Hello, I'm Tannohaji, a digital sculptor. This video is the third of the video course "Improve your sense! The ultimate dragon course for ZBrush beginners". Last time, the face was almost completed, so I'm going to continue working on the body. A tool introduction video is also added, so please refer to that as appropriate. This time, we will proceed with the body silhouette and meat. First, we will use ZSphere to create the base of the body. I made a sketch with the Spotlight function and used it as a guide. Please refer to the tool introduction video 1-9 for the Spotlight function and the tool introduction video 2 for ZSphere. Create a rough silhouette without increasing the number of divisions too much. Once the base is decided, add joints and draw a smooth curve. As a procedure, I often make a torso roughly and extend my limbs. If you are unfamiliar with the position of the joints, it is a good idea to refer to the materials and proceed accordingly. When making the arm, carefully consider the position of the shoulder blade and the flow to the shoulder. The same goes for the arms and legs, but let's proceed with awareness of the part where the joint originates so that it doesn't suddenly feel like it's stuck in the body. Specifically, the upper arm grows directly from the body . Instead of using ZSphere , it would be better to grow the shoulder joint first, then the upper arm, then the forearm, and then the wrist. Let's continue to make the feathers and wings. Generally speaking, the length is determined to some extent, and the branches are increased from there. When making wings, if you don't pay attention to how the wings are made , the wings may end up being of low quality. What I'm saying is that from an evolutionary point of view, wings are the arms that have changed shape to fly, so if you don't take into account that, the shape will end up being sloppy and not very persuasive. It means that there is a danger of becoming a model. There is also the option of removing it to create a unique shape, but at first, or rather basically, the base of the wing bone is the hand, so I thought it would be good to create a shape that respects that joint. I think insect wings are a different story, but if you're going to make bat-based wings, which is the most basic way to make a dragon , I think that's going to be very important . Once it's done, I 'll make sure to pull it firmly and fine-tune the angle and length little by little to get it to the ideal shape . After all, if the shape is decided at this stage, I think that future production can be done smoothly. Insert the cylinder, insert the cylinder from there, and create a rough pedestal from there. It is very convenient to place a sketch using the Spotlight function as a guide when matching these sizes . This time, I'm thinking of the pedestal as something like a slightly undulating rock. I'm still undecided whether it will be a tree or a rock, so I'm thinking of changing it while looking at the balance while making it. I am making a rough pedestal for. I will create the membrane between the wings and the wing membrane using the function called topology editing. Please refer to the tool introduction video 3 for details on how to use this tool . I think there are various ways to make the wing membrane, but the reason why I chose to make the wing membrane based on topology editing is that the silhouette is the easiest for me to control . If you're making it from poly, you can either mask the shape of the wing and cut it out, or you can forcibly knead it from the sphere. Secondly, is it possible to create a poly board by applying physics simulations and covering it with the framework ? I think it would be nice to find it inside. When creating with topology editing, first connect the lines to the shape of the silhouette of the wings, and then divide it inside so that it does not become a polygonal polygon with more than pentagons. It is a flow that will be formed. The behavior is quite unique, so it may be difficult until you get a feel for it, but I think it's one of the easiest ways to do it once you get used to it. When the shape is completed to a certain extent, press A and look at the preview to find unnatural unevenness or where it is not properly meshed and fix it. Also, let's add some thickness to the skin and adjust the amount of wind pressure on the wings . When printing figures, if they are not very thick, they will have holes or become brittle, so I think it would be nice to be able to adjust the thickness according to the application. Shape If you think this is good, let's create an adaptive skin and create a mesh in the same way as with a normal ZSphere. For the ZSphere of the body, we will create an adaptive skin and mesh it to proceed with production. Mesh Personally, I find it easier to work with the wings and arms as separate parts . So I put on a mask and split it. From here on , it will be the process of blending the arms, fingers, and membrane of the wings. I 'm thinking of making it look like it's quite integrated with the membrane, or rather not clearly divided, so I think I'll let it blend in with the shape. In this way, the surface is thinned with the ClayBuildup brush, but at this time, I think that the other side of the thin part will be affected and the other side will be dented, but that kind of thing Sometimes it is very convenient to use the function called back mask because you can tweak the mesh without affecting the other side. We also made the parts around the muscles around here. We designed the positional relationship between the pectoral muscles that move the arms and the pectoral muscles that move the wings, and designed the structure so that the joints of the arms and wings do not collide. I will continue. The structure around the dragon's shoulders is quite difficult to balance between realism and fantasy charm, but I personally think it's a very fun point to create here.I think it's a unique way to enjoy dragons that have both wings and arms. I think I'm going to put a light hit on my back muscles too. This time, in order to work by integrating the membrane part and the bone part, Dynamesh is applied to integrate them, and then Z re-mesh is applied to arrange the flow of the topology polyframe. I made the whole body with ZSphere earlier, but I did n't like the base of the tail and limbs, so I'm going to make a new tail, arms, and legs with ZSphere . I'm sorry if it's difficult to understand, but I think it's a common thing when actually making it, so let's make it with the preparedness to fix it even if you're making it halfway. Once you've finished making it to some extent, create an adaptive skin and insert the mesh to proceed with the work. there are many It was a bit difficult to make the inner part if it was both legs, so I will proceed with the production with only one leg . I will make I often make nails at the ZSphere stage, but this time I turned on the Sculptris Pro mode and pulled out the SnakeHook brush to make the nails . Like this time, I will pull it out and make it, but if the nail is large, I think that it is often made from the beginning with ZSphere or made with separate parts and attached. Let's add sharpness.The knees and shins and ankles are the parts where the bones are close to the body surface . As a premise, it basically looks like it specializes in "flying" rather than "walking" and "running", so it's better to grab and grab things than run . I thought the shape would be more appropriate, so I put my thumb on the back and tried to make it look more like a bird . Fish that swim at high speeds have streamlined body shapes that reduce resistance, and fish that stay still on the seabed have fins that allow them to walk on the seabed. It looks like it's mimicking that it can get lost in the surroundings . I think that if you put in the realities that are unique to living creatures in the key points, the appeal of the work will increase , and it will become a form that makes you understand. Of course, I think there are cases where the coolness of a simple fantasy doesn't match , so in those cases , I think we should cherish the balance. That's how much more ideas you draw out for your work, and you can create new things by layering them , so I think it's very important to know various things. Dragons are a very good subject, aren't they? All creatures can be used as a reference, and there is room for your own ideas and originality. It's easy for me and others to evaluate, and I think Dragon is the kind of thing that can teach you everything, such as being a creature, the attractiveness of the form, and how to present persuasiveness. I was thinking of making it a similar type of long arm, but I felt that adding a lizard-like essence would fit the overall look a little better, so I mixed the feel of the arms of creatures such as lizards and crocodiles a bit. I'm making a new hand with ZSphere and shortening the arm itself. I'm going to adjust the angle of the arm with Gizmo3D and search for the shape that best fits the impression of what I want to make . I will also proceed with the torso part such as the pectoral muscles. Generally, when I am fleshing out the body, I use the ClayBuildup brush to build it up thinly with a light touch . It will affect the work of making scales and wide-angle, so unless you have threads, I think it's best to use a light touch. Personally, I think it's fine to have large muscles that stand out on the surface of the body, such as the latissimus dorsi and the deltoids of the shoulders. I think it would be a little easier to remember if you also pay attention to what the muscles are for. It's a bit difficult, but muscles are basically not sticking to the body, but connecting the part that serves as a fulcrum and the part that you want to move . It is a muscle that moves the upper arm, and one end is attached to the upper arm bone . It feels like it's connected to the sternum, the middle part of the chest, and the collarbone under the neck. It means that you need to remember the relationship between both bones and muscles. That said, it's quite difficult to think of the anatomy of dragons and other creatures, isn't it ? If you remember that, there are many parts that overlap with other animals, so I think it will be easy to remember . Instead, the anatomy and central consciousness from the actual motor function side are connected to the production . This time , I'm going to complete the bite to add the scales and corners of the mouth. The bite itself is made by lightly carving lines with a DamStandard brush . I'm going to make the neck, arms, and wings part .
