RG.- This time in red-gráfica we have as a guest artist with almost 20 years of experience in media production, involved in tasks such as the supervision of movie models in films as 300, fantastic 4, journey 3-D; participating in the creation of videogame characters as in the last version of golden axe; director of voodoo monkey; instructor of the sculpting digital characters in zbrush 3.1 course for the cg society; and producer of new learning titles for gnomon o logy. We appreciate the opportunity to t a l k w i t h Cesar Dacol Jr.
Character Designer and Developmer.

CD Jr.- Hello Cesar we are pleased to have you for this interview.

For artists who are beginning with analogical artistic methods and wish to get involved in digital sector, tell us, was it difficult to you switching from the first one to the other techniques?

First off... Hi all. ^___^
Well you have to put things into perspective.
It's been 11 years now since I switched over from traditional Special Effects Makeup to the digital world.
Back then, Nurbs were the holy grail and that meant a very different workflow.
The absenssece of mass or be it dealing only with CV's or Verts was about as far away from sculpting as you could get.
At first I had an awfully hard time with it, to the point that about four years ago I was ready to quit the CG side of the business.
Then luckily a friend told me about this weird program called ZBrush, that allowed me to sculpt on the computer. I must confess that I was quite skeptical... this forced my hand and ZBrush's as well.
I decided that if ZBrush was going to sell itself as a sculpting medium then it better do that. I approached sculpting in ZBrush as I would any model that I would in the real world. I used the exact same workflow as if I was sculpting it with real clay..
This was an amazing exercise as I discovered many areas that ZBrush could not do what I needed it to. This lead me to innovate certain workflow methodologies. Thankfully many of the issues that were present in ZBrush 1 and 2 are no longer issues as ZBrush 3.1 is such a solid platform now.
But those arly days lead me into ultimately what became my staple work flow that I to this day still employ.
Now in days, artists that come from a traditional background have in fact much to their advantage as the tools have become much more artist friendly.
It's a good time to be an artist in the CG world.