Subtitles of the Movie

All right. In this movie, I want to kind of just wrap things up and give you some advice, and I think this is like, the hardest movie I had to make, really, because, you know, in the other ones, you know, I was just able to go in there and say, hey, this is a tool, use this tool, works good for this, this and this. And that's how I look at things, because in ZBrush, the only really way to learn ZBrush is use ZBrush. You can learn the tools and techniques and how to use the tools; after that, go to town on ZBrush. So you're just, by watching these movies, you're giving yourself just a little heads up. And then run with it! Start developing some stuff. Start adding it to your own artwork. Don't think that, you know, you're going to find the answers in just a movie. That's for sure. You're going to find the answers to actually learning ZBrush by using ZBrush. That's what I've found out. One thing that I want to tell you to stay away from, because I see this a lot in other movies or whatnot, always stay away from the sped-up video. I've seen it so many times within the classroom. There is nothing worse than watching somebody who has used ZBrush for five or six years do something in front of you with ZBrush and just own you in ZBrush. Okay? You might pick up, like, two tricks out of the whole two hours that you watch it. And those two tricks? They might be the end all trick to end all tricks, but I'm warning you right off the bat, just keep a lookout for that. That's probably the only thing I would have advice as far as learning ZBrush. Stay away from sped-up footage. If you're a traditional artist, stay with ZBrush. It's actually the industry's hope and dream to find somebody like you, the traditional artist, that can actually do 3D work, because you are not only worried about the final sculpt, but you're also worried about the character, the character design, the color theory behind it. You're worried about all these little nuances that, you know, just the average Joe schmo guy who thought he'd be cool and say, hey, I'm going to learn game design! Well, he might not have any traditional basis behind him, but that's fine, you know, I've seen a lot of non-traditional artists own people in ZBrush too. But the traditional artist will always win out in the end. Or, the traditional sculptor will always be the better sculptor within ZBrush than the traditional artist looking maybe for maybe just the answer to make great digital art, because they worked with clay before. They know how to shape things very easily with it. Last thing: don't limit yourself to ZBrush. Learn postwork. It is by far the most powerful thing in your arsenal. Let's just say, I do the model in ZBrush, render it out, and maybe I don't want to take all day and develop every texture on the planet within ZBrush. Is it wrong to use Photoshop? No. Actually, I've seen many people drag it into like 3D Studio Max with V-Ray, or they drag it into Maya and use some kind of sub-scattering particle on the skin when you could have actually gotten away with the same effect by doing about three render passes within ZBrush and then taking it to Photoshop and then using your digital art or digital composition skills. That is very powerful. Postwork is all powerful as a digital illustrator goes. All right, so I guess that's it. That's all I have for you as far as advice, hope that helps. And, you know, it's been fun with this series, I've really enjoyed this. Again, my name is Jason Welsh. You can come see me at house of tutorials dot com, Jason Welsh dot com and many, many places on the Internet. Have a good one, until next we meet.