How to Sculpt Wrinkles? ZBrush Tutorial

hello everyone and welcome to another video today I'm going to be showing you how to sculp wrinkles and not only I'm going to showing you the tools I'm actually going to be giving you a little bit of theory that I consider is very important to understand in order to do amazing wrinkles but before that I do have a very special message for you my friends one of the first goals that I had when I started this new project was to make sure that you guys had all of the necessary tools to start your 3D journey and now we have it we have our introduction to blender course with our weapons course we have our introduction to se Rush course with the character cre course and we got our introduction to Maya course with our newly released stylized 3D worlds so this was one of the main things that I wanted to focus I wanted to give you guys all of the necessary like steps and tools so that when I start releasing the new Advanced course which are coming very very soon you get all of the necessary Knowledge and Skills to follow along and create amazing things I want to thank you guys very very like from the bottom of my heart because I did not imagine that we were going to get to this point so fast we're almost at 3K subscribers here in the YouTube Channel or a little bit over 3K we're going big on Twitch as well we have an amazing Discord community that I love checking every single day and it's all thanks to you so if you want to support the channel the best way to do it right now is with the courses if you're missing one of them and you think it's information that's valuable to you please be my guest the in the description we're going to have the links to the Udi thing and yeah that's pretty much it let's go back to the video and after that I'm going to go back into building the next premium course thanks again my friends and enjoy very well so we got this character right here which I did for our sculpt over event that's going on right now in our Discord Channel and I thought it was going to be a great idea to keep working on this guy and show you some of the techniques that we can use to create wrinkles now wrinkles are one of those things that people think it's just easy because we can use alphas and even though Alphas are indeed one way to do it I want to teach you guys a little bit more of the secrets behind how to do realistic wrinkles and the first secret the first thing you should always go for reference if you take a look at all of this old man faces you're going to see the wrinkles are very very different we have very shallow and uh and like small wrinkles right here we have very like bulgy and interesting wrinkles over here I'm not sure if that's AI though so there's a little bit of everything when we look at wrinkles I love this one this looks very cool I'm not sure it's uh it's AI I don't think so but looks very very nice and it's going to allow me to show you some of the important things so remember when we're sculpting I covered this in our CBR course and we're going through this sort of like list of primary forms which are the proportions and the main shapes secondary forms and then Sher forms well whenever I'm dealing with wrinkles I want to follow or I like to follow the same sort of effect and I got three steps pretty much I got the primary wrinkles secondary wrinkles and then what I call the micro details so primary wrinkles are going to be all of these big wrinkles that you see right here and in order for us to to like properly sculpt wrinkles and create wrinkles in our characters we need to understand what wrinkles are so our skin is an organ in case you didn't know that our skin is technically an organ and the interesting thing about the skin is that it's made out of collagen and a lot of other things and as we age we lose elasticity on it so instead of having this very like nice and tight skin we start losing elasticity and the fibers they start becoming a little bit more loose so wrinkles are nothing more than the skin kind of like folding on top of itself and that's the first thing about wrinkles a lot of people when they're doing wrinkles they just think of wrinkles as a dips that go into the skin like a carve so they would go into C brush grab the Damian standard for instance and then just start covering wrinkles like that and even though that's going to give you a nice detail a wrinkle is actually yes a dip but it's also a little bit of a bulge out okay because again the skin kind of like falls on top of itself and we get this very interesting effect so all of the big wrinkles that you see right here in the character those are the type of wrinkles that usually follow the main or big muscles of the face so we got for instance the frontal muscle over here the orbicularis orus over here we got the nasolabial fold over here the orbicular orus over here so all of the muscles are going to create the main big wrinkles that we're going to see on the face and I recommend for this one using the Damian standard but there's a little secret that I'm going to show you now the secondary shapes of the wrinkles are going to be those little small wrinkles you're going to see here and there and for those Alphas are really good I'm going to show you how to use some of this Alphas as well but there's also a little bit of hand sculpting that you can do for this ones especially if you want to create a little bit more of a break and finally micro details which are the pores and the like super like small like fibers of the skin that's definitely going to be alphas and sometimes depending on the Productions you're not even going to be able to add those because the character is going to be very far away and you're not even going to see it so as long as you do the first and second stage you're going to be in a really good position and depending on how much budget you have in textures and in poly count you might be able to go into the micro detail right here micro detail is another one of those things that usually I will do in textures instead of on sebr because if you do micro detail and SE brush and then you decimate things you lose a lot of the detail and then it's a little bit difficult to recover it later on so let's focus on the eyes which are of course one of the most important parts of our character I'm going to change to D standard but I'm not going to use the default brush because the default brush as you can see has a very like fake soft like effect and I don't like it of course you need to use a tablet if you're not using a tablet while using SE what are you doing my friend come on you got to invest in a little of equipment right there to make sure that you get the best experience so we're going to change the alpha to a lot of a sharper Alpha I personally like using Alpha 45 and what you're going to do is you're going to start drawing the wrinkles we're going to start with like big wrinkles but you want to relief or release a little bit of the pressure on your stroke as you go and and and try to add them now very common mistake people will do long like lines like wrinkles like this that's not how wrinkles work and you can see it right here they're kind of like overlapping on top of of on top of each other if we see it right here you can see that there's no straight line going all the way across so here I like to use a little technique that I call the crisscross technique where I'll just like do a little bit of a crisscross always following the direction of the wrinkle that I want to add but as you can see creating a little bit of of an overlap of the wrinkles of my character like this now again it's very important that we look at the reference because the reference is going to tell us where the big wrinkles are going to be so you can see that we're going to have a very very strong wrinkle here underneath the eye and that's where you can like really really start pushing now another small secret about wrinkles is that you do need quite a bit of geometry so if you're GNA be doing a game or a character for a game for like a mobile game and this is the max distance that you're going to be seeing the character like there's not ever there's never going to be like a closeup of the character at this point then this amount of resolution as you can see is more than enough we are at 3.3 million polygons for the face and and we can see a nice amount of detail but if we're going to really go here into the into the closeup we definitely need a little bit more so I'm going to control D here to add a little bit more resolution and now I'm going to change my clay buildup Alpha to something that's round and a little bit like sharp and that is what I'm going to use to add a little bit of the Bulge that I was mentioning okay the a little like foldy skin that's on top of this thing and I'm going to add that sort of again in this sort of like creas cross way to generate a very nice detail right here see that that's the kind of effect that we want to build now wrinkles they they happen pretty much like stitches in in clot so that they will never merge into a single line there's always going to be like a little bit of criss cross between things look at this guy right here so you can see for instance the big eyelid that we have here on the top of the eye is going to fold on top of the lower part of the of the eye so in this case I'm going to continue my wrinkle over here and then I'm going to start adding a little bit of volume to close or or create the continuation of that element right there and that's the kind of stuff that's going to give us a very very interesting and realistic look on our face you can see sometimes wrinkles are going to kind like again Bulch out quite a bit another very cool thing that we can do here is mask out a little area for instance this area right here and then with this clay build up again again we'll just add a little bit of that extra fold smooth a little bit if you don't want it to be super harsh and then when we release look at that we get a very very interesting like wrinkle that we can continue with a little bit of dam standard here to give it more more visual interest another very very common mistake that I see people make when they're sculpting skin and and wrinkles and all of those things is that they they want to nail it at the first goal like at the first time and usually this sort of things it takes a little bit more time to do so so for instance you can see that the lower ey here on the character it's a lot sharper so I'm going to add the wrinkles and then with trim Dynamic I'm going to erase and carve in to the skin to create like an interesting like flat squishy area right there I can also use a little bit of clay build up here to remove some elements and then by smoothing this all of this we do erase all of the things that we just did but we create layers interesting layers that are going to like just allow us to build up the the wrinkles of the eyes in a more natural way so instead of trying to to make sure that we nail it from the very first like line try to focus on on building up those elements a little bit more into like layers let's take a look at this one for instance and they see a secondary layer going in this area now this character is not super old so I shouldn't be pushing the wrinkles too much but I'm exaggerating them so that you can see the the example that I'm going for sometimes with like Undead creatures and things like that we can we can really push it for instance here I'm going to push it there going to carve in smooth out add a little bit of a of a skin tag right there there we go and then again smooth clean up all of those elements for now because now if I go back with my dmin Stander it's not going to be the exact same as what we had before and by creating that little bit of variation on the elements we're going to be able to create something again very interesting now wrinkles do have a sort of like order and you're going to have to study each specific part of of the body to understand where this wrinkles go so for instance in the case of the eyes they kind of like irradiate out and you can see this in a lot of like the signs in Diablo and things like that but you're going to see that wrinkles again go from like the center of the eye out kind of like like race so what we can do here is we can start adding some of those lines like this these are more like tension lines like you're not going to see like super big lines on the eyes so you can see like maybe one big eye line right there so again just play a little bit with this things and then smooth them out okay smooth them out we're going to start layering this up and creating a very very interesting mix and something that looks way way more natural than just as drawing like a straight line across the character oh this one's really good I always suggest going for this s like high contrasty effects and this one allows me to show you another type of of wrinkle look at this guys right here there's other types of wrinkles that are kind of like tension wrinkles where you're going to see them cross ac across like big gaps so in this case for in since we can add a little bit of this tension wrinkles right here but as you can see it doesn't really matter which kind of like a primary wrinkle we're working on it's it's very like manual intensive right like hand painted handrawn hand sculpted so you're not going to be able to solve all of these wrinkles just like traditionally with an alpha or something like that we're going to have to work a little bit and sculpt all of these primary forms that we have right here there we go I like to tense some of them up and then again trim the dnamic it's a great tool to to smooth things out and then with smooth but very Softly You're going to just press very very softly and if you feel like you're losing a little bit of the of the like interesting effects you can always just come back and uh and redo it again always with the sort of like criss cross technique and you can see how those eyes are looking way way way meaner I really like this now I do want to change the shape I feel like this is going a little bit too far out so I'm going to push the wrinkles in a little bit more there we go let's go back to Daman standard and clean a little bit there and uh here's where you can start going crazy like once you understand the principle of of this wrinkles you can start inventing things of course always following reference but just stylizing things or exaggerating things a little bit more so for instance for this character I came up with the idea of having this like very intense like race like just like punching out of the eyes so here's where we can start again just Criss Crossing and manually adding all of this elements right here I've seen some people like hand sculpt every single thing like not using absolutely any Alpha which you are free to do it's definitely going to take a little bit more time but you're going to get something very unique because that's the problem with Alphas Alphas are great I'm going to show you in just a second how we can utilize them to to generate a very cool like result very cool effect I really like using Alphas they save a lot of time but one of the bad things or or not bad things with like one of the uh disadvantages of using Alphas is that if everyone has access to the same Alphas then all of the things that we're doing are going to be looking very very similar it's important that we always try to do a little bit of hand painted stuff especially for instance here on the on the center of the face and things like that here's where you can really really push your your hand painted thing or not hand paint hand sculpt the thing and just create something that's very very interesting now another thing that's important here and you might notice it is that we're only focusing on the eyes for now and that's definitely creating a sort of H feel of incompletion because everything else is very smooth and the eyes are like occupying most of the effect that's one of the things that I mentioned in my in my courses you should always try to work on everything at the same time like at the same level detail so if I'm if I'm already at a good point in the primary shapes of my wrinkles right here the next thing that I need to do is to start working a little bit on the primary forms of other parts of the character so all of this areas for instance I'm just going to start adding you know a little bit of something to to make sure that it's it's looking interesting so other wayse looks very very smooth so there we go got a good result right here of course usually for a phase you're going to spend hours and hours working on it right now we've only been working on this for like 12 minutes so just keep in mind that that's something that's going to be depending on the project and again on the distance where you're eventually going to be seeing this character I'm not going to spend the same amount of time for a character that's going to be on the background like an NPC or something that's just going to be on a cinematic or something that for the main character is going to be on the cover of the game right so everything has a a sort of effect breaking symmetry is another very important thing that I strongly recommend so for for inance here I'm going to break Symmetry and add a little bit of the of the frontal elements and as you can see I always try to dance around like I don't like doing one straight line then we just smooth things out and then I find the the wrinkle that I like in between all of the lines and then I just work from there smooth it out again and then remember clay build up a little bit here to add some volume we don't want the wrinkles to be flat so just like a like a scratch going into the element we always always want to add a little bit more uh depth right there now we had I had this sort of like crosses going around and I I'm am going to bring them back but they're supposed to be like scars so for scars I like to use clay buildup and then just go very crazy like this gives me a very like sort of random St symmetry gives me this very sort of like random damage surface and for this particular character that's what I was going for I'm not going to hit the the eyth and then he had this sort of like process on the bottom part right here there we go it's supposed to be like a bampire right so so I'm adding a little bit of uh extra detail right there cool so this would be what that would normally call the primary stage of wrinkles we get a very good detail and usually the rate that you want to go for is to around this distance you should be able to look at your character at this distance and be like yeah that looks good if it looks good at this distance now we can zoom in again as we've been working on and we can start working on all of the surface because you can see that all of the surface needs a little bit more you know o right so I'm going to go uh to the to the standard brush I'm going to go to the light boook and I'm just going to use the basic Alphas that we have right now I I don't like using some of my Pro Alphas that I got from xyc because they're a little bit Advanced I am going to use them a little bit more but I want to show you what you can get with just very simple Alphas so for instance this one right here leathery skin is really good I'm just going to double click it's going to be right here and I'm going to change this to drag W of course and when we drag this on top of that element we're going to be able to get some more like interesting lines that are going to play with the previous lines that we have now here there's a couple of things that you can do first we're going to change this to c sub of course so that we go in I'm going to reduce the intensity a little bit something that's not too much so something like 15 I would say it's a good number in this particular case it might change with yours and I'm going to go to layers layers are a great way to control this sort of things I'm going to create a new layer and now if I start adding my my wrinkles which in this case I'm going to add sort of like following sort of like round shape and round direction of my eyes as you can see we can generate a very very interesting effect without having to sculpt everything on our own like that those ones are definitely a little bit too intense I'm going to lower the intensity and as you can see the important thing about using Alphas is to always follow the direction of the main like wrinkles that we have on the body and this are going to allow me to create that sort of effect for instance here on the on the Nal fold another trick is to change this to to spray and we can just like go around and around and this is going a little bit into the micro detail which we're going to see in a second but that's going to break up the surface look at how nice that breaks up the surface like for instance here on the nose that's looking very very like boring this is going to break it up very very nicely let's go back to drag W I'm going to break Symmetry and for instance I can start adding some interesting effects here on the eyebrow right now the more precise you are in this stage the better and the cool thing about this guys is you will eventually find a couple of areas that might get a little bit tricky and that's what you're going to go back to your deman standard and you're going to help this new sort of like Alpha that you're using to blend a little bit better with some hand sculpted uh wrinkles that we're going to be adding right here so as you can see by adding this hand sculpted wrinkles we're going to be able to blend all of this Alphas that we just created and generate something that looks a lot more interesting and again the cool thing is this all this has all ven layers if any point I don't want to like remove or play around with something else I can just like tweak this down right like bring this down into into a softer effect and uh and play around with how how Intense or not I want this whole thing to be in this case I do want to keep it all the way on the top so let's go all the way to the top we can click on the record button again and for instance here I want to add some like cuts to the skin just to add again a little bit more of a visual interest on the forms of my character and this should look good I would say at roughly this distance right here like this is the kind of distance that you want to go for in this particular um like effect which is the the secondary shapes of our wrinkles now again as I mentioned on the previous uh stage the more time you dedicate to this area the the more like incredible your your results can be so so spend as much time as you need like just tweaking and and making sure that this thing looks as nice as possible for instance here I'm going to start adding some FS on the on the nose and stuff just to make him a little bit more angry and don't worry too much about the The High Frequency detail that we just added we can erase that right now I'll explain how to bring it back in just a second because again right now we're focusing on primary and secondary form so all of this like little noise that we see right here that's the noise that I mentioned that sometimes when you bake this down into textures you lose a lot of that detail so a lot of the times I'm not even going to be adding that into my characters because I'll rather just wait in substance painter and add it there and and that way I'm going to be able to calibrate it with the size of textur that we're going to be using for for production so it's a slightly different way to work of not sculpting the The High Frequency detail and just waiting until the texturing stage so that you know how much or not you're going to be adding um on the character but yeah this one looks good let's break symmetry here a little bit a little bit more of a FS here there we go of course we can add things like like moles or or acne or things like that I don't know like a another cut for instance let's do let me stand there and let's add a strong cut like a like a knife cut right there another one right there right so so you can see how now that we have a lot of geometry and a lot of flow with our elements it's going to be very very easy and very cool to add all of those things now let's finally jump to the last part which is a deter shary detail and here I do have my X Y and Z textures which are textures that are like literally scans from from people so for instance if I double click this one right here let's go to standard brush double click this one right here I'm going to have this texture right here which as you can see is like a like a skin texture very cool skin texture I'm going to change this to Seath and as you can see that's the sort of like skin that we're going for look at that detail that's really cool let's increase intensity but there's a little bit of a problem first as you can see we might need more resolution even though we're at 13.4 Millions you can see that this still looks a little bit pixelated so if you really want to get that super super intense resolution you might need to push it even more uh I do think my computer should be able to to handle it so I'm going to I'm going to bake down this layers I'm going to bake all now we don't have layers but I'm going to be able to subdivide once more and we're going to be like a I don't know there you go 60 million polygons or something so now if we do this you can see that we can hold all of the detail from the texture because these are super super high quality textures sometimes they go on sale so I recommend getting this those but one thing that you need to to do is you need to go to Alpha and on the modify options make sure you set the meid value to 50 otherwise these things are going to be pushing up and it's going to look a little bit weird so set the M value to 50 and that's what we get right there now of course the intensity is a little bit too much so let's go back to like a seven and that's the micro detail so we can start using all of this to get a very cool micro detail across the whole thing right now I don't have um what's the word I don't have a symmetry turn on so this is going to give me a very nice asymmetrical distribution of this Force the only thing that I need to do is I need to make sure that we get like the scale properly now when you buy this sort of like packages you're going to see like specific um elements like it's going to be like uh chica skin and oh sorry it's uh I think the coding is having a little bit of an issue because we're working with very high polygons let me let me finish like dropping this and I'll show you what I mean so what I was mentioning is when you buy this sort of like packages like scan packages and things like that you're going to get specific like names and you're going to get things like uh cheek like patterns and then lip patterns and things like that like I believe this is like an eye pattern so I'm just going to double click and then if we drop this you can see that the like the the wrinkles are slightly different and that's the kind of stuff that we're looking for I'm going to make this a little bit more intense so same thing we need to go to Alpha change the meid value to 50 and these are like like the the things that we would expect on the underside of the of the ice so let's bring the intensity down and here's what we get and that's it now it might seem like Overkill because this is a lot of information right right but sometimes especially if you're doing like super super Advanced cinematics and things like that you might need to go to the Super advanced level that we're seeing right there so yeah that's pretty much it guys that's the secret to sculpting wrinkles like summarize in only 20 minutes of course or a little bit over 20 minutes because this process that I'm doing here for the character is a process that usually takes days like hours days sometimes weeks to make sure that everything looks as perfect as possible so make sure you remember your primary forms make sure you remember your secondary forms and make sure you use micro details in the right way and I can guarantee that you're going to be making amazing things in no time as well and um yeah again thank you very much for everything my friends if you want to support the channel we got premium courses where we cover this and a lot of very cool things as well make sure to check the links down here in the description and I'll be seeing you back on our next evand live streams and here in YouTube so thank you very much and I'll see you back on the next one bye-bye

Channel: Abe_Leal3D

Views: 6,145

Keywords: ZBrush slime tutorial, Maya rendering guide, sculpting a bridge in ZBrush, ZBrush to Maya workflow, slime texture techniques, 3D rendering in Maya, ZBrush detailing tips, Maya lighting for slime, ZBrush bridge design, Maya material setup for ZBrush models, advanced ZBrush sculpting, rendering ZBrush models in Maya, ZBrush sculpt to Maya render, 3D bridge modeling, realistic slime in ZBrush, Maya cinematic render, abraham leal, abe leal 3d

Id: cpQTlOd9YWo

Length: 24min 52sec (1492 seconds)

Published: Mon Oct 23 2023