Character Art for Video Games: Leprechaun! - Brendon Isaiah Bengtson - ZBrush 2021.6

it was weird all righty righty i think we're ready morning right righty i think we're ready it's not my first time sorry how's everybody doing good morning good evening good afternoon how are you how are you hello good morning happy march happy march um happy zbrushing hope everybody's doing okay uh today we're going to do some leprechaun stuff it is march so i figured you know what let's do uh let's do some leprechaun stuff um can anybody hear me okay let's test the audio first you guys hear me okay okay yeah looks like it okay we got facebook people we've got twitch people okay cool we do all right that's good and we've got uh youtube people cool let's do it all right um we are just going to start from scratch here of course my tablet i started to work come on buddy hello mr tablet where are you mr tablet let's see nothing like live stuff huh when things don't work get out of the car get back in the car oh there we go all right we are good um so today we are going to start from nothing and hopefully have something cool by the end of it we are going to do uh set pivot point is what i want pivot point is uh yeah that's what i want right all right so wherever i click it's going to rotate around that that's what i want okay cool we've got symmetry going on and let's roll um this is just a straight sphere that's been polymeshed okay and we're just going to start block out of the head how's everybody else doing good hopefully and then we're just going to dynamesh maybe we go just a little bit lower for now so maybe um 56. let's try that yeah that's okay for now all right so um we just get a basic shape here the head sure sounds good phoebe is a little yeah you don't have to yell at charles geez uh i think the video will continue to say that if until you refresh it so if it's still saying uh anna maybe you try refreshing and it will it should update it the twitch page has it correct so all right let's get some eyes turn off my lazy mouse we're just gonna start blocking in some stuff getting some stuff going maybe we'll get a neck going in here look it's a neck oh it looks like a pez we will be uh in what they call the valley of the suck for a little while which mr kinsen likes to call the time from the beginning until it starts looking cool all right so we're just going to hear my dog snoring in the background back there it's always fun take a rest tilly okay what's up charles ah thank you very much man it has definitely been a dream project to be on for sure it's been an honor of a lifetime to to work on marvel's avengers just get some kind of resemblance of a bust here i like just just getting just a little bit so that you can start playing with the the basic proportions of how big the head is so we're just gonna grab some stuffs let's read dynamesh okay cool and already he's looking super creepy there we go get a little bit of a jaw there [Music] just playing with some super super quick proportions it has been a while since i streamed like way long time of course been ridiculously busy with uh with work so if you can tell i just released hawkeye which is awesome we also just announced black panther oh snaps okay uh so usually at this point um i like to get at least some eyeballs in here so we can start kind of building the overall um eye area so typically what i do is i'll just uh append in a sphere a sphere take it off to one side scale it down take a look at the do a 90 degree then we'll decide about how small or large we want bring that over get that about in the right place so i want this dude to have like super super sunken eyes and probably um maybe just a little offset like a little bit wide it tends to get the creep factor up just a little bit and then we'll just do a mirror and weld cool and then now we can build around that so we'll head back to this guy and we start building up some shapes around the eye so here's eye socket i typically try to use the the ghosting which is uh transparency so in transform we can turn on transparency and ghost so what that means is i can still see the eyeball but i can sculpt behind it so if it's solid sometimes it doesn't really you can't really grab the things behind it the way that you want to so i i tend to just use transparency and then grab and go from there all right and then you got some eyes and then you can start kind of playing around with i move pretty fast also through different uh brushes so if you're ever wondering which brush that i'm kind of switching to or moving from you can all take a look up here and that will get you what i'm doing because in this case the move brush a little bit uh i asked this question a lot recently trying to get an expert opinion being a young motivated self-taught 3d artists do you think employers care about a uni degree uh spencer is asking about uni degrees and if if people care about it um i think one of the only real things so here's here's here's what i have to say about degrees typically typically studios really only care if you have awesome art um you know it's it's great to have an education and just from uh the standpoint of um you know general knowledge it's good to be educated but for the most part studios don't typically look at you know where where you have been or what your degree is it's really all about it's all about your artwork and your portfolio now there are some instances when a degree is very important so like when you are dealing with uh the government is really important so you know if you're if you're working overseas or if you're trying to come to the states or if you're trying to anywhere where you need some kind of like work visa or something like that then then yes it's very it's important for that um but as for you know let's say you're local and um you know a visa isn't really a concern then yeah it's it's really about just your portfolio okay so we're going to just take a look at just some basic and right now i think the eyes are a little too far apart so we're just going to bring those a little bit closer together and we'll start playing with the closer together thing later just kind of pull this stuff in for now all right um so what the other thing i want to do is i want to block out some of the big things first so i'm going to i'm going to put a hat on this guy and i'm going to design around the typical like leprechaun hat so i think to do that we're just going to grab a cylinder something like that and then what i'm going to do is i'm actually just going to duplicate this guy real quick duplicate and then wait oh nope not that that one just take this down here just give them a brim real quick all right so we've got something super super quick now let's see what else we've got nowadays though creating a principal character in a um for for materials like e really uh so the question is uh with photo mode and stuff you guys mostly use masks and tiled textures for materials i imagine for modularity yeah typically i mean it really depends on what um what what the engine handles and what your um what your engineers kind of i've kind of already set up um so it really depends but to try to get the most out of uh you know textile density space tile tiled materials using tile materials is probably one of the better ways to go for sure so if you can if you can if you can do that that's awesome but there's also something to say about the simplicity of using one-to-one textures there's a there's a happy ground somewhere in the middle have i would say using tiled materials is probably one of the better ways to go but there are definitely cases where you want to be able to kind of break and use one-to-one so it's really kind of best of both worlds so i'm just going to kind of give some try to get some simple interesting shapes to the hat just to kind of start off with i'm just going to turn my intensity down on my smooth brush and then i use um alt smooth quite a bit so if you hold down shift right and then you start smoothing but then if you lift off of shift and keep smoothing what it does is it tries to maintain the overall volume of what your mesh is but just kind of redistribute the um the edge loops just going to just give it a quick all right something super all right now you see where we're going all right so let's let's get a little bit more form so he's not so kind of janky looking give them some traps back here um let's see i'm trying to get some of these questions as well too also how limited do you think employment would be without uh without without a degree um yeah i think i think i answered that one yeah um you know yeah modularity i think is is the better way to go for materials and stuff but there are definitely times when you need to be able to have some one-to-one textures but the ideal is to is to be able to use repeating tiled materials to get like the best the best okay let's crack on with some let's bring the face in just a little bit so a lot of times when you're sculpting heads um you kind of forget to look at different angles so what i always forget is you look at the bottom and then look at the top all right so if we look at the top we kind of look and see that the skull is can get pushed back on the corners here a little bit and you look back here and for a normal human face this is way too far in so we can try to bring that out a little bit and at least get some get some better shapes happening here okay that can come in just a little bit just trying to kind of find your legs here get it um i think the these need to come back a little bit they really want to have kind of more of a sunken sunken eyes feel right so we pull this back and then we pull that out we'll have a little bit of a pointy chin there we go that's starting to get a little bit better um let's see more questions tips for beginning sculptors uh yeah i think some of my my biggest tips for for beginning is focus on what makes good design like the technical stuff uh you can you can get to the technical stuff is not the the hardest things to do it's really uh training your eye how to read design is i think one of the biggest thing that takes the longest and is probably the most important uh the most important skill out of sculpting is what makes good shapes so the more you can work on training your eye how to make good shapes um the easier pretty much everything becomes i think the the other big thing too is patience i think you know just being persistent and not giving up uh is is huge like you see me struggling i've been doing art for a long time and i still struggle in the beginnings right but it's just kind of about uh being persistent and you know looking at shapes and looking at relationships between forms and those types of things um and being patient i think the the biggest things for when you're starting um working on a property by a third party like marvel how much freedom do you usually get while working on your designs and stuff um give you quite a bit of freedom uh i think it really depends on the the existing relationship with uh with a third party um every every every relationship's a little bit different um and then every property is a little bit different so you know you have to it's a little hit and miss sometimes sometimes you have a lot of freedom and sometimes uh things are more important to your third party which is totally fine you know especially some of the work that i work on uh it's you know very pretty iconic um the avengers are very iconic and there are certain things that uh you know your client is really good at for nailing the overall feel of a particular character i'm gonna flip that to that side actually not i'm just going to mirror it because i want to do this side first um so they they tend you know the whoever owns it usually knows that particular character pretty good so uh you know it's really about a partnership and not necessarily you know having to do what somebody else tells you to do it's really about like how how do how do i you know how do we benefit out of your experience and my experiences that kind of thing you know how do how do we take what we do good and what you do good to make something amazing so i'm just kind of gonna get in some very very quick ears right so hey look we got almost a leprechaun hey ashley what's up oh man i gotta i gotta up my game now ashley's here plexi what's up dude how you doing uh why is it so difficult to get a job in the industry bruh um it is really dif it's difficult but you know it's it's a little bit of a double aged edge blade when it comes to kind of getting into the industry and stuff like like you know it's it's not necessarily about um let me turn on my symmetry there we go it's really about your portfolio it's really about your portfolio and that's good and bad right so your portfolio does all the talking for you if you have an awesome portfolio that gets you work you know uh if you if you if you still are kind of working on uh you know getting to a professional level uh then then typically it's it's a little bit more difficult to to get traction but that's a good gauge on you know where where your skills are all right so what i'm going to do right now is i'm just going to quickly pull some of this in but i don't want to pull this in so one of the things that i use is a back face mask and again it's it's specific to what brush you're using so in this case i'm holding down control to get to my mask and then i use back face mask and this can be found in brush auto masking back face mask so if we look at brush if you want to find it auto masking back face mask is right here and it's it's brush specific so um now when i use my masking brush with back face mask on it doesn't it doesn't hit back here which is good because then i want to flip this and then just just take it in like that right but i didn't want to affect this side so back face mask is something i use quite a bit especially when i have um thin things right so you're like oh i'm gonna sculpt this in it was far enough that it didn't really matter so that didn't work uh it worked but didn't show the uh anyway um okay let's get let's push this in a little bit okay so now i'm kind of getting the essence of the character first i'm not worried about you know making things look super pretty what i want to do is um if i if i'm creating a character i really want to get the essence of him first that's that's just me okay oh i i make the shapes uh you make but you make better shapes actually if you guys um if you don't know uh ashley a a cubed she is a an amazing creature artist who also streams here on the zbrush channel and she's really really great organic creature i actually sit and watch her streams and go dang those shapes but those shapes man they're so good um let's see what else we got uh what which are basic tools and brushes you recommend for uh to begin for a noob like me honestly um when you're starting i think one of the biggest things that you can do is not get too lost in the tools right it's not about the tools it's about how you use the tool again looking from the bottom here don't forget to look at the bottom um it's it's about what you can do with the tools so if you're if you're just kind of getting started and you're like what do i do like this is this just vast amount of work and things to learn and and all that focus i would take like your first like three or four brushes and then just use those don't use anything else and work on your art principles right what is what a shape uh you know large medium small shapes you know balance of uh details um uh presentation like all of those base artistic um idea ideologies and just work on those work on like what what makes something feel good and steady i think that's the other big thing too is like you should just go and study good art why is it look why does it look good go look at um you know i look at uh steve wang you guys don't know steve wing is he's an amazing amazing uh creature artist that has been in uh creature effects for ages and just looking at his work is just like you look at you're like oh my gosh that's so cool that's awesome but study why why is it cool you know figure out why things are cool it's usually because it has good art principles applied to it uh alex i think if you um if you refresh the youtube uh stream it should fix the uh the title it is not anna i apologize i'm not anna she's a little more pretty than i am okay so now i feel like okay we've got we've got some kind of creatures dude uh with a top hat right but that's not what's the other iconology of the top hat is like the little buckle and the um the thingamajig right so let's do that real quick for clothing do you prefer using marvelous designer or do you feel everything should be done at zbrush uh nakoni uh it's really about what's best for that particular um that particular piece really um if if it's like if it's drapery um you know it's like something's coming over and then you know like it's really tough to figure out how things are kind of draping over something then i'd probably go into marvelous designer but if it's like a loincloth or something like that or something that's just kind of falling over and it's fairly simple i'll just use zbrush for it it's whatever is quickest to get you where to where you need to be so if you look at the the reference that you're trying to hit for cloth and you say okay well i got to figure out all of that fold logic it's much easier to get the base full logic of something that's complicated in cloth from marvelous designer and then take it in once you have those like the base the basic forms of the of the cloth and then you just take it back into zbrush from there all right we are going to use all right so i want to i want just a band around here there's tons of ways you could do it but i want to show just using the z modeler brush so i'm going to here's what i'm gonna do okay um it's been a little while since i used this so i'm just going to hide this then we're also going to go down to display properties and we're going to do double so that you can see so we'll switch that off to the other side so i want three in here grab my lasso tool and then i'm just going to take those i want this last guy in here so i want just these guys so what i can do is just let's mask that and then we'll say um group masked that will give me this is uh polygroups group masked right so we got that and then then what i can do is go back into my zmodeler brush we'll do qmesh but we'll do polygroup all and then we can just do this right so the question is do i want to have it connected or do i want to have it separated i like having him separated so that i can i can move you've got it move it move it um and one of my actually favorite ones is if you hold shift it will not give you a new loop it will just kind of extrude like that right instead of like that but if you hold control this is the best one it just rips off that piece that's what i love right there and then i'll just split that so now i have um that guy which is cool just turn that back on and then now i can just go just keymesh that in if i want it a little bit thicker i can keep mesh the outside out but if i hold shift then i can just extrude the out the outer portion not have that extra edge loop in the on the inside all right so now i have that piece i have this piece it's just three okay cool right so now uh the reason why i pulled it off like that is because i want to be able to vary up the distance if i want or the thickness if i want and sorry i'm missing your questions right now but give me one second i'm in the groove man i'm in the groove right so if we take a look at this guy right now we've got this i could do group by normals and get rid of give me the thing hey give me the thing right you want to be like that huh i just want to delete these guys so we'll do delete hidden all right so now the problem is now i got this hole there's a couple ways you can do it if you want to keep it you can just close those gaps or uh in this case i think i'm just going to dynamesh it this is not what i wanted to do actually would just leave it we'll just see if i got that's fine okay so now i want to make a little buckle up there uh if i'm using the marvelous designer the newest cloth brushes sculpting is powerful yeah again i'm using the the dynamics in here is really good too if you want to just get something super quick just using the dynamics in here is really awesome as well like details are okay but the main site not but not on youtube ah that's unfortunate but oh well okay so then we made to make a little buckle so i think what i'm going to do is i'm just going to build it from this how do you do that brendan that's a good thing you asked uh so what i'm going to do is i'm just going to grab something like this right and so this is the shape that i want right a little buckle sure that sounds good and then what i'm gonna do is uh qmesh polygroup all again and then i'm just going to hit um control to rip that off just like that now the reason why uh we'll do split hidden cool the reason why i'm doing that is because i'm building it from this surface is because i want to maintain this um this curvature so it's easier to just kind of build it from that surface rip it off and then create it from there and it will maintain that so then let's just cool well buddy i'm just going to end up um i'm going to end up dynameshing this anyways i just want to get the overall shape real quick just get it in and then we'll go from there okay something like that flatten this guy out just a touch okay now what i can do is i can take this dude sneaky sneaky and again this is all going to get dynameshed and re-sculpted anyways i just want to get the the overall feel there we go so i don't want to spend too much time on this part i just want to get the overall feel right you're like oh okay that's a leprechaun got it iconology first okay what uh what else i missed sound effects are very important i that's what i have been a big proponent of my entire life and you can also talk with uh with paul about that paul's a big fan as well with his little look up here it's my favorite man okay i think that's that's good enough to continue going right let's get the general oh look it's a i'm a leprechaun cool all right let's continue with the fun stuff then we got most of that out of the way all right so i'm gonna i'm gonna jump this up to 128 here i want to start kind of getting into some more secondary shapes okay there we go and let's just start kind of pushing and pulling and getting some the feel the hit me in the feels man all right we want to start explaining what the the theme of this dude's face is and right now he's looking kind of like prim and proper hello i'm a leprechaun we don't want that i don't know what don't do we don't want that we want a mean leprechaun my leprechaun give me all your gold i actually tend i i find myself doing that quite a bit uh when i'm trying to kind of get an overall feel of a character i actually i'll grunt and i'll be happy um yeah z model right what do you think about the new extrude and mesh balloon brushes um i haven't really had a chance to use them yet i think it's really good it it's it's great for like um getting things in pretty quickly okay let's fix his eyes i think it's uh it's i think it's you know whatever tool works best for you you know like you really kind of got to get in and figure out what kind of you know what floats your boat now what are you comfortable with um i think it's a anything any kind of tools that that uh help you get to a place faster um is good you know so if it's if it's something that gets you to the creative part quicker awesome we're just kind of kind of playing around with some i don't even i don't even know what shape language this guy has yet so i'm still trying to figure out you know what's his what's his shape motif right does he have definitely deep set eyes let's let's okay now that we got the top at we got it okay cool let's let's hide it for a bit though that looks like a chef oh would you like some potatoes of that can't laugh at yourself what are you doing in life [Laughter] okay so i kind of got like this like pointy like this general this feeling going i kind of like it maybe we can we can keep that kind of going and it's got like this kind of this vector of shape i don't like the front the front is kind of bugging me so let's try to let's try to find some i think his psychometer is way too low so we're just going to bring that up it feels a little bit better it would get a little i'm going to try to just exploring right now of what what kind of shapes feel good like what kind of secondary shapes feel good this is the fun kind of exploratory time when you can decide the overall feel let's give him a bit of a lip here all right i've got sides of lip that come in this kind of comes down this is the fun part for me is trying is is getting the the essence right now is when you start building the essence of of your character sometimes you just gotta let it let it do its thing and just listen to what the shapes are trying to do it's this weird balance of the the life of the piece that you're making versus the energy that you're putting into it maybe i'll do is i'm going to bring up tilt the eyes just a touch kind of give it this right he's he's got kind of like this this line of of shapes going this way but then now he's also kind of got from the front this line right it's coming in it's kind of all going down this way to kind of his mouth right so that's what it's speaking to me as right now and i'm gonna just listen to that so that's kind of cool alright so we've got maybe has like this super undercut okay lipstick typically have the was it the philtrum philtrum that's what it's called i forget sometimes okay cool he's kind of got a face his head had his little kind of wackadoo up here but how do we push him further right now he's just like ah it's just a head it's just a head let's let's play around with some how do we make it distinctive feel you know maybe we can we can start pushing and pulling outside of a typical um human physiology or like a yeah human physiology but what i'm trying to do is i'm trying to still listen to the direction that it's going right i'm looking at you know everything kind of kind of comes in this way so i'm not going to do this type of thing right i don't want to do shapes like that because it may kind of break that feel of this coming in this way there's a there's a time and a place for that to be able to break something but you also want to listen to what it's doing right listen to what your sculpt is saying okay it's doing a thing let's see maybe we could build out some of the temple in here i'm not going to spend too much time on his forehead up here because he's got he's got a hat on so i do just kind of want to yeah the beard will come later okay this needs to get all right so maybe we've got a little bit of sag down here in the middle and then we've got like this right so he's still got this this feel right this way so maybe the eyes are kind of doing the same thing we could push it more out of the realm of of of human and more into the realm of awkward beard definitely takes time to grow uh the youtube stream should still be going it may have the um the wrong name on it because i had to change the title it was something else before so now we're starting to get some cool shapes happening yeah uh the reason why i don't want a beard yet is um i may change the shape of the jaw right yup yup no problem no problem um you know maybe he's no doesn't look good maybe it's maybe that right so if i have a beard then now i got problems actually i kind of like that maybe we'll push this in a little bit okay yeah i definitely look a little bit different from anna today okay so we still have um you know some some some of the core structures of what a face is right a functional face will typically have some of the same things you know like the supporting shapes for the lips down here you know you typically will have um you know the nodule on the on the corners there we net we don't necessarily have a nasolabial fold but this guy looks a little bit different from that but you know we have a nostril we have filter and we have lips and a chin he does need a little bit more of a neck back here though there you go he's starting to be something let's take a look at what everything looks at like at the moment well his ears are clipping we gotta fix that he forgot his daisy labial folded home yeah that's exactly it [Laughter] all right uh okay so let's take this i kind of like the directions going if i was doing more of like a concept phase you know i may i may stop here and then just re-sculpt the head again in a different style but considering you know we only have what another hour uh let's just continue forward with this guy i think he's he's he's savable at this moment so given some landmarks out here yeah you know you don't necessarily have to block out accessories um all the time i feel same i have a bad i have i'm creating the habit of not only blocking out accessories but giving it details early stage is it bad i mean should i block everything before moving to secondary um i think one of the biggest things to learn is to is to listen to yourself and figure out you know what works best for you so i would try it a couple of different ways you know like block out something um some stuff early but then try try it the opposite way at some point for me uh when i'm doing stuff like this if i'm if i'm going for a very specific uh type of creature or something i'm like oh i want to be a leprechaun right i want to be an evil leprechaun or something like that i i want to block out the iconic things first so it gives it its its identity you know what i mean for me having something that is quickly identifiable lets you focus on other things quicker so that's why especially you know when i'm streaming obviously it's a little bit different um i just dynamesh that guy yeah there we go i actually kind of like that it's pointy equals evil not necessarily but uh that's the the general consensus he's still not very evil looking right he's just still kind of just maybe part of me would you happen to have some gray button that's kind of what he's what he's saying at the moment it's like kind of i want to start pushing him a little bit further you know how so how do we do that maybe more skull like and what if i bring in his his nose like this maybe he's got like this i try not to listen to myself because i'm an idiot sometimes i yeah i am too all right i guess the the real trick is to know when to listen to yourself and when to tell yourself to shut up [Laughter] yeah we could do fangs the problem with opening up the mouth at this point is it just i don't have the time to do the mouth the inner mouth a lot of justice so i'm trying to trying to see what i can do without having to open up that can you know what i mean we may actually be ready for another see what it looks like yeah i kind of i'm so i'm pretty good with the shapes as of now i kind of like what's what's happening and i want to explore it further so i think i'm going to jump up to say 256. we'll take a look re-dynamesh i think that will be plenty um if when i when i get to this point and i kind of ready to go up and in dynamesh uh and you up res and we kind of got all these this kind of cleanup stuff to do uh i actually use clay polish just run a thing of clay polish on it real quick and it will typically clean up a lot of those like these little kind of gross areas in here that i don't want to have to go and do on my own right but it enhances some of the things that are already there and gives me a good base to continue forward you just have to remember to clear your mask because clay polish will leave a mask on there all right so now i have like this this nice pallet to to kind of push this even further alright so now we're going to get into some smaller shapes maybe he's got this i'm just gonna start playing around some some bigger moves real quick just to see if we can push them a little further at this point too uh one of the one of the big things is a frequency of detail right you want to have places where your eyes can rest as well as places your eyes can have fun looking at little details each one enhances the other so i want to make sure while i'm i'm planning out these secondary shapes that have places of rest right now it's still a little noisy in front right so i have places of rest here but then everything else right there's there's a lot of noise frequency here a lot of noise frequency in here so maybe what i'll do is we'll just give maybe this a little bit of rest in here all right it's starting to feel a little bit better right so we've got noise frequency noise frequency rest rest rest noise you got to strike that balance pretty pretty well make sure that you have enough rest area that's actually been one of my downfalls for quite a long time it's something that i struggle with quite a lot i'm just i'm a sucker for detail so i love having as much detail as i can and i tend to forget quite a lot to give the eye some rest there you go that's looking pretty cool i think this guy may end up being just a more kind of like sophisticated creature and not necessarily like a gruesome creature um because it's just i feel like i'm fighting that already and i'm trying to listen more often it's actually fairly cool okay with that so far what's upside how you doing man okay i think what i'm going to try to do is do a little bit of i'm okay right now so here's what i'm thinking in my brain case um i i like where it's at now and then now what i want to do is kind of get the other pieces closer to what i've established here alright so we can start filling out the rest of the look i'm good dude it's good to see man mr side uh so let's give him a shirt let's see how let's see how we're going to give him a shirt i think what one of the things i can do really quickly oops just mask off a portion here and again like this goes back to the question that we had earlier about marvelous designer and you know where where where and when do you do marvelous designer and where and when do you not in this case uh i'm just gonna do like a simple like collared shirt um so i don't i don't need to go into marvelous designer and create take the time creating all of the those pieces you know i can just as easily mask out a portion here and then just use that you know um so in this case just using zbrush probably is is good enough for me it's good enough for me um so one of the things i'm thinking is you know we'll just extract from here maybe just use the extract thing right tool subtool extract but when i do that i don't want to have this corner to it so what i'm going to do is i'm going to hold off until right about there and then i'll just sculpt the rest so what does extract look like sure let's get maybe instead of double we'll do i think actually .02 is okay i want to have enough thickness to it um that when i sculpt on it uh it doesn't it doesn't i'm not worried about the inside of it sure that looks good so we'll accept that and then that just created this right that's a that's definitely enough for me to go in and sculpt on okay uh so let's turn on does leprechaun fight you know i i think if you pissed it off enough he would probably fight you actually you know what this guy with you know how he kind of looks i would probably think he's he's more about uh telling you the clever things and that that you will just end up backing off because he's convinced you that that's really not the right move for you to do you know i mean he looks like that kind of leprechaun there you go nicely starting to so then we can come in and then you know what is you do it again right so we have back face mask on so maybe i'll just take this and create the collar from here shhh okay maybe we'll just do extract again cool let's keep uh well this one yeah let's just do it let's do extract again hit accept okay ooh that's gross how'd he fix that turn that back on we're just going to we're just going to clean up by hand sometimes you just got to get in and get your hands dirty you know what i mean thousand ways to skin a cat this is just how i want to do it this time you can also come in with the um the trim brush which i use quite a bit trim dynamic if you just want to clean up some of these edges you can do it that way um there's so many different clean ways you could do this right now i'm just um just trying to block it out and trying to get something that tells a story and really one of the quicker ways that i can do that is to just just do it real quick just if it's a production model you know obviously you'd be doing it a little bit different um but in this case you know maybe you're just you're getting a a block mesh ready for um production you know you're like what is the what does the block look like you know what are their overall dimensions and proportions and stuff let's give this guy a little bit more let's say 1 12 8. and then i'm going to uprez that real quick and go to geometry and do clay polish clear the mask cool now let's get you know sometimes these processes that you use will give you the things that you want inadvertently right so this guy's kind of it's not like super prim and proper and like everything's is exactly correct um he's a little bit more kind of messy and right and those the type of feel the character is like is should go into some of the shapes that make that character right so even the subtle things uh the subtle shapes that are in a character help explain what type of character that is so in this case i really like having inconsistent edge flow right because it kind of goes along with the persona of him that i want to come across right he's kind of like this haphazard uh you know i i see an opportunity i take an opportunity kind of feeling to it so that kind of makes him rough around the edges right so then some of his shapes i can get to help bolster that type of feel to his personality i want to do that let's clean up some of this stuff a little bit real quick we're done to match that guy let's do 256 on that guy 256. take a look at that okay cool let's dynamesh let's get rid of all the polygroups okay weld all right let's pick up some of these kind of major shapes here we do want to give them at least there we go flat come on give me symmetry thank you we'll just we can just flatten this out a little bit pull that out flatten just clean up some of the shapes a little bit here okay uh can you explain a bit about the face planes ibrahim um this guy's face planes or face planes in general let's give this a little bit more detail now this is a little little too low detail to match everything else i think i'm at a point where i just want to integrate the two so uh usually before i in general oh yeah um yeah maybe a bit deeper than i want to go into at the moment uh it's it's a very that's a very deep conversation um that may not uh be enough for the 45 minutes i have left what i would say is if if you want to know um you know more about the general shapeology of um of faces in general i think um an anatomy book would probably be best for that um but yeah smooth surface after dynamesh i could i can um i could show you so let's say let's say this ear i want to get it to a point where um you know it's at least to the same standard as this guy so what i'll do is i'll take a look at how much geo it has now what it's at it's at 128 so maybe we'll just double that to 256. okay up res that right so the problem then becomes like well you still have kind of all these artifacts and stuff uh what i do to clean that up really quickly with you know you could just come in with a smooth brush and just smooth all that down that's one way to do it um and then the other way you can do it is just go into geometry this is what i do a lot of the times so i'll just i'll just sculpt the crap out of something re-dynamesh it up res dye animation and then come into clay polish and just do a quick default layout uh settings clay polish and we'll typically clean up a lot of that stuff for you it does leave a mask so you want to make sure you clear your mask first and then you can just go in with your smooth brush and just start kind of sculpting away i think they feel a little a little too far forward so i'm going to pull them back just a touch you know so it feels like it was crowding the front of the face a little bit now it's a little too far back it's all about that balance so in this case it's really important to know typically where the ear hole is on the skull and where it uh leads in terms of uh of where the hole is in the skull right so you have the zygomatic bone that comes back um it runs over your temporalis bone and then underneath is your mandible um so typically you have your zygomatic arch that comes back and then your ear hole is right behind your condyle and just below your zygomatic arch that feels a little bit better so what i'm going to do is i'm going to combine these now let's push that in a little bit it feels better but before i do usually what i'll i'll just duplicate both sets and then combine them into one so i'm going to duplicate this guy i'm going to do shift click send that all the way down to the bottom turn that off then we'll go for the ears let's take that up to the top we'll duplicate that and then we'll send the duplicate down to the bottom turn that off and then now i have a duplicate of both all right so let's shift click and turn everything off and we can just look at that still feels just too far back but i think we're gonna go with that because we can do it all right now look at the difference right so this one's 256 this one's 256 and i think that's that's enough all right so we'll just do merge down that's fine and then we'll re-dynamesh cool and then now i can just sculpt those together okay um we've got about 40 minutes left so we're in about about 10 more minutes of sculpting and then we'll get into some um fiber mesh all right so let's just try to get up some of the just the basic shapes of the ear all right this kind of goes in we've got this little doohickey thing there this goes in the ear hole goes back there okay i'll just get some shapes in here i got enough room on the back i think maybe i could use a little bit more here there we go and then we'll have this ridge that kind of comes down [Music] there and again i just want to get something that feels okay i'm not worried about getting everything anatomically correct for a pointy leprechaun ear just want to get enough so it feels in the realm of natural okay thereby giving it some adjustments here so that can look interesting from all rotations all angles now that they're they are together i can just pull it forward if i need to okay um let's go let's turn this stuff back on maybe his his hat sits on his ears yeah man yeah that's cool oh one thing people don't get that in studios is that you don't get the model from scratch it's usually a base model yes this is very true typically typically you have base meshes that you that already have all of your uvs set up um yeah a lot of times you all right i think we need a little bit more detail on his eyes so let's go in just a little bit because that's where we we see things quite a bit all right so then this is this is why live watching people live is awesome because you come across situations where you don't necessarily get in a tutorial so when i re-dynamesh i lost a lot of this information that i really liked up here and the question is do i want to sculpt that back and try to get it back or how could i get it back because everything has its own um its own history watch this i actually do this quite a bit i'm going to go back to where just before i like all that stuff i like all that stuff all right just before i brought that back in here so what i'm going to do is i'm going to duplicate this and if i duplicate it it's not going to so it'll give me a new one with fresh history but if i go back to this one it still has this history in it right so now basically i just saved off a copy of the place where i wanted the sculpt and now if i take this right now i'm looking at the difference between the two and there's a way you can do it you can do it with the history brush i like i like doing it this way too because it shows what you can do so now i'm going to turn everything off except for these two these two and then i'm just going to project it back so we'll go down to project do projectile and then it also respects masking so i just want this area invert the mask there smarty mcsmarty pants just make sure that everything else is masked 100 there we go maybe we'll give the a little bit more distance there we go so now i can preserve um some of that nice detail that i already had which is what i want um pretty much okay with where the hat's at at the moment just just for a block out but what i'm going to do is i'm going to combine them all so this one okay i'm just going to make one poly group this one i'm going to make one polygroup this one uh that's fine for now so i'm just going to merge these down so do merge down arch down and then we'll just do auto groups there we go and then merge down one more time other groups all right so now it's just one thing um cool now i can turn that on and off as i see fit we'll do the same thing for this one we'll just merge that down we'll do auto groups cool eyeballs just doing a little bit of maintenance here cool take this guy throw him down to the bottom okay now i think we can yeah he's feeling pretty cool i think he's ready for a beard what do you think i think he's ready for a beard let's play with some uh some fiber mesh for a little bit okay so what we'll do is we'll just mask out where we want the yeah maybe we'll just give them chops like this all right i'll give them chops and then we'll give them a little chin as well okay and we'll start there i haven't used fiber mesh in a while so we're just going to do this together yeah we'll we'll give him a t or we'll give him a goat uh we'll leave the mustache off though okay cool let's look at modifiers we'll say the length you want a lot shorter like a lot shorter and then we want the thickness that's max fiber this length coverage coverage we want pretty low it looks like here we go that's starting to look a little bit more like hair okay segments 22 feels like way too much i think it does need to be a little thick whoa whoa not that thick say maybe 12 13. you can get lost in this forever [Laughter] 10 maybe i don't know this is the beauty of doing stuff live right you just you just kind of figure it out sure let's let's start with that and then see we can go from there so let's hit accept would you like to activate fast preview no okay so now what we can do is we can go in and just use the move brush move and we can just edit this kind of on the fly i like when i'm doing um this type of fiber mesh just look dev stuff real quick i i try to not get lost in too much of the craziness so just try to get something in that is along the lines of what i want it to do and then i'll just i'll just get it in you know okay so maybe we'll just do the same thing here getting this one okay the same one length we got to bring down where's length oh length profile there we go okay so we want just a little bit longer max fibers up more oh let's do this uh we forgot to unmask this so we don't want it there as well we just want it there okay then we'll take the preview try that again should just be there there we go all right so then we'll take uh the length way down we'll turn on massive amounts of gravity look like worms that's gross okay length take down we'll take the fibers up and then we'll do coverage way down just leave gravity as is and then i'll just sculpt it into place okay we'll turn the coverage down a little bit more there we go okay and then we'll just see if we can get some of this kind of into place guys still with me bored as i am with with fiber mesh all right so sometimes a lot of times i'll use just uh moving things around to kind of get the direction of uh the fiber mesh to be the way that i want it to go so let's go back over to this this one that one this one i want to have a little bit more separation there we go so that from the front you can tell it's definitely different hopefully i didn't lose chat i haven't seen anything in a bit so nope you're still there okay good you can even do a little bit more out and in still trying to follow that same shape direction i think should be given some eyebrows too while we're at it i think we should give some eyebrows let's do it let's do eyebrows i wanna do eyebrows so i'm going to keep it short here because i want to like actually push them this way okay let's do that yeah do the thing okay i'll just use the same one for for giggles here all right so let's do coverage again his way down we'll do lengthway down okay we'll do by mask so i really just wanted to be on the mask there so by mask is good i'll take the length back up just touch maybe just a little bit more whoa not that much uh two we'll see how that looks all right accept and then let's sculpt that into place here i really wanna just wanna have like this kind of wispiness to it a lot of times i i when i'm just doing like some look dab stuff all a little bit thinner i typically just get something kind of in place and then use how i'm going to sculpt it to finish the shape maybe actually this this pulls off might be kind of cool he's awesome he's not really evil but he's more of like maybe he's like the leprechaun merchant he's gonna steal all your money oh suck it uh manual says we be streaming more in the future um i love streaming i i just work is so busy i have so little time to actually do it i used to stream all the time on my own on my own channel but my my time is just so limited with two little kids and trying to uh lead a team it's just it's it's uh time is of the essence so my my intention is always to say yes i would love to stream more but reality always kind of keeps me from doing that so what i what i typically try to do is when i do stream i try to support pixelogic and they've been very supportive of me coming up through my own career and they've been a very big influence to me so anytime i can give back to them i usually will try to do so that's typically where most of my time has been okay uh let's see we got about another fit nest up bad an hour 45 minutes i think he's uh i think he's pretty cool i think we could take him a little bit further uh my youtube channel is just uh brendan isaiah bankston same name same bat name same bad place all right so let's let's just refine stuff from here on out um and then we can answer some questions have some fun but i think uh you know just just getting in and establishing kind of what the essence of the character is is what i try to do first so from here on out then i would just i would just begin rendering smaller secondary shapes and then then get into tertiary shapes i wouldn't for me because this is a a creature it's not necessarily you know human proportions i wouldn't i'd probably just reconstruct this uh the face by hand um for uvs i really wouldn't i wouldn't try to this guy's very specific in in kind of what he is in his shapes and stuff so um could try to use the same uvs that you know a bass mesh would be would have but you'd probably push and pull some proportions and stuff so i'll probably just recreate the uvs so this definitely pulls a little too far out from the eyeball on the outside here it makes it a little bit weird i think maybe we can well let's let's play with uh some shapes a little bit further before we get into the some more minor detail here so we'll just start finding some smaller secondary shapes that can support the design that's already there well thanks alex yep gotta take care of the family right i always gotta take care of the family i want to make sure though that when i'm doing this i'm maintaining the the levels of frequency of details so i want to make sure that i kind of emphasize some of the areas that have or the details with details make sure to leave some of the open areas open um i didn't know mike nash uh personally but it definitely knew his work for sure we're just trying to see a little bit more i will give him some upper eye maybe i can what maybe we'll do a little bit of coloring let's do that actually oh we'll put up to you guys right now we got about 10 minutes left should we get into um finer secondary and tertiary details or should we uh paint them up a little bit what do you guys think i think i i could go either way i love using the um the inflate brush right the um so using the dam standard to kind of get a little bit of depth but then right that's just pushing in so it doesn't affect the overall plane tertiary details that's everybody left that's what i love too but then on the other side of it you want to be able to pull right so if you have the plane like this and you're using damn standard to push in the plane you can make some cool like inward details but overall that plane is still the same so you want to be able to also affect this side of the plane as well right then that really gives the the um the depth that you want so after uh like a round of uh damn standard i'll come back with the inflate brush and hit some of these like bigger areas right to kind of push out the top of the plane a little bit more it really gives you this nice feel right so it's not it's not just i'm making i'm making details i make a details right then you want to actually come in and take the other half of that and pull this is a trick i use all the time because it's really about the relationship of a shape to another shape that's when you start getting some really cool depth and stuff so i use dam standard and inflate on both sides of it to give it a lot of really cool details and depths and stuff details details um how can you keep sharp edges when applying an alpha with snapshot 3d and create a mesh um you know i don't know everything uh sin and i cinna and uh that one i i can't actually speak to um but you are i would encourage you to reach out to um the zbrush crew because a lot of times they can help you with those types of things okay so i'm getting to a point where i need more detail so the question is where do i go from here do i want to continue with dynamesh dynamesh dynamesh he is only 380 000. so i i could ratchet them up another or i could use the sculptors pro which is fun what's up donald definitely not blender so i can use sculptors pro and just go in and add some more details and then sculpt on that all right that was just some sometimes what i'll do is i've just want it in one area and i i like everything else like maybe i want more details in the face i'll just come in in with sculptures pro on i'll come in and smooth because what that's actually doing is it's smoothing and adding geo in those places all right and then i can come back and just turn sculptures pro off and then now i can play in these areas without it having to affect all the other areas so i give this inner part some depth i want to make sure that the place that i'm sculpting if i'm so if i go and do this i i really want to make sure that i take the whole area that i want to sculpt and just give it a good once over with this with this method because once you start oops that's that button once you start sculpting again right if you're sculpting and sculpting sculpting and then if you get outside of that area you see how the the difference in um i like that line though uh the difference in detail so i just want to make sure that i i do the whole entire area so that i don't get into some weird artifacting issues so just going to clean up the eye here just push all this in then come back with uh say the h polish brush if i want to kind of clean up these edges a little bit i'm just doing it do it manually i want to make sure that i have enough thickness on this bottom lid so i want to maintain this curve fairly nicely let's give them a cruncal um i think the perpetual cup perpetual license of zbrush still comes with two two copies um it'll typically will be you can put one on your laptop and one on your personal computer just gonna clean this up a bit actually i feel like his eyeballs are a little bit too big let's hear that though so let's um let's start getting into some details all right so typically when i once i start going up i'll do the same thing i'll just start getting some secondary stuff happening all right you can use alphas you can use whatever you want for this all right then i'll come back with inflate start pulling these out a little bit more give a nice upper eyelid here fat pad so i'll just take some time to just start getting a little bit more detail takes time right takes lots of time that maybe what start doing let's actually correct this top eyelid shape here a bit more all right it is is the time 1am we'll stay thanks for staying up late with us appreciate it thanks for uh thanks for coming by and this is actually um this is about where we're going to wrap up anyway so um i probably will may take this guy a little bit further on my own time but it was fun it was fun then maybe what i'll do is to get some drag rack maybe throw some alpha on here and then we'll just start turn down by the intensity a little bit just start breaking some of this up a little bit you can get a lot just from using all of the stuff that comes with z brush then i think there's a new is there a new details brush oh i think there's like a new enhanced details brush yeah thanks for coming by alex appreciate it snake cactus hope you got some good stuff out of it fracture nudge chisel uh is there anything in here cloth crumple crumple you could probably do sometimes you can use these to just kind of give you happy accidents you know cripple's kind of fun oh thank you and we can some of this stuff will bring back out and then you can now also use like morph targets and stuff like that to do it come back and add a little bit [Music] more but then you get into okay now all this detail is like right i'm kind of stuck in this area so what it could do maybe we'll come back to like here put this guy back on we'll just we'll just enhance this area we'll just do the whole face here i think that's everything yeah hey just go from there all right well i got to call it at some point i could just do this forever i got to go hang out with the family they'll be up soon from their naps but yeah it was uh it's fun it was fun i hope you guys um had some fun i hope you guys learned some stuff i hope you guys uh enjoyed the leprechaun just gonna steal all your money all right uh yeah we're we'll we'll call it there that was fun um i hope you guys had fun i hope you guys learned a couple things but most of all i hope you're inspired to go make your own cool stuff so if you'd like to um follow along hit the like button on uh youtube if you're on youtube follow if you are on twitch there's lots of other really really awesome artists so uh uh keep tuned to the pixel channel and um yeah we'll see you soon see you guys

Channel: Pixologic ZBrush

Views: 4,749

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, blender, 3d coat, 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: hm18ipibC6U

Length: 126min 57sec (7617 seconds)

Published: Sat Mar 20 2021