The Gnomon Workshop – Art Direction for Film Creature Design Development

Ehsan Bigloo 展示了他如何为娱乐行业设计生物。无论您是角色或生物设计师、概念艺术家、数字雕塑家，还是只是对培养讲故事技能感兴趣，这个研讨会都可以让您深入了解 Ehsan 从草图到最终演示的完整工作流程。

研讨会首先详细介绍了基于 Ehsan 自己的科幻/超自然恐怖角色“Quehsalien”的设计简介和简短剧本。他解释了他将文字发展为视觉叙事的思维过程，最初的草图从传统媒体开始，然后进入 Photoshop，然后他在 Photoshop 中进行绘制，为最终插图奠定基础。

ZBrush 被引入管道来雕刻设计的主要和次要形式，从三维角度测试视觉吸引力。 ZBrush 还可以作为一个很好的工具，用于使用 KeyShot 测试角色的光照和情绪，并为早期肢体运动测试的生物模型创建一个简单的装备。 Ehsan 还使用 ZBrush 进行 Polypainting 过程，同时考虑生物的环境以及它的移动方式。然后使用 KeyShot 渲染最终设计并在 Photoshop 中合成。

Ehsan 深入探讨了艺术方向，演示了如何使用真实的摄影底片创建关键帧艺术作品，以及如何为生物镜头设置照明，讨论了从相机镜头到色彩和谐的所有内容。继续艺术指导，Ehsan 探索不同的设计路线，首先使用 ZBrush 和 Photoshop，同时提供他专业的行业见解。他还使用 Maya 建立一个快速的非生产关节/骨架装备，并在使用 Arnold 进行渲染之前在 Maya 中进行简单的运动测试。

在研讨会的最后阶段，Ehsan 在 ZBrush 中准备模型，然后在 Substance Painter 中烘焙贴图，然后将生物发送到虚幻引擎 5，在那里他与 Lumen 一起探索其他镜头设计和布景、情绪和灯光，以带来生物获得生命。

Duration 4h 13m MP4

Title: The Gnomon Workshop – Art Direction for Film Creature Design Development

Info:
Ehsan Bigloo demonstrates how he designs creatures for the entertainment industry. Whether you’re a character or creature designer, concept artist, digital sculptor, or simply interested in developing your storytelling skills, this workshop is a fascinating insight into Ehsan’s complete workflow, from sketch to final presentation.

The workshop begins with a detailed look at a design brief and short script based on Ehsan’s own sci-fi/supernatural horror character, “Quehsalien.” He explains his thought process when developing words into a visual narrative, and the initial sketching begins with traditional media before jumping into Photoshop, where he then lays down a paint-over to establish the basis for the final illustration.

ZBrush is brought into the pipeline to sculpt the primary and secondary forms of the design, testing the visual appeal from a three-dimensional standpoint. ZBrush also serves as a great tool for testing the lighting and mood of the character using KeyShot and creating a simple rig for the creature model for early limb locomotion tests. Ehsan also uses ZBrush for the Polypainting process while considering what the environment of the creature would be and how it would move. The final design is then rendered with KeyShot and composited in Photoshop.

Diving deep into the art direction, Ehsan demonstrates how to create keyframe artwork using real photographic plates and how to set up the lighting for creature shots, discussing everything from camera lens to color harmony. Continuing the art direction, Ehsan explores different design routes, first using ZBrush and Photoshop while offering his professional industry insights. He also uses Maya to set up a quick, non-production joint/skeleton rig and make simple locomotion tests in Maya before rendering with Arnold.

In the final stage of the workshop, Ehsan prepares the model in ZBrush and then bakes maps in Substance Painter before sending the creature to Unreal Engine 5, where he explores other shot designs and set-dressing, mood, and lighting with Lumen to bring the creature to life.