSAD in 2005. Initially, he contributed to the development of environment and character art for popular video games such as Madden and NCAA Football. Later, he relocated to Austin to join Daybreak Games, where he worked on the creation of art assets for DC Universe Online.
Presently, Michael holds the position of Director of Character, Weapon, and Vehicle Art at Certain Affinity. His expertise lies in implementing iterative pipelines for Certain Affinity artists helping develop renowned video game franchises, including Halo, Call of Duty, and DOOM. To stay updated on his latest tutorial projects, you can visit Michael’s YouTube or ArtStation page.
Intro- Continue the “Goblin” Project with ZBrush Face Tools
This article is a continuation of our “CC Topology GoZ Goblin Body” article. We’ve already sculpted and baked the body and head textures for our goblin, but we only have default face shapes and neutral default expression wrinkles. In this article, we’ll use the powerful ZBrush Face Tools plugin to update our face shapes, eyes, teeth, and tongue, and of course create custom expression wrinkles that match our unique character perfectly.
However, all of these articles have relied on CC topology projects in order to fully utilize the Reallusion suite of character solutions — what if you have an old character project that uses another base mesh, or even just a dynamesh bust sculpt? The last section of this article will cover using Headshot v2 to quickly and easily convert legacy projects to the CC topology, and from there you can decide if you want to use the body workflow shown in this article, or the ZBrush Face Tools workflow found in the previous article.
Customize Expressions & Wrinkles with ZBrush Face Tools
Relinking Filrs with GoZ in ZBrush
We worked on this goblin body project a while ago, so we need to relink them. Open your previous body file in Character Creator, as well as the corresponding ZBrush ZProject (.zpr) file we saved, with all our high-res details and polypaint. With both programs and files open, press the GoZ All button in ZBrush, then press the Update button in Character Creator with Current Pose selected. Your programs and files are now linked.
GoZ All from ZBrush
Update Current Pose in CC to Relink
ZBrush Face Tools
With the character selected in Character Creator, press the Face Tools button in the menu bar, and this time choose None for the expression wrinkles. We’re going to use the character’s existing “memory” face wrinkles, which will be sent over in the Normal Details layer (also checked on in this dialog box), to indicate where our expression wrinkles will end up. In other words, no need to send over neutral expression wrinkles this time, we’ll create our own unique expression wrinkles based on the character’s actual face.
Only Normal Details & shapes being sent over in this scenario – no baked in wrinkle details!
Transferring Base Color Texture to Polypaint with ZBrush Face Tools
Back in ZBrush, turn on the Diffuse button to load up your characters base color texture map, and once again use Tool > Polypaint > Polypaint from Texture to transfer your texture color to your base mesh polypaint. Once this is done, turn OFF the Diffuse button.
Transferring base color texture to polypaint
Sculpting and Polypainting Custom Expressions in Face Tools
Using the Face Tools plugin, click on an expression you want to update, and tweak your shapes, expression wrinkle details, and polypaint for each expression. With our Detail layer on, we’ll see exactly where the face memory wrinkles go when the face moves, and you can use those to inform where you need to enhance the wrinkle details as the skin compresses. You’re not limited to just changing or enhancing wrinkle detail (you can also change the overall shapes for each expression, for example) changing the mouth shape when the jaw opens, or the lip shapes on the mouth pucker!
Selecting Expressions
Default Jaw Open
Custom Jaw Open
Default Mouth Pucker
Custom Mouth Pucker
Default Neck Tighten
Custom Neck Tighten
Update to Character Creator
When you’re done updating expression shapes and wrinkles, hit the Update to Character Creator button in the Face Tools plugin menu. Since we didn’t make any updates to the base head, we can leave the left side unchecked, and check on anything we changed for our Expression Wrinkles side. This will send all of our SDiv 1 shapes back to CC, and any sculptural change / polypaint in SDiv 2-6 will be baked into texture sets and sent back to CC.
Update to Character Creator Expressions / Wrinkles only
Now your CC character will have your unique custom shapes and wrinkles as the character’s face moves during animation or posing.
Updated custom face shapes and expression wrinkles for our character!
Remeber, you can ALWAYS open files, relink, and refine at any point, in any order. Character Creator is the ultimate flexible solution for character creation — the technical heavy lifting is provided by the suite of easy to access, low barrier to entry tool sets, and allows you, the artist, to focus on compelling visual storytelling!
About The Author
Michael Pavlovich earned a Bachelor’s degree in Computer Animation from RSAD in 2005. Initially, he contributed to the development of environment and character art for popular video games such as Madden and NCAA Football. Later, he relocated to Austin to join Daybreak Games, where he worked on the creation of art assets for DC Universe Online.
Presently, Michael holds the position of Director of Character, Weapon, and Vehicle Art at Certain Affinity. His expertise lies in implementing iterative pipelines for Certain Affinity artists helping develop renowned video game franchises, including Halo, Call of Duty, and DOOM. To stay updated on his latest tutorial projects, you can visit Michael’s YouTube or ArtStation page.
Gone are the painstaking days of piecemeal 3D building assembly. The iClone BuildingGen plugin empowers architects, professional designers, and hobbyists alike to effortlessly create diverse 3D buildings using procedural Blueprints. This plugin streamlines the entire process by allowing the organization of 3D module collections into effective and cohesive packages.
Construction styles can be defined using interchangeable components and materials to enjoy maximum design flexibility. Best of all, BuildingGen’s nondestructive workflow ensures that design iterations can be made in confidence, with the integrity of the original design staying intact with impromptu modifications.
The key features of BuildingGen include:
Unlimited Architectural Styles: Harness a diverse range of modular components to craft a myriad of housing styles, whether it’s modern, sci-fi, sustainable, cartoonish, and beyond. BuildingGen can perfectly tailor each building to complement your 3D environment.
Creative Modification: Effortlessly modify the building structure by adding or removing selected Units, incorporating pillars, fences, or steps to fashion terraces, balconies, or open-air spaces. Watch Tutorial >
Adjusting Levels: Add or remove floor levels for the buildings at any moment in production. Or save time by duplicating certain floors and rearranging orders as you see fit. Watch Tutorial >
Refine Materials and Elements: Even after a building is constructed, a world of possibilities awaits. From replacing wall and facade materials to swapping out elements like door and window frames, this is where building aesthetics can be enhanced.
Smart Rebuild: Modify the entire structure, restyle levels or components while preserving the overall integrity of the building. Make precise changes without starting from scratch, thanks to BuildingGen’s nondestructive building process.
One-click Day/Night Switch: Building materials offer day and night modes, enhancing realism with realistic illumination and illuminated windows. Other details can also be added and enhanced such as realistic glass reflection and window dressing.
Optimized & Performant: BuildingGen optimizes performance by consolidating repeated textures and models, reducing redundancy. Its modular design allows multiple buildings to share resources, improving efficiency. Enjoy smoother operation and reduced frame rates, enhancing responsiveness while working with crowd simulation.
Free Sample Content: Access over 210 free assets, including 10 reconstructable iBuildings and 200+ 3D components and materials. Each building offers four distinct styles for easy customization, allowing users to fully experience all major BuildingGen functions.
Creative Expansion: BuildingGen packages streamline building deployment for specific styles, blending seamlessly with any motif. Customize packages by importing external content or incorporating your assets. The intuitive Packager tool assigns roles and materials to building components. Watch Tutorial: Setup > | Packager >
BuildingGen is poised to revolutionize the way architects and designers approach 3D architectural design. With its intuitive interface, powerful features, and unmatched flexibility, BuildingGen proves to be an indispensable tool in the arsenal of every 3D designer.
Expansion Pack: French Styles
Introducing “BuildingGen – French Style”, the premiere modular prefab package for constructing commercial, residential, or multifunctional buildings with French flair. Explore 10 premade structures and 8 extensible styles to effortlessly recreate architectural landmarks. Design traditional roofs, balconies, and terraces using over 600 component options. Adjustable day-night material settings enable dynamic window lighting and dressing, giving the impression of genuinely utilized and inhabited buildings.
Creating Ultra Realistic Digital Humans for the 3D Fashion Industry
At its core, Unexplored Fields is a collective of 3D artists who intricately blend art, fashion, and CGI. Specializing in art direction and the production of digital campaigns for the fashion industry, the studio boasts a diverse team skilled in various areas such as art direction, 3D modeling, avatar and environment creation, cloth simulations, material generation, realistic renderings, and sound design.
Through collaborative efforts, they infuse the essence of partnered brands into their visuals like Calvin Klein, Lacoste, Dr. Martens, ADOBE, Golgotha, and more. Their approach involves deliberately blurring the lines between reality and the virtual realm, playing with perception. Ultimately, Unexplored Fields aims to imbue the world of computer graphics with an organic touch, crafting visuals that authentically resonate with their audience.
For this Pitch & Produce session, three designers from Unexplored Fields collaborated together to leverage Character Creator digital human technology with Blender, Clo 3D and Houdini: Virgile Biosa, Etienne Kawczak-Wirz and Ilyès Taïebi
“We found out that Character Creator (CC) offers the smoothest pipeline integration with Blender, but it’s also really easy to combine it with ZBrush and Substance Painter. While solutions like Unreal’s MetaHuman Creator are impressive, Character Creator’s compatibility and efficiency with our existing toolkit made it the optimal choice for our digital fashion creations.”
Virgile Biosa – Art Director / 3D Apparel Designer
Étienne Kawczak-Wirz – Art Director / 3D Generalist / Music Composer
Etienne Kawczak-Wirz introduction : “Étienne Kawczak-Wirz is a French artist who graduated from the Fine Arts in 2016. He juggles multiple activities, each feeding into the other: a personal artistic practice, collective work within Unexplored Fields, and a musical project under the name Zone Minor Modification.
The medium of 3D gradually asserted itself as his principal tool of expression. His influences primarily draw from art history and cinema. The notion of refuge has been irrigating his work for many years, and his ongoing project “Vercors Refuge” is an opportunity for him to address this theme in a more direct manner. Within Unexplored Fields, one of his roles involves leveraging his expertise in artistic direction and technical abilities to serve the major brands collaborating with the studio.
Virgile Biosa – Art Director / 3D Apparel Designer
Virgile Biosa introduction : Virgile Biosa is an Art Director and 3D artist based in Lyon, France. With a background in Fashion Design (Saint-Luc Tournai, Be) and Fine Arts (Ecole Duperré, Paris, Fr), he continues to explore fashion design through digital tools, all the while maintaining a keen eye for artisanal aesthetic.
Inspired by his promenades through natural and urban landscapes, as well as a wide range of art forms, his projects frequently focus on the natural world and the intersection between nature and technology. Virgile Biosa has collaborated with a range of clients, including brands such as Suicoke, Hagel, PAG Neckwear and more… Co-founder of Unexplored Fields, Virgile plays the role of art director and 3d specialist with a focus on fashion. He is also involved in the digital archiving company d_archive.
Ilyès Taïebi – 3D Apparel Designer
Ilyès Taïebi introduction : Ilyès Taïebi is an image creator and 3D designer based in Biarritz, France. With a background in styling (Saint-Luc Tournai, Be) and fashion design (Atelier Chardon Savard, Fr) he now combines his skills in 3D modeling and his passion for design in the search for new ways of creating, designing and communicating through images. Today he creates authentic, narrative digital campaigns, giving free rein to his imagination and exploring the different horizons of his ideas in order to sublimate the appearance of a product, in the environment he chooses according to the story he wants to tell.
Ilyès Taïebi works for brands ranging from ready-to-wear, to sportswear, to luxury, collaborating with the likes of Décathlon, 686, Off-white, Heron Preston, Chloé and more… Also co-founder of Unexplored Fields, Ilyès plays the role of 3D Designer and 3D fashion specialist, creating original and aesthetic designs, while getting involved in the narrative world of the campaigns he creates.
Q: Congratulations on being part of the Reallusion Pitch & Produce program. Please share with us the many disciplines that the field of 3D fashion requires. What does a digital fashion campaign typically contain?
Thank you for the opportunity to participate in the Reallusion Pitch & Produce program!
I think that a digital fashion campaign requires to combine all the disciplines from CGI with the fashion design fundamentals such as; patternmaking, garment construction, textile design. My background in fashion design helps me a lot, not just in shaping silhouettes but also in understanding various finishes, and predicting how they’ll drape and respond to simulated forces, crucial for achieving realistic renders. On top of those technical skills, I believe that having a trained eye for fashion visuals and an understanding of fashion’s codes is important.
Unexplored Fields – 3D Virtual Fashion
I am not sure if there is one typical digital fashion campaign. In my experience it goes from 3D packshot renders to narrative-driven visuals with a strong art direction. Personally, I find it interesting to produce fashion campaigns that immerse the viewers in singular worlds where the ambiance, the visuals and the sounds create an immersive experience, deriving from the product to also to feel the essence and ethos of the brand.
Here’s an internal production that we find to be a great example of what I’m talking about :
Unexplored Fields
Q: Your digital fashions require the use of high quality digital humans where you used Character Creator (CC) for your avatar creations. Why did you choose to use CC versus other tools like Unreal’s MetaHuman Creator?
Most of our renders are done with Blender Cycles. After trying different solutions, we found out that Character Creator (CC) offers the smoothest pipeline integration with Blender, but it’s also really easy to combine it with ZBrush and Substance Painter. While solutions like Unreal’s MetaHuman Creator are impressive, Character Creator’s compatibility and efficiency with our existing toolkit made it the optimal choice for our digital fashion creations.
Ultra realistic Digital Human in Character CreatorCharacter Creator Digital Human
Q: Kindly share with us the process of creating your digital humans, the many tools you use, and the average time it takes you to create an avatar.
The process of creating our digital humans can take from 4 to 8 days, depending on the project’s complexity and requirements. While our journey into digital human creation is relatively recent, we’ve used this Pitch & Project experience to try a new pipeline (that probably still has room for improvements !).
Our workflow begins with a high-resolution scan as our base. It can be custom made or from one of the various online libraries like Texturing XYZ or 3D Scan Store.
Texturing XYZ scans3D human scan
From there, we use Character Creator 4’s artificial intelligence enhanced Headshot 2.0 plugin to generate the initial human model, which serves as our foundation.
3D Human scan inside Character Creator Headshot plugin
Next, we leverage Character Creator‘s suite of tools to customize the avatar, adjusting proportions and textures as needed to achieve the desired look.
Adjusting Digital Human facial morphs with Character Creator
For a very detailed and custom avatar, we like to use the GoZ button to sculpt intricate skin’s details, and refine the face and body shapes with more precision. Once satisfied, we import the model into Blender using the freeCharacter Creator’s Auto Setup tool, where we fine-tune skin shaders to match our project’s specifications. The hair is usually achieved with Blender’s native grooming tools. However, this wasn’t necessary for the specific requirements of this film.
Digital human texture adjustments in BlenderDigital human texture in Blender
Q: Once your digital humans are created, you leverage iClone’s character animation features including its iPhone LIVE FACE for facial animation. What are the advantages of using iClone and its dynamic wrinkles in your pipeline?
It was our first time using the iClone LIVE FACE profile for iPhone, and it was really incredible to see our avatar come to life in real time, without the need for complex setups.
Animating 3D virtual fashion avatars with iClone mocap
Also, I appreciated how easy it was to fine tune the expressions using masking options and adjust parameters such as strength and smoothness. iClone’s dynamic wrinkles feature added another layer of details to our character, bringing him to life with subtle yet realistic details.
Character Creator and iClone Dynamic Wrinkles
Q: When your avatars are ready, how do you start modeling and simulating your cloth and accessories?
My approach typically involves drafting the silhouette as soon as the proportions are finalized. I prefer to work with a natural pose rather than a stretched T-pose, opting instead for a relaxed A-pose with minimal distortions. This initial pose serves as the basis for all subsequent animations, eliminating the need for constant readjustments during simulations. Transition preparation in iClone facilitates this process, requiring just a few clicks to ensure seamless animation.
Digital Human A-Pose in Character Creator
After the avatar animation is validated, I export it to Blender as an .FBX file. Occasionally, I create additional blend shapes to address potential collision issues during cloth simulation, typically focusing on providing ample room in the armpits. When it’s not done in Character Creator, I parent shoes and accessories to the avatar’s rig in Blender. Then, I prepare a low-poly version for each item for collision detection.
Human Blendshapes in BlenderDigital Human Blendshapes in Blender
With the animation ready, I export an Alembic file (.abc) to Clo3D, where all the cloth simulation takes place. Clo3D allows for detailed simulation adjustments, ensuring realistic cloth behavior. Once satisfied, I export the simulated cloth as an Alembic file back to Blender. In some cases, I incorporate a Houdini step to refine simulations or simulate specific details like hanging cords or earrings, as seen in our Pitch & Project film.
Clo 3D clothing adjustments with CC avatar
Q: Can you talk about the advantages of using the Character Creator Auto Setup tool for Blender? What tools did you use for your final render?
It’s one of the reasons I like to useCharacter Creator : the Auto Setup tool for Blender works very smoothly, automatically importing textures, including the wrinkles deformation, rig controllers (utilizing Rigify), and blendshapes.
Advanced Character Creator pipeline to Blender
It’s very comfortable as it affords in making adjustments to animations or facial expressions directly within Blender, which we use for building and rendering the scene.
Unexplored Fields 3D Fashion with Character Creator
I admit it. I had a deep-rooted, long-embedded phobia of 2D work.
This was due to its complexity early on in my freelance career. Motion Graphics were great, but character-driven 2D animation was time-consuming and tedious. This was long before Adobe bought After Effects. Cell shading was making a retreat as digital art had taken root.
Being as I was a grunt at the bottom of the animation chain, I generally got the jobs that no one else wanted, and that somewhat tainted my view of 2D work. As strange as this sounds today, back then my experience was that 3D was easier and less stressful than 2D work and I’d rather do that on a regular basis. What I had not counted on was audiences being trained to Pixar-level quality and the “uncanny valley” effect that tanked Polar Express, a project many thought was revolutionary while others couldn’t watch it.
These aren’t even considerations in 2D. Near perfection is not expected in all 2D work like it is in 3D.
Author, animator, and all-around talented artist Anita Bell replied to a post I made in Facebook about trying 2D:
Yeah, 2D is very forgiving. In 3D, everything is so realistic these days, that the slightest glitch of a motion for a fraction of a second, and everybody notices… but in 2D, simplification of motions is expected…
Got foot sliding? Just raise the camera so we can’t see the feet.
Got lighting problems? Ha, no ya don’t there’s no lighting.
Got shadow problems? Nope. Just delete em… assuming you added them as a prop in the first place. Bugs bunny never needed shadows, unless it was to prepare viewers for a gag, where he wouldn’t be touching the ground.
Got cinematic style problems? Nope… any cinematic style can be added as a LUT afterwards.
Anita Bell
Wise words and now I’m starting to think a little differently about this 2D thing. Some of what Anita mentions has caused burnout on more than one occasion for many 3D animators, myself included. Garry Pye replied with an offer of help anytime I needed it. Other users replied with words of encouragement and advice showing Cartoon Animator is just as much a community as iClone is. Having plenty of help was certainly a plus.
There was more of a distinct line between 2D and 3D in the early days. They shared some tools but for the most part, it was different tools and different skills with different groups like fine artists instead of digital artists. I tried Toon Boom and others, but it was very different from 3D and rudimentary in its early release.
Fast forward to today and it is a whole different ballgame in 2D animation.
Without looking at a single tutorial or opening the manual I was able to move around in the Cartoon Animator interface and create some rudimentary animations. Being a long time iCloner the interface was familiar and everything I tried up to this point worked as it would in iClone. From opening the timeline to adding characters and animations it seemed like I had been using Cartoon Animator for years even though this was my first look at it since version one of Crazy Talk Animator thirteen years ago.
Cartoon Animator user Dirk Baeten had told me in the same thread mixing CA 2D and iClone 3D would be a walk in the park with my iClone experience and he was right.
I haven’t produced any jaw-dropping 2D work at this point, but I have produced 2D work in a short time. Lots of it I might add… compared to my previous 2D output. This assignment had changed from a rather begrudging learning of Cartoon Animator into an enjoyable artistic experience as I advanced through the basics quickly.
I don’t know the “rules” of 2D like I do 3D or live-action, but I know I’m not running into the roadblocks and choke points of 3D. This has become a welcome diversion from everything Anita Bell mentioned earlier and has made the experience fun.
My first 2D scene was very rudimentary using the included Tumba character with a four-legged walk motion and a background from the Forest Paths Background pack. My creation was nothing to brag about, but it was completed quickly and nearly effortlessly. The only snag was turning the character on the zig-zag path. Like the 3D’er I am I overcomplicated it and went off in search of a 2D animation for the turn when all I had to do was flip the character with a button on the top toolbar.
It took a few minutes of searching for a non-existent motion before I realized I just needed to change tactics and flip the character. Could this be? It was too easy! As Anita confirmed… it is acceptable. Maybe in just the right situation but a sudden flip would never be acceptable in 3D. You would jar or worse, lose the audience immediately. There are probably better ways to do the turn than a flip but at least it didn’t stop my progress and dull the creative edge searching for a solution.
Below is that first attempt with Cartoon Animator which also included a path and some scaling from small to large throughout the clip. You’ll see some foot sliding but for a first effort it was incredibly easy and the sliding could be dealt with but I was moving on to another scene.
The new scene is in a meadow with plant and tree props placed in front of a background image along with an animated Bird silhouette (Puppet & Path) that was duplicated twice after animating it flying across the screen. I used the butterflies from the Puppet & Path pack to learn about the Motion Pilot, moving them across the screen, around the character, and offscreen. The girl was Garry Pye’s School Squad Penny character and I stuck a default tree branch prop in the upper right corner of the screen.
While still short it incorporates a young girl’s voice from Eleven Labs for lip sync and a background sound effect of the outdoors. I also learned how to use the camera during the creation of this scene which pauses at the beginning then follows the butterflies and eventually pulls back to a wider shot.
NOTE: The video below has background audio.
When you click on the 3D view you will see a visual breakdown of the placement of the various plants, trees, and other assets that make up the scene. It might not be necessary to have the layers this far apart, but this provides a better visualization of how the 2D stage works. The final render will always be the flat view.
Again, no masterpiece but by this time I had already put together several elements of an animated short and I didn’t have to worry about lighting which could tie up a 3D project which pushed me to another test of an underwater scene.
This type of scene is a bit more difficult to pull off in 3D depending on the VFX and lighting you have available during the project. I knew the scene wouldn’t be hard to do but how would I, as a Cartoon Animator newb, dull the sharpness of the scene to make it look like it was underwater?
Since I didn’t know any better, I used my old standby technique of adding a solid blue image layer (filter) over the top and using its opacity setting to set the final look. This dulled the sharp image and gave it more of an underwater look.
Below are the results:
I used this project to learn more about Motion Pilot as it drives all the animation in the scene. From the coral swaying to the fish swimming Motion Pilot handled the job in less than a minute for each prop not counting experimentation. The blue filter image layer is turned off in the image below.
As to the old-school use of the blue filter, you can see the difference it makes in the image below. This is a personal preference as you may want a sharp, clear look versus the duller, washed-out look I was going for.
RENDERING
This is a question for a lot of would-be Cartoon Animators wanting to know how the render time stacks up against a 3D app like iClone. In my experience, these projects were rendered extremely fast. I couldn’t count as fast as the frames rendered so in this instance rendering time is a non-issue.
SUMMARY
I will be covering Cartoon Animator with more in-depth articles in the future as CA has proven to be an easy-to-use tool that makes me look a lot better than I am and that is a bonus that I will gladly accept. If you have experience with iClone then you’ll recognize the interface and will adapt quickly. Cartoon Animator, like iClone, can work for beginners, amateurs, and professionals and all you have to do is look over this magazine to see proof of that. If my experience so far is any indication of what this learning process will hold then I look forward to the task.
Digital Artist MD “Mike” McCallum, aka WarLord, is a longtime iClone user. Having authored free tutorials for iClone in its early years and selected to write the iClone Beginners Guide from Packt Publishing in 2011, he was fortunate enough to meet and exchange tricks and tips with users from all over the world and loves to share this information with other users. He has authored hundreds of articles on iClone and digital art in general while reviewing some of the most popular software and hardware in the world. He has been published in many of the leading 3D online and print magazines while staying true to his biggest passion, 3D animation. For more information click here.
A Step-by-Step Guide from ZBrush Master Pablo Munoz Gomez
The Facial Profile Editor
Alright, to wrap up this in-depth guide to the Face Tools plugin, I want to give you an overview of one of the most powerful features in CC4 when it comes to expressions: The Facial Profile Editor.
With the workflow we’ve been following in this guide, we manage to create an original custom character with its unique set of expressions and of course unique wrinkles. However, all of the custom tweaks we’ve created are being applied to the generic rig in CC4, this means we can definitely generate some really cool and interesting expressions like these 3 main expressions I wanted to achieve:
But what takes this whole process to the next level is the Facial Profile Editor. Since no one set of expressions is the same just like no human is the same, the Facial Profile Editor allows you to tweak the generic rig and truly customise the expressions of any given character.
To illustrate this idea, here are my final expressions for this tutorial. The images on the left-hand side show the custom expression morphs and custom dynamic wrinkles and the images on the right show the exact same expression with the adjusted facial profile for this specific character:
In the ‘evil laugh’ expression for instance, you can also see a massive change on how low the character’s eyebrow can go and how exposed the bottom teeth are as well:
Here is the fear/surprised expression, also with the updated facial profile:
The point is, that the generic rig of CC4 can get you 90% of the way. As soon as you start working with more stylised or custom character, the Facial Editor will help you tweak and adjust all aspects of the morph sliders to creating convincing expressions:
Adjust Expressions in Edit Facial Panel
To get started with the Facial Profile Editor, I like to check my expressions and dynamic wrinkles from the Edit Facial control window. This is probably the easiest way to see how everything works and to spot areas of the expression that could be improved.
From the Edit Facial window, you also have other tabs next to Muscle. For instance, the Expression tab gives you access to a bunch of pre-made expressions that you can use as a starting point. These templates can give you a reference of how much you need to tweak your Facial Profile so you get to a more authentic expression.
The third tab called Modify is actually very useful. It gives you a much more granular control over each portion of the expression. So just as a quick example, here is the same ‘Angry’ Expression from above but with some of the sliders in the Modify tab tweaked (exaggerated opening of the mouth, angled brows, etc).
Now let’s dive into the Facial Profile Editors so we can create more custom expressions for the character.
Create More Custom Expressions in the Facial Profile Editor
From the Modify window, click on the Facial Profile Editor button. The character would go back to a neutral expression:
From the Facial Profile Editor, you’ll see all your morphs to the left of the window. After selecting a morph, you can see the different sliders you have to tweak that part of the expression
In my case, you’ll notice that even with the ‘EyeLid’ selected, pushing my ‘Eye_Wide_L’ slider all the way to a value of 100 doesn’t significantly open the character’s eye (partly due to the exaggerated size of my pupils).
The idea here is to fine-tune this particular slider using the Modify tab. Firstly, from the Morph tab of the Modify window, I located the morph section corresponding to my eyelid:
Then I used the ‘07_Wide_L_high’ to push that top eyelid past the edge of the iris of the character; this is how you can truly customise your expressions.
Now, in order to apply this change to my facial profile, I need to click on the tiny ‘thunderbolt’ icon next to the slider in my Facial Profile. In the pop-up window click on Ok. You can apply it to the current slider or to split part (I prefer to use the current slider and manually mirror the effect).
The mirroring process is just a matter of clicking the ‘mirror’ arrows icon from the opposite slider, ‘Eye_Wide_R’:
These are the main steps of the process to adjust your expressions in the Facial Profile editor. After you do a couple, it is just rinse and repeat. Here is an example of the exaggerated left eyebrow raised:
Another significant advantage of editing your profile is the ability to adjust the placement of facial elements (such as teeth, eyes, tongue, etc.) based on the expression. For example, when my character opened its mouth, the lower teeth were pushed back too far. To rectify this, you can utilise the Facial Profile Editor by clicking on the Proportion button (the fourth one in the Expression tools section):
This will display the bones associated with the face meshes and you can just click on them and move them around. In my case, I selected the bottom teeth and pushed them forward a bit while the jaw was down. The idea is that after adjusting this, the teeth will slide a tiny bit forward as the character opens the mouth:
That’s it in terms of the Facial Profile Editor. You can spend as much time as you need to in this step to further tweak each expression. But, in general, there will only be a couple very specific sliders that need tweaking, unless you really want to stylise your expressions.
The final aspect I’d like to demonstrate regarding the Facial Profile Editor is the capability to create your own custom sliders and incorporate them into your profile. These sliders could represent the effect of a single area of the face, such as ‘Super High Brow,’ or they could encompass multiple sliders to form a custom slider representing a complete expression.
Here’s a quick example where I utilised several sliders from the facial profile to generate this random expression:
Then, at the bottom of the expression morphs, I clicked on the New Slider button. A window will pop up where you name your slider and save it within a category. I named mine ‘WeirdLook’ (yep, I’m aware of the type-o in the screenshot). You can even upload a bitmap thumbnail with the expression so you know what the slider does.
Once you click OK, you’ll have your new slider in the custom category at the bottom of the expression morphs list:
You can now click on the big Edit Expression green button at the top to get out of the Facial Profile Editor and all your changes will be saved into your character. One last thing I like to do is test the full range of my expressions and dynamic wrinkles after I adjusted my facial profile using the animations that come with CC4.
From the Animation window, you can click on the Motion dropdown and go to Facial Rig > Extended Linear (or similar) to load an animation to test the expressions:
Here is a snippet of what the animation does for checking the expressions:
And finally with all the tweaks on my Facial Profile, here are my final CC4 renders showing the 3 expressions I set to create with this tutorial series:
AngerEvil LaughFear/SurpriseFinal Expression Demo
About The Author
Pablo Munoz Gomez is a renowned 3D concept and character artist, with a passion for education. 3D sculpting, visual development, and other mixed-media form the pillars of his artistic passion which he channels through the various platforms that he owns, including ZBrush Guides, 3D Concept Artist Academy, and 3D Snippets Project. Thanks to his vast online following, he is able to reach artists from around the world and help them advance in a variety of 3D-related disciplines.
