How to Approach Anatomy in ZBrush - Michael Pavlovich - ZBrush 2020

ready let's make sure let's make sure refresh and boy am i rusty so let's let's let's this let's set the comma key and let's move this down and you know what let's get some oh you know what I could just use this do I have a head anywhere in here you know I'm gonna use this guy good enough alright so a couple different you could do you could start with a comma key you can go into the tool menu and you could go into like the female head the demo head also two head options in here you can also have projects in here and if you want to play around with the head planes you can go in here to head planes it lets up even thanks for showing up we're gonna do a little bit of exploration because boy I am rusty so we could start with a female head 1:28 and then you've got the head zones that you can start is called down if you want to start from scratch we can do that too so we can go ahead and just start with like a sphere here and then go make polymesh3d hold on control shift going to clip curve turn on x symmetry here and you know i go is go z forward y up however if you remember from zebras 2020 we could go into not RZ plugin but our preferences and there is a cam view now as we turn our cam view on and of course you can cycle through these and you can kind of just have that kind of hanging out so you know which way you're facing but we don't need that so we know we're going this way is we're going to go ahead and turn this into a head now of course you can't just let's go ahead and turn off the line cursor service you can't just start sculpting a head it's it's about just like that and you're good to go if you want to get fancier you get a penned a bunch of cylinders and stuff like that but i think that this will this will get us where we're where we're headed so we have standard brush here we got zi turned on I'm gonna crank that Z at up just a little bit and I'm also going to go into my stroke here I'm gonna say lazy Mouse crank through it lazy right ease up so you get a nice smooth stroke and then I'm gonna tap L to turn that off so if I need it I can get it but I don't really need to right now so about halfway down top of the head bottom of the chin is gonna be about our eye line right through here so let's go ahead and carve out a little space for our eyes here and also let's go ahead and dynamesh this I'm gonna go ahead and just hit dynamesh it's gonna be under geometry dynamesh and that'll work for now and then now it gave me worried about we got they got the front of the face now I need to worry about the profile so here we're gonna have if you're doing a like a male you may have a little bit more of a pronounced brow Ridge and then the skull will kind of go back or if you're doing a female you can kind of bump this out and then you can diminish these brow ridges just a bit holding down shift to smooth my smooth it's gonna be a little bit different than your default because I have smooth brush modifiers I have it automatically set the weighted smooth mode of one which makes its move stronger you can find that in your comic key and your brush palette if you want or you can just set the weighted smooth mode and then this will get us the side of the head and then we got the front of head it back to the head half way down through here is going to be kind of where the jawline starts and also where the ear goes now the ear is gonna be the brow line which is going to be above your eyes so here's your eye line here's your brow line here's your hair line brow line nose line chin line all all about in here and then about here is gonna be your mouth line so we've got our proportions generally set up if you do want to go ahead and use like an insert mesh brush we can do that just grab a sphere and just pop that in there and then although you know maybe for the planes of the face you want to do something more like a cube so you go through here and we can say alright you our nose and of course go through here and you just kind of move these polygons around to get what you're looking for so again if we did have a pronounced brow Ridge like Henry Cavill style bridge we could go through here and we could say Byam he's got a serious brow Ridge you know and then it goes back to the eyeball here and we're always looking for that draft of the face as well that kind of you know as your face goes from the front to the back it's kind of wrapping around the underlying skull here so and then of course we have done a mister not swinging to control drag oh did we turn time to measure on now we have done a mr. in time so we can go through here now we can just start smoothing I'm gonna drop this resolution down just a tiny tiny tiny bit so drop it down that up oh there we go and we got the face going and then we got the lips and at the philtrum in here and of course you know I always feel free to go through and move your proportions around I kind of play around with how your face is gonna end up looking all that good stuff and we got our cheekbones here it's gonna kind of go from this a direction here and again we're talking about the jawline earlier line as well so we got the brow line straight back and we got the nose line straight back our ear will fit somewhere in here kind of at an angle so we'll say angle is back if we want an easier start it's not difficult to model ear but just in case you needed it there are body parts you can just grab and grab an ear let's go the other side these grab an ear from here can you go ahead and just this can be your start or you can just mask mess that out and do what you need to do there but generally speaking that's the shape of the ear you're gonna end up looking for let's go ahead and move this around just a tiny bit and we need a neck here so we'll go ahead and say um you know I'll do the cylinder 32 since we're not doing hard surface modeling just yet although we can if you all want uh where you put a neck in here so we got you know a cranium that goes back to the neck and that's gonna go forward to a chest here so kind of elongate this out and then we kind of got a chest going let's go ahead and reset this here so we can scale that out of it and generally speaking we could say this is our ribcage here good enough and you know we can go ahead and correct this too but in a few shoulders in here and get the indication of where our or chess is gonna be where our traps are gonna be and we can actually just go through here and say okay you know what there's our traps here's our neck here's our head and it's all dynamesh we can just control drag I'm going to go ahead and do a deformation unify just to put them right in the middle of the scene and again and we're actually dropping the resolution that's what we're dropping it rather severely so let's set this back to 128 and then I'll hit unify because we're making it smaller so what's going to dynamesh a little bit harsher there we go it's something like that and we've got a head going so we've started a character and I'm gonna drop my smooth intensity down just a bit because again we do have smooth stronger turned on there we go and we've got the basis of something of course doesn't have to be this is kind of just shapes and forms and stuff so it can still very much be whatever you want you can go through here and kind of play around with the type of character I'm making maybe you want it to you know be a very gaunt figure or you go through here with your inflate you can go you know what now he's a little heavier and maybe diminished chin or maybe play around with whatever you look for hey thanks for showing up we're just kind of playing around we have a little bit of fun this isn't too terrible let's let's go with this so and of course if you want to you can you can always go back through your history you know and I was liking more of this or I can wear this and you can also just duplicate this off so if you duplicate this off that'll store this one here and then we can go back to our kind of our base here and then maybe we want to play around with one that is you know maybe this one has a little bit of tooth loss here and getting a little old cartilage starting to Sag a bit and start with some sort of a bald head in here here we go and you know we can also thin this out a bit something like that you know go ahead duplicate this off and one more you know what let's go let's go it's fine let's go in here and we'll grab this yeah no go ahead scale this up now if I scale it up it's going to go away and towards that midline here we're going to turn an L SIM local symmetry and we kind of play around with this a bit and you know what let's also grab this here just holding down alt kind of resetting so I'm gonna raise up that resolution just a bit I want to it when I'm doing organic stuff I'll tend to keep it as low as possible but not so low that it's difficult to dial in just basic features so has something this will be fine and then um no no no what else can we do around make sure this is we have our tooth cylinder here we want to keep that nice and round and again you know that draft from the front to the back and the side so in here we are gonna have you know we talked about our eye line so our eye line will be through here then the middle of this eye line is going to go to about the corners of the mouth and we are playing around the proportions of the face so maybe it's not lining up exactly you know halfway down and bubble blah those are just guidelines and you know what let's do a like do kind of a diminished cranium on this one if you want to and have a little bit of fun with that so we already we've got you know three basic variants in here let me go through and play with okay proletarian X thanks for showing up good to be back it's been a while I always say I'm going to stream more and then I never do but we'll get something fun done today so we got we'll turn this off and then we can turn solo on and then as we go through here we can just kind of click and see if anything's kind of jumping out at us this one seems fine this one actually kind of reminds me I'm gonna go ahead and launch up Quadro reference of you were gonna pull in some reference here I'm gonna say add local image artists like a good shell this one here go ahead maybe and these are all you know I want individual images so I'm just going to scroll through here he's got some really interesting I kind of Gaunt old heads here that are just good to have up and kind of oh that's a really cool one these are neat this suppose that's not Herman Munster but uh one of those types here I'll go ahead and say open and now I can just have these just kind of floating around and I can just be eyeballing them and see if there's anything interesting that kind of jumps out at me through here and also keeps me keeps me a bit honest so uh you know I can play around and do some fun stuff but I can always have some reference up that'll kind of keep me because again I don't I don't do this much anymore so the ability to kind of you know have stuff up and also you can just have basic head reference up so do a google search for human head and that that should suffice but I like to have something a bit more interesting up if I can so we're gonna go through here and we'll just go through and we'll start cutting in the features of the face here and so again we got the cheat now this ear is way up and out there which I suppose is alright we'll go ahead and keep this elongated and we'll go ahead and tuck this in here and this is get a little out of control so you start making some minor Corrections here so this is gonna come through and it's going to curve inwards and then this is gonna pop out here we'll go ahead and use our clay brush to start building this up you can use first softer things or for things that aren't like muscle build up I'll just use the clay brush but you can use the clay build up or clay tubes I'm gonna drop this the intensity down just a bit and that focal she have to put up towards zero so it gives us it's not quite so intensely stuttery we'll go through here and I'm gonna use my Damien standard you can use your standard with with a high intensity if you want to be used a means standard just to kind of cut in our features here so you have your you know what let's do this this will be fun Oh Tanner's I go buddy here we don't need your nervous system or your guts we'll go ahead and pop those out or your skin but we do need your beautiful muscles so we have here are a sternal master later sternocleidomastoid it's gonna go from that little bump on the back your skull all the way to your clavicle here and then you're gonna have a platysma over that will go and ignore that for now and then you've got your traps over here and then you've got your deltoids so all of this stuff will just be basically blocking out so we'll go ahead and say you you you you you get your hyoid bone up here and stuff like that but we'll just kind of keep an eyeball on that but this is basically what we're essentially we're blocking out and then you're gonna have in your excuse me your scapula back here universe bananas teres major and your teres minor gonna be some small Moses here and then I guess we'll talk about a little bit of the lats and a little bit of serratus anterior through here and then maybe a little bit the top part of any mAbs and then your obliques that kind of tuck in there so all these muscles here will go through and block out really quickly so again like I said you're gonna have a little bump on your skull here you also have a little occipital protuberance back here where your traps are going to go and then down the middle here you're gonna have and I used to I used to teach anatomy it's been a while and again I'm a little out of out of practice here but we'll see we'll see how it goes on the back here you're going to have kind of a divot where all the muscles are gonna kind of fold in and then you have a spine here and then you're gonna have a is this a pretty severe divot but you can always go back in here and you can start putting in your your landmark e bones so it's gonna be your c7 and then you know you got your vertebrae going this way and then you've got your so here's your your vertebrae is gonna go around through here so here's going to be your neck and then you're gonna have the vertebrae that goes around and is pretty rigid it's going to go around your ribcage and then you got your lumbar vertebra which is we go B s H first a cook brush and let's go ahead and turn on sculptor's Pro so we can go your Inc and I mean just pull that back through and start getting some geometry and you can see you know a lumbar and then your cervical and then your thoracic and then your your little sacrum and your pelvis area there I think you know still thinking about proportions here we don't have to model the whole body I wasn't intending to do any more than just a bust but we can play around with this a little bit so let's go in here let's hit W and we're gonna say for you you are gonna hit Y so we can toggle on oh what's it called the transposed line this is always a fun one I recently I had a youtube comment that was like why in the world would you ever use the transposed line well this is a good reason so if you go in here it's great for measuring and ZBrush is among other things you can do some cool transpose modeling with it but if we go in here - oh yeah let me let me link you to this it's just I go buddy calm sorry about that cool Walt check that out very cool and you know what we'll do a little bit of this too you know trying to go through here and basically you know you got a good block out in here we're gonna do this exact same process looks like you use a little bit of clay tubes well bit clay build up and then we'll go through and we'll detail it up maybe not that this level but you know what now that I see this will actually go through and you know we'll certainly do this but we'll also certainly do a little a fiber brush I think that'll be fun but here in Z plug in we go here to transpose master and we can do no we can't we're gonna go in here to preferences we're not transpose mastering this but we are going to do preferences transpose units and let's remember how to do this so we're gonna say this is one units gonna be basically their head like now he's gonna be very kind of a stretched and elongated so he's his this is going to elongate his whole body if I stick with this head measurement but I think that'll be fine we can make them a little elongated so we're gonna go from the chin to the top of the head we're say it's gonna be one unit and we're gonna set the unit unit scale calibration distance it's gonna be one enter unit scale set units is going to be a head unit and then we're gonna say for minor ticks and then one major tick and then the calibration distance again is one so now if I go through here you're gonna see bottom of the chin to the top of the head is one unit and then in here you have one two three four so that's gonna divide it into fourths so at least you have a midpoint and then two points around that so so now we have heads so we can kind of that's this I could kind of keep us honest when we were going and doing proportion work so if I go through here I'm just grabbing these outside rings not the inside rings and so from here we have one two three four heads is going to be kind of the crotch area and then one two three four heads two bottom of the feet that's a heroic proportions so it's not seven and a half heads but at least that'll kind of get us where we're looking now you can continue just using sculptures Pro and just dragging out little shapes like whatever like we did there but also you know you could use insert mesh brushes and you could block out like a base body in fact we've done that or on my our station page or if you go to our station learning now that I think about it I always forget I did this you can go in here to the intro to ZBrush series and there's a whole series so if you're part of the whole art station crew you can go through there and you can have a little bit of fun just going through the ZBrush basics I also do have on my youtube channel if you want your to playlists there's a kind of a yute kind of a new intro to ZBrush ideation superstar d--ation update for 2020 here's a full playlist on just kind of getting started so that's another kind of a getting started guide right in there can you give me some tips to work in this sector 3d I have speaking of art station just for that I mean and not really it's kind of a broad question I don't know that I'd have the best answer for you but I do have do I need to call his degree motivation inspiration to D versus 3d it's not vs. it's just 2d and 3d working together in harmony and then how to break into the games industry so if any of these seem interesting to you you can certainly check out my blog and again I don't really answer any questions or don't have any good answers for any of that but if you want my nearly worthless opinion you can check that out so to go ahead and stretch this body along here so basically this body I'm just looking to hit that point here so I'm gonna hit well I'm gonna go ahead and mask out because the head in the neck I think are pretty solid but this body needs to be elongated a bit so we're just going to shift we're just going to pull that down so that now we're gonna hit that midpoint here so now we got one head down two heads down is gonna be our chest line three heads down is gonna be kind of our belly button the top of the pelvis four heads down is gonna be the bottom of the pelvis which again that sacrum is gonna hit and then one two three four although when we're moving oh no that's right so there we go now we've got a little bit better proportions for him although I do believe let's go ahead and turn off sculptor's Pro here that probably that neck got a little bit too stretchy for my tastes like I want to have a long neck but not like crazy so we'll go ahead and put the traps and that shoulders back in so yeah we got start of our long boy so we'll go ahead you know what we'll kind of leave him cadaverous a little bit I think that might be fun we can always change that but for now we'll stick with this stick with a plan so again like we were saying we can go in here to clay tubes or clay build up and we can start using that to kind of block and our muscles too so what I'll use is I'll use like clay tubes or clay build up again with the focal shift turned down to zero maybe the intensity turned down just a bit although you'll have to play around but see what works for you and we can kind of use this low to kind of go through here and or you can just use the clay brush or you can just use a standard brush I'm not gonna tell you how to work here's our c7 and then our trapezius it's going to go around that and kind of go through here and twist and go down the middle of the body like so if you want more if you wanna kind of sketch this instead again Damien's standard oops Damian's standard to go through here anybody okay here's my one head down now nose the chin here is again I'm these distances are getting stretchy but you know where does have a little bit of fun so nose to chin here to that sternal notch right here and then you're gonna have your sternum through here and that's going to be your chest line so again one head down two heads down is gonna be your chest line here and this is where you're about where your pecs are gonna go and then this is going to go three parts to your pecs let's see if so I go buddy has anything on that not really but about halfway down your clavicle ish and then down your sternum and then also a little attachment on the portion of your ribcage there and that's actually going to go into if we turn off all these we can actually go through and we can do a little bit of investigation so we can click on this and then we can say you know what get rid of all the other muscles and you're going to see it's about just just below the top ball of the humerus there you're gonna have maybe a three finger four finger and a three finger width where it attaches and then it's also gonna loop over so these top muscles are gonna go to the bottom and then these bottom strands are gonna go up here so and if you want to kind of visualize that we can go you know what let's knock this back a little bit and then in here we can say give me a sphere and then let's hit Y so can go back to the gizmo and then let's do a quick under your split menu under subtool split we're gonna say split mass bites and then through here we can say you are now a bone so you are gonna be bona fide so we're gonna say w and then ctrl tap this and we're going to control drag this out just ramp and you can use the ax mother for that but why why would we do that we can simply just control drag out so now here is our humerus now the arm is going to be basically here and then when you put your arms down at your side of your your medial epicondyle of your humerus is gonna kind of touch the bottom of your ribcage here so that's about right if you want to visualize that you can just drop another cylinder in here and then this humerus is a bit much right so let's do a quick group by normals let's drop that max angle down there we go so I can get some poly groups going and then we'll do a quick challenge for modify topology mirror and weld and then now we can use the modeler cue mesh probably group all hover over a face hold down shift it's gonna pull along there and we can thin that out just a bit now that we have that we are talking about the epicondyle so here's the letter on the medial here and you just go and then great and then tada and that can be our indication of that that stuff so anyway now we're talking about putting muzzles on here you can't and actually make a muscle brush if you're so inclined that's a bit much we're just having fun that starts getting a little bit into stuff that isn't really necessarily that useful just yet so again clay brush or clay build up because they're knocking this back because our traps don't fill in this space here we've got our clavicle and again just like in the face we're looking for draft so we're going to go here to the neck and then back here so is gonna be your shoulder girdle and so you have a clavicle that comes back and then you have your scapula which has an acromion process we'll go back to our reference here and you're gonna see here's our scapula got this big blade here and then you've got the the arm that kind of comes out and then you're gonna have your chromium process you gave our coracoid process in here to attach it to some armpit muscles that we'll get to in a second but basically we're looking for is this landmark right here and then I wish I could like tilt down so you can see this a little better but so here's the clavicle and then here's your shoulder girl and then all of this kind of makes up how you can kind of move stuff around and those are our bony landmarks so you know I'll just I'll just keep this up for myself so I go through here and again you get your c7 your cervical seven spine here and then it goes up and so when you tilt your head down you can kind of feel that knob at the at the base there that's that one right here and then from here we'll go ahead and our muscles back on so I can again I just saw about keep myself honest I want a why and and more importantly I want to learn so I want to make sure that I'm vaguely accurate don't have to be super accurate because again we're having fun but as long as you know the rules and you can kind of work within the rule set you tend to be a little bit more successful and then you can kind of play around with proportions and stuff like that and have it be a little bit more of a successful endeavor than just going willy-nilly breaking rules you didn't know existed those those tend to not be so successful so again we're talking about our Peck so we have our sternum here and so I'll go one head and that nose the chin is gonna be the top of that sternal notch and then have our chest line the sternum is gonna be about half of our rib cage so one sternum down to sternum is down ich half of the rib cage here and then we've got our that arm of the scapula is gonna go over here and that acromion process gonna meet that clavicle which is gonna give you kind of Cupid's bow shaped and then you've got the head of the humerus here which again this humerus very thick humerus so we know we could we could tempt ampere tempered that to mention polygroup ball and then I get us hold down shift and let's go pull along that surface normal so we have a PEC now this PEC this this arm also looks a little bit low I'm gonna sit up in here and you know what let's get these arms out just a bit because if we were gonna do a kind of a pose we want to make sure we got plenty of room to put clothing and stuff in here I don't necessarily need to do a tee pose for like rigging or anything like that but we can say you know what let's do and a pose here so that should work so through here we can go let's go back to our diamond standard brush and again we have our clavicle here like so and then we've got the sternal portion of our pectoralis major and then we've got our rib cage that's sitting right there here so here's our rib cage off of this rib cage is gonna be our serratus anterior so this is going to be our serratus and the serratus is gonna come around here and it's actually going to attach to the inside back of this scapula so again go through here there's our serrated anterior and if we go through here and we go get rid of the muscles you can see all along here and these are going to be a little bit more straight and then your obliques are gonna go down from this angle so from your rib cage to the back inside of your scapula is where those are gonna hang out so any again this is yeah I think everything perfect you just need indications and you need direction so these and these are also going to be a little bit more bulbous and you're not only see these I'm very lean well you're not gonna see a whole lot of serratus interiors hanging out but then from the obliques those are gonna kind of come down in this direction maybe you would call it an oblique direction and then those are kind of feather or you know these these fingers here will interlock with your your uh your stuff you know your stuff and then on the ribcage here I so I think on males the ribcage tends to kind of be more of a like a 45 degree angle and then on females it can kind of be a little bit of a little shallower angle there don't quote me on that again it's been a while but something like that so we can get a little bit more of an arch here and that's probably vaguely correct so now you can also go through here if you if you feel like this PEC separations a little much go through here there pinch brush and just pinch those things together now we were talking about the PEC so here's the ball the PEC and again this is go and just smooth that out smooth jump in intensity down it's actually a little bit more like that and then we can actually go through and we can pinch this if we want to also two useful tricks with the pinch brush so we're gonna go through here and I'm gonna use my move a Q which is basically the move brush with your preferences gone C plugin gun brush docked to T curve a Q and I have a brush saved with that setting so we can go through here and we can just kind of pull this pick muscle out now when we were talking earlier in how to dynamesh get turned off so we got this and then again we have here's our rib cage so you have a little bit of this PEC kind of sticking on my rib cage a little bit of this PEC kind of sticking along your sternum and then your clavicle here and then these from the clavicle portion are gonna go to the bottom here and is going to kind of go to the sternum portion which is going to go and start going up and these are going to go to the top and then the very bottom is going to go to the very top so they're gonna kind of twist over each other so if you're looking for which way your striations of your PEC are going that's just a decent indication of how that's going to work now of course all of this is going to be covered up by your deltoid so we'll go ahead and say split mass points pull this in here and sometimes if I'm playing it safe I'll do a quick save loops which if that is nine and then I can just go through here on my quicksaves and just reload oh boy I got a bunch of so here's my latest Knowles reloaded from the quick say but I'll do that whenever I'm popping a lot of subtools off I'll go through and just do a quick save and reload hey John you cool awesome yeah again it's been a while but you remember enough Anatomy to get by this morning maybe is there a way to state alphas for loading on startup for sure it's anything with brushes so if you want to load up alphas and brushes on startup just go to your ZBrush 20/20 folder so if you want to go into the comma key to your lightbox that's gonna be under Z alphas or is the brushes and that's gonna be like oh I just want to grab an alpha real quick you go in here and you just grab an alpha and you can organize them by folder because when you go into the alphas for example it's all organized by folders or if you want however if you want to do startup you simply go to Z startup and then you can go into where is that alphas and then if you load them in here these are going to be these will show up at starting out the same thing with brushes these start up brushes brush presets is what it's called anything you put in here will start up with ZBrush and then you can assign jaquise to them if you really want to get crazier you can actually change the default and that's gonna be a noisy data so if you go under the data alphas these are the default alphas that come into ZBrush if you don't need any of them you can just delete them although I would be careful with that and just like when you're doing a brush presets in this folder these are the ones that load and two ZBrush by default so save this off have like a brush presets backup or copy and then go in here and make the changes that you want save over these brushes and then whenever you start up ZBrush it won't be a brush preset addendum it'll be like my smooth brush which has the way to smooth less at the 1 by default so all that oh and I was I'm working for you that's kind of weird that's how I would do it I'm not sure why that wouldn't work yeah and also for alphas in particular maybe make sure that they're a depth of 16 grayscale I don't know that that makes any difference but it'll give you the best results something like that and if I miss anything just give me a second how to merge two sub tools without losing details you shouldn't lose anything just just by merging now if you're talking about merging two sub tools and then dropping the resolution because you're gonna dynamesh you subtotal together that would just be working on like if I'm going to do hands I'll go through here and I would add hands and split those off and then you know I would just work on these separately and I could even dynamesh them however i dynamesh them at this resolution these things might be then like have a tendency to stick together but even with this quad geometry i'd be fine work on them at a resolution separately until they get comparable to the resolution of the body and then when I merge them and dine emission together it won't make any difference at all so yeah you shouldn't lose any detail when just by merging if you're losing detail I'm not sure what would what would cause that necessarily because again you're not changing any vert positions or anything so we're gonna go through here in our deltoids is gonna be a three-pronged attack it's gonna go from the side of the clavicle here down about halfway down surprisingly far down your humorous here and then along the back of the let's go ahead and always called back to your reference if you don't know look it up so along the clavicle here and then around that acromion process and then a pretty healthy portion of that spine of a scapula that will be our triangle muscle or deltoid and of course it is it's going to inherit since we inserted it on the its crank raising intensity up of it since we inserted it on a mesh that had dynamesh it inherited those properties of that tool so so now we have this overlap so now you are gonna get kind of that there's like a little I mean this is actual a little bit too far in maybe that's something like this now this is actually gonna curl forward just a bit it gives us a little bit more room for the triceps in the back and then we got the arms and stuff like that so for the arms you know what we can just take this and we can just inflate it and this can be kind of our working arm here so now for example like we were talking earlier am I able it's good actually that just a bit am i able to merge two things together not really lose resolution well these is the dynamesh resolution 2216 this is dynamic resolution to 16 this doesn't have any dynamesh however if i take this hold down shift shoot it to the top and I just do my hotkey for merge which is sub tool merge down merge all these together they are going to inherent all the tool property so I can adjust control drag and like that however before I do that I don't lose resolution on this it just exists and I can always just go through and I can pop this back out again just ctrl shift a and split this off if I want to or I can just control drag and dynamesh and then now I have all this dynamesh together and then clay brush or claybuildup go through here and we got our biceps in our brachio brachialis here and then we got our triceps in the back and this is where you can if you want to just go through here and you can just kind of use this as a muscle e appendage if you want a little bit more leeway and up those polar icecaps we do the split mask points and then we just do a quick zremesh well let's not do is here mission 5000 let's do half at emphasize down to zero this will give you just a very general kind of shape that'll smooth a lot nicer so you can get a through here gonna be okay triceps numero uno is a scientific term triceps numero dos and then so we go around the back here you're going to have your long head in your lateral head and then I thought out there those medial heads they've got three heads here so here's the little medial head popping out and then here's the long head and then your lateral head on this side so but you can just indicate that with just a quick you know you don't have to do muscles for everything just like okay here's my medial head medial epicondyle medial head medial towards the middle of your body and then that coracoid process we were talking about earlier I think it's what's called the stripper muscles out and then we look at this little little finger do dead hanging off the inside of your scapula here and then we bring some of our muscles back you're gonna see that attaches there the curved coracobrachialis and that's going to be kind of a little armpit muscle that you can indicate through here but you know here's your PEC and then here's your craco brachialis and then your tricep a little bit forward and all that good stuff and when you're ready to rock and roll if i if i merge this dental it does have dynamesh because we put it on a dynamesh mesh and then we merged it down so we can still merge these down and we're off to the races and then the brachialis is actually gonna go through all the way through the body so goes gonna go here to here which is interesting I suppose so to keep moving these muscles in we have our break yellows here and it's gonna go all the way through and you will see it towards the bottom underneath the bicep kind of down through this way so it goes all the way through there so you kind of indicate that down here and then of course up here and then you got your triceps now you're gonna have the the rhythm of the body is going to be kind of do I have a way to draw you know what I need two writing tools yeah okay let's go out of edit mode let's grab a dot stroke and this so basically and I don't need a body being drawn out I need a simple brush and I need it to be a dodge stroke and I need it to be an alpha there we go something like that so basically you're gonna have kind of arounds here so you've got your humerus and then here's your bone in here so you've got the nice roundness of the muscle and then you got the roundness of the muscle and then you can have the flatness of tendons and ligaments and then you have the pointyness the bone so if you can kind of just inter disperse I mean in ways that make sense these kind of ideas you know here's a nice flat and hit the roundness of the muscle takes over and then you got your brachioradialis and then it's gonna go down to kind of a pointyness of a bone here you know kind of having these kind of mixed around and then you get pointyness of a bone a corner of a bone and then you've got the roundness of a muscle all of that stuff will kind of help your shapes a bit so we'll go through here and let's change that back to drag rect gonna add a mode of control an eclair canvas and turn that off so okay now this this has all just been a kind of a technical walkthrough and it has done nothing for what kind of character we're making you know what are we trying to message with this character what's his story what's his we'll make some interesting from a glance what he trying to message to your user and that's all stuff you know go back to your archetypes and your TV tropes and stuff like that so you can be like as the king is he a gesture as he uh you know what what what am I trying a message here that's probably far more important than the technical aspects although they you know they all play together nicely I shouldn't say that they all they all work together to again message one one is more messaging functionality and feasibility and then one is messaging you know what what your character is which is super important obviously and I don't have answers they need those questions I'm just I'm just kind of playing around so let's say I'm kind of I kind of wanted to do for some reason just kind of a gaunt kind of a I know if he's an antihero or is he stylish is he is he funny and this is where you can kind of go around and I've kind of been neglecting his head and you want to basically work on the body on the round you don't want to spend too much time in any one area so you go through here and again you can only just play around your proportions going here the big old move brush and just kind of go through here and do what you need to do if you need to kind of broaden any areas out or you can mask and transpose or mask and gizmo around certainly feel free to do that we got a big hole left over here so that's scapula we're talking about earlier this is where the infraspinatus infraspinatus teres major and teres minor and a terrorist mmm you know I used to know those stuff there is gonna be one interesting one is the teres major as you actually go from the inside bottom all the way around to the almost the side front of that humerus and the teres minor let's see here teres major and then the teres minor is gonna be a little offshoot here and then your infraspinatus is gonna go around to the back so that was the only only interesting one I shouldn't say that they're all interesting but this teres major is going to be the one that kind of does a little loop-d-loop up in here and then the infraspinatus gonna be a little bit more visible and then the teres major so gonna be a little thing and then your traps let's go ahead and kill these here boot the boot up and bring all my muscle bit traps are gonna sit on top of everything and let's go through the clay build up and then yeah right along here so tours from our scapula and then it's going to go around our scapula here and then down and kind of cover up these two about the mid-back and then of course you can have your lats and that's your lats are gonna tuck around on the inside of your arm too a lot of stuff going on in your armpit maybe that's why it get so get so hot in there a lot of muscles attaching and doing stuff and then your lats are just gonna go through here you're actually let's actually get pretty thin they're gonna be thickest up here at the top and then as they go down your body the shape of the lats is a little bit misleading because if you look at a neck or Shay model you're gonna be oh yeah let's make this shape but then if you go and look at a bodybuilder or anybody who has isn't just stripped in scientific model you're gonna notice that you're actually gonna have a bulge here from your serratus anterior so this is going to be a bulge that goes this way cuz your serratus anterior is going through and attaching to the back of your scapula like we talked about earlier so this is actually going to be a bulge this way which that's the direction your lats don't go because your lats yes your lats are going this way but you are gonna have a bulge forcing those lats to kind of make this shape and then you got your obliques coming around and we'll just go ahead and skip that again we're just gonna keep him I mean we got a little bit of obliques up here and then that's gonna go to your obliques that sit on top of your pelvis there but again let's get back to this face here this is all fun so middle of the skull outwards now we do have like the orbit of the skull we can kind of pull this down and that will kind of be where the eyeballs are going to end up sitting and we'll get to the eyeballs in a bit but we are gonna go in here to our Damien standard brush so Damien standard brush is good for cutting in so if you want to like cut in like the brow Ridge here and go through on the side of the nose here and our labial folds corners of the mouth here and then chin like so and then a jaw line straight down and then you can also hold down alt so if we go into the Damien standard brush you hold down alt you can actually pull out to a surface like this if you wanted to like and pronounced a Ridge or something guys speaking of that I did a bunch of that for recently there's three playlists in here actually fry easier to look at in here mechanical skull series so in here I have the hard surface if you want to click up here you got like 17 videos I'm like how to make the hard surface version of the skull and then if you keep going you have substance painter so after it's all been game resin baked you can go through and you can paint it up and then rendering and exporting to sketchfab something go through here and let me see if I can up here scroll down zoom in there we go so now we have so what is it all done alt yeah move the lights around and so basically this is just a quick ZBrush model so it's kind of like a ZBrush concept sketch that you can go through and you can put in painter and you little subsurface scattering on the teeth and put in lighting and stuff like that and go through here and do something miss it for the eyes and have fun with it but basically start out with an organic skull if we scroll up Oh scroll Scroll scroll go through here sizzle video yeah so you start with an organic skull and then you just go through here and you use stuff like the Damien standard and H polish and trim dynamic and you go through and you just hard-surface the heck out of this thing so that eventually you'll arrive at geez sorry slow moving air we go so eventually he arrived at the kind of a block out of your heart surface shape like this but anyway if you're injured in that series check out this link um cool thank you John you yeah exactly so if you can if you actually do want to mess around with a skeleton it's a good point there is in the tool menu you have this rankings line Anatomy model and this is great just to kind of play around with so if you want to just strip the bones out you have a whole skeleton here and in fact if I want to keep myself honest you can also play around like and grab all this control shift a you know I could split this in a pendant mine is make my life easier if I just go through here and say you know what brush great insert mesh new and very quickly I can just go here and I can say oink oink and now I've got a skull so we'll go ahead and say split mask points and then go into transparency mode so now you can see you know and this is I think it's a female skull but close enough landmarks are still there you can see the kind of liberties I'm taking with some of his long proportions and stuff and the diminished cranium in the back we talked about and kind of pointing out this big knob on the top of his head here you know but you know it's also good just to kind of keep yourself like I said honest and making sure that you know your teeth and you know your rapping you're getting that depth that draft of the face they're all that stuff and you can also use this as kind of a visual element too or if you wanted to go crazy and just be like you know what we're gonna make skull man did it Skeletor style and you can have a little bit of fun doing that type of thing or if you wanted to give them like a hard surface skull face plate that's a real easy way to start but go ahead hide that skull here and also you know save often you can hit nine on your keyboard and do a quick save while you're saving and say bitter of lay just I like I don't I don't like to do a file save I like to do a good old tool save as can you guys see that menu okay yeah okay we start to see verse three times for it to show up interesting huh cool yeah 16-bit is good for alphas cool cool our station artwork I can have some feedback sure don't see anything in here we have free update to ZBrush twenty twenty point one point one which I'm on I'm actually updated to that and it's actually pretty easy to update if you go to I hope I'm out this is it correct there is now for a full point all right is it for a point releases what I'll do is I'll do the Z upgrader right here and that does a pretty good job and you don't have to it doesn't blow away like your custom image or anything like that but for full releases where it goes from like ZBrush 22 ZBrush 21 or something like that that's where I would probably I don't know sometimes they'll tell you to do a fall install but I'll leave it up to the pixologic Wizards to do that stuff for a living so we kind of have an indication of where our landmarks are and how things are gonna work and this gets a little bit tricky and the eyeballs you can't just go through and sculpt that I'm not saying you shouldn't but sometimes putting some basic shapes in here can be helpful so I'm gonna go ahead and leave that alone for now yeah we're doing okay so I'm gonna go back to my standard brush again we raise that intensity up when we turned our lazy radius off so we can go through and we can just have a little bit more we can attack a little bit harder than just kind of being wishy-washy and being too soft with our decision-making here give me a second I need to make sure that so anyway we got our nose here and we got our philtrum and then our lips so some of this may be tricky and you know what sometimes can help oh you know another thing is the bottom of this is really where this angle happens so if you take the bottom of your a beneath that kind of between your lip and your chin and you go around at the side that's where your jaw makes that angle a lot of times you know just by default for some reason I'll make the jaw like this you know which is I guess a stylistic choice but it's also an incorrect choice so if you're gonna play around proportions certainly do that but within reason this is this is a little bit more where your jaw would end up so go through here and we'll start fleshing this guy out so he does a gaunt and I do have some gaunt reference up from jordu schell check out his website shell studio he's or his Instagram he's really amazing and I like looking at the traditional guys when I do just like basic head reference just because they've solved a lot of the why why is this shape appealing what am I trying to emphasize as opposed to just getting I mean it's good good to get don't don't misquote me on this it is good to use just human reference and to use like 3ds k and 1024 and just do like real real human study for sure but it's also fun to kind of see how the pros go through and do their thing me not being one of them I don't really make humans for a living I mostly do documentation now but so we got on the side of the head we got some chewing muscles and then you got your zygomatic arch and then you've got some jaw masseter muscles here and then you've got you know kind of were just kind of again just dialing in a little bit of this face and we can start refining a bit now we are gonna start running out of resolution quickly so if I want to play around with this head separately we can certainly just grab this head got here ish and go ahead and split that off and then read dynamesh and just but you know what I do want to raise that resolution up on the head but the body I want to say I want to keep that lower so maybe I'll keep that at 216 if you get these little frilly things you can hold down shift and you can use sculptors Pro and you can kind of get rid of those and then you could do you can just read ina message I'll get rid of those things an alternative to that is you can just manually go through and do a geometry modify topology close holes I like to do a quick Miren weld and then ctrl tap here and then you can just you know what you could do you could simply you know Y and then e and this is gonna be transposed my linking pull in a little bit of a little bit of a shelf there but another thing you could do now that I think about it I might like this better you can go through here and you can do like a masking we're gonna mask our border invert that and then hit Y so can go back to gizmo we can just kind of pull up maybe scale in a little bit just to kind of build in a little bit that you can actually go through here you know well polish my feature to smooth those out and then when you subdivide you won't get any crinkle ease or if you do they're a little bit more manageable I'm gonna go ahead and turn off scultures Pro and we'll read animation anyway I was probably not that useful but just in case sue got a clay brush and we got an earlobe and we got your helixes of your ear your helixes and your anti helixes and your all the little parts that make up your ear and basically we're gonna we're going to do this we're going to say this swoop this this question mark swoop kind of goes into the head and then you're gonna have a little knobby right through here and then you're gonna have a hole that goes way and here to your auditory meatus and then so this is gonna kind of swoop down and then you're gonna have this gonna kind of swoop in and then you can have a little a little lump through here and then these sometimes these can be pretty flared out quite a bit that kind of defends a person now and also but out still depends on the person as this your your lobes are attached or if they're just hanging free will stick with hanging free for now but feel free to do what you want and of course you can go through here and you can use transpose you can use a move brush you can use sculptors Pro and this is gonna be yeah so this is gonna be kind of a bump out and then kind of a swoop in and again and just go grab some reference I got some reference up just again keep myself honest I can be the start of right here and we could of course move these things around as needed but I think that'll work so now we do have this kind of severe orbit which is okay I don't think that's there's anything wrong with that now but now I need to start worrying about getting these eyelids going you can go through there Damien's standard and you can just like hold down alt same thing with the lips you can go through here hold down alt and start pulling out like where they lips kind of tuck into the body here let's go ahead and load up Photoshop and also we'll do a little bit of draw over because you know 2d and 3d work together in harmony so let's make sure I'm recording this because that screen doesn't look right something like that should work okay so okay so new I'll say 1200 I 950 file rush that's probably blowing your eyeballs out let's dumb that down just a little bit so when we were working they were talking oh boy I'll smooth his way up just turn that off so we were talking and let's also do our flow at like 50 you know what we can turn this down to seven five so we basically went through here and we sliced off that side of the cranium here and then we just kind of mush this out to the bottom and then half way down here we also kind of scooted this cranium out to the back and then half way down we have our jaw line here so this is the start of our face and we have the midline never face here and we have our hairline half way down so bottom of the head here we have the eyeball here so here's our eye line and then halfway through that cranium we kind of have that brown line here and then through here we have our hairline brown line nose line chin line so that's where our nose line is going to end up here and this kind of kind of come out this way let's go ahead and zoom in a little bit so we get a little bit more fidelity here we go so now we have this here is gonna be kind of where our orbit kind of sits and then in here you're gonna have your eyeball so on either side let's go ahead and drop this opacity down so I'm already getting nasty there we go we'll clean this up a little bit so going through here again we're gonna have our brow line here and then this is gonna be on both sides of our brow line and then your orbit is gonna be a big bony thing here and then you're gonna have your eyeballs kind of sitting in your orbit like so and then around that eyeball is going to be your eyelids obviously and that's what's going to close around there and your eyelids are gonna have thickness is stuff not going to go around your eyeball so it's going to go again that draft of a face is constantly curving so here's our nose we were talking about so here and then we have our mouth cylinder so middle of the eye straight down middle of the eye straight down it's kind of the corners of the mouth but again your mouth is going to wrap around that here and you may make ein Dov look like a smile but you know the corners of the mouth and then open this mouth a little bit here's the middle here's the philtrum so here we have the upper lip and then tucking into that is going to be the bottom mouth and then there's that between the mouth and the chin here and you take this around that's where that jaw is going to make that corner so now we have our cheekbones here so here's a sweep of our cheekbone and that's going to go to your brow which top of the brow bottom of the nose is our ear kind of sitting here and again we got here is lumpy and swoopy and anti swoopy and then your whole and then there you go now we've got in here the hairline it's gonna be through here it's gonna kind of follow that temporal line here and then you're gonna have your sweet sideburns go ahead of muttonchops like so and then you know this can kind of be I don't know if maybe fold it over depending on where the part is from the other side here and now you've got cheek bone your labial folds here you got a little nodes at the corner of the mouth and then this is gonna be your chin like that one and the neck is gonna come back because we know we've got the cranium here that's gonna go back to the neck and then swoop forward for the chests and then you got your lumbar and then your sacrum and all this stuff and then there's your arm like so lateral medial epicondyle Bek so one head down to a head down chest line here's the PEC coming over here and swooping around and then here's the traps and then here's the deltoids clavicle half way down here's the tricep bicep brachioradialis corner of the bone corner of the bone and then you're gonna get here's your and the obliques we were talking about earlier so here's the serratus anterior and then your obliques come down and then it's going to kind of bulge out on the male it's going to kind of bold you out here so you've got here's your ribcage and then here's your pelvis a little more boxy kind of straight up and down and then you're on the male it's gonna kind of look like this and then your pelvis is going to kind of bulge out over that and then here's your obliques and your chest and stuff like that you got a little bit more inset hips on the female your chests gonna be a little bit narrower hips are gonna be a little bit wider so this is gonna be a little bit of a smoother transition so you kind of have this shape more of a violin as opposed to you know this kind of shape here yeah so we got the head basic construction of the head and then you've got cartilage here and this is basically like where you want to put your kind of shadows you know so you got say light coming in from this a direction so you can kind of go through here and be like okay the corners of the mouth are gonna be pretty dark inside here's gonna probably be pretty dark underneath here is gonna be pretty dark where that kind of skin folds over and this is the orbit that's socket here it's probably pretty dark on this side and let's go ahead and let's go nuts so the this is gonna kind of follow that orbit as well so I'm not either side here you're gonna have a little bit of that what's this cone your eyebrow and then you have a little highlight here for the nose and then on this side this is gonna be kind of filled in so you're gonna have and also when you talk about okay so here's light direction and then here's the highlight and then here's the halftone it's gonna be kind of darkest along here and then you're gonna have a shadow cast shadow and it's gonna be really dark here and then it's gonna kind of maybe get a little brighter if it's not sunlight and then also the bounce light is gonna cause this halftone to be the darkest because that bounce light from your surface is going to allow a little bit not quite a dark as a shadow on this side here and then this will be boy look at that shading and that great that's amazing like that so taking that you can go through here and then now you know but this on the darker side and this on the darker side and you can even indicate like you know possibly where a cache of those go and shadow from the lip and shadow from the upper eyelid and then even highlight from the eye and then shadow from the eyeball here and then all that stuff now taking all of that in consideration and constructing in 2d you get that for free when you go into ZBrush so everything all those a decision we've been making and it even stuff as simple as well it's simple in 3d such as symmetry and perspective and casting a shadow it's all just done so we can actually use this to our advantage in 2d as well as 3d so if we want to do a little bit of exploration and investigation ain't nothing stopping us so we'll go through here and I'm just gonna kind of you know we're indicating where the orbit of that eye is and that's going to dictate where we kind of have our eye bags hanging out but we're also going to talk about possibly using like insert mesh brushes to simplify or at least give us a little bit more control over the eyeball so again temporarily I'm just gonna kind of hollow this out and then we're gonna go through here and we're gonna pop in a couple spheres and we're gonna say split last points push this back in now for certain I would do this for a stylized object this character he has style and he has moxie but he's I wouldn't necessarily call him super stylized we could actually make him hyper real if we wanted to but we'll say that's about where the eyes they're gonna go I just thinking about the eyeballs is they don't really change that much between people they tend to stay within like a millimeter from really really big people really small people eyes don't change that much for adults after you've kind of grown into and even when you're a baby they're big so they actually kind of stay the same for a long time so here we got the eyes and we got again and get that big brow Ridge and you can play around with this brow Ridge if you don't want it quite that big or you want to over crank it and get some cash shadows on here I'll leave that up to you but now we have our eye ball now so let's just call that our eye ball and if you want to go in here to rename and say and then if you want to also just make quick sure it's mirror and weld so we can duplicate this off and this is where we can get into a little bit of its use trim curve so they go through here we're gonna take that upper eyelid we're going to trim that off we're gonna go back to our eyeball duplicate it off and we're going to go ahead and trim out a lower eyelid although that's not as important and now we can use this so if we go through here just like we did before we can go through and they can use the q mesh Paul of your ball and this hold down shift to kind of pull along those surface normals because we do need a little bit of thickness so there's our eyeball and then here's our upper eyeballs so now we have at least geometry you can push around as opposed to sculpting which is fine but again excuse me this might uh just get over some pretty ridiculous allergies here I'm getting allergy shots I thought I was like a head of the curb and then it just got stomped late February so here we're gonna go around here and then now these now kind of looking at my reference here it's kind of good he's got a droopy eye which doesn't generally happen normally like it goes straight across the lower inside is going to be a little lower than the upper outside of course you can make like a cat's eye if you really want to emphasize that or people when they draw a female's sometimes tend to do that quite a bit but he actually has a fairly droopy eye where the outside of his eye actually Falls and that kind of and again that just kind of speaks to the character a little bit you know and he also has very little heavily littered eyeballs which I guess we can kind of lean to but again this just gives you a little bit more leeway and now you can actually take this orbit and really have it overlap you know that folds of the skin and that the bone that's underneath there you can play around with that quite a bit so we go through here and again it's gonna go through here and we can emphasize a little bit of the nose so now nose construction you have some cartilage in here and then you're gonna get to these little knobs here and then you just can show this down day means standard you can go through and cut and then standard brush and then I'm gonna again I'm just gonna raise this or solution I'm just a tiny bit as we're moving forward and we're figuring things out oh and one thing when we were talking about the lips that was so you've got oops oops using as you're looking to use the brush hotkeys and other programs so you've got your mouth cylinder here and you got the midline of the face and then you know here's one side of the mouth and on the other side it's gonna be closer because it's receding in the distance so again it's gonna kind of wrap around here so if we do the basic mouth which is gonna be Katie about really shift shift shift doesn't work am I crazy I really am trying to use the brush hotkeys in Photoshop so here's here's kind of a mouth and you got the corners of the mouth here and then if you have upper lip and lower lip and then okay this is going to kind of dip down this is gonna dip down and then your upper lip is gonna kind of gonna kind of take over and then your lower lips gonna kind of tuck in so is if you just kind of follow these rules of you know this is your basic you know you can maybe break it off into two or three lobes and then your lower lip again just gonna tuck in to the upper lip essentially that's all we're really doing in here we're just doing in 3d so again Damien stander we're gonna hold down alt so we're gonna kind of pull up along here and we can go into our move let me kind of push this down and then push this back and then go under with our clay brush and build this up like so let's move the back and then we have our upper lip kind of tucking our Laurel of course that doesn't mean you can't go in here and have a little bit of fun with you can go mask pan or mask lasso and go through here and be like you know what just fuzz that out and let's you know maybe have he has a pretty severe underbite and then wrong rat or you can actually go through here and you can pronounce that upper lip or you can mask the upper lip here mask pin and again control tap to kind of lessen that transition or unhorsed that edge here and then that can kind of be let's go through here and kind of play around with these shapes a bit and that'll be that now it looks like on the reference he does actually have pretty pronounced lips which is an interesting choice a lot of times on males you would de-emphasize kind of a lusciousness of the of the lips here but on him they kind of went for it which is cool so something like that now we are gonna run into a bit of a problem when we say we want to go in here and zremesh this and that we can create a mouth bag now I've got already got a ton of stuff on mouth bag creation on my youtube channel creating a mouth bagger zremesher mouth like a nostrils creation and in your mouth bag etc etc mmm do I want to do that now because one thing you can do is just go ahead and start modeling with that mouth bag thinking about it in which case I would go through here and I'd actually start rotating this down so I would say you know what jiya you are gonna have an open mouth and then maybe even this entire head and let's do move multiple control shift drag here and we're just gonna kind of pull put his head back a bit then go out and move multiple so now if we're modeling with his mouth open that just might make it a little bit easier for us to create that geometry later on so the just you know what we can go through here and we can say like mask and pull back and you know that's fine but also you can use a light boolean if you're so inclined so you go ramp and then split nice points and then we can say you are our boolean and then for the mouth line let's go ahead and reset this stretch it out stretch it out so this can be this and then we can go there we can kind of mask now this is this is dynamesh so we can go through here and this can be our mouth and then if we say live boolean and turn this to subtractive and let's just have these two showing you can see this is a result we're getting so we can kind of use this to dictate where this mouth bag is gonna end up and you can actually go in a solo mode here and you can say you know what let's go ahead and flake this up move this around control drag to read dynamesh and this is our result so let's say this is this is fine it's a good enough start anyway and it's since this is a light boolean I can do a boolean but I can also just use it at a preview so if I know that's what it's gonna look like I can say this is subtractive this is not merged down control-drag and now this is our dynamesh result from so now I can go through here I'm gonna inflate this a bit inflate this a bit and we do have a scull sitting out here so we could do is you can say control shift it's like lasso and we can just grab bits of these teeth or we can just do the opposite we can say you know what's skull and jaw control shift a which is visibility grow all delete hidden and then now we just have some teeth hanging out so you can kind of smooth and scale and rotate these to kind of fit the mouth here uh or something like that so it'll be a little be a start let's say so now we have a little bit more leeway with the head here and we can talk a little bit more about this upper lip overlapping that lower lip here thank you I'm just holding down alt and we go into here a trim dynamic and this will kind of start and if you want to go crazy with the trim dynamic as well and just start making plains of the face like this you can certainly feel free to do that and use that in conjunction with H polish as well so we'll go ahead then inflate this up a bit now this is help us when we go into zremesh cool MCN pcs presentations workflows Disney's Lion King is now on YouTube which you can check out and I remember I did watch that one and they go into about halfway through they go into environments as well so you can see them kind of sculpting the Lions and the baboons and then also getting into environment creation and stuff and I was astounded that they didn't use photogrammetry on the rocks they just went through and hand sculpted everything has interesting on those rocks and stuff do you think learning muscle names is essential orders come with time it comes with time but it's certainly not essential some of the people that I follow that do the best anatomy are just observational and they just go and they kind of just talk like that to where they're kind of like oh you know oh you know I guess we don't need these variants in here they'll just talking very general terms like this this arm here something I mean they'll pull out the basics like bicep and tricep and stuff like that but anything beyond that they're not really sweating the details as far as technical details but they do but they do know the volumes very well and they do know the forms very well and honestly that's way more important than knowing the names like by an order of magnitude as oh how you say it it's not even comparable like if you're gonna pick one pic knowing the volumes forms and rules and shapes over learning the names to the detriment of every of anything else now obviously when you're learning the names you're usually learning both at once so it's not bad to know it's just it helps you communicate which we're gonna teach it just gives you a little bit more of a common language to kind of pull from as opposed to it's having to speak to generally all the time but at the end of the day honestly there's nothing wrong with speaking generally and using general terms that everybody knows and all that stuff one thing we forgot is we were talking earlier about that hyoid bone and also you got some meat at the bottom of your neck here so you don't want to think too much in terms of oh yeah we're we got a jaw bone and then we got neck muscles and you actually have a lot of stuff hanging out and got your Adam's apple and or the high weight bone and those things are gonna kind of connect up and you have the meat underneath your chin there you don't want to and again we were we were playing real fast and loose with these proportions so his neck is ridiculously long if we want to fix that again we can just hit W move multiple and then for the body here let's go ahead and hold down ctrl shift and will unmask or will unmarked everything and then hold down ctrl and we'll just Galasso kind of the neck and then will hold down control and just kind of tap to feather that out of it nothing you can do thinking his back out and that'll just automatically give you a nice feathered fall off so now we're gonna invert that and then we're gonna again wear and move multiples we're gonna hold down ctrl shift unhatched egg we're gonna say the head actually you know what we'll just unhatched everything because now that we've masked and then let's go ahead and reset this we can literally just move it along that axis and then from the side we can just move it from this axis Cerio and then hold down shift RGB off z add W make sure you turn move multiple off there we go it looks like this little lower eyelid got away from me that's okay so now what we were talking about as far as like investigating and using 3d as your pal as your creation Pal is you can actually just go through here really quickly and then just run you know you can always go through here and you can change the light if you want to go from this side here I think that can be the light and this is a little bit much so I'm gonna go in here just for preview purposes I'm gonna go into my render settings real quick just make some small changes we're gonna go into shadow global strength we're gonna knock down the floor stank they don't you worry about we're not really seeing too much of that and then also if you want to you can turn the blur down and then change that angle so that as it gets further away from the light source it kind of fuzzes out a little bit and now you're gonna see the lights aren't so intense I can even add a Oh in this case it's Brian I can make too much of a difference especially we're just gonna be drawing over something but one thing I am noticing is it's going to move multiple unhappy thing and then you you and you control shift tap it's going to move these in those we're getting a little bit fish-eyed but anyway yeah so you can do you know just kind of playing around in sculpting you've gone through here and you've done a head and you've used all of the things in 3d that are kind of fun and easy in 3d which is symmetry and you get automatic perspective and automatic shadow direction and stuff like that and then when you want if you want to go and draw you can take what you've gotten for free and 3d and you can use that to supplement or guide your 2d drawing so we're gonna go hold down alt and let's go ahead and again we're gonna keep keep cranking this resolution up because now we're getting to the point where we're getting into secondary forms here so here we're gonna take this here and then on the corners of the mouth is gonna come down and then you're gonna have like a little node here at the corner of the mouth here or a bunch of stuff attaches and then again this lower lip is going to go and attach to that upper lip here and you can you can delineate this if you want to we're kind of putting in a line here sometimes they have them sometimes they don't the reference has it which you know I'll just roll with that and then through here the bottom of the lip and I'm not you I'm not being slavish to the reference I've actually got a couple different references over here I'm kind of looking back and forth I'm not doing a realtor anything like that I'm just kind of using it and honestly like I can't even go through here and just grab some more general stuff like that's another really cool one it's the cool one it's like when you start getting into really tertiary tertiary detail or poor detail and like wrinkle direction this is another good one you know kind of go through here and you can use this the kind of guide and again keep you honest so that would be like our lower eye bag lower lid here oops and looks like a little and a little bit crazy gonna do a quick mirror in Weld and you know what just play it safe quick save and you know what just because when we do a quick save that's an entire project I don't need all this anymore so it's it delete all and now when I do a quick save it should save faster and then we go in here to our quick sei's and we'll just reload from our last this is all recovered and then quick save well that scares me also let's just do this save as streaming gauntly there you go but you can also um we should just be able to reload from this last quick save here and this will have all the stuff that we need all right let's turn our perspective real quick and again we'll go through and we'll fix this we want to make sure that this is giving us enough room to go through here and just kind of go back to the corners of the eyes here and that's where you know this can kind of come into play and we're starting to get possibly a little too much resolution and then there's the eye bags but it's also gonna kind of phase into the eye bags we already have going so again when we we finally get to the point where we integrate these light lids eyelids these will kind of be sunken into each other but I'm really using these to kind of frame the eyeball and make sure we have eyelid thickness and then also the upper eyelid it's probably going to overlap that over lower eyelid just like the mouth here so that just gives us this result here these brows we can probably drop considerably here and then again we did have some big bushy eyebrows and not most the reference I'm saying doesn't have big bushy eyebrows and that's okay we can we can actually just use that as a separate mesh and we'll actually go through actually actually go through and do a bunch of exploration on that front but if you want to put in like an indication of that you can go in here if there claybuildup you can so I'd be like okay here's here's the general direction of where those are gonna go and then here in the clay brush here and then again how deep or how pronounced you want some of this stuff is kind of up to you but we'll go ahead and we can kind of maybe mask in this here and then we can go through and just kind of pull you know actually there's actually gravity and some in the brush setting somewhere brush samples hmm hmm a lot of fires hmm where is it it's been a while somewhere in ZBrush is Linder picker with it because that's just orientation gravity caused the sample on surface if I was ZBrush where would I put gravity strength multipliers for IMM brushes template pressure depth gravity strength under depth so you can turn on gravity strength so as I'm sculpting with my standard brush it's gonna kind of pull in the direction that you have this arrows you can go through and you can oh I thought you could like stain your brush Oh gravity is always pointing down so I suppose if you flipped your object upside down oh strength of zero nope it's always gonna be in that world direction so you can see it's gonna kind of well know it does so gravity here you can see as you're sculpting it's pulling in the direction of gravity and then pulling in the direction of gravity of course you don't have to do this 100 you can just do a little bit lighter but that's interesting to you all means I'm gonna go through here and again we're gonna pull these folds down a bit now part of the problem too is then why I'm so interested in kind of getting to a zero my solution is we are gonna lose a lot of the cool folding that can happen like when I go through here and zremesh this or when I die no mesh this together we're gonna lose a lot of this really undercut nice folding that's happening how we can get it back but just be aware that that that also helps the believability and the and also this too like we can go in here we do this and then we really want to kind of tuck that lower lip into our upper lip I would maybe do that after zero meshing so maybe kind of leave these corners open a bit and then when we zremesh we'll get that geometry and then we can really go and push and pull that geometry on so let's get to that but I keep talking about it so if you wanted to go to here in like okay print screen just grab use green shot if you want or sniping tool go through here and we can just oops I can paste this so earlier we did just a straight up drawing just you know basic construction drawing here and then now that we have a head we can use I can use this as our guide and so we can go through here and you know what there you and that's hard shouldn't that up a bit yeah like that so now when you go through here again you could still use basic construction or if you need to find the midline but at least now you have a concrete face here that has you know draft and midline here and then you can go through here and you can kind of explore you know different ideas so if you wanted to kind of play around with again you know here's the corners the mouth are gonna be dark and you know the direction of the lights actually come in this way so in this case we can darken up this side here and you know if you wanted to play around with eyebrows on this guy or maybe weird hairline I shouldn't say weird hairline there's something weird about that hairline but here and then maybe corners the ice here and now you know what we can actually have his eyes go a little bit one guide here and pronounce these eye bags here and we got again the gaunt cheekbones and this this is actually I'm noticing that this cheekbone swoop is actually missing probably little bit of a corner there and then again here's the orbit coming back through and then you can go through and you can put some wrinkles on there and if you want to play around with this nose or how it integrates to the face or if you want to you know what let's see if we could do a mustache hold kind of a John Waters esque here and then it's got his mouth open a little bit so just fine chin here and then you know what let's also do like a little uh what's that called soul patch it's already and again you're just using what you already have in 3d I don't like he was doing that to kind of guide and allow you just just like kind of an underlying structure that you kind of get for free and then you can go through here and you know make make whatever character you want think so don't like that um let's see why don't use extract for the eyelids it's too sloppy if you know you can go in here but you're gonna be playing around a lot with okay let me mask this or we're gonna slice it off and I'm gonna extract I'm gonna go play with thicknesses and it's going to kind of bold you out and you can do T corners to kind of keep those constrained but honestly I rarely use extractors there's very rare instances it just doesn't give me even when I'm doing like quick sloppy armor creation I rarely use extract that's to say you can't and that's just more of a personal preference for me it just becomes extract is just too sloppy for me I can usually zremesh and get the result I want with zmodeler or I can go through and I can this mask and transpose to get what I need out of it as opposed to fiddling with extraction it's nice though and using extraction in conjunction with other things like groups loops and panel loops and stuff is certainly cool and a lot of people really like industry extract is like a fundamental part of how they work in ZBrush so again I'm not telling you don't I'm just telling you my personal preference is I'm not a I'm not a big extractor here so again we're just kind of going to go through and oh yeah we were going to talk about zero machinist but I'm gonna catch up on these questions here and if I miss any I apologize I'm getting a little bit behind here duplicated a apples yes and then I sliced all we did a trim so it just basically a bit different slice and trim is trim will go through and slice delete what was behind the gradient and then feel whole no problem thanks for showing up everybody hello from Spain yes or insertions that's another thing to is learning those this kind of comes along with the form and functionality of stuff this is the corner I was talking about here I think that probably a little bit more bone underneath there and then this is kind of skin and fat and not a huge amount of muscle in the face but certainly enough to kind of push and pull your head around here let me see this philtrum we can kind of tone down this philtrum a bit I think I don't know that it needs to be that deep or pronounced and then for the nose here this kind of curls up here and then these also kind of go through so now we're getting into it's really really deeper into the secondary forms so that would probably might where I stop and I go ahead and see your mesh if as long as I'm not doing anything crazier and we can always we can see remesh as many times as we want to but as long as I'm not doing stuff like you know this kind of thing and really stressing the geometry then Siri meshing at this point should be fine but we also got to get that body up to a certain point too so when I merge these down I'm fine and honestly you know I'm not gonna stress too much about the body here we can go through we can do some loops ancillary detail kind of surface undulations but really just basically go through here and you can kind of smooth it out this upper pecs pretty pronounced and the PEC two is something to consider is it just kind of sits on top of that rib cage so a lot of times you'll see when people do pecs they're their default and I might come from reference to it'll be like hasta LaVista baby and really pecs are pretty thin we have bodybuilder pecs maybe not but as Joe Schmoe and certainly emaciated guys like this aren't gonna have massive heavy muscular musculature here I'm also this he's very lean this guy so you're gonna see a lot out you could go through here and do a lot of pecs upper like get some your Bruce Lee reference out and just go through here and you can actually like see you know this these striations of the pecs kind of sitting next to that sternum you can go through here and you can kind of put in you know the muscle direction and if as a start and again these these this portion comes down this way and then these go across and then these start going up so as long as you know those striation directions as you go through here and you start adding your details it'll at least be in the right direction and it'll read even if you put them in the wrong direction the people who are looking at it might be like you know what that looks weird I don't know why it looks weird to me it just kind of reads off and it could be something as simple as that I'm gonna drop my smooth intensity down and then this you go he's got to think like okay it's not just muscles sitting there you're gonna have a little bit of skin and fat and also on the male what's gonna cause that that corner of the PEC a lot of times is gonna be a fat deposit right here that's what's gonna kind of square out that PEC on him he's very emaciated so maybe not so much but I'm also in the notch of the neck here we can kind of make that a little bit more you can kind of give him a little bit more of a clavicle here and then an attachment point for his mastoid does have a platysma there but just like the the latissimus dorsi it's it's it's kind of a thin muscle that's being moored its shape is more dictated by the underlying muscles more so than the actual lats here and then even underneath here you're gonna have some spinal erectors I kind of give you two little tubes back here all I get stuff so anyway we got this to a good-enough point I suppose and you also have two heads coming off of here you got one that goes to the clavicle and then one that goes to the sternum so this clavicle one will kind of fan that out just a bit and you got some muscles in here as well and then you got your traps that are gonna go up to that occipital protuberance so this is actually and there needs to be they've all bump on the back of the skull here is where those are gonna end up and then this is gonna end up on that corner here but we can we can kind of fuzz that out and I'm just holding down alt and tapping to go between subtools I'm not having a hunt over here let's play around with this cranium here yeah that's that's a bit much probably and then yeah I guess that'll work so at this point we'll take our head and drop that onto our body and then dynamesh this and now our body is inherited the dynamesh resolution of our head in this case which is fine you know go through here and now we're getting into like secondary details and this is where I'm going to start probably zero mushing this results we can go through there and just murder it with all the little fine fine noodley stuff but as long as our basic forms here and again I'm keeping these corners of the mouth and these overhangs I'm not gonna push those too hard just yet because we are going to be zero mission those let's go ahead and integrate those eyelids so take this and we got eyeball here now we're gonna take this body we're gonna move this to the top or above the eyelids at least we're gonna well let's do this let's smooth these out first so here I'm gonna go through here and we're gonna do underneath geometry crease we're gonna crease polygroup then we're trying to dynamic and I don't go ahead and give us a preview of what it would look like dynamically subdivided we can hit apply to make that real geometry and then same thing crease polygroup turn a dynamic make sure it's working ish say apply and then now go through and move these as needed and I'm like the kind of over crank thickness now if you're gonna 3d print this I would say really over cry specially when you're printing to scale like 1/8 scale or something like that you're gonna want to and when you get in a fine surface detail like gene textures or fabric cloth textures you're really gonna want to make those larger-than-life and then also deeper than then you would want to just to make it really read from scale 3d printed cleaned up you're gonna lose some and detail and stuff so if you over cranked it you buy some of that back just food for thought same thing with eyelid distance and stuff if you're thinking 1/8 scale you know making sure that everything reads as needed so anyway look at the body here we got the eyelids I'm gonna go ahead and reach down control drag and now these are all dynamesh together that's that resolution you know what before we do that let's raise that resolution I'm just a tiny bit here we go now we can integrate these eyelids and now this isn't gonna be a pronounced curve through here so we'll go ahead and just this will kind of be our eyelid shape here and then going with our Damien standard and we can kind of start giving some indications to it as getting into more detail than I'm then I would bother with honestly but if you are gonna go continue forward and not go into zremesher you can do that but I would suggest your mission so we got our body here and he's kind of weird-looking that's okay so I'm not gonna make any major changes so we'll go ahead and talk about zremesh in the old days in the olden days back before tonight 2020 we'd have to duplicate this often project we can just use our history in this case I'm going to do a quick save and then we'll just reload you know get caught up here Inari University may just learn Anatomy also from Medical University books you know an autopsy class lets you show those corpse and taught us to the muscles in the in atomic connections and that's a really good to if you have access to that you don't have to rely on the digital version of going through and being like get your bones out and your scalpels and stuff another really good resource I know I'm like I pull it up because it's got severe nudity its anatomical nudity but I know YouTube gets weird about that but um 10:24 has some Anatomy stuff you can do I'm trying to look and see where it is it's like Anatomy 360 and it'll give you actual human beings that are scanned data in different poses and you can move them around and rotate them up and down side to side and move the lighting around and turn the textures off and on so you can focus more on value and stuff like that that's a really good resource as well cool my characters always like mental 9 - you and me both so we're gonna go through here and so like we said before we can just use our history as what we're gonna project back to so all we need to do is we'll go ahead and see very much this now let's go to break up break this up just a little bit here so we're going to solo mode here and we'll turn off we're gonna keep polyframe on we're gonna turn off the line so we can see a bit better and also switch over to like a mech camp skin shader for nighttime at cap and then we can go through here and now you can see with when it's not a matte copier actually your light can can dictate so this is actually a good good thing to have it to get into as well is it going through here and changing your lighting condition as you sculpt can I make sure that this what kind of point out some flaws in your reasoning but anyway let's go through here and very quickly and hold down control mask pin and we'll say you we're just going to put in some control we're zremesher is going to end up so I want to have a loop around this eyelid here and you could use curves for this but boy it's just a lot easier and also more visual to go through here and do polygroups one thing you can do and this I'm doing this on the high res so that will be baked in quote-unquote to your zremesh object but I'm not too concerned about that is you can actually go through here and when you put a line through there you can go through their geometry and then you can use edge loop and then edge of the mess border which will slice a curve through here and you can even go through here and you can say you know what let me go ahead and mask out this border and you can even grow it and invert it and then you can go through here and you can say polish by features and you just smooth that out and that'll actually sim with that line now when you go to zero measure there's an option to smooth your polygroups and that's what I would do but in case you needed that that's an option for you so here and then through here we'll try and put a loop around the nostril here good enough and again we'll just do a quick edge with Massport or hotkey for that is ctrl shift e will use it will she have to e and certainly around the lips now this is probably one of the more important ones not important and such that we're trying to be like hey can you make an animated mesh out of this absolutely you can is it going to get you a job being the topology wizard for a production no is it gonna get the job done for what we need absolutely and in fact if you go and watch the what they linked earlier the Lion King making the Lion King they they talked a little bit about like okay you use every mesh for production of course you can and you can actually use the area mesh and you can clean it up you don't have to use a wholesale but if you just need something quick to preview there's nothing wrong with it now obviously topology purists and stuff are gonna want to know exactly where these loops are and in this case what I would do is I would have a human base mesh that I would use e-wrap where I would use wrap three or whatever version of the wrap you want to use and just go through here and plot points and then I would take a perfect mesh geometry and snap it to my high risk sculpt and you can do that for scan data as well so you not to worry about creating perfect apology every time you have perked then you just snap it to the face because the human face doesn't changed all that much even something as stylized as this I can take a skin data Rita pologize beautiful mesh and snap it to here and I would be probably a hundred percent done I'm not even gonna say like you know you might might not be all the way done and probably you would be let's go ahead and do an auto group so we can separate out that mouth bag here so we have we're just making polygroups I through here so I'm gonna go ahead and isolate this if I want to or I can go through here with brush just close some of these down I don't need all this open I'm asking massa my polygroups up to a hundred so when I'm going through here and masking I can just mask around the polygroups and I don't have to go into them so I'm gonna say you know what let's put another ring around this eyeball here and actually now that think about it if you go to ZBrush for illustrator zbrush for illustrators calm you just go to a website but I'm Steve James has kind of this workflow as well so I can link you to see Bush for illustrators playlists it's on there ZBrush is YouTube playlist here and you can kind of use those loops so we have we already had I have that we have edge loops mask border and so yeah let's do ctrl shift E and then again with masks my polygroups up to 100 we can go through here and we've already done the lips we can do the nose it looks like so then go through here and we can mask out you know what do we want to put let's go all the way around and this is maybe even overkill for what you would need I'll leave it up to you but we got this and then we're gonna put a loop you could just zremesh you don't have to go through all of this but if it's useful why not and this is gonna go around here and this will make it easier if you do want to do my ZBrush for concepts in ideation I think it's called um we actually do this type of thing so that we can do layers and do poses and blend shapes and stuff this makes a little bit easier okay I'll do call that a day and we are getting some straight groups we can fix that in a second and I guess the rest the head oh and then through here so we'll say you are given that that superhero Robin mask here okay let's say that's good enough for government work so now through here let's go ahead I'm gonna hold down ctrl shift I'm gonna tap between those two polygroups here and make sure that these are relatively clean because the remeasure will try and integrate it's only going to do what you tell it to do so if you're telling it to do something be prepared to have it do it and when I was doing digital maps border I was that's where I was kind of let's do this let's do an auto groups on this one let's do it quick mirror and weld and oh when I fixed that nicely now let's turn off L SIM so making sure we're getting our midline mirror and wild and then through here clean up oh it didn't fix that it just made it that was noticeable so here control W here and then this can be grouped control W anything around the nostril all right I think we're in good shape so we've done all of that work and this is going to be essentially be our high res that we're gonna project back to so let's go back to our startup material so we can see this a little bit better once we zremesh our you know what I think we're gonna have our lines on so I think we'll be okay so anyway we have this here and what we're gonna do is run as every much this we have X symmetry turn bone so we're going to go into our zero mesh options and we go ahead and stick with the defaults for now although we are let's turn the adapter size down a bit not not all the way down to zero for even quads but let me maybe like 13 we're gonna say keep group smooth group set 1 so I'll go ahead and smoother groups for us and maybe give us a little bit more of a natural result and then you know I also probably should do let's do this control shift slice make that a polygroup and we can make this a polygroup now slice is only gonna happen on one axis so you are gonna have to go through here and do a mirror mirror and weld actually we can do better than that so let's take this polygroup here let's go ahead and mask this hey control w and then we're gonna take both of these hit ctrl W and the ears I'm just gonna leave alone now you can go through here when you are theory meshing you can go through and this is using like quad measure I'll have a Houdini playlist that kind of goes through like an automated version of zremesher but for now it's got great functionality so ZBrush right now I think has the best quad measure functionality in the industry Bar None it's all built-in it works consistently I think it's a really good solution so zero measure for the win as far as I'm concerned so we have our high res here we have it all looped up then we're gonna go through here and again a dead size down we're not going to do staff we're gonna start give it a target and we'll go ahead and say maybe oops 10 10 K for now and smooth our groups keep groups on and we'll hit zremesh and we do have X symmetry turned on and that's important it'll number one will work a lot faster number two it's symmetrical so why not and keep going keep going keep going duh duh perfect geometry now perfect maybe not good enough absolutely so we have our new geometry here and now we need to get our details back now you could keep going through here and you can hit half or you could put edge loops around the ear to make that resolve a little bit better I'm not really overly concerned about that you can paint in you go in here and you can say use poly paint you can paint color density so if you want less dense in the back of head and more dense in the front of the face go for it this isn't I'm not overly thrilled about this you know what let's do this let's say instead of 10 let's say 14,000 sometimes just throwing more geometry the problem I can also hold down alt and hit zremesher that'll give you a different algorithm so if you're having like mid line problems who trying to do a game rez start and you're getting some weird issues down the midline of your geometry can hold down alt and get a different result now through here that's not terrible and you can actually go through here zmodeler if you wanted to and you could clean this up a little bit we say like collapse these edges through here maybe and then you can hold down shift and you're gonna go through and you can slice this so let's go through here and say you know what we're gonna go ahead and split all the way down to this edge here and then we'll say bridge two points and we'll say you go to whoops you go to you you you you you and now we can go through here we can say delete now you could also throw this into Z spheres you can just clone it off and grab as a sphere I think let me just slide this there might be a limit to how much you can pull into a ZZZ fear but that should be fine and this is you know this is good enough ish let's see if we can't I don't want to get too nitpicky here oh you know what and part of the problem is is my fault which is having crappy geometry or having zremesher seeing some loose polygroups that I made so again I'm zero measures fault or my fault for being sloppy but let's go ahead and fix please let's a bridge two points here to here and then collapse Bobby boom alright so we have our new geometry and we have history that has our high res here so let's go back to our start material and we're gonna say here's our high res geo so we're gonna control tap this we're gonna go all the way forward and this is our new geometry so we're gonna go in here to go in here to what oh if you want more information on this again that's on my youtube channel under playlists but also any of the what's new stuff is in here and ZBrush 20/20 especially has a lot of like normally it's like oh they were 2019 what's new here's 48 videos on what's new and then here's some picture example so that's easy enough to go to the YouTube playlist ZBrush 20/20 I have a what's new it's 41 videos on what's new maneuvers 2020 this is part of that and then also have like a time-lapse here you can watch is little v-ray render little this guy took about 4 hours start to finish just to kind of create and then you know unwrap them and throw them into v-ray and do little particles and stuff like this is about four and a half hours to finish by half a day and then here's new features live stream new feature part to live stream and then some pretty pictures so this one's a little bit more complicated so if you want more on that new features so anyway we got new geometry and we have details control tapped here and then we have underneath into verse 2020 we have the ability to go over here to project we have project history we haven't done any color yet which is fine you could also protect color but we're just gonna do geometry so we're gonna say project history and that's going to project our details back so now as we hit control D to subdivide and go in here to project history and it's going to go and project from that history point to give us back our details so I'm just subdividing and projecting so we are gonna have subdivision history and our details back so now here's our seven level one which we can go through and we can UV this and we can do blend shapes and stuff and then here show search level four and now when we go through and start sculpting we don't have to worry about dynamesh anymore and that's all so let's take one let's hit D for dynamic smooth those out a little bit so for example when I was talking about you know the lips and working with those correctly we can go to Soto's in level one and now we can very easily go through here and let's turn off mass by polygroups down to zero we can go through here and we can mask this upper part and then this lower part we can go through and we can actually manipulate and move the geometry as needed get those nice overhangs from our eyelids here cuz we can go through here and you know you can also do we can say we mask this edge oh it's free you know you can you can free so division levels I'm not gonna bother doing that you know what I'm gonna do I'm going to isolate this and we're going to mask our border invert that and now I can go through here and I can literally just kind of go through and I can pull up here and then ctrl tap to invert that mask and pull this down so now we're getting a nice overlap deep geometry and I do need to kind of maybe be careful if you're gonna be shooting displacement maps that may not you might run into some issues there from projection errors and stuff like that but just from kind of working as we're working here this makes it a lot nicer to go through and number one it's the nicer surface sculpt on so that's nice and quat 'add and number two just the ability to go through there and get those overlaps like this overlap here so I can mask this out like so and work that and then really just kind of pull this geometry we're not stressing the geometry we're not making it we're not causing it to have a whole bunch of errors or anything we're stressing it to the point where we need to rebuild the geometry because the it's gonna start sculpting weird but just basically going through and I guess are using clay brush and stuff and getting those overlaps on the face they're here and you just go up today out and again you can go through here with you go through your pinch and now you can start even even this type of stuff isn't gonna stress the Geo too much if you want to just kind of go through and kind of start touching these things and playing around with proportions and stuff that error that ear did a little bit Harry you could put loops around the ear and maybe help that out a little bit but it's such a as long as the ear forms are okay it's not gonna be deforming that much so you should be you should be alright go through here and again we're just gonna and if you're just going through and you're having fun and you're not doing a live stream where you're I mean not that live-streaming isn't fun I'm having a tremendous amount of fun but if you were just kind of going through and sculpting this type of thing all this process that I've been doing maybe take you 40 minutes you know start to finish as opposed to two hours of me just kind of rambling and doing you know weird tangents and stuff like that and talking about what I'm doing you can just go through and execute you can very quickly go through and do what you need to do and then of course we have sudden history so we keep going up and up and up and up and up and I'm going to go ahead and hold down shift to smooth this a little bit and now we can start getting into again going into a Damian standard and really kind of pushing and pulling going with your clay brush or clay buildup and start pushing and pulling these forms around you see the geometry reacts just so much nicer and it allows you and your gonna get a hold down alt if you want to really like find the the the volumes here a little bit more than standard brush kind of Kirby's in a little bit more and now we're getting into maybe a maybe a little too much detail but another thing you can do is with your Damian standard you can just go through and you can kind of start again those those delineation lines that are in the reference here you can hold down alt you can kind of pull up and then pull in and then clay brush go through here and you can actually isolate this if it's a little too much noise going on or stuffs in your way let's go through here and isolate it because you have polygroups now very very easy and then go through here and start maybe building up these lips a little bit like so and then here and here then also like where we're folds naturally would happen or in the brow for example you know the skin folds go through here and really kind of push that a bit and then wrinkles on my forehead maybe you start indicating those a bit these are almost still secondary forms you know depending on how deep they are and stuff we're not talking about like poor detail or anything like that yet and then this is gonna kind of swoop against swoop swoop one swoop two helix whoop have a good day okay good thank you yeah I'm almost done I didn't realize it o'clock already Aaron's going to work and dogs are fed everybody so I don't have to do that now but anyway I'll go ahead and a pit up you guys you guys see where this is going right basically at this point you're just going to go through and start detailing up have some fun and and also the other cool thing too is when you start doing blend shapes it's gonna be a lot easier you can drop down so the level one and let me see if I have an example so you can see it real quick I'll actually you know what if you go in here too blend shape yeah you brush my blood shakes plugin I go through and there's a little 10-minute video on this is actually from the ZBrush summit 2018 so if you look for my art station pages one has a ton of stuff in it so here's the super summit's videos I did after the summit here's the ZBrush summit that you can watch where I went through it and then here's the here's a cinematic video so this is the blend shapes that I created for this lady right here and again just it just a handful what people kind of doing this and unreal so it was kind of quick and dirty work by creating the blend shapes and ZBrush pretty easy like you know just kind of going through and doing the basic blend shapes for that type of stuff it's all right there and ZBrush Maya blend shapes and also if you want to do multiple blend shapes or mirror your blend shapes and stuff like that it's all in there as well as I'm trying to think I want to say in here you can see an example in the ideation series yeah there we go so as you're doing blend shapes in here you can go through and you can do you know as your as you're throwing your brow this is gonna happen so you can go through and you can dial in different expressions for your character and you know it's all fairly simple and that way you're not just stuck with okay here's my a pose guy for my our station page or whatever you can go through and you can do different expressions very quickly and all that good stuff but anyway that was fun hope you guys had fun watching me ramble let's see can you show this new way of doing all the project my English is very beginner yeah actually go to ZBrush 2020 what's new and in here video history recall brush with color history culvert is more off recall recall versus project brush it should be in here I'll link it of that and then also just in here that might be easier just to go to my YouTube channel and say or you can just google it but in here and just know for certain it's in here there it is project history there's the individual video where it goes through and we have the lower res one and then it's exactly what I did here and you can actually use sculptors Pro to dial in bring back what you want which is kind of interesting too cool all right thanks everybody I'm gonna head out in so if you want to see this backed up it's always gonna be a Hmong who's gonna have it on my youtube channel as well so if you go to my YouTube channel and you go to the livestream playlists livestream full episodes it'll be in there as well as if I go over here to my pavlovic workshop for ZBrush this is where my stuff is archived in this playlist as well so if you want to go through my ZBrush once I do on Tuesdays it's all here and on my youtube channel into my Thursday one's gonna be on my youtube channel when I stream on twitch and YouTube and all that good stuff Facebook maybe sometimes it works sometimes it doesn't but it's all here so here's the workshop and here's the here's the other backup and other new stuff that I end up dropping so keep you up-to-date ish cool thanks everybody and I will catch you on Thursday

Channel: Pixologic ZBrush

Views: 9,626

Rating: 4.9189191 out of 5

Keywords: pixologic, zbrush live, digital sculpting, 3d modeling, art, design, tutorial, how to, making of, twitch, character creation, live boolean, vdm, sculptris pro, deformers, project primitive, illustration, mudbox, 3d coat, autodesk maya, adobe, photoshop, cinema 4d, 3d printing, concept art, games, stylized character, zbrush 2020, xtractor brush, history recall, anatomy, sculpture, sharks, uv painting, keyshot, stitches, body, human, muscles, pavlovich workshop, kinesiology, anatomy definition

Id: n37TPKkOJNk

Length: 127min 54sec (7674 seconds)

Published: Tue Mar 03 2020