B UILDING & M ANAGEMENT
V OLUME 3 I SSUE 3 S EPTEMBER - D ECEMBER 2019
E VOLUTION OF DRAWING AND SKETCHING WITH THE USE OF ZBRUSH AND THE LIVE BOOLEAN TOOL
A. B ERROYA E LOSUA , M. E CHEVARRÍA A GUIRRE AND D. A RTEAGOITIA G ARCÍA (2019). B UILDING & M ANAGEMENT , 3(3): 34-41
user can create libraries of materials that can then be reused
in ZBrush. [17] R. Alexander, “Cómo dibujar y pintar arquitectura de fantasía”, Norma
Editorial, Barcelona, 2012.
Finally, the effectiveness and simplicity of the Live Boolean
tool allows to generate complex shapes in an intuitive way.
The user can go through a 2D rendering and postproduction
process to create realistic and impacting images as conceptual
design, prototype images, or environments that can
afterwards be exported to virtual reality software. [18] S. Robertson, and T. Bertling, “How to render: The Fundamentals of Light,
Shadow and Reflectivity”, Design Studio Press, Los Angeles, 2014.
This is why this process can be very useful for both students
who want to experiment and create forms, and also for
professionals who need to streamline production processes in
the early stages of projects. [21] VVAA “Blast, Spaceship Sketches and Renderings”, Design Studio Press,
Higuera City, 2012.
[19] VVAA, “Concept Design 2: Works from Seven Los Angeles Entertainment
Designers and Guest Designers”, Design Studio Press, Higuera City, 2005.
[20] VVAA, “Taller de Fantasía Digital”, Norma Editorial SA., Barcelona, 2009.
[22] W. Stanchfield, “Drawn to Life”, Focal Press, Oxon, 2009.
[23] W. Yin, “Impeccable Scene Design for Game, Animation and Film”, Gingko Press
Inc., Berkeley, 2010.
3. R EFERENCES
[1] F. D. K.Ching, “Manual de dibujo arquitectónico”, Editorial Gustavo Gili, S.L.,
Barcelona, 2016.
[2] S. Robertson, “How to Draw: Drawing and Sketching Objects and Environments
from your Imagination”, Design Studio Press, Los Angeles, 2013.
[3] J. Alcaide-Marzal, J. A. Diego-Más, S. Asensio-Cuesta, and B. Piqueras-Fiszman,
“An exploratory study on the use of digital sculpting in conceptual product
design”, Design Studies, Vol. 34, No. 2, pages 264-286, March 2013.
[4] A. Berroya Elosua, and M. Echevarria Aguirre, "Architectural drawing, concept
art and environment art as new techniques and processes to represent spaces
for cinema and videogames", XIV Congreso Internacional de Expresión Gráfica
aplicada a la Edificación, APEGA 2019, De la línea a la nube, Seville, February
2019.
[5] A. Denker, “3D visualization and photo-realistic reconstruction of the Great
Temple of Bel”, The International Archives of the Photogrammetry, Remote
Sensing and Spatial Information Sciences, Volume XLII-2/W3, 2017 3D Virtual
Reconstruction and Visualization of Complex Architectures, Greece, March 2017.
[6] M. Peng, J. Xing, and L. Wei, "Autocomplete 3D Sculpting", ACM Trans. Graph.,
Vol. 37, No. 4, Article 132, August 2018.
[7] A. Gahan, “3DS Max Modeling for Fames”, Routledge, New York, 2012.
[8] A. Loomis, “Creative Illustration”, The Viking Press, New York, 1947.
[9] A. Rob, “How to Draw and Paint Fantasy Architecture”, Barron’s Educational
Series Inc., New York, 2011.
[10] F. Cowan, “Dibujar y Pintar Mundos de Fantasía”, Evergreen, 2006.
[11] G. Russel, “El Arte de la Comunidad Del Anillo”, Ediciones Minotauro S.A.,
Barcelona, 2002.
[12] J-C. Park, “The Art of Paper Blue”, Design Studio Press, Higuera City, 2014.
[13] M. Brehm, “Dibujo De La Perspectiva, Cómo Verla, Cómo aplicarla”, Barcelona,
Promopress, 2016.
WHAT DO YOU THINK?
[14] M. Lewis, and M. Lewis, “Beginner’s Guide to ZBrush”, 3DTotal Publishing,
Worcester, 2017.
To discuss this paper, please submit up to 500 words to the editor at
[email protected]. Your contribution will be forwarded to the author(s) for a
reply and, if considered appropriate by the editorial panel, will be published as a
discussion in a future issue of the journal.
[15] M. Mckenna, “Digital Fantasy Painting Workshop”, The Ilex Press limited, 2004.
[16] O. Demers, “Texturing & Painting”, New Riders, San Francisco, 2002.
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