Keen On the Process and a Master of the Software: ZBrush Artist, Mr. Jhonny Vasquez
Needless to say, being a visual artist in the digital era requires not only talent but resilience and quick adaptability. Much of the skills demanded are inclined to the technical. And if you don’t pick up fast, it would be hard to regain momentum.
But such is the triumph of Mr. Jhonny Vasquez.
He is one who was keen at learning the technicalities of ZBrush and have been able to combine his talent well with the technical know-how. Having been able to interview him, no matter how brief, is an honor. Here, let us partake with his wisdom on the craft and get to learn how the 3D is being moved not only by talent but by dedication and the willingness to learn continuously.
Xeno Creatives (XC): ZBrush technology brought a lot to the industry. What processes did you have to learn to be skilled in it?
Jhonny Vasquez (JV): In my opinion, the first thing that you have to learn is Anatomy. Afterwards,you could already explore ZBrush. With this, you have to be well-versed with working with basic polygons. It is only after that we could jump to UV, Retopology, and with this, we can make our way to the most organic ways.
XC: As a dedicated artist, how did ZBrush help you further your art?
JV: As an artist and an Industrial Designer, ZBrush has helped me a lot since the interface is more docile and less complex than 3Ds Max. The polygons react better than Mudbox and Rhinoceros. This format of programs help create organic figures and extract other primitives based on these. It is a comprehensive software and suitable for all types of 3D modelling work.
XC: Was your craft really a passion to begin with, a hobby, or a mere job?
JV: I am an Engineer in Industrial Design by profession. In my career and field, we are always adapting to new programs that help us facilitate work. For me, it started as a hobby that I quickly adapted in my work. I always focus my attention to digital 3D design to create manual prototypes. This is why learning ZBrush is not so difficult.
XC: Given your experience in the industry, what do you think is your edge as a 3D artist?
JV: The ability to adapt quickly to a new method of work and learning a software very fast, these, I think, are my edge. Speaking a little bit more about my work, my models are somewhat desired by clients for their body and facial expression. I also work on scenes that capture a whole context of a scene I’m tasked to do. I like working on 3D so as to give life to sculptures and make them breathe in the story
XC: Whom do you do you consider your influence(s)?
JV: They are not very well known, but they were the ones I met first. Gabriel Risco and Nelson del Riego—both are Chilean. Then I met Daniel Bell. Since then, I talk to 
him and I try to learn everything he can give me to improve my work.
XC: So far, what were the challenges that you had encountered working in the 3D industry?
JV: The first challenge was to learn to work with organic models, then the acquisition of clients. But until now the most difficult thing is to make clients understand the cost and value of my work.
XC: What is your most exciting project to date?
JV: It’s still the fight scene between Deadpool vs Omega Red—even though the model needs improvements since the client was a bit fastidious with the improvements. However, I do believe it to be the most exciting model I’ve made.
XC: Do you have any advice to aspiring artists?
JV: In practice, errors are a conduit to learning. You have to enter the market charging little, but after improvement of the eculture, you are supposed to acquire higher value.
Awesome stuff right? See more of Mr. Jhonny Vasquez’s works by clicking here!
