#AskZBrushLIVE - Paul Gaboury - ZBrush 2021.6

all right let me just get this a little bit closer for you off the audio purposes of today in fact a little a little more camera along there all right everybody how are we how's another friday doing good alex hanging in there moving along and june is moving along right i can't believe how fast weeks go now in life it's crazy i wish i could speak to myself as a child and go just enjoy it what's up mr daisuke in again thanks for being in here all right so i know the video's fine nah sounds like the audio is good so give me a thumbs up um i don't want to turn on my computer but i can see the videos good making sure before i start rolling into the discussion for today um okay good thanks ryan thanks for letting me know things are good how are things for you hope all is well um so we're going to do another session here uh starting from a sphere so uh varon you're new to zbrush and you're talking about what what are you looking at from starting from a sphere i'm going to be covering like topics and questions i'm not going to be doing a sculpt from beginning to end i'm going to be taking questions and then i'm taking questions that you as the users have already asked us so we have a segment called ask zbrush so you can ask a question on twitter and then if you put the hashtag ask zbrush we can search for those questions and then i pluck those questions out every week and then i'm answering them in the streams so that's a great way for you to learn and then come back to the stream and then obviously we're live so you can ask me whatever you want okay so we're going to go from there but i can give you some pointers which is would probably be good for you since you're new and you're saying asking going from a sphere um stets or plays again i'm not sculpting anything from beginning to end i'm actually taking questions and answering questions that have already been sent into us i'm not sculpting any one piece from beginning n in this stream it's gonna be really an open you far away some questions and i'm gonna take them as they come in and like i said i already have stuff planned out from what you've all already sent in to me all right so as far as what you're asking about from a sphere let's let's this is a great question i think the beginning of a sculpt is so important i i for me i think it's one of the most important steps and the most important that first 20 percent of your sculpt is really bringing everything to life and you can be we can be amazing at adding finding alphas and putting skin pores and cracks and wrinkles things like this but that's not not really going to do anything if you don't have the beginning foundation set up okay hi lincoln from zimbabwe wow thanks for tuning in wow so hi mala okay so from a sphere is where i would normally start with a head if i'm gonna sculpt a head then a sphere is my choice if i'm gonna start say like a robot i'll tend to start from a cube it's just it's hard surface it's more robotic things like that okay okay so uh as far as what you're asking about a search for zbrush face beginner series uh i'm not sure but there probably is some streams that we can find where people there's a lot of streams or people starting from nothing uh you know like ashley adams starts from nothing you probably want to watch her streams on this channel shane olsen would be another one to watch on this channel i know luca has also been doing stuff from scratch a lot of the streamers on our channel are build building something from scratch too so not all of them some are doing different things so there's a lot on this channel at dicekay if you want to find anything i'd appreciate it for them but let me just go with what you were asking in essence okay so number one the beginning part is i tend to start with a sphere if i'm doing a head like what we're talking about now and i will use dynamesh which is obviously the feature this feature is really meant for this it's meant to i don't know where i'm going with this i'm going to do some kind of character and i'm not quite sure where you're going with it so obviously references are going to be huge for you right i've got a ton of books i got a ton of things i use a reference i've sculpted a lot of heads now so i kind of can block out a head relatively fast for me i'm going to say the one thing i give all when i teach beginner users period to beginner users to sculpting and also obviously at that time they're usually probably beginning users even to something like zbrush okay so this is a practice that i like to give and it's sculpting a skull and you can do it pretty much with two brushes three if you throw in the smoothing brush right so for me this is huge because then also when you're making a character and you'll see we'll do something really fast right now when you get that that skull formed down it's automatically going to put things correct where you need it right and i would use something like let me grab something for you like referencing obviously right and you can bring in images and i'll show you images that you can bring in this is getting washed out there you go right so and this is like on a a bar so i can turn it i can look at it and this is an actual skull scan done by anatomy tools right so if i'm doing a skull i'm going to have something like that there as a reference now you can bring images in but first let me just get to the point here of taking this so number one i'm gonna use the move brush okay this is gonna be all about like if i had this is a ball clay it's about using all my hand like i'm using both hands to grab on this clay so you gotta start thinking about bone structure i think is really important here so this is what i mean by why i also give my first lesson to new to new people is a skull because then you're just really focused on bone structure you're not so focused on i'm going to make the most amazing eyelids like none of that right i want to just focus on and then you start learning things which is by going to what it's going to do is make things pop correctly i.e stuff like the top is part of the human skull is actually back here right it's not here and by our foreheads everything's way back here it's way back here right so knowing that i always make a habit of making like a higher peak right there on purpose because i know i'm going to smooth it back i want that little bit of ramp coming from the forehead up to that back of that head so that's one important bony landmark for me when i'm going to start sculpting a person the next bone that's really important to me is a zygomatic or zygomatic arch it's going to establish that's this your cheekbone if we want to just keep it terminology simple okay so this right here okay so what i'm going to do now is this is where i'll switch to clay buildup so this is going to establish where your eye starts sitting your orbital bone right it's going to establish where your nose should go right so in essence then i know that the nose is about halfway between right our faces okay so then i look at the side and i start i start sculpting this let me actually reset my brush because i was playing with all my brushes and another meeting there we go so i start establishing that bony landmark right and it doesn't go straight across so like if i'm looking like at this there is some other movement happening in here right so it'll come across and then from the front i like to kind of start making a triangle right here for that part this part of our bone you can all touch it right here i'm at this part right here right so it comes across and then it kind of makes a structure like this and this is in essence the cheekbone right this starts establishing that bony landmark and then i dig it in a little bit more and that automatically is going to start establishing your jaw or i.e the mandible is what we would call it right and then that mandible doesn't go any further right than the ear which then back to this bone this idea this is where your ear canal is for an ear right so this is why for me this bone is so important so if anything out of this conversation we're having here the number one thing i would say take away from this you can establish the right cheekbone i.e zygomatic psychomagnetic arch so this is the arch this is zygomatic because muscles are going through there for us that's how we bite down right the actual masseter muscles up here connecting to the jaw and then one thing always remember is muscles can only pull they can't push muscles only pull so that means there's an origin insertion point right so the origin of our jaw muscle the clothes bite down is up here and it's connecting here so you got to think about stuff like that that's why if you guys unlike me with my crazy hair if you're like doing something like this you'll notice all this area up here is moving on you right so these kind of little things like i don't think you need to know everything i don't know everything about anatomy heck no okay but if you understand an artistic mindset of anatomy okay you'll be able to go a lot further so this is why this bone is so important to me it's lining up where my ear is going to go it's lining up where i'm going to start putting in an orbital bone right or in essence where our eye socket is right this is where i'm going to start and the other thing i would say also keep in mind with bone especially their orbital bone they almost are we're almost crying like if you look at it we kind of got like a sadness in here so you see how this is going up right now that's not the better way to do it it's better to actually sculpt like this this looks all different see just that is already starting to look a little bit like a skull right compared to if i went the other direction right that's looking more like an alien maybe or my own creation if i'm going to try and go the human route then these little things is what sets you off to make a good looking skull and a realistic character this is what i mean by the first 20 is so important so just that simple thing of the orbital bone going the right direction is going to make or break does this start looking human or does it start looking more like a creation that i'm coming up with right so then i start establishing these bones and go okay so the zygomatic or arch here and then this this needs to be room in here for a muscle right stuff like this okay and then there's bony reigning here right because this the whole point of this is protecting our eye like if you get punched from here it needs to protect so we need to establish that protection right for our eye and these little things is as you can see these are small things but this is starting to pop a little bit to start looking like an actual human skull and i'm not doing anything crazy right now i'm just landing things and then going at it right and then the key thing here is i would say as an artist for me that i'm i'm constantly learning i have so far to go in my art journey for me honestly you know i've been doing art for a long time but you know it's so far and then you know now that i have a kid and watching her do art just blows my mind she's already doing shading and stuff on drawings and five years old for a class she's taking it's insane so you start looking at everything you gotta move around okay you gotta start moving around the model quickly don't just sit here and go i'm gonna make this yes this is gonna be an orbital bone right yes just start blocking it out get the general shape and start moving things around and start landing and moving like so like i said there's got to be a bony landmark right here for our mandible in our cheekbone right and then this is in essence doing something more like this right and then this is where our teeth are going to come into play i.e the mouth so there needs to be some volume in here we definitely need some volume what i mean by volume from this view looking like that right so just giving me some ability to have some of that volume in there right because then our nose is going to start popping off okay and it's just a quick quick quick quick right and then start putting in now i got to be able to he's got to be able to breathe he or she right they got to be able to breathe so i need sinuses okay and then this is one of the big things i think where people make mistakes too when you're starting to sculpt up like a humanoid looking character is this part stays too flat in the front right so there's a thing called draft right in our face and that's me if you guys take your hand they're flat right you got them flat and then just push them to your face you're going to see you'll make like a v shape a little bit right so obviously it's a little more you in real life so that's that that angle there that we want that draft is what's important to me and the nose you know our bone for our nose doesn't sit like this it comes off the surface so there needs to be this part of the skull in this case or face to come off i need that i need to start having this right and then i'll switch to a move brush too and really start to maybe hone that in a little bit more and start just and you see i'm not getting too crazy right now i'm not too worried and that's the other big thing i'd have to say sculpturally don't get too consumed it doesn't look right it doesn't look real that's not what i'm concerned about there's a nice again more bone structure here and again there's a reason for that on the human face it is protecting something it's protecting our eyes our eyes are valuable we only get the two that's it there's no replacing them right so i need to make sure this bone structure here is right and then coming in here and then i'm looking at this again here's another little v shape in here just like there's this v shape here okay so there's a little v shape in here as well that i want to make sure i hit that just gives that little bone structure now that we're getting okay and then now again it's just quickly moving around and going like this right this needs to be pushed back this is not correct okay and then the beauty of dynamesh we hold ctrl we click and drag and then bam we get more clay okay so this is obviously this is where my ear placement's gonna go none of this this is really gonna be the jaw or mandible it shouldn't be way back here right so then this is where maybe you know it'll be easier for me to move now here's something this is a look up here look at me look at me look at me right kind of moment for those that never watched my stream welcome to the craziness that it is my streams so this brush right move is nice but in this scenario i need a cross okay the whole thing here to work i want all this to move so this is a prime example okay of using a completely different moving brush right this is where i would move to the move infinite depth and i'll come back to some great books for you i'll i'll show some to you again right so the move infinite depth okay is looking at screen space right now so however the model is facing the camera i can then when i do this all of it's moving right so across this whole thing here all this mesh is moving at a consistent pace this is important and i like to call kind of when i talk to people trying to not muck up the sculpt or dirty the sculpt in essence so what i mean by that is if you notice i'm staying pretty low right while i'm working and then i'm doing a little bit of smoothing right that's what i mean by mucking up the sculpt i would highly recommend you build a little surface up and then smooth it back a little bit so you don't get into the rhythm of having something that looks like blobby sculpting like a little bumpy okay everything's good mr chris thanks for coming in wait again that lets you move around okay um the way i like to navigate again is with the right click navigation so obviously i'm using my stylus pen i'm on a cintiq so this button here that's on the side of your your pen and by walk on the bottom part here that's right click wacom or wacom whatever you want to call the company okay that's right click so i'm just hovering i'm hovering over and then i'm just right clicking that rotates and then my cursor can be over the model so things like this is why i prefer this workflow so i don't have to worry about going into the i went to the safe zone right i can just stay right here and just work away on this right and so then how to do that is i'm going to hold the alt key and you can see look at my uh my little thing here i i got for you guys down here in the corner and then right click so you can see alt and you can see hold see it says i'm holding the alt key okay and then control and you can see control and right click and you see i'm still holding the control key and you'll notice i'll do this where i'm letting go of the right click a lot to go back and forth right so that's why this little thing down here for you guys to help you out with that okay so you can see my mandible like look how tiny that is right it's too small this is what i mean by moving around getting those mark landing marks correct again look what happens if you're not going to use the right move so i 100 infinite depth is a great brush to use when you're going to be building something like this right look at a reference a mandible should have a little bit of an angle right here leading up to the ear right let's smooth it down if you have to really get that angle that you want in there right get this out there's nothing wrong with moving this around this is another reason why i am trying to keep this at a very low low polygon count i am never at this stage going really high right and then so now my mandible is really really narrow right now way too narrow right so then this is where okay the mantle needs to come out more okay and then here's another thing what i like about the zygomatic zygo bone or zygomatic arch as well okay as far as a human skull goes and again we're talking human skull there are certain things that you should not go past don't go into that light don't go into that forest share with forest it's haunted okay this part of our human skull nothing sticks out further than this bone again going back to that this is why i love this bone this bone establishes so much for me in the human face it's crazy it's establishing the midpoint where my nose see look you draw a line boom you hit your nose go back boom you hit your ear so now i know where my nose and my ear land boom this is the bottom of where the eye starts to come into play and then the orbital bone comes around back to the eye you can see mine's off a little bit right now right i definitely i definitely don't like what's going on with mine okay so i'm going to change this up a little bit in here right i got to put a little bit more it's angry now right but it's actually right you want to have a little bit of some sadness in there okay like you can see i'm going to do this without if i wasn't talking to you guys i'd just be working real fast going around and looking at different views making sure this is landing correct i'm not worried about teeth i'm not worrying about muscles i'm just worrying about do i have the bone structure quite right yet like is it where it should be like this needs to be a little bit adjusted still right this kind of stuff that might be now a little too extreme i think that's way too extreme it should be out here a little bit more right should be out here so i'm going to build this surface back up some more right and then i'm just going through and looking at this right and all this is to help me land the rest of when i start sculpting the rest of the human again highest peaking points up here if you have to make a little point right there for yourself right come here and make a little point right there so you know that's your high point if you have to do something like that okay and then now you'll put a little bit if you want to just for your sake getting a little bit of that bone structure in here i don't normally do something crazy like this but it'll help with the neck placement i think um and then the back of the skull you know the ear canal has a little part of the skull for us that's doing this and then i need some more build up back here i need some more volume in my skull through here and you can see this is all i do i just quickly start putting the volume i take a step back i look and see if i'm getting the right approach here okay and this is obviously going to need to be pushed back a little bit okay something more like that establishing you know i'm getting a little more heroic with my guy yes some heroic so now the bones as far as books one of the best books 100 you should have if you want to learn anatomy is this book like everyone should have this book if you're going to learn anatomy okay and you want a skull this is by elliot goldfinger this is called the human anatomy for artists i can't tell you how much because it's an amazing book he shows images of faces he shows where the bones and where the muscles are landing this is what i'm talking about this is what i mean by the first 20 of sculpting right is really landing that okay and this is the point of dynamesh the point of dynamesh was i wanna go at this i wanna work on this so to me that's a fantastic book there's a couple other books too that were made by people that they use zbrush to make the anatomy there's facial anatomy for sculptors i don't have it here in this office let me double check uh i think i checked last time but yeah i think it's my other office um another honestly another great way is look at an artist that does clay like does actual they don't they don't do digital as much they're really a clay artist um so one of my favorite here felipe faro is amazing um this is a great book as well so felipe faro he's in new york troy new york area he does workshops so i really want to take one of his workshops when the pandemic finally comes to its end right but he's all clay but he's he's i've had conversations with him like 90 of his people he's training they're zbrush users right but he does a great job in clay form breaking like just that okay is good to go um i tend to not use sculptors pro as much because i like to keep at this stage i like to keep my detailing relatively low because i don't want to get trapped in the hole of oh no i for me i think it's a mistake when i start putting too much detail because then i get trapped in that and then i'm looking at the details too much instead of just looking at what's wrong with the sculpt but sculptures pro would be nice for sure to do this but i don't like this for me i don't want these strokes to be that strong at this stage specifically so i wouldn't use sculptures pro until i get further along a little bit more further along for myself right but i know a lot of artists now that are just using sculptures pro doing the same thing i'm doing and they're just using sculptures pro to do it right so it all it comes i think personal preference it's all personal preference in my opinion there's so many ways you guys can attack this i was just answering the question and someone asked starting from a sphere how did you go about it right and now that person asks how do you start adding a neck and things like this there's so many ways okay so uh quick question when exporting blending out should i prep the ring uh you would have to do all that in that application um there's zero meshing ability but that which could work but it's not made for animation you would need to make animation ready meshes okay so now that i started doing this this is where i'll start landing um a neck right and then i want to start building a torso so for me for me this is what i like to do okay i like to work a certain way like see i can see from this view this is sticking out way too far that's way that's way too far that that bone arch is sticking way too far out right see there that's a lot better and then now this whoops this is sticking out way too far see look see just this is what i'm saying move around a lot go from different views when you have digital take advantage of it right this is what we didn't have when we're doing excuse me clay i don't have it's not this easy to just flip the head upside down in clay world and then look at it and find that your proportions are off a little bit like you eat we don't have that advantage so take advantage of this right as much as you can i definitely need a little bit more forehead right all this right and then you can see you'll get to the point where you start learning more about the anatomy right this part of the head from the front view the back of the head back here sticks out the furthest okay so hey from india how are you so this kind of stuff so you can see in this session that's a skull that's starting to become a skull you can't say that it's not becoming a skull okay so the important parts is let me first now get to the neck and putting a torso on and then let me show you the next phase of things i like to set up for myself okay so when i'm like okay i've got a i've got a pretty good sculpt going now i've got something that's working for me and it's giving me what i'm looking for okay in this skull i've got pretty much what i want and now i want to start establishing also the rest of the body i think that's crucial too so for me there's multiple ways that you guys can go about this there is now the new way of course well it's not really new but there's the new brush which you have chisel shapes in here right so there are some shapes in here so a neck is pretty much a cylinder so there's a cylinder shape right here that i can just start pulling out a cylinder right and to that person's question about sculptures pro this is where you might want to turn sculptures pro on i go with a little bit smaller brush size so when i'm pulling out on this cylinder right it's adding a little bit of form but if you pull too much it can see the other side right so this is a way to go about establishing a neck right that's establishing my neck piece i personally like to do this okay so my preferred method is this i like to turn on the groups option in dynamesh okay and then i like to start just copying this shape boom i've got two skull things happening here now okay so hold ctrl click on the arrow while you're holding ctrl again watch my shortcuts over here right holding ctrl clicking on the arrow dragging it down and then now i'm gonna say okay again a cylinder shape perfect i'm gonna click on the gear and here's some shapes right here so there's my cylinder boom there's my cylinder okay it's pretty tiny let's make it bigger it's not facing the right direction and then a neck isn't perfectly like straight i'm going to put a little bit of an angle on this size it up a little bit more right so you see all this flow that i have putting a little bit more volume in that and should sit back here probably more this is why it's so important establishing like my mandible's still off right and you'll see this stuff when you start this is why i say start putting things into play because you'll start catching things more like my mandible's still off for sure all right and then doing this okay and then when i go and re-dynamesh by holding control and pulling you'll see that this polygroup is maintained which is really nice okay having this but that's not all that's maintained what's maintained is this never fused with the skull so it's still its own piece i prefer working in this kind of a structure okay i just prefer this because then this allows me to say okay i want to work on just the neck and get the neck to be a little bit different so i want to mask everything else so i can hold ctrl when i'm in the gizmo and tap on the green and now the red is math and this is going to be important because i'm going to start pulling in more items here and then i just start establishing more of a neck for the guy and again have that elliott goldfinger book out whatever you're going to use as a reference you got to have a reference you got to have a reference here's another good thing all right this is another anatomy tools thing any many many many zebra artists have one of these he hand sculpted this andrew but this is probably one of the best anatomy pieces to look at as well for reference so establishing that neck just get that neck and see there's got to be a little bit of an angle to the neck right these little things make the difference that's what's gonna make the sculpt look more realistic it's not i'm gonna go grab an amazing texture and make it have um amazing like skin pores it doesn't matter the first thing any artist is going to notice when they're looking at your artwork is are the proportions right is the arms too long what what's off what's not working right that's that's what we're going to notice first as an artistic eye like all of us right and then now that i have this i'm gonna say okay there's i'm establishing my neck let's establish a ridge rib cage okay i can now even do this copy the whole thing again right you'll notice that the head and the neck are masked out i'm going to now say all right let's put this at the center let's make sure the gizmo is sitting at the center of this okay because that's important to me then i'm going to click on this and for me it makes sense to use a spherical shape right and then now i just size this up position this a little bit more where i would have a torso okay and then again remesh that right and then now i'm re-dynameshing and i got groups on so this shape this shape here is not connected to the neck why is this important and valuable because this is going to make things like this easier i can edit just the rib cage portion now of this model right and then now because this is a separate piece this is a separate piece this is a separate piece i can even take advantage now of using a different move brush and this is a move brush that i'll use in this scenario what's your question that you're asking is there a brush that can uniformly just uh distribute edges of a plane you mean you're just trying to insert multiple edge loops is that all you're trying to do are you trying to move multiple edge loops what exactly is it you're trying to do okay so me i move topological i can go with a massive brush size and see nothing's masked and i can now just start reshaping and because this shape is not welded with the top shapes i can sit here and start mapping out a rib cage right and again you see what i'm what i'm talking about doing simple simple simple bone structure everybody it's going to take your sculpt so much further don't try to get right into i'm just going to throw arms on this make a rib cage like get it to look like an actual rib cage right get that general shape you know this this rib right here is really important it's that tenth rib right and then the rib cage wouldn't be doing that it'd be more like this right this i'm telling you right now if you embrace this idea of just getting the bone structure somewhat correct you're going to see things just happen and pop right and then this is my process this is this is how i start going at this right and then then i can even use an insert mesh brush and i can say sphere and then drag out a sphere and then adjust this put this where i want to be to maybe start representing a shoulder joint right and then when i read dynamesh i know this is not welding with the rib cage part right now right and then this is my process that i'll start to go through and then having everything separate is nice so now back to the face real quick and i want to show something which is actually one of the questions today is what does the dot do in the dynamesh resolution what's this little dot over here do this is going to be important actually for what we're doing as well it's going to be quite important all right so this is one of the questions that came up so [Music] what i'm going to want to start doing now is start putting things like if you notice if you put this correct in the correct location now you want to put a nose all you're doing for a nose is filling in this cavity and if you land this right you're going to right out the gate just a couple strokes you're going to start having a nose come off the face see it's that simple right it's well it's not simple but you can see by landing things correctly you start having an easier time and making things come to life right so now there's also the ability if i smooth this out a little bit we now have also what we we've had the ability to just go grab one of these brushes that already have noses right so if i got this right i should be able to put a nose right here oh yeah it's beautiful beautiful nose okay but what i want to do is also establish some eyes so i'm going to put some eyeballs in here and what's important about the eyes is also the placement there should be the eye the front of the iris or the eye should not cross the plane this plane right here so if i if i take this brush so you guys can visually this right there that line right there that eyeball should not cross that line right because then they'll be popping out of their eye socket if that's where my eye socket is going to be where this zygomatic is right and then the orbital bone up here in the top if you put your hand across there you'll notice your eye is going to butt right up into your hand right just do this right your hand's going to be on an angle it's not straight it's not going to be straight it's going to be on a little bit of an angle right it's not extreme but it's a little bit of an angle and then the eyeball should never cross that angle that is again a simple artistic thing that's going to help you land things correctly okay and then now again i'm going to you go back to the move topological and this is what i mean by why i stay really low to that question about sculptures pro i'm not at that point yet because this is not right now i need to re-establish this bone that eyeball needs to get more protection man it's it's still not being protected right right so i need to re-establish this is why i'm putting in kind of landmarks here for me to establish this now because i have this on this groups option on what we're allowed to do now is have the resolution slider do different things for us now in essence look at the mesh a different way okay so what i mean by that let's put a bunch of small items in here sound effects so important so let's just put various psi spheres in here since this was the question that got thrown at us okay so and we'll go bigger too okay so when i re-dynamesh okay you'll see the shapes that you're getting right you're looking especially here and here like see the smaller ones and like this one they're starting to lose a lot of their spherical shape there okay and so what i could do is this dot right over here okay this is here for the users i have to put it on okay so if you open this dot then the dynamesh when it goes to re-evaluate the surface and in essence re-topologize the surface on the fly it's gonna look at this very different okay and so when i go and read dynamesh now right you're going to get different results with an open circle compared to a closed circle right so here if we go up a little bit more and some more resolution here let's let's get rid of the spheres right now let's let's just up the resolution a little bit more for you guys as well so you can really see okay so okay so we've got more resolution see and then more resolution more resolution because see now these are being updated because i touched them see this isn't being updated because it hasn't changed so this is one thing that's nice okay but when you got start doing stuff like this okay and then you read dynameshing see the spherical shape that we're getting okay if we do that same thing and then you have an open circle and then you're doing this right right you'll get a different result based upon that it's in essence it's evaluating looking for smaller meshes that's what it's doing it's looking for smaller meshes and giving more resolution to the smaller meshes that's what it's trying to do okay so that's that's what the point of that open circle and closed circle is it's the person that asked the question all right and then at any point in time in here i'm going to start splitting stuff off i'm going to make the eyeballs their own eyes right and then there's a point where i do want to start having things weld together so then i will select that sub tool right this one and then i'll turn the groups option off and then re-dynamish and then now this is all welded together right and then now this is establishing now start establishing some muscle tone in here just quickly proportioning things like see this is for me too dense at this stage i again i prefer this way down further it's just a personal preference because i want to put big strips of clay in here is what i want to do right and then start establishing where your muscling might start going in in essence all this stuff will start popping right making sure this bone right your clavicle is connected right correctly into your scapula which then the scapula comes out here right you see all this stuff i'll do a lot of quickly just mapping out this stuff and if you map this kind of stuff out i'm telling you everything's just going to fall into place for you right and then now obviously this and this is what i mean by you know i like to do this sometimes just so i don't get lost and i just need a general understanding for me and then you got to start having muscles that come up into locations and again as a artist you only need to know some general muscle forms and then obviously the muscles need to come down here and connect through here your trapezius right connecting into your scapula your delts then it's going to lead into your delts right all this okay no malik i don't no my fr my french is gone okay and then this is how i start blocking out and getting to the point okay does that make sense to that so that person i was asking starting from a sphere this is the route i'll start going and then it's then it's just a process and again it all will come to you the more you study the more you sculpt it's the old saying the more practice you put in obviously the more you're go the better you're going to get at things it's just it's going to happen right you'll understand more of the muscles like this the the delts kind of do like they go in like a c shape from the top they wrap around like this connecting right so i since the muscles do that i tend to do this with my shoulders to make sure that and then it's just going to start popping and giving me shoulders right and then if i want to change a little bit of the shape i can change a little bit of the shape but you can see it's starting to already establish a line right here where the delts are going to live and then right your pec muscles actually connecting to your arm that means the muscle comes down here and it fans out so do a fanning out like do a fan out like this right and then there's more mass here so for me the pectoral muscles are three masses what am i doing this three masses there's this the bottom right here it's connecting into your arm down here this is a mass and this is going to establish that the undercut here that you get in strong characters it starts establishing that right there and if i want to highlight that now i switch to like a damien standard brush and then i just hi i hit that a little bit more for me so my eye artistically can catch that a little bit better and then now i accent that a little bit more and then your sternum would be in here you'd have a bone structure right in here right it's it's again it's just quick quick quick movements to start blocking this out right and then now i need like i said more muscle mass through here right so there's got to be more mass happening in here right and then the third mass is coming up into here right and then what's going to do is create this hollow area right in here which what we have right we have a spot right in here where we can stick our fingers right through here right in here this area right here right we can put our finger right in there and then right in here too down here there's a spot right there right that i can kind of grab the delt right there right that's because there's this bone clavicle and then these muscles are only going so far down the club they're not coming all the way down here they're only coming so far right and so this if you guys start landing these bony marks this stuff will just pop you won't need to do kind of what i'm doing with you trying to highlight these areas it'll just come if you're landing things right okay does that make sense hey john it's not thursday oh yeah time does fly right okay so there you go so that's answering also that question is dynamesh and we went in a long more questions and then this dot is allowing the resolution to say how much of the mesh tube look at smaller versions right so when you're making something dynamesh is it tinier is it larger okay so then there you go right no no no comics legend no i have not had the time to get back to that project okay so there you go let's let's continue moving on here because the goal of this i want to be answering questions for you all and going out through this so let's look at another question that came up okay uh let's help if i turn the other one on is there a way to create uniform hair cards for games okay so there is a way to do this for sure so this person was looking for something where they wanted really just a uniform shape first of hair cards and then they would start re you know moving around themselves and then adding a couple other here and there where they wanted them so there's definitely a way to do this okay and i'm going to combine the ability to with one click get a uniform kind of hair with hair cards and then also you adding your own hair cards in places that you want to add them okay so let's switch to a new different model now all right so let's switch to this girl all right so if i'm doing hair right i want hair to be obviously in certain locations here and then just like all of us are we've got different length hair the hair up here on the top okay and then that's longer than the hair here and then sort of hair on my back isn't as long as the hair here so that you're going to need different size hair cards so thinking about that i'm going to mask out the area first of where i would think there'd be a little bit for her some longer hair okay so i'd say majority of this area i would have longer hair coming through this area of the model just doing a quick mesh now if you want to it wouldn't hurt to divide up maybe one so then you just get a little bit more control your mask maybe two at most like i probably wouldn't go any higher than this like this is this is enough i don't need crazy line here like ridiculous amount of detailing here okay i just need this right just to get a little bit more control of where i want that masking to go we'll come across her head because i'm also going to use other things to put in hair here and all that right so i establish say something like this just a quick mask and then now for me to do something very quick for hair cards i'm actually going to use fiber mesh okay so if you hit preview you're going to get hair well it looks like hair right so we're trying to do something that's more in the gaming idea world of things okay uh let's go ahead and change the color now just of this so you guys can visually see this a little better so i'm going to change this black to like a brighter color and change the tip to a brighter color right and you can see you can change the hair color but let's just for the sake of just visually for you all to be able to see that looks better right so right now what's happening is i'm getting 50 000 strands of hair or fibers right and that's way too many number one right so this max fiber slider here i'm going to knock this way down i'm going to even just put it at one for now okay and i got hold on i got to move this i need to go to get to my keyboard and hit enter okay so i want this to have a max fiber hold on i accidentally got rid of my mask there we go okay so this i want a max number so now it just looks like he she's got a real problem okay real problem some thinning problem here okay so i'm gonna hide my mask by hitting ctrl h so the mask is still there but that helps me just see the hair a little bit better okay so at least now i've got less which would be good the second thing that becomes important for me especially with the question that came in for gaming for hair cards right now the width it's like straws coming off her head so i'm going to go to the coverage slider because that's the coverage of how wide these are so i'm just going to up this all the way so you guys can really start to see what happens here okay so you see you start getting some width in this these cards now right and if i want to go even wider okay because i've maxed out the slider above that is a profile and this profile will allow you to even put things wider so right now i'm making the root bigger okay and then this is the tip see so you can see how quickly i can start really getting this to where i need it to be now i can say now i've got too many so now i can start going 0.5 then i can say 0.1 which is a hundred so now there's a hundred of these meshes coming off her head and i know that in the top here it tells me there's a hundred right and it's telling me how what the polygon count is so i'm gonna say 100 is obviously too low let's try 400 400 is pretty good right now okay so now i got 400 which is nice okay got that looking good there right so now the next thing that i want to affect and look at is the length like how long is this hair okay so that's obviously the slider that's called length i know brain busters here now right and it's just establishing now the length of her hair right how much length do i want okay now you can see that the hair is kind of just like she's electric being electrocuted in a way right so this is important is obviously there is a gravity slider right right here that will pull on it right and see now it's maxed out and it's kind of pulling on it but really what becomes what one of the more important items here is not just that gravity okay it's more about the number of polygons i'm allowing zbrush to have per fiber right so every one of these fibers the what do i have 400 of these that i have coming off the head they all only have three polygons right and so i would prefer a little bit more so it's just like anything you guys divide up in your sculpts to get be able to get more details right so down here there is a slider called profile and then there's a slider called segments and the segments you can see is set at three and that's telling zbrush every fiber has three polygons it does look like tina turner drone nice right bring in the 80s john i love it bringing it back baby should watch the documentary tina if you haven't it's very interesting so this as you can see as i add more segments see the hair just naturally starts to fall it's falling because now there's more polygons for the gravity to pull on so i haven't changed the gravity setting i put it back at the default of 0.5 but you can see the hair is falling more right and wherever however the head is facing that's how this is going to work right so you can see how this is falling and right now it's also twisting a lot so there's a twist so i'm gonna i'm gonna reduce the twist and then now you can see what you'll start to get right and then now you can start establishing more things like do you want more length in the hair right stuff like this is what you're starting to look at okay so this would be a great quick way do you want to get some uniformal quick hair cards for you to use right and then this can already be uv'd so that's the other bonus to this god i got something in my eye sorry hold on my contact is not i have to pull it out sorry this is something in my eye might as well take a drink sorry it's irritating me okay so we've got these segments but if you guys right here there's an ability to add an image right so when you do this okay it's adding that image now to every fiber and what's happening is every fiber sitting at all of its polygons are sitting at zero to one space right so this is already uv'd it now just by turning this texture on we're automatically uving it now if you forget to do that and you get to this point and you accept this because now you're like ah okay this is interesting all right i hit accept this is now going to make a new sub tool right and now this because i forgot to put a texture you can actually come in your uv mapping and there's a button right here under create called fiber uv because this was made from fiber mesh it's tagged in zbrush as a fiber mesh right so when you hit fiber uv it's automatically now uv'd again so now even in this texture map now this is applying a texture to this right and so now you can do stuff like and then course like this in zbrush pure black is automatically going to be used oh god i can't sorry i might need to hold on sorry i think my contact is moved in the corner of my eye talk amongst yourselves coffee talk coffee talk hold on i might i might need to go out in front of a mirror hold on guys i got to go to amir real quick because contact is completely loose i'll be back in a second i need a mirror talk amongst yourselves i'll be back in a minute it's back all right so again what i'm showing you guys is a quick way to just start establishing some hair cards for gaming right and obviously you can control the amount you want and this you could be just a simple base right and there should be different size hair cards through here and now i just showed you how you can uv it right and then establish put a texture on it okay so now this is where we start going so obviously you put a texture on this it looks more like hair great you can do that but what's also really fun about fibers before i go one more thing with hair cards is this this is a nice little cool little fun thing that you can do all right so in geometry if you're gonna modify topology i really love this about fibermesh this is one of my favorite things okay is come down here to micromesh and let me put it higher up because my head's almost covering it click on this and it's going to open the tool palette and now i can grab a mesh like say this helix and now it's telling me to turn on and rendering okay so in the render menu render properties i need to turn on draw micro mesh okay so here let's go a little bit darker with this right and you'll see there's some weirdness happening in there now right see that what's happening is this when i go to render okay which is shift r in zbrush we actually swap out those hair cards in this case that you know that geometry and give you the mesh and then this mesh okay stretches across it now i ran quickly into my house and used a mirror okay so this is what's nice about the fiber meshes as well you could do so i do this for a couple things it's not just for hair i'll do this sometimes to just create stuff because now that's fiber mesh it's tagged again because i made it from fire mesh this is tagged inside a zbrush as a fiber mesh right so then this is pretty cool to be able to do that right so obviously i could use this for feathers i can make some geometry i can do whatever i want and start and then this is only at render time right so you're not gonna be able to get this out at this stage but it's easy to get out from zbrush is the easiest way to do it is click this button right here convert bpr to geo so let me turn on let me show you guys can see that this button right here convert bpr to geo which is in geometry if you click this button we then convert to the real topology so we get rid of the hair fiber cards that we were talking about and we now get the spirals and then that's the real topology right so this is pretty cool to be able to do stuff like this as well so and you can turn it off and turn it on so this is one way to go about the question that was asked now the other thing the way you guys go about this is you can just draw yourself we actually have shipped brushes for you okay that are meant specifically for gaming hair cards so there's the curve flat and then there's the curved flat snap okay so this is literally going to draw a mesh like i got to get rid of my subdivision levels okay that's just plopping an essence so this plopping this right and then i can adjust and move this so if i'm trying to make one that is coming around here to her back and it's going to go around her ears i can do stuff like that now what i probably would want to do since looking at these i probably want it to taper a little bit number one and then when i'm drawing like something like this it is snapping completely to the surface i probably don't want that either and then up here at the top i probably wanted to come off the head a little bit right so i want to do three things here i want the beginning of the fiber i want to kind of pop off a little bit of the head then come down right second thing that i want is i want to taper on this and the third thing that i want is i don't want this like our hair shouldn't be doing this if someone has long hair like their hair doesn't just like from this in the front unless it's wet or something it just doesn't stick to their face right and go like it's not like a liquid that's going down their face down their neck it's hair if you have long hair it's gonna fall and then there'll be a gap in here between the neck and the hair before it hits your shoulder their shoulders and falls down their bodies right so it shouldn't stick to their neck like this right there should be a little bit of some you know realism at least the way a hair should fall so let me walk you through how to do this with say this brush let's do the first thing let's just first do the tapering okay so i want some tapering so i'm going to go to the stroke palette okay this particular brush has curve mode turned on so i'm going to go to the bottom one that says modifiers and i'm just going to turn on size that's it i've now got a taper to this brush okay and this taper see it's happening at the start that's not where i want it i want it the taper at the end so under the stroke where this was the curve modifiers and that size i'm going to open that this graph right below it by clicking on it and then hit fv as in flip vertical and then i'm going to make the taper end not so tapered and then now if i click this you'll see that's what we get so now i've got a hair card that has tapering happening at least which is starting that's more more realistic to a hair especially for like maybe like the female that i'm doing right now right and you can control this if i don't want as much tapering you can control that right it's up to you how much tapering you want right so there you go so you see what's happening though it keeps looking at the model and doing this so we've got a little bit of taper now the next thing that i want to solve is when i'm drawing this i want this portion to kind of just come off just a little bit not crazy just a little bit maybe okay so in the stroke palette okay we are using curve mode so the menu called curve is where we activate curve mode so this brush has this activated so with this activated all the other two menus below it are useful to us right and the one thing that i want to do now is something that's new to zbrush is i want to come here to this repel and let's start with just two okay so what i'm telling zbrush to do now is when i draw this out okay kind of pop off a little bit right so this is now see popping off the surface okay and it's looking at what we're making and saying okay let's now maybe not two let's go one right and then let's also in this case let's also maybe have a different fall off like so you can have a stronger fall off or str a different type of fall off happening and you can see it's really trying to make that pop off the surface a little bit more so you can adjust all these settings here to do different things with this where this now comes in really handy is something like this is now you guys all have the ability right to look at two things now one of my favorite brushes is the extrude profiles right so this brush if you look it's now doing this but it's already matte automatically so if you're now you're a person that's trying to make hair that's more for 3d printing this makes more sense to you right and you see that it's kind of popping off the head a little bit and then what it's doing is it's looking at these shapes these profiles to create the profile along the stroke even to the point where you can grab something like circles and it looks like a bunch of spaghett it's a spaghetti right and then all this so this is just flat plane geometry doing that it's going along that right so this is another idea and if you guys want to get even simpler okay just grab an alpha there you go so this star is now being extruded along the entire curve so i can click on this star i can click on this and see now it's swapped completely different look what does it look like with this right see how different that starts to look just with the alpha change right if you want something that's not so strong you just want a circular shape there's a circular shape so you guys can do this is using an alpha and then this is using a flat plane and it's anything like anything like what i mean by that plane is literally a plane like take this okay and then i'm going to go with way less topology let's go 12 by 12 now let's even go less than that okay maybe a little bit more yeah let's go four by four okay and then let's make that a mesh okay and so this is a flat plane and i'm going to actually delete that so then that's my profile so this plane's perfectly flat i'm looking at it with the camera i go back to this extrude profile brush that's already tapering it's already gotten popping off going okay and there's the third thing that we haven't touched yet going on and i'm gonna come here to brush and say from mesh and then bam i just added that to the brush and then of course what that means is now this brush has a plus symbol being extruded along the whole thing it's it's that simple just any flat piece of geometry it's got to be perfectly flat okay and number two you can take any sculpt that you want take anything that you want right even take her let's get back to just her okay i can take her and make an alpha out of it so go to the alpha palette right and then say from mesh that'll open this up i'm deciding what way i want to look at the alpha i'm gonna say that's good okay and then now i'm gonna in the alpha palette right above from mesh to mesh now becomes available along with flat so if i turn flat on and hit two mesh i get a flat representation of her based upon the alpha right and then now of course this brush from mesh and you can see now that is in the brush and then now i can do that and i'm literally using her face as like a card okay so this is branching out not just gaming cards but pair like this that's more for 3d printing which will be very beneficial for you okay it could come in really handy i use these all the time now for what i'm doing here for stuff that's 3d printed that just makes sense it's a quick way establish some really major hair okay it's a fun way to do it so there you go and then the other thing then that i need to get back to is what we're also doing with this when we're doing this right so i was talking about it's popping off the head we've got a taper but it's also see how this one's not connecting to her neck so even as this right you can see this is not connecting to her neck compared to if i go to let's use this time let's go back let's go back to this and right now let's just turn this repel off right if i'm doing this right see how it's connecting to everything i can actually tell zbrush not to do this right so in the picker menu the depth is what's being used for the brush to analyze the depth so right now this is set to continuous depth which means as my hand keeps moving right the curve is going to snap and then when i'm moving around everything it's continuously evaluating the surface so i'm telling it to snap and continually evaluate and find the curvature of the face okay one once z is just once so see it's going through it's not snapping at all there's no snap happening there right if i go now to closest that's what some of these other brushes have actually turned on so when i do this you'll notice see the hair now falls flat here it's not touching her neck and her cheek anymore or her mandible at all it's pretty much getting to the ear and stopping and not going any closer that's because throughout this whole curve the entire surface that it's being drawn on the closest point of interest is this part of the ear where are the curves coming in line with the mesh so that's why the rest of this stays perfectly straight because nothing none of this area in here right is closer to the surface than it is right there does that make sense everybody that's what it's doing it's looking as when you're drawing this out okay it's looking at this and evaluating going okay the closest point for this curve right now is this area right here right right in here so from that point on everything must stay along that same line unless it found something that is closer to it right so if i come along this direction like this you see this found the cheek and then now see the rest of it it's not snapping to her head right so this is the benefit of that is having this ability because if i am doing something like this and then like this if i want to start moving it the other thing that i would probably do is i'd put both bends on and i put the both lock start and end that way i can even continue to move this and position this where i want however i want this to even come off if i even do want it to come off a little bit off the head i can control all of that and see i can do all these controls so locking down the starting end i can't pull this hair off her head okay so something like this um your question can i explain the plane changes of torso do you mean like in a human torso like how the plane changes are happening i used to have i think it's in my office the other office if that's what you're talking about i don't have it here darn it if that's what you're talking about i think that god my eye is just irritating me today actually i think the contact is stuck up here so i might i just started bothering me again pretty important thing guys okay so there you go those are the settings okay that you have for that i think the contact never actually came out okay so as far as a human torso goes the planing of a human torso um it comes down to just like you know like this there's plain heads here it goes back to the very beginning that we were talking about in this stream actually is again some simplifying and looking at mark markers of a face like right and then this wait this is my first live stream well welcome empty poke poke plays first stream ever welcome i don't know my contacts bother me thomas i don't know why so like this is a plain head right so it's things again if you were here in the beginning of the stream this plane is a a certain plane that's where like this bone is the zygomatic bone that was harping on and then this gets flat because then there's a shift in plane here so you're going to have that same kind of stuff in a torso right so you got to look for those plane shifts like if you take like this model that's already got like a body there are certain plane shifts happening here so let's get rid of all the layers okay so what you got to start understanding is even right here you should start seeing plane right right here so if i start now using something like h polish there's a defining plane right here right this is making up the muscle that's going to connect here into the arm right the muscles are actually it's really cool in the arm they're they're actually like this and then they flip on themselves like that when we move our arms which is pretty cool right so there is a defining plane here then that means there's a plane shift here as well right so there needs to be an essence here to here right this is a point of interest then to here right so this is important to establish this plane that's going here to here right something like like this let me i'm going to switch to dynamesh so i get rid of that oops we need a little bit more resolution there we go okay so this is all you're starting to look for when you're planing something out this is establishing so you can see the muscle connects here on the arm so that's in essence this plane's establishing that movement and then this plane is establishing here which is establishing the base of our area here which is going to transition into your rib cage right so then that rib cage has a plane shift right here as well right and this is why you would start using something like h polish if you wanted to as well start establishing these plane shifts that you should start having in a human body right and then up here there's a plane right that's what this is all about it's that plane shifting right here into here into here and then you got a plane shift here and if you just start quickly establishing this you'll start seeing like the chest start popping and i think this is a great way to learn honestly is by trying to do stuff like this it'll make you see things that maybe you didn't see before and it'll make things pop off for you a little bit right and then now you're got to establish the planing of this ribcage in here right so there is this area in here right this is a rib cage and then this is leading into there's a sternum muscle right here right that's going all the way up through here the center right and then that's where this plane in essence is fanning into here and then that's this is a high point of the rib cage right here then you got your obliques right and for us one the most important ribs is the tenth rib which is the rib way down here as an artist like okay there's 12 ribs and there's two back here but i'm i'm mr chubby right now so you can't even feel them but this rib we a lot of us can grab our rib cage if i stand up i can almost grab this ribcage in here right right in this area right here right right there that's that tenth rib so you can see this is coming down and then it starts working its way back up right and starts working its way back up and then there's a bone our sternum bone right in here which is fusing our rib cage to come together right so this is what it's all about is discovering those planed areas is really for me it's really starting to establish the bone structure in the body like that's kind of what i start and if you have to really accent it you do stuff like this right then start plane shifting this in and then there's a bone here start establishing these planes this way and then the rib cage comes down like this right this is that one bone that's really important the tenth the tenth one is right there okay does that help that answer that question for you okay so that that's in essence same thing so i'm saying that's you look at the planing head and then again i do there is a model that again alex from anatomy tools did he did sculpts of the very simplistic planing then i'm going a little bit more a little bit more advanced planing and then immediately you'll start seeing a character pop out and you can start sculpting okay so hopefully that answers your question for you for that all right so i want to get into another question um that how do i make something like vines wrap around a pole per se right so the first thing honestly is the vines right because if i pull that well that's the what's the easy part i'm gonna make a telephone pole right you got something like this right and i want to start wrapping things around it right well it's going to make the most sense to create an insert mesh brush that has curve right so i got something here let's give it a little bit more topology so you guys can visually see right so it's something like this so there's already a brush shipped with zbrush that has a vine okay so there's an imm curve brush okay and at the very end of it there are four vines there's vine one of four two of four three four and four or four right so this is just going to allow us now you know to have a curve and then the vine see it's going to be wrapping around this pole and i probably would want this a lot bigger something like this right and i can just keep wrapping this any anywhere i want right because it's a curve right stuff like this okay now what i might want to do as well is looking at vine one of four if you look when we start drawing this out okay the big thing that you guys should be noticing is the vine is actually being different right so if i look at just the vine now it's never the same thing along any of the curve it's something different right and it's because this particular mesh vine one of four is actually cycling through all four of the vines and randomly selecting them so john's already throwing it up there yes this is variations so this would be number one the first thing you should do is you should establish a brush that has various vines in it and this particular one has four right and like this one's got two leafs this one's got two leaves but they're in a different location this has only got one leaf and then this has got none right so and then this brush because i'm sitting on bind 104 in the brush palette because i want i want the brush to change along the curve i.e the mesh right i want to open up my modifiers and then you can see there's a variation sliders of four so that's telling this mesh i actually don't want you to just drop drop drop drop drop this mesh along the curve i want you to grab this one and the three other ones so one two three four and then the slider next to that is establishing how do you want them to cycle through these four pieces right so then this becomes important to me and if i had you know like 8 10 12 of these i could change that variation sliders to 8 10 or 12 and then randomly and then you would get more a realistic looking vine okay so this is the very first thing i would do to this question before even worrying about wrapping around the vines around i would want to make an insert mesh brush like this right that has various pieces in it and if you notice the topology is the same that way it can match and what this is actually using is try parts okay and what i mean by that let me pull this one off okay so here's the actual mesh that's in the brush right and you'll notice there's one poly group two polygroups three polygroups all right and then all of them have those say i have the same thing they have three polygroups right and the only thing that's happening here is this is the end this is the end of okay enough right this is going to be the end this is repeating right and then this is the beginning right so this polygroups are what they're doing and the thing that's repeating is this polygroup so all three of these have this same thing set up they have three polygroups with the beginning polygroup middle polygroup and n polygroup so to do this this is what you would want to do right so if i wanted to make more of these as an example i can say here let's make some more let's here let's grab some leaves and let's copy these let's position these let's even shrink some of them down maybe not that small all right and then i'm going to turn off perspective just so i can see this and maybe something like that and then maybe rotate it it's just sitting somewhere else let me make another one now let me rotate that let me move this somewhere else there right so now this one's got more leafs okay so i got still three polygroups so this is one polygroup two three so this i'm just going to say let's call this we'll just i'll keep with the naming convention divine uh let's just call this five of let's just say i'm gonna let's say i'd have eight total okay then i go to brush i say from mesh and now it's been added right and then i can say all right let's do it some more of this okay so let's grab this one now and again this is all stuff i'm using in zbrush to make it's easy for me to copy paste get copies of it right holding ctrl clicking on the arrow makes a copy rotating it now rotating it making it be very different maybe something like that okay i like that one now brush from mesh i didn't change the name but that's not relevant oh welcome devil dog too another new member thanks for jumping in the stream with us okay so now that i have more right i have now six so at this stage i don't want to go to this brush part and say there's not six variations i mean there's not four variations i want six variations and i want the six of those to randomly go through so now when i draw this out right it's looking at the six is what it's going to look at okay it's going to look at one two three four five six and cycle through those that's what it's gonna start so this is how you would start making this okay so this would be the first thing that you'd want to do is establish how many variations do you want we'll go back to the original four right so this one's got the four and then now wrapping it around the pole the curve already connects to the mesh so you just draw on the pull and wrap around now one thing do i want emphasize though that you guys could do which could be a good way to go with this is this think about wrapping why not just grab a mesh that already is wrapping like this right and i can control at this stage i can control its coverage right i can control its thickness right i have all these controls here to do whatever i want with with this right i can make the radius not be the difference and let's make the thickness to be again [Music] back to consistency something like this it's a spring right so this is already spiraling for me in a way right so i got this mesh and you can come here back to this if you wanted to instead of even drawing the curve like i've been doing let's insert this thing and let's size it up and then stretch it out okay and then maybe switch to move topological go with a little bit of brush size and just start moving this around a little bit and see move topological is going to allow me to move just different portions of this even though it's not masked out it's based upon topology flow right so this is one way to go about doing this all right and i want to pull that one out and that's going to sit like this right so i'm just starting with something that already is spiraling spiraling out of control right and then just i'm moving around and manipulating it differently right now what am i going to do with this what i'm going to do with this is i'm actually going to get rid of the caps here so i'm going to switch to z mod it'll be the easiest for me delete flat island delete that so that's gone and let's delete that okay and now bringing the poll back what seems to be important to me is this row of topology so i'm going to go to polygroup polyloop right and so you can see that's going all the way around and then let's do another one that's a completely different polygroup like this right now i go back to that brush im curve we have this i'm going to look at only now these two polygroups which is establishing a little bit of my spiraling that i wanted okay and then now go to stroke open up functions curve functions turn off border and in this case i'm going to turn off creasing and now only keep polygroup and then hit frame mesh and what i get is a curve that's going where those polygroups are and now all i've got to do is touch and i'm gonna get and we'll go bigger the fibers repeating in that direction that i've already established sculpturally right so this is me using sculptural elements right and then now i can split off this unmasked points right and now i don't need this and then there's the fibers oh and the fibers ah the vine right so this is me just using a piece of topology to do this now another way okay oh you want you want the lisa needs braces moment right the other way i may be looking at doing this right it would be how about we take this let's append a z sphere right so now i got a z sphere here in space and i'm going to switch to move oops i picked the color okay so let me just switch to a different brush okay and i'm going to switch to move and move this z sphere somewhere in space let's say let's move it right here right and then i'm going to say what do i want to do with this right well what i want to do is use it so i'm going to change the size switch to draw and the z spheres will automatically snap to the underlining surface in this case right that underlining surface is the tube that i'm drawing on and you're going to switch from draw and move a lot up here right so move is going to allow me to move the z sphere around if i want to move them around okay and then draw draws out more and as long as there's a z sphere selected see that's not selected anymore switch to move select it and now maybe i want to come this direction now with the vine in this direction rotate switch to move and i don't care about the size of the z spheres honestly so you can do stuff like this okay and then now that i have this z sphere and we have the ability and stroke to use curve helpers right and you can scale the z spheres to the same draw size so they're all the same size okay and then you can hit create curve right so it's saying there's nothing in the memory so i'm going to say all right well i need to copy z sphere chain and then create the curve right and then now i have a curve right this curve is matching what the z spheres did and then the same thing now that we've already done just click let's go a lot bigger and then you're going to get those repeating shapes now right along that curve so just another way of going about it right so to answer that question there you go you can just literally draw on the surface you can take a surface that's already got some wrapping established and then just readjust or use z spheres and then convert the z spheres into a curve and then that's it that's how you would do that okay so that's that question right here's another question that came up is it possible to tile a texture in zbrush yes it is possible it's 100 possible to do that in zbrush okay so i'm just going to grab a model that already ships with zbrush okay uh let's go to our projects and right here i'm just going to load this project because it's already got a texture on it that's the only reason why i'm loading it it's ready for dynamics of course as well oh is that glad that could help all right so this is all this is the person was asking they have a texture right here in this case it's on the model this okay so then in the uv map space you've got menus here that are closed by default there's a create menu and there's an adjust menu okay in the create menu at the very bottom there's a repeat so if i drop this drop this down to one by one it's just now repeating that once across the surface based upon the uvs so this is how you do it you just come here and say okay i want this 8 by i don't know 12. do i like that no maybe by 10. so you can come here and then manipulate this and see what you like so this is how you can do this so that's it it's it's not too difficult and if i want to apply this texture to the surface as paint obviously i need to make sure i have enough polygons so i'd want to divide up with control d you can see in my shortcuts now we'll go to 4 million okay so i'm at 4.1 million and now this texture is visually being repeated right based upon the uving and then now in polypaint i say polypaint from texture right and then zbrush applies the texture to the surface and there you go right so that's actually painted on there now right so the texture map see it's off it's not even on like i can get rid of it and it'll still be there okay there you go that's that's and then you can bring any texture in that you want and then apply it to that model if you want to right obviously too if you're trying to maybe establish an image you want to bring in you want to paint in this okay you can even bring in an image let's let's use something here let's use the checkers okay so i can take an image even and come in here and click here i'm using zbrush martin that's what i'm using so see this right this is an image now that's just floating where i want okay and i can position this also wherever i want and then of course i can paint and sculpt with this so i can paint over right some of the stuff that i've even already painted on this model right so you see i'm starting to establish that checkered here we should probably go from up here right so this image i can move wherever i want and then start painting with it right however i want this to paint okay so there's this ability to do that but the reason why i'm bringing this up and let's make this bigger is this can also be tiled so let me let me adjust the intensity so can we do that and let me up the opacity all the way okay so this has the ability to be repeated as well okay so that's what these are right here so i can repeat horizontal or vertical and if i hold the shift key it will repeat the image right so the benefit of this is again you can use this to paint with and sculpt with right this is spotlight obviously that i'm using well not obvious to everybody but this allows you to bring any images in that i want okay i can bring in even textures in so i can grab something let's have let's as an example have a little bit of fun here let's grab the tree bark and then this tree bark right so i got this tree bark and i've got this tree bark and i'm gonna delete the checkers now and let's pick her face this time and let's just look at only her face let's see uh let's go up one more subdivision level just i want me one more just so we get a little bit more information okay so these textures are floating so all i have to do is put the model underneath the texture and then just apply my paintbrush right and then it paints and then this is symmetrical okay now this is difficult to look at because i can't see really what i'm doing with the model so this is why it's called spotlight so i've hit the z key i go back as in z as in z brush i go back into the editing of the images mode which we call this edit spotlight mode and what i like to do is i like i prefer to have the spotlight radius turn on and this is where the name spotlight came from it's almost like a flashlight okay and so when i crank this up like rotary phone school old school it's creating a spotlight so when i hit the z key to come out of the edit mode and now i'm in projection mode the images are still there but i don't see them until my cursor goes over so this is why it's called spot so then i can come here and say oh okay i want yeah that's the part of the image that i want something like that right and then in this case right now i'm working symmetrically and right i'm working with two tree barks that are also different okay so one thing that i like about this as well is if i'm doing something like this especially in this scenario where i've got two different tree bark images i want this to look like they they are closer to the same tree like they came from the same tree in essence right so this is really easy to do with the edit spotlight okay all i need to do is go to this hue brush where i can change the hue of the images okay position this where i want so i'm going to say right there the color information in that part is what's important to me and then i'm going to say grab the hue right and start saying i want this part to be analyzed based upon where my cursor goes right so the texture on the right is selected and being edited and then that portion where the is sitting that's important to me it's using that information plus now where my cursor is to analyze the images right and if i do the opposite right now i want to change this one instead again it's just clicking the hue and then dragging over and maybe i want to do something yeah actually something like that and then now i'm going to adjust the intensity a little bit and then there right so now those images look like they belong to the same tree now even though i don't even know they were the same tree right and then now as an artist when i'm painting right so if i like what i'm painting here and now i want to bring in the front i want to bring in this part of the tree they're going to look like they belong together now okay and of course not even just painting but we have the ability to sculpt with it as well okay so if i come over here and i start doing this you can see it's sculpting the details of the image right into my model let me turn off symmetry so it's not just about color it's about painting and sculpting and you can do both at the same time right so i turn my poly paint back on for this when you're here see this is sculpting and painting at the same time i'm getting both elements all at the same time all right so that would be how i would go about answering this question i'm assuming this is what the person was asking for tiling a texture is what they were assuming so i was assuming was what they wanted so there you go that's how you do that okay another question that came up is what does the crease curve brush do well this is this is a nice brush especially for those that do some hard surface okay let's let's go as an example let's let's turn off spotlight now let's grab let's go simple okay let's yeah let's just reload a new project okay and then i'm going to replace this with a cube and let's have this cube just be simple like this turn on dynamic all right and let's say let's add some more loops to this so i'll just mirror weld down the middle i'm going to start just shaping this up a little bit maybe it does look something like this we need a l i want more more information than that yeah let's do that okay and then let's switch to z modeler let's insert an edge there let's insert an edge there okay let's symmetrically work at moving this shape and just blocking out a little differently say something like this and then now maybe the front of it comes down quite a bit like this okay so let's say this is going to be the start of like a spaceship like a shuttle right so i'm making the shape or like a vehicle this is going to be the front of the vehicle so when you're dealing with this kind of element the nice thing about the curve brush is going to be able to do certain things so i'm going to take advantage of low polygons i'm going to make that a new polygroup it's christmas let's even add some more loops like this okay so i've got a polygroup in the back and now i got poly group of red everywhere else [Music] it's getting a little too pointy for me all right so you're gonna start sculpting on this okay and let's say i apply this now and i switch to vh polish brush to start okay i want to start defining a line that comes in here on this model like if this is going to be a hard surface i want a defining maybe line in here that's establishing this in here right okay so that line is there and then maybe i want another one to go bigger another line down here at the bottom of this vehicle right so this is a sculptural way of doing this i'm going to turn off the floor grid is looking at this like that right trying to establish so you can see i'm not getting the cleanest result for myself right now that i want right i can of course do certain things to make this more clean okay what i really want is like a little bit more of what i have up here there's a nice flow line happening up here coming like this coming around same thing up here on the top i want something like that a little bit more at the bottom as well okay so this is where that brush comes into play again i'm answering this question what does the crease curve brush do this is what it's going to do number one you cannot have subdivision levels so i'm going to get rid of the subdivision levels it's really not going to be that big of a deal okay and then i'm going to come in here hold down the ctrl shift key as you can see in the bottom left corner and then we're going to go to this crease brush that's in here crease curve and what this does is this you draw out a curve right and what it's doing is it's slicing through the topology this is why you can't have subdivision levels and automatically applying a crease right so when i'm coming across like this i don't really like even this okay i kind of got where i want my line so i'm going to say all right i want that line definitely to be more like right there okay this line's nice let's make it come and i can tap the alt key to kind of do something like that and then this line let's yeah that looks good and then along the top something like that right so this is adding topology in places and see how this is kind of doing this that's because i have perspective on so really for what i'm trying to do it'd be better not to have perspective on be better than boom then i know this is going completely around the mesh and then when i go and do something like this now i know that's going around and giving me see that nice result there and then now same thing for the top part let's establish that line there and then now this again is added new topology and it's creasing right this brush does not work symmetrically no okay so this is now going to give me the ability to watch this this this is starting to give me like a hard surface shape that i'm trying to get maybe probably like i said front of a vehicle maybe there's a cockpit i'm going to come here to deformations right and then what i'm going to do is there's a slider called polished by features polished by groups and polished by crisp edges if i do polish by crisp edges it's looking at the actual crease and every other bit of the topology is moving to try and fit within that right so you can see those lines starting to be established so i'm going to open this up and make it really strong and you can see you can really see your line now right you can really see how that's looking like on this and then false by polish by features looks at creasing and the poly grouping so wherever the polygroups are touching that gets nice and sharp and then the creasing gets nice and sharp right okay so what's nice about that is that crease edge allows me to put a nice line in in certain places okay and looking at this i can now come to my z-re measure and go keep creasing and let's drop this down let's put this down to like a hundred and let's remesh this right let it go through the process of analyzing the surface finding those creased edges and when it's done boom i've got now new topology that's clean not only that it's following now the flow that i established and i get a poly group for every section between the creased edges that's huge and now something like this right if you look at it like this now i turn on dynamic right this has got creased edges here right because of this establishment of having these creased edges i can now play with this slider and say let's put a crease level of two and see that automatically softens up for me and then that is looking more what i probably want to get going towards okay yeah you can use the normal when you mean the standard brush you can use a standard brush with curves yes yes that's possible in fact i use it a lot for hair there's already brushes in here that are using the curve that are sculptural [Music] let me find them remember if we call them cur like there's the curve pinch right so this is using a curve and then when you pull on it see it's pinching so that's using the pinch brush along the curve uh and then there was but we might have moved it ah the standard brush also had a version of it but what i actually like to do is i like to use it here i like since you're asking this is something i really like i i like to use this for hair actually especially since i'm a guy that likes to 3d print and toys and stuff like that so i like to use obviously you have the clay brush so let's let's apply this topology okay so i can build up my surface like this right but what i want to do is put it along a curve right so i need curve mode on so now i draw a curve first and when i click the curve it's being processed along the curve but what it's also looking at obviously is my z intensity right plays a role in this okay what kind of intensity do i want on that but so does the rest of the elements okay so like in curve modifiers there's an intensity setting here and then there's a size and they're using this graph so if i don't want intensity right you can use these to kind of start moving around the curve right so right now this is just moving the curve as a sculptural element right so i'll draw out a curve and so you start dragging it so what you want the curve to do is going to become important right i want to bend both i want it to snap i don't want it to lock right and then just start moving things around so i will make like a standard brush on a curve mode right and do something like this and see how it's tapering a little bit i will do that as well i would taper it so right now it's locking this end because i want both of these on right so you can start doing stuff like this and then play with your stepping as well right so it's added more steps in this case for sculpturally i would go lower more than higher right so i'll use this a lot to do some stuff like this and then boom like that and then i'll throw in now this option to size it down right so now it's not just intensity being adjusted along the curve it's the size see so you mean by hair it's really nice way to quickly just throw some hair and then you can hold alt and push in instead right so the direction you draw your curve is going to be important because there's a start and end right so if i go this route then this is going to be the bigger portion so knowing that i would always draw this way and then this is sometimes how i'll like to make hair that is sculptural hair start coming to fruition okay so i like to do this a lot because then you can draw a curve and then just grab it and pull on it and then i'll push it back a little bit too so i'll do that a lot that's handy for me okay hopefully that answers your question uh okay let's say hi namely hannah i actually felt you're new to the sculpture and asked someone who good at sculpting how long it took to become a pro sculptor took her nine years so you're 18. you got a lot plenty of time right so listen everything takes time um you listen if you go apply yourself you either go to a maybe a good school or you come to things like this you engage yourself with the community and you got to do though you got to go try and learn and stuff so that's why the benefit of going to maybe a school where they'll push you and make you go right you could be up in two years you can be working at a studio in all honesty right but if you're talking being really prolific and being really good i say it's the old saying 10 000 hours once you've got 10 000 hours in you'll probably be able to sculpt anything you want honestly at even 5000 hours you're going to be doing really good and then another person's chiming in he's on he or she's only 21 and they've only been sculpting for a little bit it's just about putting the work in okay setting up the standard brush for this again it's just a curve mode turned on that's it so all i've done is i've turned on curve mode for the standard brush i've set this to what i want for the stepping and i've got both bends on and then in the modifier part i've turned also size on not just intensity so the size will taper it and the intensity is making it start really strong and then slowly taper off as well okay uh lincoln i already showed how to create hair using insert mesh brushes in this stream so i'd recommend going back and watching this stream i talked about it for a good probably 30 minutes going through there you're seven years old star really stark wow that's awesome that's so great to see that someone that young is getting going so you're already in zbrush are you in zbrushcore are you in zbrushcore mini see so the person that asked there's no wrong there's even someone saying they're 51 starting there's no wrong age it really comes down to just putting the time in honestly the best way to get good is pick something to make and for your first couple scopes don't try to go extreme because you're going to get it's going to be tough because you're trying to learn sculpting on top of learning programs on top of learning how to work in the digital realm right so pick something simple for your first like four or five sculpts right and pick something that's easy to get a lot of reference okay so that would be what i'd also recommend for anyone starting out that's why i said like a skull is a great thing there's skull references everywhere in fact i said i was going to bring up something there's even a skull references already inside of zbrush so right here in the grids and light box i hit the kama kama kamakamaka kahi right it's just a comma key right here there is a skull reference and then there's a human plane face reference right here right so if you just double click on this it's literally going to drop in reference images for you so if i now let's switch to a spherical shape here make that a mesh so you can see there's there's meshes there and as i rotate i see the various there's the back switch to the front and if i do something else here we'll make the sphere smaller so why because i have this loaded now if i go to draw this is in essence got images in the front back see there's a front and back image there's an up down image and there's a lot this is actually a sculpt from maddie spencer of a skull so this is a great way to learn i don't like to show this until with my students until they've actually tried sculpting something but this fill mode change it to three and now you'll be able to see through and again you need two brushes really if you're not if i'm counting the smooth it's three brushes you need move which is like moving your hand around and if you want to go this route to first start out just start establishing the form of this and then this is why i would start using something like dynamesh in here and again now for those that have been in the stream i like to start a little bit lower and start moving around my surface so here you go here is a way for you to do this right it's just now literally matching an image now is all you're needing to do okay nothing else so this could be a way that you're going i'm just using move with some smoothing and then just going from position to position looking at the top now and you see what i mean by moving around a lot you got to move around a lot right don't get married to just one view make sure you are looking at all views right and then moving around the surface quite a bit to establish the forms and the shapes that you would want in this skull okay so there you go this is a great way to start and then over here you can turn the floor off and now you see if you've got at least this is now the correct form for a skull okay and then if you want turn your floor back on and now i switch to something like clay buildup which is my my go-to for blocking out stuff and now you just literally start there's the orbital bones right there's your orbital bone here's your nasal passage right start standing landing these marks here's this is your zygomatic your arch or your cheekbone as we call it two comes around and meets so it should meet up here right so here's a great way see look we're already starting to establish a skull okay so that is something that you could do as well especially as a beginner i would recommend as beginner try sculpting a skull give yourself like literally 15 minutes and that's it and then move on 15 minutes try another one try another one try another one you'll see how quick it starts coming you after like the fifth one right and even this one other cool thing you can do with this since this has got images on it you guys can come here and project the image right on your mesh so now this is literally on the mesh right and then as i turn you can see what this is going to give me for establishing stuff all right so that's another way where instead of just looking through the model of the image it's actually putting the image on my model so that looks good that looks and so you just move things around until the image stops showing incorrectly and then just reposition all right so try that as someone that's new to starting out like you said for yourself this would be a great way and i would say building a skull is a great challenge to do for you so again i'm just loading what's already shipped with zbrush and now i'm just copying following maddie spencer's sculpt to make my own skull right any time i turn the floor off i'll start to see what i'm doing do that too make sure you're turning the floor off and taking a look okay all right so i got to get going everybody i appreciate you all for coming through and watching this again this will be up immediately available on your youtube and our twitch channels okay um i've got several other streams the last i write so far i've streamed the last two weeks every friday so there are other streams of me going through features like this on the beginning of the stream we really talked about even starting from scratch so i thank you all for taking time today coming with me watching another exciting ask zbrush and again for those who want to get me to answer your questions also in these streams number one show up to the stream and i'll answer as many questions as i can number two put on twitter any question that you might have and make sure you put hashtag ask zbrush and that's where i'm pulling these from again that's hashtag ask zbrush okay and it's only through twitter so go to twitter put in your question and put that hashtag and i'll i'll find it okay so i appreciate you again for all watching again i'm paul gary with pixel logic and this has been another episode of a live ask zbrush and i'm

Channel: Pixologic ZBrush

Views: 5,406

Keywords: zbrush, zbrush tutorial, zbrush beginner tutorial, zbrush 2019, zbrush 2020, pixologic, zbrush free, z brush, sculptris, zbrush live, zbrush download, zbrush core, zbrush trial, zbrush brushes, 3d modeling, digital sculpting, zbrush student, etsy, zbrush character modeling, zbrush character, zbrush sculpting, zbrush realistic face, 3d printing software, 3d modeling software, zbrushcoremini, zbrushcore mini, zbrush mini, figurine, zbrush 2021

Id: w9k1opgbnjE

Length: 133min 23sec (8003 seconds)

Published: Fri Jun 11 2021