Thanks for the appreciation! Not sure what you mean with parallel hatching though, but I suspect you're talking about the smoothness by which the lines seem to follow the surface of the sculpt? The trick here is radius my friend! For Texture Overlay - like with most filters - radius actually blurs the source image to which you're applying the filter. Since Texture Overlay uses value information from this image to rotate the projected texture, you'll be smoothing out these values and thus create for a much more gentle crosshatching effect. Hope that helps!

Two more images of NPR experimentations. I'm trying to get a nice range of pencil-drawn setups going. First a collage with various filter combinations tried out on some random works And here my current favorite style. I was trying to get a bit of that Ghibli/Moebius pencil linework happening. And this is where I got it currently (and I'm adding an unfiltered screengrab for comparison): The creature itself still needs a bunch of work, soooo... perhaps I should get to sculpting instead of all this BPR filtering >_

Your welcome John. Love your work by the way! Slightly shocked to see they burn those sculpts at the end of the festival O_O In the meantime; another sculpt, another round of BPR filters. I love these filters! Can't... get enough...! o_o Sculpt is still a work in progress

Alright, part two of these comic book rendering techniques: BPR filters! Let me start off by apologizing for any typos. I wrote the whole thing in photoshop and that doesn't have spellchecking as far as I know... Should have written it in notepad first -.- Anyway, this took me quite some time to put together, so I hope it's appreciated! Enjoy! 1/3 2/3 3/3 And the final result of this process (with a few tweaks, like putting that highlight on blue instead of red) Happy rendering!

Alright, now I am not sure if there is any interest for this, since although this thread has over 1800 views, I've only had one comment so far, but I'm putting it up here anyway: a small tutorial on how I did these renders. Also I saw that videos had been posted on how to do NPR rendering recently, so it could very well be I'm providing redundant information here, I don't know. But for me this was an interesting exploration in what materials and filters are capable of, so I'm sharing them anyway! As writing this took longer than I thought, I'm splitting it in two sections, starting with cell shading! [Edit: I've put all the infos in this image right here! Makes it easier to grab it and keep it somewhere, rather than a bunch of texts here in this post.]

Originally I tried to not have this spiderman turn into a bodybuilder superhero, but I felt detail wasn't holding up in renders, especially the NPR ones, so I did a pass on his entire body beefing him up a bit... a lot. So an update on that: Also tried out a whole bunch of poses. Here my favorite three: Crouch Webslinging (updated version of the one posted before) Calling Aunt May that Peter will be coming home a bit later... Probably my favorite...-est.

Alright, my spidey piece is done! Took some time to clean up all the detailing. And I spent most of today tweaking the BPR filters. These renders are 100% zbrush. No photoshop retoucing done. The city in the background is a set of simple structures with tapering applied to create a sense of depth. The "depth fog" is achieved by making use of the "depth" settings in some of the BPR filters applied. Some wallpapers Some of the tests with BPR filters This one was interesting: I did a render with the city in the background, and the turned the city of because I wanted a render without. Because the BPR engine stores shadow data if the camera is not moved, these shadows are still picked up by the filters (even though the buildings they belong to are no longer there). This gives a really cool effect. Keyshot render One note on the detailling: although all of it was zbrush sculpting initially, I ended up making a displacementmap manually in photoshop based on the web lining as well as adding the fabric patterns this way. My computer couldn't handle subdivisions high enough to get me the crisp results I wanted otherwise. The overall result is pretty much the same, but displacement maps are actually much easier to manage than fine detail when wanting to touch up the sculpt itself

Due to limits in resolution for fine detail, I've thrown the fabric detail into a displacement map. Unfortunately that requires a color texture which overrides materials applied to the mesh. So I cannot combine them with the different shaders used for pants and outfit. Anyway, things are getting there. Here some render tryouts with a slight touch of NPR filters applied (although the cellshading variations are set in the materials themselves; filters are there for outlines and a bit of crosshatch in the shadows) Right now the workflow is: low poly in default pose to Maya, bind to rig there, pose, export posed back to zbrush and apply as layer. I've been going back and forth that way a lot as I tweaked the default posed model itself a lot, so the posed version has no polish on itself. Fortunately my rig handles most issues, as I've built a lightweight muscle system in there which helps a lot with preventing areas from collapsing when doing such extreme poses, but there are still a few areas that might need a bit of correction once I am satisfied with model and pose. Here some quick screengrabs of the mesh in default pose with displacement map applied for the fabrics. The web pattern has been projected back onto the suit, and quite thick as you can see in the close-ups. That doesn't look too nice up close like that, but I want the lines to really seem to be on top of the fabric even when seeing spidey from a bit further. Still, perhaps I should tone it down a bit around the fingers. I should have the version without web pattern stored as a morph target though, so that should be fine.

And a bit more look development. The pants get their gloss from a modified skinShade material: metallic all the way to 1 (to give it the full blue look) and I've basicly 'reversed' the dif and spec curves, so you get this velvet like quality. The aim is obviously to get that comic book look happening. A BPR filter is used to get the outlines, but no other NPR effects are applied at this moment. Naturally I will have to try a few brush stroke render techniques when this piece is done

Using noisemaker to figure out what to do with the fabrics of the outfit. Probably something more 'tradional' spidey, like a sort of woven fabric with a stronger red fabric (with the hexagon pattern, not very original, I know >_< Or maybe I should go with something entirely different?

Quick spidey update. Spent most of the day rigging and weightpainting him in Maya so I could pose him (for use as a layer in zbrush) without too much weird deformation. Pose is based on an image by Todd McFarlan from one of two spider magazines I actually have o_o. It's a bit awkward still, so I'll probably be finetuning the pose tomorrow. The web patterns on the suit and everything will be applied separately on the unposed version (probably projected back onto the mesh, as it is seperate geometry currently, and then baked into texture and normal/displacement map) Any crits or comments are very welcomed! I feel I could use some fresh eyes on this guy.

You know how sometimes you consider a piece done, but something just keeps bothering you about it? Felt this piece needed just a touch of extra attention. still some things that could use improvement, but this was supposed to be an inbetween thingy, not an entire project. Just did a bunch of small tweaks. Full updated image set can be seen on my artstation page https://www.artstation.com/artwork/JlZdVn Feedback/comments/crits are welcomed!

And last one for today. Many years ago I was given a small (5cm tall) canvas to paint on. This required something to be painted on it, so I made a paper-mâché frog. A few weeks ago I felt this guy should be incarnated as a digital sculpt as well. Hope you like! Though crowd here on these zbrush forums >_< Some NPR renders Keyshot renders And the original paper-mâché sculpture.

Recent sketch. The seagull was a bit of an afterthought, since I just needed some source of distraction to justify the yogi looking disturbed/annoyed (so much for inner peace), but that little bird kind of became my favorite thing in this little composition. Renders are 100% Zbrush. No photoshop retouching; all post is handled via BPR filters (some color boosting, background gradient and minor vignette)

And the last set of busts for now. A bunch of smart guys! Not too much source material exists of these guys, especially Thomas Young (only 1 original portrait and a few derived artworks), but I'm pretty content with how they turned out First a nice closeup of James Maxwell, my personal favorite from this set, to get this post to show up nicely in the forums These lineups I like starting with make for messy thumbnails... Linups And withouth depth blur and such James Maxwell Thomas Young Nikola Tesla Georg Ohm Michael Faraday Hope you like 'em! 3D Prints available at www.3DPrintedDebris.com

I posted a number of these in my 'sketchbook' thread before, but since there are so many of these bust images (and there are still a few to come), I feel I should put these in their own thread. Starting of with the original set of president busts I did a few years back for a cgtrader contest. Barack Obama lyndon b johnson William McKinley

Very old piece I originally did in 2009 I think. The helmet makes no sense whatsoever, but I liked the way it looked in the concept, so I kept it as is. Rigged, posed and rendered in the realtime viewport for substance painter (a bit after 2009 obviously; this guy was my main test subject during development of a modular rig with game-friendly muscle system for a number of years) Older version (he used to have a more Disney-esque face) with original concept from my sketch collection.