Handcraft Better Skin Details in Zbrush

so this is uh while i'm here so this is essentially the head that we will explore today i think this head has a pretty good base you know like that's one of the great things about uh sketching out heads really quickly right is that if a head doesn't really work after you've spent a bit of time just sketching it out just throw it away but once you do actually have a head like in this particular case you're like hey actually i think this head works pretty well i'm pretty happy with it you know then you haven't spent a lot of time and then you can be like okay i will take this to the next stage i will take this to the tertiary detail stage so there are places where it's still very sketchy and stuff like there's still some places on the list i probably should have cleaned up the sketch a little bit more but so on so far but so far i've been i've been able to build a lot of detail relatively quickly there um left and right just by using some proper techniques there and okay so so let's break this down last week we have taken a head that was sketched and we converted that to subdivision mode that is what we done last week right and well that's pretty much where we are today this is pretty much where we are right here so i have taken my sketch i have done a z-wrap of it to go from sketching to subdivision and now this head because it is now in subdivision mode it is now ready to start my tertiary details essentially we do have to polish the surface a little bit okay the surface is a little too noisy right now so that we can start to use this uh to create our tertiary details so there is a polish pass that needs to happen over the whole surface before you can really move on there you know and so uh those who know me essentially know that i like to use the uh i like to use a lot of clay tubes for that specifically you know i'm more and more getting comfortable with the clay buildup that i feel more and more like using it within my workflow there um but uh for polishing i still uh largely default using the clay tubes and having in beds at the zero there if i want to polish this now just like i had here if you guys compare again this is my rough surface this is my polished surface ready for tertiary details uh i want the surface to still be a slightly sketchy slightly noisy that is important because that will get me simply a lot of uh interesting texture to the to the model for free afterwards right so you know i don't want to kill all the detail there i don't want to go over this with a huge smooth brush and just kill all all the details okay don't do that [Music] but i do want to tone down a lot of these tertiary details or rather a lot of the surface noise that i have here right so the process really just i take my clay tubes and i just go and i simply flatten the surface and i remove all the or rather a large part of the imperfections let's see one of the things that i do pay attention to at this stage okay i still pay attention to try to keep a lot of that directionality in there that i really like i'm gonna keep a little bit of it because elsa would have to rebuild all of that and if i get rid of all the directionality that's in the surface right now it's just gonna wind up my surface is good it's just going to wind up looking like super bland after the fact and make sure that especially around the wrinkles see i really love this here i love that my wrinkles are very sort of um sort of uneven okay there's nothing worse than a wrinkle that you're just taking like a damn standard brush there's nothing worse than just taking dancing and rushing there's a wrinkle you know that's not convincing that doesn't look like a wrinkle that's not appealing i don't want to like you know it's like uh as uh i know if you guys watched uh prometheus the uh movie there they said something in there that resonated with me really deeply they said god does not work in straight lines now whether you believe in god or not that is a different question but what is interesting is that when you look at nature you're simply you know that applies to faces too you simply do not have straight lines all right it harris right if you guys start to look at these look at these little wrinkles here look at how like broken up all of this is all the surface here kind of creates all this kind of weird shape to it even here right like there's like a lot of little bumps there's there's a lot of little pinches to the wrinkle and stuff there's all this nice little noise in there for like a better term at this point and so i like to keep a lot of that sketchiness left over from the sketching process because that is that that is my broken up wrinkles and i'm getting pretty much for free i just want to show you guys essentially where i am with this at this stage here so i spent about two hours on this uh this morning as you can see you can actually build detail really really quickly if you have some really good techniques there so you don't necessarily need to spend days and days and days uh placing every little detail left and right manually there in fact i'm kind of allergic to that most most of the time i just don't have time i'm like sure like it's fun to play certain details and there are certain details especially the skin pores on the cheek you more or less have to place them manually because there's no way in zbrush to uh do a non-overlapping scattering of details unfortunately we have spray brushes but we won't really use those because by and large it creates details that overlap and that is the worst thing you want to do for skin pores it's going to look terrible so don't do that but um so there are some things that you have to place manually but for the most part i mean a lot of this so far at this point it's really just well it's just using a bunch of noise passes and other things to build detail really really quickly there you know so i can show you the layer stack then because of course i use the layers for this so why don't we deconstruct the layer stack and we go back to our starting point then so why don't we do that so this is my layer stack you guys can see i have uh well actually there's only one untitled layer so i've been fairly i've been fairly okay with this so far uh in terms of uh naming my stuff there you know okay so you guys can see first of all add this little uh the last layer down to stack it's called bumps let me turn that off you'll see it's very subtle if i turn this off it's just a bunch of little bumps left and right right if i turn this back on back off again just some very tiny little bumps nothing that special just to break it up just just to add a bit more organicity to the surface these are a few details i've added around the eyes um i'm not very proud of them but essentially like there is a point where i start to build uh details that become a bit more localized in terms of position on on the face there so these are eye details uh these are all procedurally generated i didn't sculpt these um there's another layer around the eyes once more to start to build a bit of wrinkles in there afterward we get to a layer here that is wrinkles let me turn that off and you guys can see these are simply wrinkles i started to sculpt or i have started to deepen rather and a lot of these is simply using the dam standard two brush which i really like to use just called wrinkles it's a fantastic brush not in your interface by default you have to go grab it online but if you just type you know zbrush damn standard dewbrush damn standard toothbrush you will find it i believe it's free so uh grab it add it to your library it should be in the library by default it's a great brush to use okay yeah so i started to build those wrinkles using that brush there then i have a layer here now that one's a bit weird it's called fbm it's called which means uh fractal brownian motion if i turn it off take a look see the change on on the skin there as i turn it back on and off you guys can see that my skin starts to have a noisier appearance once i turn it on very very simple very nice way to just break up the skin a little bit there very very simply after that we get to a few details around the vermilion border of the lips that i have added using your warrior pass [Music] once more not the details on the proudest of so far but as a first pass i think it's largely where it needs to be so not completely dissatisfied but i'm looking forward to um spend some time to do this even better there over that then we have this large voronoi layer let me turn that off and see what happens you guys can see that it's mostly just wrinkles that are being built around the mouth and the lips there let me zoom in on this large foreign so if you guys take a look at the lower lip there maybe at this part here within the vermilion borders these sorts of things as i turn this off you guys can see that i have all these tiny little wrinkles that are there that simply disappear as i turn this layer off there's a few around the nose too large foreign paths and then we have a small vornoise pass let me turn it off see what happens you guys can see the skin here if you take a look at the skin here what is happening here you can see this nice kind of voronoi very diffused looking sort of voronoi uh quality of the skin has as i turn this off you can see that the skin becomes lighter and flatter there so there's a a voronoi pass here to simply build a bit of organicity as opposed to the surface again let's turn it off all right we'll get to this one here it's called pores now these ones i had to build them had to place those manually there so let me turn it off and you guys can see before i added those pores to the cheeks and after skin pores we want to make sure not to to put them everywhere on the face because it shouldn't be everywhere on the face there it should really just be in certain zones these enlarged pores especially around the cheeks some of the forehead some of the some on the chin as well but certainly not everywhere what i want you guys to at least observe if there is one take away from this okay is that it is important to look at well there's actually two takeaways uh but right now we're just talking about the first one here um it's important to really understand that tertiary details look very different based off the zone of the pace that you are so just get yourself some bunch of really high close-up high-res images like these and really just start to observe for yourself uh the kind of patterns that the tertiary details take in different zones then we get to our comma domes our little blackheads and whiteheads okay if i turn this off you guys can see here especially on the nose that's often where they're more visible because the nose doesn't often have those enlarged pores that we have seen they the nose doesn't often have that um the nose is a lot flatter than people think like people have density to put like a whole lot of like really heavy skin pores on the on the nose there and that's a mistake the nose is actually relatively uh smooth in most cases there are of course exceptions there but for most people the nose is relatively smooth and you get uh just these uh tinier bumps blackheads and whiteheads there but you don't have these enlarged pores that you have elsewhere most of the time anyway so little comedones added to the skin we have our milia around the eyes all these little tiny little bumps that you guys can see here i can turn this off you guys can see that my familia disappear next we have our chicken skin which is actually more in the next zone so the big brother of the amelia there is our chicken skin if i can zoom out and we can kind of look at it from here you guys can see all this tiny little chicken skin effect that is kind of appearing here on the surface so i can turn this off and no more chicken skin and finally we're up to the last layer which is what i call directionality okay now this one's very it's particularly interesting directionality which you can see for the most part i mean it's for the most part it's mostly sort of skin poor ish but it's skin pores that are stretched on one direction okay like if i kind of zoom in here on the cheeks all right you guys can see that yeah sure there's tiny little pores but there's also kind of little streaks also on the surface here so these are directional lines on the surface or directional wrinkles or almost directional skin pores almost i just like to call it directionality because it helps to build a bit of directionality to the skin there so let me just turn this off and you guys can see that we're pretty much back at our starting point once i get rid of these pretty much pretty much back at our starting point yeah directionality i haven't talked about that so far but that's very very interesting okay because this is the thing about tertiary details first face okay the face is something that compresses and stretches right as we talk as we have all these facial expressions that we do skin builds directionality in its tertiary details okay there's a lot of even tertiary details beyond skin pores if you guys start looking at literature and stuff that get aligned following the directionality of the skin uh so there are things i can't quite point to things off the top of my head just like that but there are even skin diseases and these these sorts of things that will align themselves quite naturally with the directionality of the skin because as we talk as we compress the skin you know the details essentially often get compressed in one direction there and that becomes very obvious the moment we start looking at uh details so this is the second takeaway i want you guys to take away from this more theoretical section of the class then is that skin details often have this directional appearance to them okay let's go through a few of these uh examples or improve these images until we start seeing some clear directionality in there okay first of all we have some here right we just look at this random one take a look at all these streaks here that we have on the surface there it's all stretched in one direction there's a bit of of a compression right now that is happening because she is uh she is activating her levator labia superior is a lacking nasii and therefore uh there is a bit of compression on the skin and because there's a bit of compression we get tiny little wrinkles that form perpendicular to the compression which is the same as what we had said in the context of cloth and full anatomy wrinkles falls always form perpendicularly to the compression and that is true for a phase two we also have some beautiful directionality here you guys take a look at this see how all the details seem to be like somewhat aligned in one direction let's look at other examples of that take a look at this take a look at the directionality of the skin pores here and the tiny little wrinkles once more directionality take a look at that that's that's insane right this is crazy this is what happens when you compress a forehead when you compress your corrugators you wind up having all the skin of the forehead that gets compressed and starts to create these vertical streaks over the surface there so this is beautiful directionality this is on the side of the face so this is around orbicularis oculi in the region we call the crow's feet right look at this beautiful directionality that skin takes in this particular zone especially when it's compressed but see that's the thing even when the skin is not compressed there is a bit of directionality that is left over in there because of uh you know if you if you compress the skin so much at some point it starts to become like almost memory folds right like it starts to get built in there and you're sort of stuck with those afterwards um yeah so directionality super important right we want to try and capture that as much as possible on our surface and that is the second takeaway from the theoretical portion of this class yeah so i hope this was interesting that you have learned something from there and i will speak with you guys next time i see you guys you

Channel: Outgang

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Length: 16min 43sec (1003 seconds)

Published: Wed Apr 21 2021