Hellboy - Sculpting Easy-Peasy with Paul Deasy - ZBrush 2021.6

hey guys welcome to the stream how's all keeping so full disclosure as always i'm gonna just uh i i seen one or two people getting a bit excited about me doing the uh the girl from the uh the image on the video well if you don't know that's actually that's a really old scope that i didn't know i did that like three or four years ago um it was just like for the for the thumbnail but um that's an old one i did actually i'll give you i'll drop a link tree in the chat there click on that has all my socials including um my art station and you can find you can find that sculpt in there but um now today we're gonna last the last week i was on we did cullen and i was debating on whether to go back to him um but i didn't want to be we had gone a good chunk into hellboy so i said i'd continue on that and it's been i've done a couple of busts now and i want to just i don't want to keep showing you the same thing again again you know just to show you something a bit different so what we're going to do today with hellboy is i'm going to pause them and put a jacket on them and we'll see where we go from there i'm going to do just a simple pose and you can see this is from the the initial concept and we're just going to keep to that pause them and i was kind of thinking it might be funny just because he has a cigarette and stuff just to have him like as if he's on a smoke break and have a tiny little cup in his hand which will be really good for giving them like scale because everyone knows more or less size of a cup so that will help um we'll see how small i don't know whether to go like i might go like comically small with the cup just to make him look huge it could be kind of funny but uh yeah we'll start with posing them i'm going to show you how then i go from the poles and put the clothing on and i'll talk a little bit about why as well so again i've said this before but i don't usually put music on the point of this is you know pretty casual we'll just i'll talk about what i'm doing as i'm going along and if you want to put music on feel free i i don't because i don't want to just whatever you want to listen to you can listen to and so it's a little bit easier that way for you guys and i'll yield you hey julia yeah a little bit early today um welcome alex prakash pramad welcome guys um yeah so we'll get started anyway honey so first thing first thing we're going to do anyway simplest thing is i've got t-pose mesh and t-poses sub-tool up here so if you go into sub-tools and are sorry z-plug-ins up the top and down to transpose master here here you'll see t-pose mesh and t-pose to sub-tool so i just have them stuck onto the ui so i'll show you what they do now i'm sure most years are familiar with these it's a like really cool tool in zebrus it's been there a while so what that's done is you can see here my sub tools know all the sub tools are one tool new it's all under sorry well it's all under one sub tool now they've all been combined at the low subdivision so now we can pause it and when we go back to t-pose back to sub tool here so you can see transfer t-pose mesh to sub tools it will go back to the separate subtools as they were except in the new position that have put them here i always kind of think of it as like a different it like switches it to a different room because it's non-destructive as well you see it like duplicate it over and the original is still here in the tools so kind of free phone this one a little bit today um i know let's just mask all this so i know his his big rock hand is his right hand and that's pretty sure pretty important to the lar too so i don't want to don't screw around with this hey alex um this whole nft thing is i feel like it's just gonna come up on every stream and it's uh i'm saying in the last stream um as i'll give as good an answer as i'm going to or we're still doing simple things here and i don't want to i don't want to get into a big debate over nfts because some people are all for them some people are not i am essentially on the fence um and that's mainly just because i don't want to throw caution to the wind because i know there's potential issues here and there that hopefully um can be fleshed out over time and not going to go into that stuff but it's enough for me to be cautious about it and yeah it's it's also you know the the tricky thing with nfts is it's essentially dangling a big bag of money in front of your face which is always tempting because you know we all need money um the goal is that financial freedom so you know the the idea that you could make art that you like post it with an nft and sell it for a lot of money and make a living just doing that is like phenomenal um so that in itself is that the idea of that is amazing and i'm all for it um but you know it's it's like most things it's not it's not just as simple as that so yeah um it may be something that i get into in the future we'll see or at least try but for now i think i'm just just watching for a little while before i make a decision on whether i'm gonna get involved in that or not um you know it depends depends so i i think that's all i really want that's all i will say about it because you know i don't want to i don't want to turn the stream into this big nft discussion and i know everyone has their opinions and that's fine you know if you're into it if you're not it's all good either way seeing grazetti doing it made me think it was legit yeah i mean seeing how well he did was definitely interesting but uh yeah so uh and so okay let's let's get this where we want it so yeah i'm just using masks to get things in the ballpark trying to think about see this is why i still keep things separate and all you might think of like you're gonna have to rework things then when you move them around which of course but you're gonna have to do that regardless even if it's all one piece you're still gonna have to do that except now you've got like you know if you bend the arm for example like in here you're gonna have all sorts of like bunching and you're gonna have to smooth it back and try to sculpt back into it um which is fine but this way i can still control the shapes the way i did initially when i did the blocko so this way is a little bit for me i prefer to do it this way um because it means i can i can i can continue to walk into the shapes uh asymmetrically though which is fine so what i think it is kind of like this angle and what i want to do is like offset things because what i want is i want a pretty stagnant pose i don't want to go like super dynamic he's not you know this should be quite relaxed because that's the mood in the narrative of the situation that i'm going for he's on a smoke break right so he's not super excited to be on a smoke break or anything so he's not going to be arms up or doing anything you know really dynamic is not is is appealing but is not always the right way to go because it doesn't necessarily always serve your narrative because that's where you should always be pulling all your all your ideas should be informed by the narrative of the situation so um i'm gonna keep it quite simple but we can we can help the pose with a little bit of like there's a phrase uh contrapposto it's an italian phrase um it's an italian word that is essentially uh offsetting you know you offset the angles of the body so you can offset like lower one shoulder higher the other and then do the opposite to the hips so you get different angles as you go down the body and that's adding a little bit of um a bit of a dynamic feel just for that because so just to avoid it being kind of boring and you know everything's straight and just gives a little bit of visual um interest to the shapes so that's what we're aiming for that's a good thing to remember contrapposto um and and and also just in terms of that that sometimes people confuse i i think we're all guilty of it at some stage you know i am um you know you hear you hear something like like make your poses dynamic and you're like okay now i have to make every character dynamic all the time as dynamic as i can which isn't true and then our you know a classic one is uh the rule of thirds you know you see you know you're starting out and you're you're doing research on how to improve your composition and you come across the rule of thirds and you're like okay now every image i make has to apply the rule of thirds which is not the case there's tons and tons of different ways to compose an image and that's not to say the real thoughts is wrong or making it making it really dynamic poses wrong it's just it should be done for a specific reason it should always be serving a purpose and not just the rule of thirds because you don't know any other rules or you don't know any other way to do it or you know because one particular artist said one time that they love using the real words or they like to use dynamic pauses um don't get caught in that and and there there's obviously an element of you know takes time to learn different techniques and different uh rules and so on and to help with these things knowledge is power there's a great actually uh just thinking they're in terms of pauses and there's a great book this one here so creating stylized characters um trendy total published it it's got some great artists in there like max greg for example um that's a really good book and it goes over stuff like that like um how to stylize anatomy and how to pause characters and it touches a little bit on like color theory and really nice look i'd highly recommend it and it touches a little bit on the contrapposto now you have even that's a contrapost all right so yeah okay so okay so that makes it a little bit dynamic um but say you're doing like a guard you know like i'm thinking that the you know that shot in star wars it's all red and uh forgiving my star wars knowledge isn't exactly amazing and they're like uh what's his name you know like troll room this big red scene um ray and that guy they get they have like a big epic lightsaber battle with all these guards if you're doing a guard like that you don't necessarily you want them to be very like straight angles you know what i mean because it serves the narrative serves the look so you're not just you can't just go oh well contrabass though makes everything better so let's just do with everything so that's something to keep in mind don't don't hear a rule and then just globally apply it to everything because it's rarely ever the case fundamental rules like know your anatomy but you know there's a million ways to apply your anatomy knowledge yeah that's all right let me think here so before i just start changing angles i want to kind of think what way i want to lean these i want to go that way the opposite way and um yeah sometimes sometimes um i care like i knew i knew what i wanted to do with it but i didn't sit down and figure everything out before i go in to start streaming and i generally do that because uh it allows me to then have to think on the fly and think out loud so you can understand where the idea is coming from like what i'm thinking as i'm doing it because if i figure it out first it's kind of a staged i'm you know what i mean it's kind of it's giving you a false perception of how i'm coming up with ideas because all i'm doing is streaming off something that i've pre-prepared already um i generally do that and the reason being is just because i find that kind of i've found that kind of frustrating in the past um watching certain tutorials or streams or whatever it's just two it's too too prepared and so you're not really getting what the artist is really [Music] the whole process the artist has gone through and at the same time it probably does take away you could argue i suppose that it will take away from the presentation of it slightly i suppose but i hope you do understand it is for your benefit [Music] um cool so let's see so i think actually i'll drop this one this is gonna be his heavy hand so in fact it makes more sense let that one drop i can raise this one hey cena hopper sean how's it going bro thanks a lot man um and does hopper sean sculpt huh do fish swim do martin troy neither dale i want to say never dare good evening do you ever opt for leaving jail floating rather than re-toppling together later uh yeah yeah like sometimes um depends very situational thing but like for example uh like on the hand say i might leave the hand you know and um leave the hand separate and away from the body not necessarily on a character like this because i want to make sure everything flows but like you know sometimes when i'm working on like very stylized very simple characters the arm is more or less a tube or it's a very simple simplified shape and i will keep the hand and and and just re-top away keeping an eye on like how many loops i need to attach to the arm after the fact so yeah you know it's kind of just you know common sense in a way it's not necessarily you know i you know if if i'm just look at what i need to do and then think well it's probably you know you just think off top of your head like i'll probably be quicker if i just did it this way so it's very situational it's not like when i do hands i do it this way it's you know always be or get stuck in one way of doing things it could be different from one scope to the next and then the one after that all right let me think here until then before we do that because i do want to turn the body so i'll tend to try and keep the the face where it is because that being still in the center of the scene i can keep working on it after if i see something that i want to change where if i shift that over here now i have to work on everything asymmetrically so it can be easier to perspective just going to order graphics so i can do this stick that there so i want this head like this angle and now because this is why i went back from turning the hips because i don't turn the hips and then turn the shoulders and now the hips look in an awkward position so you know from macro to micro from broad to detail so that's the bigger move so i make that one first i realized as well for some reason just without really thinking when i was sculpting before i gave hellboy like human feet but he has like hooves so i'll need to sort that out with some stage and okay so the benjamin's asking i wonder about that because so this is about having separate keeping things separate to retuple later i wonder about that because if you need to use dynamesh you lose detail and things get stuck together i guess a good practice might be using dynamesh on separate parts like you were doing and then connecting them with manually tuple and then you can probably sold the workflow uh yeah okay so i will usually you don't i wouldn't go into like tertiary detail you know like skin detail or anything until i'm at the don't after i've dynamished and if you're doing like a production character it's going to be different because you're not going to take it out you're not going to take it out of asymmetry and obviously with this character i'll have i'd have to do tertiary detail like skin detail and so on on on a asymmetrically and which i don't mind so much i don't think that's a big deal and so i would dynamesh once i have the if i'm working straight in t-pose all right pose dynamesh everything together everything together and then obviously like the hair and the eyes and teeth and whatever so dynamesh the whole body together and then like i've gone through the process before and in some of the previous videos that like they're all on pixlogic's youtube channel like you can find everything there um where i duplicate after i've dynameshed i duplicate the dynamesh z-remesh the duplicate and then subdivide that and re-project the initial dynamesh sculpt onto the new one which now has multiple subdivision levels so i have at least now the subdivision levels back and now i can go in and do territory details on that and and that way now i'm getting the full i'm getting all the detail um and then i'd decimate that or even i can just i could decimate that bring that into whatever whatever way i want to re-topple with and then i can bring it back in and reproject if i want to make normals or whatever or else i can just take that high poly and the new low poly that i've re-toppled manually and you know bake normals in a different software whatever whatever way you want to do it um now at this stage like doing this kind of sculpt this is very much just for like a steel just in just sculpting and i did say i i'll go over top all at some stage and i can't do it just yet because i need to get i need to do a new base mesh and uh i can bring that in and start a character from the base mission i can talk a little bit about you know the edge flow and stuff the way things are in certain places and oh thank you marina banks really love your pal thank you this approach works a lot better um this approach works a lot better for me than just sculpting from a single sphere i'm going to show you this for some more realistic characters as well yeah that's the thing this isn't like like i'm doing stylized here but this isn't you know this workflow will work for realistic characters too you know underneath the realistic character you still should be focusing on the underlying shapes and that's something that uh i find recently i'm i i tend to jump between like really stylized and more realistic more like the most realistic i generally go is like comic book type realistic you know more or less kind of this um i don't go i'm not into doing hyper realism for me i just don't find it um interesting to create i have done it but so i just don't find it very interesting to create um and something that i find in a lot of that artwork like more realistic artwork not all of course uh but something that a lot of people who do that fall into is they make the point about the detail then about the texture about the the buttons and the zips and the every all of that stuff and they're they forget about the appeal of like gesture and shape language and all those things that absolutely apply to those kind of characters you know like realism doesn't mean you can necessarily just skip all that stuff and that's just something that tend to find even even some successful sculptors who do realism don't really focus on on that stuff which is a bit of a shame because i feel like you know they would obviously their their fundamental principles can only benefit the character i think you should at least always you know you might think especially if you're starting out you might think oh i don't know enough about gesture so i'm just going to keep it really simple and does it that's kind of true but like maybe you don't want to bite off more than you can choose the point that you get frustrated with which is fine and there's a balance you still need to push yourself because you get better at whatever you do most right so you know if you keep trying to push that gesture and you will naturally get better at it push the the shape language so there i'm just seeing little things like i'm just making sure i want this to kind of feel that it flows straight down i want too much of a you know just to kind of simplify the shape a little bit like stylized is you could describe stylized as taking realism and adding limitations to it and that sounds like oh why would you want to limit yourself limitations breed creativity because you don't have all the options open to you anymore having a narrative is a limitation you know you can't just make any character you want anymore because you have to adhere to the narrative so um limitations aren't bad things it's a necessity for for like any character design so stylized really is taking realism and applying limitations to it you know so you you cut back on the amount of shapes and cut back on the amount of lines and obviously then there's different levels to that so you know there's something like this uh where i've got like you know a lot of um well relatively a lot of anatom anatomical detail compared to something like um the reverent green character i did when i started doing the streams of pixel logic and i have that i shared it at the top of the chat but there it is again anyway that link tree i just put in the chat has like a portfolio like art station and instagram stuff but if you're going to the air station you'll see like what i'm talking about with the rev green character it's a much more simplified character which i really enjoyed doing and that one was my own design and there's little elements in it like he's a you know it's rev green so he's irreverent so and i made him you know i kept him round the silhouette is round there's no like super hard edges but then i gave his eyebrows this like pointy thing so just in the silhouette you get these pointy essentially horns in the silhouette like that just adds this like slight devilish twist like almost subconsciously it's kind of it's that type of thing that you're looking for and and that's what i enjoy about doing stylized is that top process like i am a character modeler so you know when i when i do my day job i get concepts given to me uh type of stuff but really and truly i love the process of character design and love and it's important if you want to be a character modeler because you have to translate from 2d to 3d right so it's generally not completely fleshed out for you and sometimes it will be very much fresh though you'll get lots of different angles and you'll need to match everything exactly which is fine but that's not i generally don't like that kind of workflow i like to have an input and the more input i have the better so for me if you just if i'm doing you know if i don't work for you if you just give me a sketch and that's interesting it gets the idea across the general mood and void of the character then i'm happy that's that's where i'm happiest but not really into just kind of a copy and everything you know let's bend his arm faffing around i get in trouble on these streams from some of you guys for talking too much but you know kind of it's just the way i am i can't kind of can't really help it but i try to at least be uh useful what i'm saying i hope it is it seems to be for a number of people at least which is kind of why i do it it's always nice to be useful so i'm thinking like his hand i don't know what way to pause his hand yet but i'm thinking like i want it to be i don't know whether to just have his hand wrapping around with a tiny cup but it'd be kind of cool to have like you know him just really daintily maybe with a little pinky or something i don't know like holding this really small cup which will give the the image the final image it will give the character a lot of scale because like i said we all know how big a cup is we don't know how big hellboy is so we add that real world element into it and then that gives it that sense of scale you know like even in i think one of the first times i heard that was uh watching feng zhu his design labs right i think it's called i used to watch them all the time i remember talking about like a classic trick in concept art environmental concept art is like adding boards in the sky because we all know how big a board is give or take you know what i mean it's even the biggest board to smallest board like we you have a an idea of that scale in comparison to like a statue something really big so if you have this image of a statue and then you just put a couple of tiny boards next to it suddenly that statue becomes way way bigger where if you put a cloud like a cloud can be any size so here it is something there i need to bring this back further i'll be looking at the camera from this angle so let's bring this back more and then you can pull this back more what i might do here is let's just see what i'm thinking right now is just trying to find so i'm sure a lot of you have heard of a line of action it's very common thing you know if you do any kind of schooling on on character design you'll often hear of a line of action and so for this character it'll often follow the spine it doesn't necessarily have to follow the spine though um it's more like the the kind of overall arcing gestural line that go that flows through the piece um which more often than not follows this point but it's not a hard fast rule that has to follow this point so what i'm thinking is like i could make i don't know his chest too much because it looked too almost relaxed enough but if his leg follows if his leg follows that it will give a you know continue this line from like to the back of the neck truly like through the chest around the chest around the the abdominal and then down through the leg but yeah doesn't necessarily you know who has a smoke standing like that it's weird so not necessarily going to deal for me as well well we'll come back to that idea let's see if we can find another solution this is some problem solving so i'm just rotating this back so this is this is the type of thing that i wanted to show you here is the decision making so i'm rotating that back thinking how can i get that hand away from his body because without without you know how having it stick out or something silly um that's going to be his big hand also i want it i don't want it to all fall into it doesn't necessarily make wouldn't necessarily be appealing for that hand to just be sitting in front of the body when you think your silhouette was you lose the hand then you lose the arm and so what i want to be careful of i have to make a decision and either have it intersecting the silhouette or away from the silhouette what i want to avoid is a tangent and a tangent will be if this is our pose and that's our angle there this is a tangent so i don't want to use this because tangents a tangent will draw your attention again people will always say like a tangent is bad thing don't ever have a tangent but a tangent can can also create tension and it will draw your focus so if you're gonna if you're gonna have a tangent make sure you know why it's there don't have it by accident because if it's by accident chances are it's in the wrong place it doesn't look great so where if this so now okay so say this is our angle right we talked about but and so the thumb is no longer a tangent but the finger is now we're probably going to follow the fist here so we can we can we can wait before we completely solve that it's not a it's not too big a deal right now because that's not necessarily how the hand will be paused it may be a fist oh that's it so if you look at the arm look at the arm it's it's hanging at an angle i'm thinking it could be nice to have it straight down because when something's heavy like a massive rock hand for example you don't you don't keep it you don't keep the muscles tensed same way like contrapposto is you your your skeleton is made in such a way you can lock it like you can lock one knee straight and lean over that knee and it means you don't need to use as much muscle to stay standing if you're standing still so in the same sense if you have something hit like if you're holding a dumbbell in your hand you don't keep your arm bent because obviously that's causing you you need uh your your muscle is gonna fatigue from holding a weight tensed at a tense time so you you let it fall and the weight will pull it straight down and that's like just it's good to try and think like that try and think about you know try to think kind of just logically about these kind of things because the thing like that is situational and you're not necessarily going to you know read that in a book or say it in a tutorial and on a particular character where they did that choice you know and they made that choice to keep an arm straight or a leg straight whatever you're not you're often not gonna get to hear why and unless you get into that mindset yourself you're not going to know to make that decision and it's just a you know i didn't necessarily have to have it straight but it makes sense and it's it's a way of you can see now the hand is getting further away from that leg so when that's a fist it'll be a bit easier to keep it away from that leg don't mind if it cuts into the leg a bit but it like i said i don't want to tangent i don't know just touching or even just close i want it to be either decisively in or out and that's a big thing like your decisions should be sure decisions and should always look you know designed and not just accidental and benjamin you want to share something for feedback and share it i can have a quick look and and but only share it if you're comfortable with it being on the stream that's the catch so if you're comfortable with me pulling up on the stream to talk a little bit about it then sure but and i can't give it long now tear it apart to kill okay oh this is interesting this is not what i was expecting yeah that's cool yeah very nice it's uh i like the colors i mean yeah it's a kill it's a cool image it's got that um tiny hey what would you call it it's got that um tilt shift feel where it feels really small really uh like a micro macro is it macro bigger but yeah yeah micro yeah let's go yeah yeah very cool really interesting yeah it's a little image well done see this is i don't want to open a can of worms now because it'll end up where i won't get i won't be doing any work i'll just be giving feedback i don't mind like the odd time pulling up an image but i like obviously we can't turn the streams into that unless you know if that was the case maybe i could organize something something else and could maybe do that on my own streams uh which i wouldn't be against doing um there's a in that link tree that i put in the chat there's a link to a discord server you can put thing you can put stuff in there's a community in there i haven't been i've been terrible in the last while i haven't been able to get in to give people feedback i did for quite a while but it's worth throwing it in there um i may get to it are at least if i if if it is a case that i can get time to um which i would actually like to do put together something on either youtube or on twitch do some streams um or just some recorded content of some you know kind of portfolio feedback and you know i could pick if it's there i can pick from stuff there and and tony yeah i'm gonna give him his right hand the doom yeah that would be late hurry you know after the fact get get the poles and all that stuff in there first but yeah it's not hellboy but it was right-handed the only now so something i'm just thinking of here i want to add a jacket so it's not as pretty but what i may need to do is for now is this so that i can create a jacket that goes under his arm and then i can pull his arm down or i can just force it a bit but like if i dynamesh this obviously i'm gonna dynamesh this arm which is not ideal times and oh thanks to benjamin 22nd critique every three hours yeah yeah it looks a bit funny having a little ball it's just going to make it a bit easier for me later just use your imagination until then what if you gave her something to lean on yeah i'll try this lag thing again just get this in the center so it's pivoting from the right place more or less so idea now the idea is to get this into a kind of position that i'm happy with more or less you know ballpark once it's there then i can go back into t-pose and i can refine all these shapes okay so because what we really want is like this because you've got the shoulders going from screen right to left high to low and then so this angle we're going to change on the hips to the opposite angle which would mean this leg is straight and this one's bent this way i'm just alt tapping with the uh transform tool and it will it'll angle based on the surface see so it's pointing away from the normal so i can turn it based on say the leg so um paul is your back to hellboy documentary kickstarter no i haven't seen that i'm interested to see this though sean is asking you're going to print this bad lad yeah i could yeah that could be cool i do need another i need another sculpt to print this could be the one so i'm bringing it back i've got a bit of the ankle there ah fix that later i'm not gonna keep these feet let's bring the ankles back so they line up yeah starting to get something along the lines of what i was hoping for i wanted him to look be hell boy but look like a you know a middle-aged hairdresser out in her smoke break you know what i mean that's what that's you know like i took a pause directly from horror and applied it to hellboy's rig that's what we're aiming for that's a funny play on your expectations of hellboy let's say that's it for the sake of time i can refine later um oh yeah um yeah i think comics legend is all over yeah they have around zebra summit yeah you get a there's a discount and taking yourselves all the feet on the same plane and transforming and transforming them and this the soldiers defeat yeah like i wanted like you can see there one is lower near but you know we can get away with because it's not actually going to be his final fee anyway they're essentially placeholders so i'm not too worried about the position of the feet just yet so i want to push this out a little bit this volume a little bit because you're getting that squash and stretch so i'll pull this back to get that i should have really done this in t-pass but rather than going back into it let's get it on here so i'm just locking that leg back so it feels like you know you get that sense of weight on that leg at this point look i still have the option to go in and sculpt on these separate shapes and just have them all working together so i'll need this is probably again like i said it's probably going to be a fist i'm not worrying about this hand right now and that's something you need to be aware of when you're working on the characters don't get too caught up in like you know like i have a bit of a tangent here right now like it's not going to be that hand layer so you're only wasting time to go in and try and work on it now just let it be until you until you get to that part doesn't have to everything doesn't have to look exactly right from start to finish like make sure and keep that in mind all right okay so say i want to add a jacket basically but i don't want to put all the pieces in one so under our sub tool i can just go to merge down also you know so marriage visible so marriage then will merge one subtile down into the one below marriage visible we'll just merge every sub tool into one this is different now to the t-pose mesh because it's not bringing everything down to a low subdivision or anything like that it's just taking what's there i can just see the shoulders there so it didn't have them open the highest division so what you can do is let's fix that go back here this is actually dynamic i think yeah so we can give that some subdivision levels two will do me and just to make a make sure that everything is where it needs to be so tools and here you have all high and all low so if you click on all low puts every sub tool on the low subdivision and all how to bring them all up and then i can just merge visible and it replaces this one was here so it just replaces and you still have your separate subtools just here so i mean we'll just turn the mesh now with this okay it's dynamesh so the point in dynamising it now is i can extract shapes off of the dynamesh see that was a sub uh dynamic subdivision on that it's a big deal on the legs as well i didn't realize the one legs um how did you put subdivision on oh to add the subdivision i just ctrl d and you can hit ctrl d or you can see there like under geometry you can hit the void and that will subdivide the mesh but it's the shortcuts ctrl d it's a good one to know you're gonna use it a lot i'll look it up full let's let's let's not have to deal with that ah spicer's in what's going on brother it wasn't very good to cheer spicer a gentleman spoiled mcelroy is in there people go check him out he's a boss and a um he's coming along we're going with a funny kind of weird hairdresser pause because he's out in the smoke break because that's what we're going with could have done like a kill action pose or maybe the phone in there i'm actually i'm working on another character another bulky character like this right now who is going to be more of an action pose but that's for the studio so i just wasn't in the um doing the same thing again hence why he gets and he had a smoke in his mouth so i was like yeah let's do a small break let's do hellboy on a small break um have you been getting any 3d printing in uh yeah pretty good uh i did actually i i got um i did a 3d print as a like a birthday present uh of like a cat and it was a i intentionally made it quite simple and stylized and cute and uh like a kitten and a pillow sitting on a pillow and so i have the annie cubic and it just spatted out no problem easy peasy barely any walk put it through there let's see it there behind me so uh this is the printer and this is the q1 wash so it's the anacubic monox and uh for any pudding printer uh 3d printers up there uh worked a charm and i used the lychee slicer that i sent you before uh which is way back now and that's and it's it's a great little piece of software and yeah just printed it out no problem and night and day i didn't i hadn't got the print for the longest time because i guess we um shipping being like a bit slow right now i ordered gray resin i think back in like october and i only got it there like two weeks ago so but uh as you were saying hopper sean there i might actually it could be fun to print this guy yeah okay so i've smoothed this out so i can just extract off of this let's do some masking and yeah other than that playing sailing at the moment everything's going well how are you keeping yeah pretty yeah i'd love to print everything i i like it's a i'm i'm working on a few i'm working on a bunch of stuff i'm probably doing too much at once because i'm kind of tipping away at loads of different things i'm not finishing any one thing um but i would like this guy the other theater print or the other scope i'm doing is like a kind of a cyber punky type girl that i started donkeys ago because i'm actually learning ornatrix i'm using it to learn our matrix which is a hair and 4 system for those who don't know and i'm enjoying that so and i also use it just because i hadn't used substance in ages so i kind of i wanted to get back into that and so i kind of use that she's essentially a a dress up doll more than anything that i'm using to learn a few bits but i'm really enjoying that and it was something somebody said who was it ah something somebody said recently an artist i was watching something and they said about how you know it's very easy to get caught up in in just making content rather than enjoying just sculpting you know enjoying the artwork enjoying the the process and i definitely can get caught up in that so i've been kind of intentionally taking my time a little bit you know just enjoying learning a few new things and just don't know but anyway back to your question i can't really sculpt i i can't print her necessarily i could but i'd have to do a separate thing a hair or this guy can print and you could make a kill print so i may just do it have you done any prints spicer [Music] and how's the printing in an office i've gotten a packs e10 coming in tomorrow and i was going to set it up in my carriage yeah so like technically i shouldn't have that printer there because obviously there's you know fumes and whatnot but yeah my body is a temple and it must be punished so i need i do need to move it i do need to move it but yeah yeah put it in guys it's much better idea much healthier idea oh you printed the jedi and the tiger for a friend nice i'm gonna get most of my work printed out just gotta find the time yeah that's the thing so when you say you say i'm gonna get most of my work printed out so are you sending it or are you printing it yourself at home i mean really yeah all the work is in the prep once it's in the printer tell your hands it's not i have to say it's so nice now like printers are getting a lot faster like that is so much faster than the last printer used like easily twice like half the time to do the same amount so you know you don't get that like gut wrenching or when you see something's wrong i mean it's still it's still not great because you still have to probably lose i mean depending on the scope but you're probably losing a fair chunk of hours but you know it's not like for even simple things i was using the farm labs too in the old studio i worked for and not even just a simple thing was taking like 24 hours and stuff was something went wrong you go up to that the following day and it's still okay and then you go up at lunch and you see like it's got like something's just completely gone wrong and it's not printed anything like the entire arm is not there or whatever and it's just so destroying where at least when it's when it's as quick as that you know if it goes wrong it's not so bad so it's a lot less frustrating than it once was so just extract accept [Music] all right okay what's that so 3d printing pro it's a great youtube channel 3d printing i've probably even come across before and yeah i've probably even come across it before not just didn't uh subscribe because i find it's hard sometimes you know a lot of the a lot of the youtube channels it's like people doing like parts like mechanical parts and stuff for like just these geometrical designs they're not necessarily characters that'd be great to have like uh i mean i guess it's more or less the same thing still i'd like to see the characters um kniverdale tabletop i'm currently printing every scope i made to get to learn my mono and monox better working my ass off to get enough models done for our first kickstarter kill what are you doing for the kickstarter yeah well you've definitely got a good printer for it i love that thing and thank you 3x tiggy uh my skull face i i seen all right yeah mister skull face would you mind critiquing my walk see this is i feel bad now because i don't because i can't i put that link thing there and put it in the there's a link there under link tree if you click that on social media there's a discord invite there and put it in there and that's he gonna have a look at because i don't i can't clog up the stream because everyone else wants to you know it's it's not fair and i want to and if i if i do yours then have to do the next person and i don't want to keep i'll be upsetting people sorry we're basically using this version because we can still go back to this which is all in separate pieces we're essentially using this as a clothing dummy it's going to be sexy oh boy got that little concha pasta cheeky contour pasta um tonight i'm having fun sculpting a vampire whilst watching your stream nice yeah i like that i like i've said it tons of times before but i love the idea of just streaming even on my own channel as well i was i was i'd not do that as much anymore i don't have enough time necessarily right now but i'd love to get back to that because i love just uh streaming and just kind of essentially chatting to other people or like-minded people while they stream or what they sculpt as well and keep each other company now we could even should i risk it for a biscuit i could do some uh clothing more or less the ballpark i sure went on this i'll stretching let's see what happens that dodgy topper so i have to it hang a little bit better real quick lag do you ever use cloth dynamics for cloth or is that cheating in your opinion i don't think it's cheating and i don't really use it personally uh that much and sometimes like i was talking about that cat that i made for printing and i did the cat sitting in a pillow that was going to be like you know the base of the print and so the cat is sitting this little pillow so when i sculpted the cat i just created a little pillow and then i used the cloth transform tool and just pushed the cat down into the pillow and but then once i did that i also then went in and sculpted wrinkles myself into the pillow because i'd like to have control to make some you know um my own kind of appealing falls and so on so yeah that's that's i i use it here and there but for wrinkles and stuff i i like to do myself i like to try and do anything like that myself uh because obviously if i start using clothing every time and then i just rely on that um i'm not while i'm doing that i'm not getting better at sculpting cloth you know and that's important for me it's important i want to be able to do things without relying on you know too much like automation or sims or whatever doing too much of the work for me um and i enjoy the process so that's a lot of it now i lifted this arm out i should have done the same thing because you can see now i have to now go in and manually fix this which is my stupid fault but you get the idea you know now i can just sub tool copy paste there it is why not and folds tell a story as well exactly absolutely yeah we give we give the program all the phone yeah like uh cloth sims are are great you know what i mean they uh they are really handy they can save you a lot of time they can give you some really cool results and you can use them for all different sorts of things um definitely by no means against using them or anything like that but generally when i'm doing characters i always sculpt myself for that reason like i said you know look at like uh james kane james w kane um i've been a huge fan of his work for years and years um he was a big inspiration and believe it or not because i know like my style and his style don't aren't like similar or anything like that but and the mood and the creativity in his work uh something that i admire a lot and his wages cloth and hair he's amazing he's he's one of my favorites um or like um elena evanchenko is another one of my favorites much more recent um in the last like two years or something like that and maybe a bit longer i discovered homework and i'm sure a lot of you know both of their works and like something both of them have in common is that really really creative and you know if you see alina or james's work you don't need to see like a signature in the corner or you know anything underneath you know their work as soon as you see it because they're very distinctive and you know they didn't do that by using any sims or whatever they just got stuck in clay build-up or whatever and the artists were james w kane and elena evanchenko um two stylistically very different artists but principally have a lot of similarities i would say in terms of just being very unique creative and much have their you know their personalities are very much in their work james w kane would they both style his james w kane a lot less soul he stylizes in a different way you know i wouldn't cut his work stylized obviously does not mean cartoony um oh yeah yeah fox from a box and yeah jwk yep yeah fair play um artis artis a tay art is it a it's yeah as opposed to the two of them there on i'll repost them here just so it goes across all the different youtube and twitch and everywhere um they're the two they're they're probably two of my top three like they're they're amazing and you know there's a couple of you you'll find the odd video here and there of them working elena did one recently actually that was a foreign video um you'll find it on her art station on her latest one uh you can watch our process uh she's incredible um and there's some stuff like you can see james doing some sculpting he doesn't necessarily do tutorials or anything like that but uh he was in the last um wasn't the last one i he was in the last summit yeah it was the last one he was in the last summit um so if you didn't catch that check it out he did like a really cool veteran sculpture that was printed on like an industrial scale printer it's pretty amazing and that's an interesting question award do you enjoy 3d over 2d that's tough uh i yeah i don't know i'm better at 3d um but i love 2d like obviously i do a lot more 3d but i maybe do more or maybe follow more 2d artists than i do treaty artists fight i follow plenty about but um yeah i love i love i love 2d i always have even like when i do my own designs for characters i always start with like a loose sketch in 2d and a big part of that is just to keep drawing just to make sure that i keep drawing i don't lose that entirely although i would like to draw a lot more i should be a lot better at it at this stage than i am because i just don't you know i i'm doing 3d constantly um so for years now so obviously i've improved more and more as you would but i haven't been putting nearly the same amount of hours into maturity still doing it which is not really as much and i missed painting i used to paint a lot i found painting very hard filmed a color theory specifically very difficult you know we all kind of take to different things like i think i'm better at 3d naturally like i just talk to 3d quicker and i'm better um not too bad i've drawn you know like i've done drawing uh professionally like character design here and there not nearly as much as 3d but yeah but painting i find very difficult but i love it like that's another reason like elena that i was talking about there is a fantastic 2d artist paints like incredible which again it's just i have a lot of admiration for someone who can be that good at both i remember being told years ago not to do my own and i understand where the advice was coming from but i was told not to do my own designs to to do you know use really established artists and do their designs because obviously you're starting from a better base is your idea and i did do that for a while and i still do work from other artists work um too but the more i go the more i like to do my own does it make the work better i don't know but it makes me better so yeah and that's a great point uh jamison i always find the more treaty i do the better the 2d gets just because something clicks about drawing things in space they're both too fun to pick if i've yet couldn't agree more yeah my 2d has improved over the years from doing 3d which is very handy um because they say they share the same principles you know anatomy shape language gesture i do find it is certain things about drawing certain things about sculpting and drawing that some things are easier than others um like i find it's easier to get nice gesture in 2d and it's easier to get like more dynamic shapes and more flow in your shapes in 2d and by nature of the time required to make shapes and 3d what tends to happen is you ten it tends to just become more stiff and then if you work from 2d now of course that's not like a rule but it does tend to be the case let's get rid of some of these edges here insert just delete a bunch of these because really we can delete all them i mean we want we want this to have weight so if i add in in terms of like wrinkles less is more in my opinion well this is more of my opinion but then you look at james keynes walking like and yeah i always just try to be careful not to overdo it you know because it's very easy to all your wrinkles should have a reason for being don't be uh falling into that mistake of like going in with the the standard brush and like just going nuts everywhere and you know um think about where they're coming from why they're coming from there so like shoulders coming back here so you get a fold in here that falls either side of that and then it's like across here so it's falling from there there's also make sure to like you know mix it up don't don't just do peaks do values also and uh i'm doing this here but usually i wouldn't usually i also go get reference because otherwise the wrinkles tend to be you just tend to make very generic wrinkles oh well i do i think most people do you know like in general with anything like references like i said at the start knowledge is power so do get reference because it will help allah vary them in size don't keep your brush size the same and just do loads of marks everywhere you'd be surprised how much better it looks if you even just follow that real very nice size i need to follow these sleeves up to 10 minutes so we'll need to do is i actually need to get rid of those subdivisions anyway because we're not done modeling this what we want to do is extrude the loop oops because now you see it's following all the way around just for that reason that way i can extrude going all the way down yeah cool let's do it this way just sorry at least i can just select rectangle yeah if i need to isolate it so i'm just going to use mask edge loop complete use also and flip it and then i can do a little bit i can create a color it really just needs to be like way up here so we got a real messy vehicle hold that high on the neck imagine the mama's going for a smoke down and anyway you know the wet valley starting to get the idea so this is the thing right so i'm working on this this jacket is like half not even it's like five percent of the way to complete so i might so as i'm working i'm thinking right so this jacket it's gonna have pockets it's gonna have like a strap thing around it it's gonna have stitching it's gonna have wrinkles it's gonna have like folded up arms here it's gonna and then he's gonna have this big uh the the his rock hand um you have a belt across here and his shorts his hooves and i can even you know when i get to the point of shading i can add like a missive uh shading here and put a little light source there i can even have a mix of eyes if i want and add a bit of mist into the render and i'd like i could even add like a cobblestone alpha on the ground with like uh you know i just add like a uh a roughness map to that to give like a a sense that it's wet and that little tiny cup and i think it would be funny to put like you know have the cup have like like a drinking out of a batman cup like have a cup like that it's like a hellboy holding a batman cup but it's tiny and something like that you know little little ideas like that don't know whether i'm gonna go with all that specifically but you know like that to me could end up as a cool render you know him looking directly at the camera some fog see a little bit of fog so you can see a bit of a glow to his eyes nice kind of dramatic light i could do also a second render well multiple renders uh but another render of like just a display lighting so you can see all the forms well and then have them a separate like more dramatic loading uh you know like a street lamp or something like that um yeah the and then and then obviously also finishing off this pose pulling that arm in so as you're working you're keeping that idea in your head the entire time um party group's color is a very hairdresser yeah and i would have said pimp probably but yeah um smoking down anyway um so you don't want to get caught up in like going in and making sure all the details his hand is really killed or whatever like think ahead have a final image in your head that you can work towards so that you're not like faffing around playing with like stitching and all that type of stuff when only to find out that your pause isn't really working isn't really selling the idea you know have a final idea and a reason for it and and that it actually stops you from getting stuck in the things because you'll know ahead of time well i'm not going to do the stitching now because i'm going to move that arm in and blah blah blah like i'm going to do certain things that that's only going to get my way if i do it right now it might make it look better temporarily right now but it doesn't serve any purpose other than that it's only going to cause me trouble down the line so um yeah keeping that kind of thing in mind at all times let me see here still let's pull this down touch so i can actually do is with the geometry sorry go into deformation first groups see that so it just clears up all those lines for me power supply groups is super handy maybe temporarily just add in extrude all oh polygons doing some funny stuff it's because i have that hard edge i need to break that um and then you know once i have all that done you know i can do some texturing on it as well like this is just a flat red color like i can go in and do some more painting and bring out some like dirt and grime and and you know all that kind of like the rock detail in the hand and all so there'll be so there'll be a lot of different elements adding to this that will you know really give it that finesse in the end so but it's important to remember that now and not get caught up in trying to add details for the sake of it too early because it's really adds like a serious amount of time like you'll double or triple the length of time it'll take you to get to the end um what program do you use for the render i use uh arnold arnold is like arnold's are rendering that's what i use to do the renders and this flash tree excellent brush to make wrinkles slash tree yeah yeah yeah um yeah cool i missed the just what is your workflow getting thickness into the clothing are you gonna leave it as is yeah so you can see it there i just use the z modeler brush and just select extrude in all polygons and that way i get a uniform thickness rather than sculpting onto thickness um that you know you get like the thickness skins of getting really thin in places because you smooth it in an area or whatever and so yeah i hope that helps it's very simple just help people handle clothing especially things like colors and hoodies and such yeah and yeah so you can definitely like i showed you before using like merging visible of your whole character and you can use that like a mannequin and extract the clothes off of that then and if you want to use the dynamics or you just want to go in there and sculpt it yourself whatever you want to do it put a from here then you can go in and add in your your details your pockets and so on and then figure out your wrinkles and straps and all that good stuff yeah so if i missed any questions uh feel free to drop that into the comment section um and hopefully myself or someone from the pixlogic team will be able to get back to you and if you like the format you like how everything's going you think you're enjoying the streams make sure to hit a like so that we know that it's we're going in the right direction if not feel free to leave a comment with any suggestions all that good stuff and subscribe of course if you haven't already because then i'll be continuing with this um i'll be continuing with this sculpt so you'll get to see you know and including all the other scopes that are on the channel and that i will be doing in the future along with all the other streamers as well um and yeah hope you enjoyed it guys so for now we're three minutes over so i love these and ladies for tonight and i'll be back in same time wednesday in two weeks

Channel: Pixologic ZBrush

Views: 6,795

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

Id: KWcCnhqJuEI

Length: 126min 24sec (7584 seconds)

Published: Wed Mar 24 2021