Common Mistakes When Sculpting The Face (Character Artist Bootcamp LIVE Talk)

okay give me a note if you can uh if you can hear me uh over there on facebook or on youtube so let's make sure the video audio is off okay i'm over here on vertex i see that okay give me a note i killed the audio on that one all right can you hear me let's switch over and all right wayne's awesome stubs nicole great okay bit rates a little bit low not quite sure why um bitrate seems to be a little higher and everything seems to be fine on that god knows what's happening on twitch all right thanks tanisha all right so we are live on facebook we are live on youtube and uh you all uh should be hearing me so what are we gonna talk about today a little quiet for me but can turn it up okay that's good to know let me try uh something real quick if you don't mind i'm going to go into my output device and i need my advanced properties put that in half okay now that should be a little bit louder uh let me know if that got you a little bit more oh bravo okay well did i get it too much guys because if i get it too much then i increase the noise as well and i have to wait until you know you hear this before before we get there all right and uh today just so you guys can see what we are dealing with we're going to start talking about um common mistakes people make oh this is why my system is chugging let me turn this renderer off that is a really dumb idea to do that while we're streaming i got a good computer but ain't that good okay we're also going to take a look at this file so let's just get ourselves a little bit orientated perfect perfect much better there's a little bit of white noise yeah that's coming in i'm having a really hard time getting the um the audio dialed in unfortunately with the noise it's like something changed and i haven't had a second to uh really hone it in um so what i do need to do before we get going is just make sure that in the screen and in the other one we've got the exact same settings so i'm going to dial it down to 6 negative 6 dba go to my camera dial that down to negative 6. and then just bear with me i'll probably clean the audio and get you guys something a little bit nicer later okay screen is good we get the circle cam and then in the circle cam let's get the audio all set on the circle can six all right let me know if something goes crazy folks otherwise we are good to go and we are going to talk today about the common mistakes that people make when they sculpt so uh good day i hope you guys are having an amazing day and today i want to talk about um you know sculpting the face and i want to talk about this from the perspective of a character artist because i teach character arts it's one of the things i love because it is a actionable career it is something where you can get in you can do this job and they don't care if you went to harvard in fact they'd look at you weird if you went to harvard why are you here what are you doing if you know how to do x then you know how to uh then well then you really have what it takes right so uh i want to make sure you guys are aware that um below this video so if we come in here and we go to the live page i'm going to go find my vertex live where's my vertex school and live okay switch to that tab all right perfect so if you're here on this page vertex school dot uh com forward slash live right below this is a nice i loved this talk i loved having this make sure you come over here and you watch the common mistakes that people make and in this video i go over what we would call the breadth the entire journey that you have to go through as a character artist as well as the depth that you have to journey to achieve that and this is a really important topic for us as creatives because when you first start looking at something like character arts you look at just one aspect like the face and you're like oh my god there's i there's years of my life working on this and then you get on facebook and you're you're looking at the zbrush stuff and some ad might come or you know facebook will throw content from a group to you because they want people to participate in groups and so you're looking at a group and it'll be like okay then this post by the mall and then it's like boom oh my god there's this amazing face how do i do that how am i going to ever achieve that level of quality right and it's this perfect likeness that's crazy so you know when we're talking here i want to make sure you know you guys know that right now this week is the enrollment week for um this really special section of the character artist boot camp live okay it ends friday included in it is a whole section on sculpting the face that i love done by ivalo ivanov i just love saying his name and so ivalo has done an amazing job uh walking through things here okay and then ivan lopez has done some work and then akeem duran has done some amazing work right and everybody's just it's this great team they've pulled together all these videos um and then you've got me and another individual doing uh these group mentoring lessons but again enrollment and this ends on friday but we still have to address this question of what do i need to know in the face what are the things that i need to kind of master and what are the common mistakes that people make so one of the most important things for us to kind of keep in mind is the whole spectrum of character arts right and so you know right off the bat do i need to know everything about sculpting the face is that entirely what's uh important i'm gonna look right over here okay perfect uh let's up this so in in the entire spectrum of character arts is face everything no of course not right face is just something one guy one girl does that's our face guy that's the face girl right and then another person does clothing okay another person might do like they like hard surface maybe the person who does hard surface is also the person who does clothing okay another person does bodies it might be another person that does groom likely there is another person that does grooming there's probably a lot of people and this is all like there's some crazy stuff happening out there in the industry right now in terms of scalability like one of my old students andre perez uh came into the boot camp and you know he's just had a dream didn't know how to get there he comes in and in a short period of time next thing you know he's at fun com next thing you know he's leading a team at fun com now he's over at sharepoint uh share creator sorry uh and share creators is all about scale it's all about doing things at scale so how do you do character arts at scale and what is this notion of at scale because one of the first concepts one of the first things that you guys are doing is confusing the artiste verse at scale i'll guarantee you you're making this mistake now before i go in and explain this you know what do you guys think this means and i know i have a little bit of delay so i'm gonna i'm gonna talk a little bit and hopefully you can read what i'm saying here what do you think i mean when i say artiste verse at scale hey joseph what what face do i garrett i'm always excited to learn about the mistakes i'm making too so hopefully i'll be able to get you some okay all right nice great all right so what do you think we mean when we say at scale or artiste what makes somebody more of an artiste what are the characteristics right and i'm just using common language here so most of you guys are going to get what this means verse what does it mean when somebody says to you we need to do this at scale is it a thousand characters right is it a thou what is the deal right and so bite me says what do you see first the bigger picture think about what's happening in games right now think about how they're monetizing skins think about how they are dealing with open worlds right did anybody here i didn't um but did anybody else get into the beta of new worlds by amazon their new game the beta how many characters are in that how many different faces how many different hair jobs uh how many different items of clothing how many different things going on in new world right how are you doing that who's doing that how many people are doing that well one of the things andre andre perez built when he was at funcom was a pipeline for hair where he could bring somebody into it and they didn't necessarily need to be this great hair artist like johann lithval they just had to be able to work at a certain quality level and he could then just give him a step-by-step thing where they could build hair styles you know from that and it's a pretty amazing thing when you come to think uh about this is that you know hair used to be this insanely complicated thing and somebody would be getting six figures for hair because they were the guy and the company was very dependent on that person they had to work everything had to be like that that guy was their their their gym and that's hard for companies because companies don't like to have like all this talent in one person because that person can change they can go somewhere else they can leave they can do their own thing they can pass away right there's a million things that can happen so when a company is working at scale it means that it has a process to achieve something and so this is one of the first things the first mistakes that you're making when you're sculpting the face is because inside your mind you're thinking i need to master anatomy i need to master all this stuff whereas what really is happening is that somebody just needs you to do x what is x what is it that they need you to achieve that's what we're going to look at today you know and don't worry we're going to get into anatomy i'm going to talk about all the stuff that i think is important in that way and you know i'm a huge fan of anatomy i'm a huge fan of sculpt like sculpting face is like one of my favorite things to do you know at the end of the day so we're going to get into all of that but i want to make sure that you guys are understanding you know where we're going with this so before i continue is everybody hearing my audio okay yeah new world i like that etherealistic gustavo creating one piece verse for production yeah perfect all right great okay let me know if you can hear my audio okay and uh we're gonna jump into this uh and i forgot one piece of setup that i need oh no it's over here on k class reference head anatomy and let's look at that sculpture is that the same thing yes perfect all right here's a whole bunch of sculpture photos that i took when i was trying to understand and i just took them from different degrees almost like i was doing photogrammetry so i could start to understand how form changes and how it moves you know as you kind of rotate around start to understand three-quarters start to understand the side view you know this is something that's very valuable but right off the bat one of the things that people really mess up a lot is not getting this view locked in and not understanding all of this in these equations so let's get in here and i'm going to start with a simple sphere i'm going to go into poly mesh initialize i'm going to create a let's create like a simple sphere super small compared to my anatomy figure divide that a few times and let's make sure symmetry is on perfect all right so this isn't exactly a sphere it's a little bit of a cube but that's going to work quite well for my purposes okay so right off the bat one of the problems that we have is understanding how we are going to go about the process and let me make sure that this is uh showcasing things correctly yeah perfect i'm right in there so one of the big problems we have is understanding the difference between anatomy versus artistic anatomy and this is a bit of a problem right because you can google anatomy so if i wanted to know about the skull i just come over here and i say skull and i get a whole bunch of images everything looks kind of like you know i might be on the right track some things look better than other things but you know you get all this information the problem is is you don't know what information here is actually relevant so as i'm going through here right now tell me rate for me where you are in your ability to sculpt the face on a zero on a one to five sorry one to five no threes where would you put your um capacity and sculpt in the face let me know audio's good okay great let me know where you think that would be okay where do you think you are right now now again looking at this face how do i know what's important okay i got a lot of information so you know you take class after class and you look at somebody do something you're trying to figure all this stuff out right you're trying to look and see where this thing's important and that thing's important and then you go and you look at the books and it's like you got bridgeman you got bern hogarth you got all of these guys and it just becomes very complicated so i'll give you you know the the the formula that i have seen work because you know a big part of what i do is focus on training um you guys know i focus on training creatives but i'm always looking for the thing that really like you know grows people so i run people through different tracks i'll run them through this track and another track and i'll check to see like who who grew the fastest and what helped them the most and one of the big advances that i have seen come up came about because we started talking about this element right over here with george bridgeman and we started to talk about his distribution of the masses of the head and in this distribution of the masses of the head it's very fascinating because it includes this simple breakdown right so like the right here says the forehead the square passing through the cranium you see the square of the forehead okay then he says the cheekbone region that's flat you get the flat here right and then he talks about the cylindrical form talks about the triangular shape and all of that and that has proved insanely powerful for helping us understand you know what it is that we need to do okay but you can also go back and think okay what are the primary forms of the head and if you google you know artistic anatomy heads you'll probably get somebody that is going to explain a sphere and a simple wedge so you got a sphere and you got a simple witch and part of what you have to do as an aspiring creative artist is you start to build this library of these just different ways that people think about things and you start to collect that right and the other part is what we call deep practice all the mistakes that are in your final image almost all of them come about because mistakes you made early on and so as i kind of go through this exercise that i'm going to do with you guys right now i'm going to go slow and maybe repeat myself a couple of different times and i'm going to try to be as efficient as possible the efficiency is a sign of how much you've actually learned so for example i've oh i've got to turn perspective for example i've touched the side of this guy multiple times something's wrong right so i'm going to actually undo all of that there and i'm going to start over again so here we go 48 moves how many moves does it take for you to create you know relatively realistic face that's something that we need to evaluate if it's 48 moves probably too much can you do that in fewer moves i've touched the back of the head twice that's not good i'm now at 22 moves okay now i'm at 27 moves i'm going to stop there that's probably a pretty good number i think i maybe need to move that there still i want to play with this right now i look at that and i'm like uh there okay that's my 30 moves to create a face that's deep practice as you go through and you work and you're trying to build your capacity if you find yourself repeating things and going back and forth and doing things a lot you got to sit down and you got to think like you know can i do this more efficiently and you know don't think like you know a jerk be you know oh i suck i i screwed that up right i mean everybody says i screwed that up right okay fine you know you can be a jerk to yourself if you want to but really sit and think about what you're saying that you know is there maybe another way that you can say that like do the top performers sit there and say oh yeah i really screwed that up you know or yeah sure sometimes but they also realize that it has nothing to do with them screwing things up it has to do with them getting better and going through process and really chewing through the suck right just chew through the suck try to become even faster than that can i actually do a face even quicker than that that was 30 so i'm gonna pull that down i'm going to pull that forward and back do i make a larger brush smaller brush do i grab a little bit farther back there to kind of get that a little clearer what helps me do this faster now i'm at 13. i don't know about you 13 is less than 30. i kind of like where that is so go through do these small little tests you know this is one of the mistakes that we're making you power through all of the stuff you got to do you're just powering through and you're like i'm just going to get it done i'm going to get it done i'm going to get it done and you don't care how you get it done but a master coach mentor is going to look at that and say like how you got it done is as important as what you got done because how you do something is how you're going to do the next thing right and it's how you're going to do all these other elements do it right or find the right path for you spend time on your process because you know we're not here for you here we touch off we're not here for you to just be like you know showing off okay i mean i could show off i could sculpt something in five minutes and be like hey i'm so nice i'm so good okay but it's got nothing to do with me that's one of the things i love about my job is you know i'm just here to help right i'm here to find the path that works for other people you know and i do that partly to finding the task and the process helps me okay one of the things that helped me deep practice focusing on my path my journey and it's great in zbrush you just look at the undo slider right the and you get to see it's like hey i went from 40 to 30 to 13 maybe 15 16 to 16. how many more how fast can i do this is like how in the olden days they used to say to uh they used to have a skull olden days uh it was pre-internet they had a sculpt in clay with two by fours so i'm i'm in this i got clay on the stand and i got two by four in my hand and i'm like you know whacking this thing trying to get it to look not like i let not like it's been whacked by you know with a two by four and you know how many waxes it take to get to the center of your sculpture you know you're trying to keep it really efficient and simple okay and focus on your your process and do that in as deep and as methodical and as intentional away as you can really important that you bring that intention to it okay and i always have my students i'm always asking them to stop here because almost all the problems that you have in your sculpt they're gonna have something to do with this and if you can't get this right but are you gonna be like some magician and suddenly understand all the five six thousand different forms of the face but you don't need to get this done right do you want somebody to work on your car like that you want somebody to your doctor to work like that or do you want these people to know what the hell they're talking about have a foundation in this and have levels of skill built on levels of skill most people go out there and they rush to get this done creatives because you can there's no harm nobody dies imagine if a doctor just ran out and he's like i just want to perform surgery let me just go out there and perform oh that person died all right i want i got to do another thing i got to do another project another person died maybe i shouldn't cut there i'll cut over there and then well come on right just because nobody dies in what you do there's still seriousness in the work that we do treat it seriously you treat it seriously your life will change you will get what you want out of your art and you will get what you want out of your career if you treat this like you're always rushing to get something done you're just going to be that person going around in circles rushing to get it done oh wise this sucks i'm having a problem over here of course you having a problem over here you didn't solve the problem back there go back there solve the problem so you stopped coming back does that make some sense i'm a little bit of an evangelist on this and um and it's in it's not because i'm perfect like i'm an evangelist for this because i have spent years of my life repeating mistakes and you know i'm a slow learner so i look at this and i'm like uh you know i can save you that time do this in 16 moves you do it in 16 moves and you do it right in 16 moves move to the next step now most people won't do that i get that but you've got to focus on process all right let me take a look at the comments i care a lot of people being confident i hope you let other feedback and sculpts to see if you're actually as good as you think yeah uh way more than 27 moves closer to 2 000 i think that applies better in clay doing it digitally and zbrush requires wrestling uh-uh does not require wrestling jackie it's exactly my point a lot of people will tell you wrestling i might have told you wrestling you know a couple years ago wrestling doesn't require wrestling a good wrestler doesn't sit there and say well i got a jawbone around this guy no a quick a good wrestler is looking for how do i get the out of wrestling how do i get this guy done in three moves where it's inescapable he cannot get out of it that's what a good wrestler is looking for they're looking for three moves any wrestler not looking for three moves not win it because that other one looking for three moves got him nailed no wrestling stop wrestling start being intentional thinking through each step being intentional with each move that's how you get better that's what a master coach does master coach looking at wrestlers which my younger brother used to do will look at that and be like okay you got to shift here you got to shift there you got to put your foot here you got to put and then this is going to give you leverage and then you're going to be able to do that and then it all becomes intuitive all right that's my bandwagon okay which drawing tablet do you recommend any i don't i have a wacom but it's just legacy warwick i get too into the details absolutely stubs has got it down to 21. all right now what what do we do next a lot of people they're like well you know we're just gonna move these things around and we're gonna but no what is the one thing that you need to do next in a face deep practice yes now i'm gonna i'm gonna let that soapbox go for a second and i'm gonna come over here to this other soapbox and the soapbox is called the one thing okay you live your life you focus on the one thing a lot of can happen but here we're gonna just talk sculpting and we're gonna say what's the one thing that needs to happen here is is the one thing that i come in here and divide the model yeah that's probably one thing what's the next one thing well is the one thing i'm going to use my my brush here is the one thing i come back here and i sculpt that's uh sternocleido the sternocleidomastoid that's the muscle the mastoid process is that does that really matter is it that i come in here and i sculpt ears great you got yours is it that i came up here and i sculpted his frontal eminence yay it's got a frontal eminence what's the one thing that matters is it that i came in here and i started sculpting the orbit of his eye how many times have you done that and just got yourself in trouble what's the one thing that matters okay because if you learn the process that the masters use you become the master in fact i would argue with you at least most of my life has been this way most of mastery is you just letting go of old mindsets and letting go of old expectations here i'm going to rotate this camera a little bit it this the process of mastery has in my view a lot to do with just you with me i'll say me me just letting go and letting things actually exist as they are as opposed to me trying to control them a lot of it has to do that that's you know maybe just me so you know if i come in here and i put an orbit of the eye in the thing the one thing that matters the most to me is if you come in here and you separate out the cranial mass from the facial mass and it works a lot like this with um sculpting i mean it's very hierarchy of concepts much like sports put yourself in a position for success right always thinking about that that next like how you line up your successes okay so an orbit of the eye like what does that do i mean it kind of works but you're still going to have to set up the facial area and maybe we can do this this is actually literally this is a sculpting technique i use all the time that it's very useful it's these three it's one yeah three steps orbit of the eye pull down for the maxilla pull across for the bottom of the nose what do you know you got a greek helmet or magneto's helmet and you got you know the beginnings of a face but in this case i'm going to go a little bit deeper because there's a million problems that happen as you start to sort this stuff out right in here so i'm going to go a little bit deeper and i'm going to go with an even more fundamental tool and i'm going to come in here and i'm going to separate out the facial plane from the cranial plane and it looks a lot like that a little bit like a pacman there you go step number one okay now we're going to divide this and if you want like maybe what i should do is activate sculptris oh i can't because why can't i because of that yeah let's activate sculptures because my um my strokes are going to be more like you know serious so i'm going to come in here i'm going to get that a little bit even cleaner and maybe i would count my strokes here but since i'm doing this live with you guys like you don't want to watch me counting my strokes getting more efficient at every step so i'm not going to do that i'm just going to um kind of keep it as quasi-efficient as i can all right so here this is the front of the face it's the cranial versus the facial what are we really indicating here what's really kind of fascinating about this cranial creating the facial plane this is the ideal and this facial plane is going to move kind of along the cheek it's going to move down along the zygomatic it's going to move along the depressor anguli down to the chin it's going to move up the brow around across the brow and all of this form kind of exists so this facial plane that we're indicating in here this actually exists in the human body we have to do some adjustments to make this work and that's okay we're going to do that but this is concept numero uno for me right numero dos so the first one i haven't gotten this in depth talking about this in a while guys so i hope you're finding this useful so sphere wedge first concept you find that everywhere everybody talks about that okay second concept because i'm a sculptor i got to get a little bit more serious and these people that like to draw pretty pictures no offense to pretty picture drawers but you know sculptures a little bit more work they get no offense or or take offense it's okay michelangelo only already didn't get along so we could we can have some beef i'm okay with some beef my wife taught me how to have conflict and and stay married there you go that's my second concept taught me how to have lots of conflict okay now once i have that basic concept in there now what i'm going to do is i'm going to come in here and i'm going to introduce myself and you to the next phase of this which is and let me get my let me get the screen showing so i make sure we are seeing everything great uh in is to the george bridgeman workflow so we've got the basic set up here now we need to go in and we need to get the five six seven different parts of the face we need to get the cranial the cheek the muzzle or the maxilla the jaw we also have to get the cranium section back in here so that's actually the forehead versus the cranial we'll get into all of that um so now i'm going to go step by step and i'm going to build each one of these right and and i'm probably not going to really even do the eyes for a while okay so i'm going to kind of build a cheek just build that up a little bit and be like all right so that cheek maybe that goes back in space but let's just build the flat of the cheek right there that goes back in space i'm going to build the jaw and i'm going to get that kind of triangular shape of the jaw that's there and in order to get the jaw i got to kind of sculpt the back side of the jaw a little bit and and i'll kind of square this out a little bit just because that's me i i like to have a little bit more form okay isn't the forehead a box so look at all this fancy stuff i did ah done all crap that's not what i gotta focus on that's not the stuff that matters hey avi uh i gary i when i start a face all of the stuff that you're seeing right here actually happens incredibly fast um and so it's different i it it takes work to kind of break out the process a little bit but i do start along these lines uh van damme is going to get finished soon actually oh you meant the the the head i have to find him okay now was was this nice and useful or was this like just a pretty stroke this is a pretty damn stroke this is the next stroke that needs to be made i need to create the box of the forehead and the box of the forehead like that this is how bridgeman did it right i'm getting told my kids are somewhere oh and they're coming up you'll see them here in a little bit i can hear them they're right behind me do we see him not yet do you see the box no i'm not in a meeting do you have something private you want to tell me that everybody can hear you're in a meeting i am in a meeting you're actually almost on camera can i hear you right now yes they hear me pop on down i'll see you in a bit um yes yes they get they get everything that their mom says not to have when i'm in the webinars i'll i'll take the blame son i'm sculpting here okay all right so there we go all right now obviously you want to get efficient at doing this but this now it's like oh that actually kind of like that uh that works right that was more important than me doing all those cheeks and you know the jaw getting that forehead in there was quite powerful and then understanding how the forehead breaks and how it comes down like this and how it sits here and you know notice that i've got it separated right there and then it comes into the cranial area here as well right so cranial area is round and then you're getting this box and then we've got this kind of undefined area right in here which if we want to you know we can go in and define that a little bit and just get some clarity and say on on that box i'm like i really want to just push that box in and there's some tools that do this better inside a zbrush like trim adaptive but i'm not really all that like anal about this um maybe i should be you know maybe that'll help somebody but you know everybody's got their limitations and i am more of what they would consider a baroque artist i like to make a mess and then on my nose and then clean the mess up that's where i get my joy finding patterns all right now what would be the next most important form for us to make right and you got to be thinking about this what improves what helps us all right and so for me there's two shapes that become um really important and this is a shape that everybody misses we've really got to get in here and we got to get this maxilla section right there the cheek section and then of course the jaw section right comics legend i i i don't know when the echo shade tutorial is going to be available you guys you want to see something oh i can't load discord loading discord while i'm doing this is like asking for trouble um so what do i do next well i'm going to focus on the cheeks and i have my own tools and and ways of doing this don't always make you know they wouldn't necessarily make sense unless you saw me do them so you saw me one of the first things i did is i pulled a line up here and as sculptors you know we a lot of what we do is we take something and we divide it right and as you get better you're actually able to take things and divide them into more pieces and still keep the sense of the whole right so i'm going to come in here and i'm going to put a line down like that this line i'm looking at the wrong camera this line separates out the cheek from the muzzle of the mouth and that's what i'm going to do right now is i'm going to come in here and i'm going to separate that out and help myself kind of establish so i'm going to actually dig it in a little bit just cool you know because you can always put it back in it's what the clay brush is built for and i'm going to round this area i'm going to pull this up a little bit too this is the maxilla this is the cylindrical column of the face that bridgeman's talking about this it's one of the least understood parts of the face is that cylindrical column it's built around the maxilla don't save quick save quick save okay i'm going to dig in a little bit here because i really want to get that maxilla that shape indicated and i'm going to dig down here a little bit to really get that chin and i'm being actually a little uh i'm not being entirely clean in this but but i think we'll get somewhere again i'd recommend doing this and then coming back and doing it for for numbers okay now i'm going to separate out the jaw like that there you go and i'm going to put a little bit in here for what we would call the angle of the jaw and i'm going to close that out so that'll work now i'll come back and i'll just give that a little bit of love back to the cheeks and we have you know a structure that starts to resemble a face right but what's important is that it has the essential elements and when you start to look at this and you start to actually see you know not just you know the square the block but you can actually start to see character right so it's like you know we can come in and say all right so put that back up you know that's going to be one type of character you move the these guys in and really round that out you know you got a different type of character all right but obviously here we're going to do somebody that's a little bit brutish a little bit thicker which anytime you work from george bridgeman that's kind of what happens you know he's just so massive i've seen this drawing to the new york academy uh the art students like sorry not the new york academy i was checking out the art new york academy and i saw them at the arts league and it's they're just you know they're these amazing things i don't think they're anymore there anymore but they're like huge life-sized drawings just so powerful right now what's the next form that's going to help us here you tell me i'm going to answer some questions hi garrett glad to hear man i'd say so look up fat areas of the face and focus on form unless on planes would you go straight to the fat for some areas we'll see i always had problems with that area had to start carving out in the scan data to get a handle on it now i know what you mean santiago what is fats that's different you know there's a different approach but i will almost i will always get structure first nose yeah i'd say nose i'd say nose so how do we pull a nose out of here right well you gotta remember that the nose comes from the nasal opening it has a little bit of room around that but we'll go through here and just try to be precise about this so i'm not going to just go in and you know willy-nilly pull something out and if i have a problem like i do right here i don't sweat this like this isn't a real problem right it's fine it is what it is okay but i'm going to pull the nose out and we can decide you know do we what kind of ethnicity do we want what kind of character do we want do we want a hooked nose oh that's oh yeah michelangelo like a broken nose aqualine whatever you do make sure that the bridge of that nose is smaller than the base there you go okay then clear your mask and i like to widen the base okay and i'll pull the bottom up a tiny bit okay now this is of course a bit of a tragedy so i'm just going to press shift and because i'm using sculptures i'm just going to you know i don't want to do that up that much and i solve that problem and maybe i'll sculpt that a little bit let's turn that there we go okay and i'll create a little bit more of the in the in in greek and old school literature they saw this as you know the uh you got a column and then the top of the column you got the capital so they always saw this as the capital there's the procerus which runs right here it's a muscle so it always kind of rounds this out into a little bit of a fine peak and you can really see it in me here i'll go and us i gotta switch to the camera i'll look i'll try to look straight on and you see you know so a certain kind of highlight there if i do that you'll actually see like it it pulls tight that's super serious and on me it's like super obvious okay i don't know if it's super obvious on you okay okay okay all right that's me being precious now what's the next thing i do on that nose because basically the nose is the very first feature that we have sculpted i don't know how i feel about that but you know i'm okay for now but what is the next thing that we do what is it um that helps us let me check facebook hey anthony robert anthony 17 minutes ago i'm looking at your face i don't know if that's a good thing or a bad thing uh robert thank you sir okay i'm gonna actually i'll pause my video um unreal youtuber been at this a while huh sometimes i don't know if that's a good thing uh but definitely before the gray hair right it's so funny you know it's like i just i love teaching so i was like this is i have been so focused on this yeah uh comics legend what are your thoughts on the anatomy of byrne hogarth i i mean bro burn hogarth draws better than me so what am i gonna he invents more figures than me am i gonna be like oh he's so puffy he's so this i'll be i'm just gonna shut up is what i'm gonna do you know that's uh that's about what i think i just need to shut my mouth because he's got something i'd like to know all right what do i do here what's the next thing all right and i'm always thinking that what's the next thing that matters and i'm always experimenting right so for me the next thing here the you know for students usually the next thing is hey let's do the nostril okay cool okay i got the nostril let's get the tip of that all right cool oh okay it doesn't look good okay yeah of course it doesn't look good right because one of the secrets to sculpting is that in order to sculpt the proper form sometimes you don't sculpt the form right does that blow your mind in order to sculpt the proper form sometimes you don't sculpt the form you sculpt the form around the form right you have to sculpt not just what you think is important because that's where stuff goes wrong because your brain is an unreliable narrator it thinks it knows what it's talking about but it's full of you know it doesn't it doesn't have a clue and then but you have to educate your brain because like you can't do anything without it right so you have to take it along with you on this journey but you have to take it along with you on this journey knowing that it's full of and that it thinks it knows what a nostril looks like but you know it doesn't know what it's talking about so part of the way one of the ways that we get around this is don't sculpt the nostril sculpt the area around the nostril because your brain doesn't know what that is and so it allows the discovery to occur whereas if you're sculpting what you think it should be it's you're going to be wrong because what you think it should be is what you learned when you were a kid when you were drawing cartoons oh my nose oh my god my beard is going up into my nose you probably didn't need to know that all right what i do is this watch this so easy it's like just makes things so much more easier and if it doesn't then that means i screwed something up oh let me lower my embed oh i'm so used to doing this with um with not with sculptures on all right there you go yeah it's very different experience doing this okay and again i'm not sculpting the nostril i'll put a little wedge right in there i'm sculpting the area around the nostril and this area has a name like you know somebody named it right usually a plastic surgeon this is called the infra i totally forgot the alar facial juncture that's what it's called alar facial juncture that triangle and you see that triangle in everybody so i am sculpting that nose without touching the nostrum sculpting the nostril without touching the nostril i'm a genius okay i tell my kids that all the time and they don't believe me so disappointing i try to tell them i was once handsome before they came into the picture then they don't believe me do you see how that works if you learn this like you learn so much that's going to help you if you learn how to not sculpt a nostril and yet sculpt a nostril or how to sculpt the nostril without sculpting the nostril it's not the spoon that bends it's your mind right then you have entered is it the red pill or the blue pill i can never remember okay now i'm going to separate that out just because i'm like that but the last thing i do on the nose is something i learned from uh character uh concept artists and uh and i because i always look at people when they draw i always look at drawings and i always look for these um form clues that's the only way i can say it i look for form clues and so you'll see in some artists disney arts things like that they'll throw a line around like that it's a light line right but that line usually says okay well everything here is actually now in shadow and everything above it is in light okay and so that line i i steal it like i'm a professional theft uh thief when it comes to how artists work right so i'll come and i'll just say okay i'm gonna just put a line like that there you go that's my line and then i'll trim that line a little bit and i haven't even gotten into anatomy of the nose you know i mean i've certainly put it in and whatnot but there and doesn't that nose just look like hole it just it just looks better you know and so let's go to the nose before there that's the nose that's that's the nose before the nose job before the ten thousand dollar nose job after one simple thing i mean am i am i am i missing something am i blind it looks better right you know it's got more form it's got more shape more distinction to it really it's a more distinguished nose i do that every single time i end up sculpting a face i probably should have zoomed in on it but alas there you go now what's the next thing for us to focus on always thinking what's the next thing let me take a look at some comments red pill good yeah i can i can open up things for questions um at the end and i'm already going long on this but you know but yeah i'll open it for questions at the end about the boot camp so i can make sure that you're getting all your questions answered so i'm really excited it's like this is the cheapest it's been i think ever bite me subtraction is the biggest bane of my existence even in drawing yeah it's important in drawing too because you can't draw light you can paint it but you can't draw it that's why i i love charcoal because i erase the light so i still get to draw the light uh yes joshua awesome yeah it it might have been a mo uh moan no it was before moana that i actually saw that but i know all disney like all characters simple stylized they all use that in the nose contours conform lines be called contours they could i mean really it's our language and like if you look at what plastic surgeons do it's i mean just use the word you want whatever they're all making this up right i mean we should all know that now with the internet it's like you used to go somewhere and learn something and be like you really know your stuff now we're just like do you do you really know this like it's questionable uh this brush you can get at um if you google ryan kingsland gumroad you'll get it i'm sorry i don't make it very apparent where it is um i just got out of the whole like zbrush um business so i you know i just never put that back up but i probably uh will because what's coming up in a month guys all right zachary yes the eyes but if we want to sculpt something do we sculpt it i totally remember i remember all the time that face trying got so pissed off freaking triangle of contention man i remember clearly the joy of discovery like like it was yesterday i was in my l.a loft we had 5 000 square feet you know we had a roof that was basically plywood it's not good for my child to grow up in we had eight space heaters all on different outlets because they would just continually blow the fuses in this hundred year old like warehouse it's horrible but yet awesome so anyways yes i remember i remember that moment like it was yesterday all right so now do we sculpt the eye no you don't sculpt the eye you sculpt the area around the eye if i was to sculpt an eye i'd screw it up because what's an i in most of our language and i is something like okay so let's go in and put an eyelid in there yeah yeah i've tried for so long not to suck that i'll probably like unconsciously try to make this work you know but like yeah let's try to yes okay yeah like something like that i mean i can actually still make that work but we don't want to do that what we want to do is the area around it and so what i like to do right off the bat is pull in what's called the nasal juggle groove okay so right here is the nasal juggle groove and you got to get some you got to get some depth in here because one of the things you have to know about the face let's take the muscles the um the eye does not sit so if you've got the orbit of the eye here the eye doesn't sit in the middle of that it sits up protected okay and that's important you know so what we need to do when we're looking at this is get some sense of how this form moves in here and that's what we're going to kind of build right from this view is we're trying to separate out or really what we're trying to do is we're trying to capture this line this is called the infraorbital margin okay here let me close the there we go this infra-orbital margin it's tricky it's not entirely like you know you might think like oh hey you know it's the infraorbital margin it goes like that there you go that's a super orbital that's the infraorbital and yeah that's what i used to think it's not nothing in the human body is straight up it's insane come in here it does that why like i know but it does that come up here go into this area what does this do doesn't go straight down it goes and digs right into the eye why i don't know but it does like both of those damn things curl inside and and add to the form right in there when you know that you're not going to just say make the orbit of the eye like that now you've got to find a way to get the orbit of the eye to kind of dig in that's what becomes important so i'm going to actually kind of dig that in a little bit and i'm looking to get the this here so i might even actually just like just draw it and say hey is that accurate no not accurate so this whole area now needs to go and get dug and i'm not opposed to using the move brush i love the move brush now in for orbital margin we're getting there right yay we got something moving in okay now you got to make sure that you look at the infraorbital margin from below as well and you need to make sure that you got one curve and a two curve got to have that right that's just like you know this is from studying anatomy and so there we go we got our one and r2 okay now i'm gonna just kind of complete this and you can already see that line moving in okay in order to start to see at least i can already start to see the eye developing i'm going to get that nasal juggle groove okay that's not working i need that to move in and i need to do this to move out like that there you go there you go there you go perfect well not perfect but get in there keep the um keep this really clear don't do this why would you do this who told you to do this tell me who told you to do this i want to know because i need to go smack him what is that that's a tumor you got to get that removed this that doesn't exist in nature don't do that stay with the planes stay with the planes until you know what the next plane is don't just put a tumor in there because you think there needs to be some volume tumors are serious business okay now what would we do next i'm not going to do the eyes next that is not the definition of what we do next one of the things i like to do next actually is the brow which still in the bro eye area so usually in the brow people will have a shape and then it drops down right and it goes from there so you'll see that in in this image they'll be this is called the superciliary arch and then look at how the orbit of the eye caves carves down and moves down like this pretty intense right so but look at mine what do you see in mine box so let's put a little mark there and i'm going to start carving that in and what i'm really doing is i'm trying to find what's called the external angular process of the frontal lobe so it's about right there so just a a quick little move like that actually set me up and i'm going to continue that and so you know for those modelers out there basically beveling the edge of the of the cube that should make some modelers happy okay and then i'm going to give it a little bit of a lift like that it has this kind of like little depends on the person but it has this kind of like little hook that shows up right there especially on a guy so i'm gonna give it a little bit of extra love leave it at that yeah do you see it and then i'm going to actually this is another thing i should do so i'm going to give that that love and then take it away and then come in with the temporal line yeah that'll work okay super simple now we have started you know a lot of forms we've done a lot of good here but one of the next things that we really got to do is we got to figure out this jaw got to figure out this mouth right so i'm gonna come in here and i'm gonna focus on the muzzle of the mouth uh no and uh so i'm gonna use my ball stylus again this is this is my brush um i mean i i put brushes in zbrush too uh clay tubes was something i had the benefit of building uh after opher told me what to do so he told me how to build it uh so it's a version of clay buildup that's just softer because clay buildup as it is like it's just like boom you know super hardcore and and i'm a subtler sculptor than i used to be so i just had to build something else all right so i'm going to add a little bit of form in here most people should know what this is i'm i'm adding the the muzzle of the mouth and and all of that and i'm looking at that silhouette it's quite sloped i'm going to add some more love down here and a bit more in the chin like that that works all right now come in with a standard brush and just of course put your line in there and every time i make lips i make them look like dr doom here every time if you're not doing this don't listen to me tune out go watch some netflix you know struggle this is the path to success with lips if you do it this way you win you don't do it this way i don't know how the hell you want because this is like the only way then we establish the planes and then i spend a lot of time something's wrong with my brush what's wrong with this it's taking into account the wrong step like that it's doing the wrong surface all right i'm going to muscle through that but that's something i need to fix i'm going to make sure that i create you know proper columns for the lower part of the of the of the mouth this is actually still obicularis or still mouth muscle okay i'm gonna graduate that a little bit let me take my nodule this is called the depressor anguli and in this case as i start to build the mouth out i got to start to build out the whole muzzle of the mouth so i'm going to kind of start to separate out the muzzle of the mouth from the jaw and ideally what we do when we're when we're doing this is we make a sear we have a series of decisions that all lead to the next decision it's already working right gonna go nodule i'm gonna emphasize that nodule a tiny bit we're gonna do something fun right there in the corner in just a second but before we do that notice how here i established dominance upper lip is on top lower lip was inside and i did that with the marionette line the marionette line separated right remember early on i said good sculptors which you do your life is all about separating form the better where you get you're separating smaller smaller forms so if you're ever sitting there looking at your sculpture and you're like i don't know what to do well that just means that you don't know what other forms are there so you got to go read wikipedia you got to go read grey's anatomy you got to go look at the books and you got to sit there and figure out like what are the things that i'm not seeing there's something there i'm just not seeing it right all right let's take a look uh unreal youtuber i've been on a cintiq for a really long time i haven't touched a tablet so you know i know i can you know i do it but i i'm a fan of my cintiq noob awesome okay uh all right so now the next thing that i got to do is i'm going to put a line in here remember a lot of what i did like here i put a line there i put a line here i put a line learn how to use these lines they will save your life one day i'm going to put a line in here and this is going to separate out a bunch of muscle fibers that do this and a bunch of forms so this actually becomes a larger form and then this lip moves in you'll see it actually it works like magic that's the kind of magic i like it's like you just do a stroke and then everything will suddenly just start to work and you'll be like i don't know how it worked ryan told me to do this and he said if i did this and i was successful i could give him 10 percent of my life wages in advance of me living the rest of my life and i can't wait to send him that check my paypal address is did it almost work my hypnosis technique i've seen it so low it started to filter into the subconscious there you go doesn't that look like a stronger upper lip we have some we have the five pillows to work on right you know but certainly stronger lip than what i had before and and i'm going to be moving those fibers like that then i'm going to move those fibers down like that okay now there's another trick that i'm gonna do here anybody send me money no all right i learned this from a guy named william mon and i've shared this with people before but there's like no bigger magic trick in sculpting the lips than treating the the corner of the mouth like it's a donut man when i read this book it was in a charcoal drawing book how to draw the portrait and charcoal when i saw this and i did it i was just like i mean everything changed so watch this right if all your form is relatively intact and you know you're not doing too much with your embed i'm going to just actually radiate strokes out and it's actually a little bit different right now with um sculptris for some reason but here let's do this it's really weird with sculptures right now i'm going to turn sculptures off i'm going to separate out the chin from the depressor anguli banana and i'm just going to blend those forms together this is where real magic happens it's like you you know you get this beautiful blend and you're not even going at least i'm not even quite sure how it works but it works that's good those work so now i can just come in and i can focus on the five pillows one and two three four and five a central element of my teaching i've said it mastery is not magic it's process and i have seen time after time after time students just go through this process and have magical results that i know have nothing to do with magic because i don't believe in magical talent i don't believe any any of that stuff i i just believe in process right like some people stumble upon proper process younger and they don't have all these preconceptions that they bring to it and you know it just works out for them they're not more talented they just got less baggage maybe you know but whatever you do these steps magic happens but it's not magic you know any technology sufficiently advanced will appear like magic arthur c clerk i'm gonna put the masseter in there and then we can start to decide you know what are we gonna do like how are we gonna start to are we going to put some fat in there like this cheek fat or are we going to go like al pacino and you know i'm going to actually lose some of this and i'm going to extend the muzzle of the mouth and i'm going to extend the masseter and i don't resolve this cheek area which you can't see in my beard i don't resolve this cheek area what i do is i i move these edges together and that's enough you know everybody's like what's in here and i'm always trying to tell people you know you don't know what's inside here and you don't need to necessarily know you need to just control the form all right now i'm just softening some some lines that i don't like okay starting to read right love it okay now there's another form if i look at this right here boom boom boom i got a problem in order to get the cheek right you got to understand what's called the malar line try googling that ain't going to happen the only here are you gonna learn about the mallard line and if you know somebody who wants to sculpt faces you send them to this video because it's the only place you're gonna learn about the mallard line and it changes everything right wait until my i'm you know my book comes out i should do this watch this i'm going to leave this right here and i'm going to do it's like holy crap he's got cheekbones like it works here he had you know these kind of rough and tumble structural kind of components you take that mallard line trim that baby back you are in some good shape ready to go okay now the next thing for us is if we're going to sculpt probably put an eyeball in here um but i'm crushed for time and so i'm gonna do a trick i'm gonna kind of cheat because when you sculpt you know like say for example um let's look at the one of the sculpture references where is it here uh i used to live in the czech republic um i think i lived there for a year it was like wild loved it but um one of the things i loved the most was the slavic sculptors and a lot of the sculpture didn't survive um and a lot of these artists certainly didn't survive and the artists who did survive um just became tainted with nazism and and you know all of that stuff because some of those are the only jobs that were out there and on top of that figurative sculpture largely disappeared after uh world war ii largely because of the propaganda efforts of um those countries and abstract expressionism became like the dominant form here in america um because figurative and realism was like this was this was base this was not you know civilized this is you know people you know listening to propaganda and um you see this sculpture this is uh in the czech republic like not realistic but he's still got all the elements in here and if you look at those eyes it's deep set eyes i mean you see it you feel i feel it but like did he actually sculpt all of this stuff did he sculpt the curuncula and all these and look at how he's exaggerated the form i mean look at that man i would love to go back and sculpt with all of these individuals and then come back to my time and and not suffer through the privation that they did it's just amazing to me this work so i am going to do a trick i think let's see if i get lucky i'm not going to sculpt the um the eye itself i'm going to sculpt only for the most part the upper eyelid and we need to do sculptures for this and let that kind of just indicate the form so i'm sculpting that cheek fat i'm going to come in here and sculpt like a little line for this simplify that a little bit look at how that works you guys see how that works like kind of works how much do you actually need to put in you know and then of course you can come in here and you can start to flesh out that question a little bit of how much does somebody actually need to put in made a big mistake right there i love this so shorten the space in between them you know getting fancy thinking i knew what the heck i was talking about careful let's make sure i'm kind of clear there we go yeah keep those a little bit distant so there we go all right did the wrong thing i'm going to move that up and tuck it up underneath the eye it's another problem that i always find myself getting into tuck these parts up underneath the eye one of my favorite sculptors in fact some of the sculptures i'm actually working on here myself are heavily influenced by him you can see christopher where no where's that page oh well helpful from here um wrong one chris oh no hmm look at these beautiful what do you actually need to put into your sculpts let's close all these down then you know if you want and if you need to of course build the mound start to define your you know from there see how it all works i'm going to leave it right at that i'm going to move though in a tiny bit pull that in and then one of the last things i'm going to do on this face i'm going to open those nostrils up a tiny bit and then i'm going to help you with this part because this area is one of the areas that people have the most trouble with and you can look at somebody you can look right in here and try to understand that it's super hard you know to to get a clear uh sense out of this so one of the lessons i learned early on and this is really the last lesson that we want to talk about in terms of the common mistakes that people make is start with the planes and then just blend between it do you need to understand that exact curvature humans don't understand curves that's not how we comprehend things we understand planes and if you understand process you understand hey okay i'm going to do this first and then i'm going to go in and do that and it's going to be delimited to those areas so when i come in here now if i come in and say all right let me just refresh myself on where that is yes right there and then i go into zbrush let's use the same side here it's limited i delimit it from here and from here okay and i'm just going to kind of build a little bit of a planar connection and then just slightly blend those in keep that nasal labial trough there and you gotta work it but there you go now get some cheek fat build the cheek fat up around that a little bit there's a lot more that we would do but at this point oh those nostrils are too far out i'm gonna tuck them underneath there you go and expand that a little bit okay yeah there you go that sculpt in the face that's sculpting some face you know like maybe some of this stuff we gotta you know he's he's gotta chill out we gotta deal with some of this um but that's kind of as much of a walk through as i can do in an hour and a half and have it be methodical and step by step in a way that um if you follow these steps my friend you will get you know you will get in time these results it's not i mean i've seen students get better results um you know than the tutorials i gave them and you know it just takes that time and it takes that dedication to the process and i remember always there's this interview i had with andre wallins concept art keyframe concept arts it was back when i was interested in concept art and he talked about how he took one dvd from dylan cole and he just learned that one dvd for an entire year he just studied it to understand everything that he could about the process and then from there you know once that year was done that was his apprenticeship year uh you went on and you know he picked out more pieces but just focus on simple processes that you can master that's really what's important and that's how you grow because it's the building block if you find yourself going around in a circle the reason why you keep coming back is because you didn't solve a problem here don't race ahead solve this problem right and so almost everything that's right or wrong in this face it's also right or wrong back in the beginning did i lose some some history yeah i don't know what i did with the history all right well there we go see another model is there another subtool did i forget something okay well anyways there you go all right so now let's talk questions that you got for me in terms of the character artist boot camp that's coming up now remember let me start let me show you here if you go over to vertex school you go over here into live this is where we are today right above this page you can actually click on this and say open that up you can go to the previous talk and below that you can go to enroll in the characters boot camp you can also go into workshops and you can scroll down and it's right here as well so the characteristics bootcamp is right in there let's take a quick look at this and then i'm going to open this up for questions for you guys as well as questions on anatomy so if you've got questions about anatomy or anything like that then in the face let me know but before we get too far on a zero on a one to five no threes how do you feel about sculpting the face now leave that in a comment and let me know and i would love to know one thing that you really learned or felt really helped you today because that helps me uh know what you guys connect with so just leave that in a comment to do today as well and i'll take a look here in the comments um chad how are you this will replay again chad uh i like to do this process just wonder if there's a way if i can see it later yeah it'll be here and anthony can draw light this is good this is a positive skill okay got it comics legend warwick glad you learned a lot god father of character art i like the title uh what book was the one with the second drawings you checked second drawings i don't know what the second drawings were i'm so sorry if you're talking about this this is gottfried balmus i'm sorry it's not godfrey mamas this is george bridgeman and i don't know what the second book was because i should have only looked at bridgeman i mean obviously you know i pull from a lot um and i source a lot but you know there you go i'd say very comfortable six or seven different chunks to be okay good i'm glad ryan the key thing about this and you know is making sure that you know you approach this from a sense of a of a road map that's what's really missing you know like if you go back to the talk i had yesterday what's really missing from most people's lives here is strategy and a pathway that's what a class is supposed to do but usually in a class you actually get what the teacher wants to teach and it you know that might be a path it might not be a path like if you wanted to be a character artist today i'll tell you straight there's a ton of great classes out there there's a ton of amazing artists out there but there are artists out there teaching you how to do skull do faces with pores by from scratch like and that's like that's an amazing skill to learn once you're a character artist it's not something you need to to learn to get that first job um because you got to think about how much time always be balancing you know the time to job and the time to learn and if you're independently wealthy sure by all means like you know learn learn learn if i was independently wealthy i'd just be learning i love it right and just playing but you have to remember and this is one of the reasons why i built vertex is there is a cost to every year that you're not in the job market doing the work you love right that's why we built the program so that we could shorten that and in one of the emails i sent um to tell you guys about this event we talked about one of the students that's at blizzard went through like about a six seven thousand dollar program got a job at blizzard after two three years that's a hell of a trade-off right like didn't go to a 50 000 college you know none of that stuff you know went to this program paid this amount put the work in focused on it looked at the road map struggled you know and then got got this amazing amazing level up in life that's what you know is a really big part of my life is trying to figure out you know because i was that poor person i was that guy who didn't have a lot of money i mean you know you don't have a lot of money when you're working on an assembly line you know at a furniture factory you know you got 30 seconds and this side 30 seconds and that sign it's you know it's on to the paint room it's hard okay i get it um but what is important is the work and making sure that you're doing the work that matters not the work that's cool but doesn't matter so that you change your life sooner rather than being involved in this you know job that you you hate you know this dead end job that's not helping you it's sucking the life out of you you know how long can you actually stand that that's uh that's tough you know and it's hard on the soul just sitting there being like you know am i meant for this of course you're freaking meant for this of course if you want it take it do the work right what did conan say what are the virtues in life do you think conan was going over there and being like do i deserve this stop thinking about do i deserve this do the work that matters right mouth area tips don't know yet how the bone goes inwards towards the nose has been life-changing awesome and the nostril tip awesome glad about that nicole uh etherulistic realistic kind of personal question to a lot of us your sculpting is really fantastic but you say you wish you would have spent a lot more time sculpting over the past 10 years is there a particular goal you know i am at my happiest when i'm sculpting but i'm like a lot of you guys i have different things that i want to do in life you know and one of the things i want to do in life is is have a successful school with a whole staff that is changing people's life so it's not just about me sculpting so i always have like my selfish with my you know my other goals and uh so that's all i mean by that is i would just love to be sculpting you know and sculpting it's it's just a happy place right so i get it um but i also know that sculpting uh in order for you to make a living at the sculpting level there's a whole bunch of other things you got to do to get there too don't forget marvelous designer don't forget all these other things you know you got to get those done so that you can actually you know you can be that person that lead character artist that's sculpting and everybody else is doing the you know the other stuff that you don't like you can define your career right so hope that makes sense do the work warwick's been in those jobs nicole can relate awesome um bite me is comfortable with the skull and the base layers however the fat distro when you understand um i mean the the way i sculpt fat is the way i sculpted the the jaw to this you sculpt the elements and you sculpt them into each other so you just have to know the fat pads that matter and that is some that doesn't work i could show it to you but i got dinners coming and um and um it it's it's not a fast thing it takes like about 20 30 minutes hey daniel all right guys all right so that looks like that's all the questions i got over there um batara i think you had some questions or patara you can also just email me at ryan at vertex school ryan school.com so you guys can email me there if you've got questions about this boot camp and about what we're gonna do i answer the emails i love it um so there you go stub stuck in dead end job 32 32 is fine don't worry about your age um just you gotta you know you gotta focus on strategy and you need to be ruthless with your strategy and if something's not helping you in your strategy you need to cut it out don't go flitting from tutorial to this to that to the software to that software get your strategy locked in get your map locked in because when you only have like you know five hours a week you know that's hard um those those five hours have to matter right they have to be like magical five hours uh otherwise it's not going to happen because five hours a week what do you i mean you have to be in at 40. it has to be you know you have to put it through your body it's tough but strategy and a map help coalesce that and hopefully today what you guys saw was you know when you come in and when you learn with me um it's not rah-rah you know who go do this it's strategy everything has a strategy same strategies that we use here on the face it's like how we do uh texturing it's like how we do marvelous designer focus on the pattern focus on the drape focus on you know once you've got the drape once you've got the pattern uh make sure that you've got the material right so that you know you get the little half tones of that behaving correctly then you've got your modifiers do you need to inflate do you need to do all this different stuff and then you got to go and you got to do your seams maybe you need some supporting material some rigid things to help you get that you know hard edge in there maybe now you have to freeze things and you have to change your particle distance you got to do some monkeying around with the different dynamic simulation properties to get things to to simulate correctly you know but there's always a step and there's always a procedure and an order of importance so there we go you're welcome ryan how do you balance learning and family nicole asks um you know i find uh there was some somebody who said it it might have been the woman who writes grey's anatomy my my wife and i watched the whole episode uh all of the the seasons we just fell in love with it and and she said you don't balance like that's that's just and there is no balance i mean balance in the in some sense you know is death like when all things are balanced and equal you're dead life is all about movement and so there's when i was younger i used to study um i used to study everything and one of the things i studied was was what they call systems theory and systems theory was studying the the systems of biology and developed a lot of the language that computers then ended up using and developed words like ecology that was part of systems theory ludwin von bertola nephew and when they were moving from this idea that there were little angels in the cells that did things to oh there's an actual scientific biology and there's elements that we have to understand what they one of the concepts they came up with is dynamic equilibrium so everything in opposition the human body standing perfectly still balanced perfectly still is not in balance it is in dynamic opposition the hamstrings are tensing the um the hamstrings are tensing the quadriceps are tensing right and they're holding it in place through opposition that opposition is important screw balance who needs balance it's a dream um but but i get the intent i understand what you're saying by balance you know because we're standing here in balance but the way that you do it is by um you know allowing the opposition to exist and you know prioritizing things in different ways like for example tomorrow i'm going to take tomorrow off and i'm going to go to being with my kids uh we tried to tube on saturday here in austin and that was insane like it's just two hours of driving around for parking not gonna happen not a good time had by all so i look forward to seeing you guys in the character artist boot camp we're gonna have one more conversation um before i close this down and get working with the people that are here we're going to talk on thursday about realistic skin and we're going to a little bit of arnold this is what you can kind of see um here and let's see if we go six kind of see it here but you can really see it if we go then this sculpt by the way i need to tell you guys because i haven't really announced it yet because i want to announce him with everybody you know when i get a whole presentation for for the digital avatar but this is abdulrahman who sculpted this and he's our he taught blend shapes here just an amazing sculptor i was an art director on this project so it's like a real treat for me to just kind of work with somebody else who is an amazing sculptor and can help me kind of execute the vision on this so it's not my sculpt and the process that he used here is i'm really excited to share with you guys inside of this boot camp too because again there's a lot of gurus out there there's a lot of people out there that teach you like you know all these really hardcore ways to do stuff but it's not what you do in the job that's not the way they do it so check this out that's a hundred percent how do you achieve this you might think it's like all this like amazing you know you do the sculpting stuff but it's a very technical process not sexy at all but that also makes it very achievable when you learn it of course you need to learn some of the sculpting and and you got to learn all the anatomy and stuff because you know you can screw up scan data pretty quick um but there's just some amazing stuff that comes out of it you've got to deal with the subsurface scattering on this it's still a little too much but look at that that's an 8k render blows my mind still alright team make sure you head over let's get that page up vertex school live will get you there um it'll get you to this page look at you here however you get there i really want to be working with you guys to help level you guys up everybody who gets in there and i'll see ya all right have a great night let me check facebook uh chad hit me up in discord chad i have to send a link ah zachary you discovered my unconscious bias technical is sexy one of my students one of our students got a job at applied intuition making or you know at least what i heard was you know great money and doing something that was just like i mean it's like the future you're helping build systems that i mean it's i don't know anything about the job because they're super secretive but you're helping build systems that can that allow artificial intelligence to drive cars through berlin it just blows my mind so yeah super sexy stuff you're right thanks zachary all right ciao see y'all how do i turn this thing off

Channel: Ryan Kingslien - Vertex School

Views: 10,619

Rating: 4.9527025 out of 5

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Id: 6wiDxO-ZADg

Length: 116min 30sec (6990 seconds)

Published: Tue Jul 27 2021