Improving Your Face Sculpting - Top ZBrush Sculpting Tips

hey guys handing a more than from flip normals here and in today's video we are gonna do another sculpt over this one this model is provided to us by in weekly dusk 90 from our discord we saw this in here and he asked for some help and we thought it'd be cool to do a more expression focused video today the other videos we've done sculpt overs a bit more body focus so we wanted to look at the expression cuz that's you know the main focuses of the sculpt that he's doing the common theme with all the sculptor assist at the pre good models they're not like they're not completely beginner level it's just that there is something which it's almost like fundamentally wrong it's in certain parts of it like in the expression here but overall it's pretty decent so we're just gonna be looking at a couple of things you're not first one is here that the teeth are bent they're actually bent so we just gotta straighten those up yeah you wouldn't have liked if you look at something if you look at a skull already there that already looks a lot unnatural when you look at a skull the teeth don't actually they sort of you know they conform to the skull like this but they don't actually bend down on them so that gives the the whole mouth a little bit of a weird feel to it so just gotta look out for that I think it helps us it better in the face is already there you can sort of see this like protruding making facial expression for this very hard for you to imagine I guess but you have that sort of mmm the kind like with dogs as well like dogs when they when they Corral you have the front of the teeth that really stick out of them and really protruding out so if you want to make it feel real aggressive you can you can just really push the teeth and gums out of the face yeah yeah exactly exactly like it's almost like they're sticking out of like a 45 degree angle or something like that yeah this makes it feel really really monstrous should note here that also have a mirror mm next to me just so I can see what I'm doing it's really helpful when you're doing any sort of expression that you have a mirror that's like it just helps you to you know you can it's it's easier to find reference on your own face than it is to maybe find that specific thing you're looking for in a in an in an expression and also if you google like scary face or screaming man you get these like generic stock photos which they're looking at someone or a right monitor now there are right there's their starting point but you don't get the fidelity as you do because you know you you can change it up you can real just like play around with your an expression so one interesting thing that I'm noticing here it's like you have the the bottom teeth so the bottom teeth they usually sit so when you open your mouth you'll have probably an angle like this so so that's correct like you wouldn't have your mouth open down like this it'll always go back at an angle the problem here is the fantasy teeth which is fine you know fantasy teeth but in order for that to make sense the the lower part of the teeth or the bottom teeth always sit beneath the tongue they always wear their recessed more so to to fix that you either have to give him like a under bite or you have to tweak these like Fang tusks whatever they are so that they would like they would go out on the outside when he closes his mouth so you can see here I would actually have to push them out quite a bit for this to make sense also if you were to look at some if you were the basis in humans which you might do that might be good idea it wouldn't actually be beef these two teeth which would be an hour-long area will be the one slide to the right of them yes so one on here yeah exactly I just did that but touching more teeth really found it out will leave sort of those for now and sort of let's pretend that they were fine it's cuz it's not like I don't want to do like a full and anomie lesson on I'm doing all of this no but there are a few things that are important we have some time constraints here yeah so also with the way that the if you look at the teeth look at it before and you don't have this over arch sort of like it's not a round circular thing and actually sort of it's sort of more round at the front and then you'll have it sort of be more straight in here because that means that we can have a sit in the face a little better so I've actually narrowed this in quite a lot from the original sculpt now it's a bit like a horseshoe really yeah also looking at the top teeth now they have even spacing and even even those in the same size for all of them as well you want to do to generally avoid that and one thing here that we were just talking about before which actually helps a lot with the realism is making this sort of cavity see if you look at this shape here where everything gets pushed out kind of looks like he's kind of like balloon mouth water but in reality you know you would have your cyclomatic and your it's called jaw Manabu your mandibles yeah so that would yes there are muscles in here that would be pulling but because we have my bone I say bone takes priority more muscle they would create tension between these two places and this part here would kind of collapse in a little bit yeah I think it's really important to actually consider the skeleton I mean this is what we're all about from as well and we keep talking about it all the time don't progress until you got to scalp and nail down because particularly on your doing facial expressions it's not just a potato you carving something into if you work you need to work from the inside out where you actually have a skeleton and then you have flesh on top of it if you have like if you it's kind of like having like having like cellophane like this is like a plastic wrapper around around like it was something else it will just conform to it yeah one thing I want to do is also beef up his jaw a little bit because it's actually it was actually quite us small like there wasn't a lot of thickness to it and you would both have you know skin muscle all that stuff here but especially you have a powerful character like this you would probably want to emphasize the mandible of what and also see this we want to avoid this sort of pear-shaped going out here that looks that makes it look a little unnatural I also got to think like this character here he would be like some kind of old girl he is actually he actually wants to be better ahold something like that yeah he and uh based on his teeth he would crush things that would be how he would get his food in order to do that you just need really really thick jaw muscles you couldn't really like like this guy here he would crush bones yeah he would he would like kill oh man he would kill deer like e to the antler to get extra protein or not so on you just really got to make sure that he is beefed up for the pass and regardless of you going for realism or firm or something more stylist if this guy here might be like some in-between yeah it's still these things are still true these are just general design things even if you're doing something stylized you still want to base it off of real world reference like like yourself like a mirror keep with the design and see if we can get that nasal labial fold in there actually all the references that we're looking at you know it's not like we have all the answers magically I'm just know how to do this it's like it's just a lot of reference and the nasolabial fold is very prominent in all the references that we found that including ourselves including ourselves yeah so we'd want to beef that up because that can really add a lot to it yeah like this is a this is a fold which pretty much everyone would have and it's just like the bar it's just like the wrinkle around the mouth essentially one thing you can see I've done as well now as I have stepped on a subdivision level because it's just there's too much working on that subdivision level up there it was just too much detail I'm making it hard to really get proper thing in there already now just by adding this up here like we have some Hulk references and some angry references and people like the Hulk reference in in particular is very extreme you just search for Hulk scream Eggar says something that the guys at island we did that they spent probably months yeah bunch of time on the face shape for that and they they would distribute themselves ice cream a lot for with a video sulfate as well this is where you can sort of hear you could sort of you could emphasize that um the gums a little more for example if you wanted it more animalistic feel to it that's for sure they'll just pull it up and down like the little bits or like show like show yeah something more or something more natural so if you do son like this yeah and lets more humanoid he's a little more angry then you do this it's more of a snarl help yeah we're in doing this can these kind of things as well I I'm basing off humans but I'm also like infusing something else into it like yeah I were to do this I would look for this character I would definitely look at like gorilla references but she's very trees very he's disguise essentially a gorilla in terms of proportions so find some real world reference I know we keep parroting this and we sound like a broken clock here but whatever is you're doing like this real world reference and then find a bunch of different animals to find a gorilla think about it you probably have like they show their teeth a lot in the doom with a lot with a lot of gums shame ups as well yeah like if a chimp chimp shows through his teeth start to back off and also when it comes to this is well looking dirges go for first for something google like there are a bunch of resources like actually YouTube is fantastic for that really look at documentaries maybe look at documentaries and Netflix for animals yeah because if you start if you look at form the first result of Google that's what everyone is doing and then your work is gonna look like everyone else's work exactly hmm and we're talking about that man I mean he's so old to go used on the library you go look for reference at the library because if you just go to Google you'll find the same you talking about Fox's example if you just go to Google and you search for foxes you'll find the same folks that everyone else has hmm whereas if you go to the library and you pick out random animal books about foxes and you find reference there you'll have found Fox reference that I guarantee you that no one else finds and I think there's an interesting point obviously sometimes it could be a bit extreme you don't always want that but I still have a go to the library yeah but it's like the I guess point yeah I know so if you want to find something more unique than try to just think outside the box and not just search for like okay I want to find the Fox his first reference done there might be cooler foxes or other stuff but at least it with with foxes start to fear that but at least you would be looking at real world reference but it's more but then if you're doing like an orc and you're searching for orc you were gonna find Warhammer will order rings or you're gonna be finding the world Warcraft yeah and then you're getting like really really generic things like if you were to make an orc out of you look at the guerrilla a chimp and a human maybe a bit of like a dog in order to mix that into something at least you would get something more original something more something which feels more credible but if you just search for orc and you're just recreating a Warcraft orc I mean then you're you're not even close to like primary sources we're so far away from doing anything original like it's it's like triple distilled artwork so here what I wanted to do was just emphasize the strength of his jaw new Morgan's bring out the chin a little more focus to it and one thing I really like to focus on is is the shape of the jaw so going through the jaw up to the chin so it's not just before is very much just like this this shape here was actually like a round shape whereas now we get this angular shape mmm see there's there's some more strength to the to the chin you can see how it goes out and then it goes in here so it's like it's like it like this little curve so not it's not just I screw yeah it's not just this round thing and that's really that's something that everything in the body does like getting those shapes and can really help we should maybe do a video on that on what curves like s curves and C curves and a lot is like if you if you have s curves and C curves and you just flip and flop them around like you just have instant gesture and life into your model so I'm working worse than where the Mathis cars so because I'm sculpting today there will be no scars attached even though this is the typical scar person it's all arcs or would always have scars yeah um this section here so here's an interesting note um when you sort of actually this is very chimp-like now hmm once you're when you're opening your mouth like at this extreme sort of its to these kinds of extremes this part of your of your mouth I don't know if there's a specific term Ford tends to get very very thin hmm because you're really stretching that it's like that's for like it's like two points kind of meat mmm so a lot of pressure on that area there I think that's so important when when I like stretch skin like I know we called skip talking to that but like if you can like really sculpt the skin to look stretched I mean the history for drawing a lot not just skin stretches like crazy one thing I'm also noticing this model as well now is the ears are too far on the front because they will go they'll go behind the jaw bone yeah that's one of these things that it looks a bit weird not really sure why it looks a bit weird because the ear will always go behind the jawbone if you look at the skull you can see like the whole the ear hole probably has more integral term this is all sort of the way I'm doing it as well if if I need to fix something I'm not going in noodling it's just like the brush of death see if we can this is gonna be an interesting one with the mastoid so it's not something I want to focus too much on because he's sort of like pushing his face forward so it's but it's just getting an indication of the sternocleidomastoid is awesome is one of these like really hewel muscles yeah if you don't have it looks weird and this guy here he didn't really have that problem it has a bit of a crazy name sternocleidomastoid but essentially you can just think of it as a straight line which goes from the sternum just between the clavicles and behind the ear a simplified version a straight line from behind a year doctor disturbing so and it does like depending on how you activated it can deform a little bit as well and if you twist your head that's gonna be more accident on one side than the other like if you if you actually if you twist it it's gonna be like almost rock-hard and then the other one's just gonna be super chilled I love it like this especially as well but like on I find it very prominent on skinny women mmm especially and they turn their heads like so it's like the opposite side of activation they like you really see so you find like you search for I don't know model or something skinny model turning head Google phone point here then you'll find like really clear indications of the mastoid and what you will have is you have this very fine sort of line just down here where it starts to activate you wouldn't get that in a straight post like this cuz there's no like what it does like it turns your head so you don't see that kind of activation so important that to do is to think that every single muscle every single shape you do on the on anything you sculpt has a function you would never just go uh then this is just kind of a blob or whatever yeah every single thing you're doing here has its purpose and if you don't understand the purpose that's fine see if you can understand the purpose of it like what mourners do now which is screaming and turning his face yeah in fact and trying to sort of like merge the two you know without going in and changing the design too much going too far away from what mr. Enrique dusky has done so now we're ignoring those teeth a little bit let's pretend you didn't have tusks I think what Morton was talking about before is also so important when it comes to like both Martin I used to do this like for the movies and it wasn't that you just know everything I mean that's the character model or you know it's not that somebody tells you hey can you do an orc which is screaming you go yes sir of course I'll just get that out of right away in my repertoire yeah exactly it's more that if I was asked asked to do this I would spend like an hour looking for reference and before if it was for full movie then it would spend like probably like probably like a full day just searching for reference it was for a speech sculpt or some lad probably around 10-15 minutes for that but just get reference because if you don't have Matt you don't know what just start and and then you start approaching it if you just start going Yolo and start sculpting right away it's just not gonna work you need to have this upfront cost or you relook at it because you're saying like we don't really know all this kind of stuff here I have a general methodology on how to scope which is first in the skeleton and muscle and fat and skin and then you just look for reference for the Uni for unique and the main differences a little bit and you would have this this is where you're just talking about this before the video with you have the zygomatic up here and you kind of give this like this empty empty triangle space in here where yes there are muscles but the difference between muscle and bone sort of a bone just takes priority gets pushed out more and then the fat and the skin tends to disappear a little in there the way I was actually learning this was I was just doing like facial expressions and just straight-up poking my face like if you poke your if you had video of us that would look really weird right now but it's like if you poke your cheekbone or your if you poke your chimney or just eggomatic your chin bone here you or you would you would feel that it's really is really bony it's really hard your cover to move it but then you put your finger a bit up and you feel temples you feel you have muscle they're not so much bone and then you bit down and you have this just empty area Morton was just doing right now yeah and it's just like it's that we talked so much about it that whole working from the inside out figuring out like why wanna the bone why is the bone there what is it what does it do and then you should add stuff on top whenever I had students for I mean we both been teaching this kind of stuff and whatever we've I've had students who's been in trouble with this and they're like oh there's something wrong here what's what's broken like I I actually don't know let's figure out and what I'm doing is I'm just brutally going over with like the claybuildup brush and just taking away everything they've done getting into bones and most often time it's just the error is usually 100% because the skeleton has has didn't have to get the Lava to serve their dis skipped a skeleton face like in nine out of ten cases that is that is the reason it didn't work so the depression here underneath the neck in between the sternocleidomastoid can also be quite synonyms so also just help sort of like yeah looks a lot better already make it sort of come out of the out of the body so to speak now on to one of my other favorite muscles the platysma oh good so this is the classic scream muscle this is what the participant does is that it pulls this part of your face down so whenever you're screaming like you look yourself in the mirror and you try to like open your mouth and then pull it down if you can't talk at the same time so get like lattissima activation so just you know we look like it's such a crazy must because it's a surface muscle it's so thin like it's crazy then and after you were doing this as well as well.you you it gets really tired yeah and and you just he's almost like you have like also you're going to a gym and it burns afterwards but it burns in this like nondescript area on your neck it's really weird let's see and because it's a surface muscle and it's so thin it's like it's actually kind of hard to incorporate you know this other stuff that you're doing cuz you don't want to you don't want to destroy whatever is there there's actually one of the few times I'm sculpting with a standard brush discuss because it's it it's such a fine thing so it's it's a it's a fine thing when it comes to it's a sharp thing but it's not a subtle thing no like it's it can be very prominent but it's one of these muscles you wouldn't really know but crazy little crazy but this one yeah lattissima activation yeah so I also think is important when talking about that that the Hulk is also that it that is a all RIA creative character where there have a look to reference whenever I'm doing this kind of stuff I think it's important to look at the reference they looked at yes some people look at yourself does I mean I'm primarily using the mirror here there I like looking at I like stuff like the Hulk here in the way that then I'm like how did they solve this problem this is a creative problem essentially how does the Hulk what does a Hulk look like when he's screaming is very similar it's a very simple problem to what does this guy here look like so it is interesting seeing how they solve that issue it's also interesting what Mauro started before like the depression and the whole ride like in his neck who's doing like we had a video but contrast and I just can't stress how important it is to have the contrast English like you don't want everything on the surface to be equal you want areas which are like which really go in then like the press into the surface yeah yeah I mean it just like that there just helps to create hmm a space that's not just flat anymore it's nice shadows and everything yeah one thing that's tricky about the participant is that it actually is so it tends to straighten out your area the area of your neck a little bit because it does move the skin and because it's so close to the to the surface it actually deforms quite a lot yeah it's one of these if you if you were to look at some of the references we have which is like of stalked man screaming and and you didn't know what was going on there it would look it's absurd it's almost like a tree trunk or saying like that like water which is fro been frozen solid mid wave or something so I think it's important to know you're not to me underneath us like know about your participant know about the various muscles we had somebody who will respond to one of our videos for talking about like saying that was it and actually isn't important it's like okay so we will be talking about how knowing the anatomical names is necessarily important if you know that it's called platysma note that might not be super important it's good to know but what's important is to know that it exists you look at a reference of somebody screaming of mr. attractive mid-twenties man from the stock image site screaming that is important but to know specific names it's not necessarily that important now so we're all for learning in that to me here I think that's super important it's just that knowing the specific names might not be I still advise doing that you know you can always learn the names yes so it's always it's never too late to know yeah because you have to otherwise like you owe everything I'm doing up it's based on afternoon we have a really talk too much about technical terms here but like specific muscle names that we have mentioned some but it's all about knowing the forms yeah I really can't stress that enough it's kind of like if you're if you're a doctor you probably know a bunch of anatomical names or if you're a personal trainer you probably know way where I'm talking limbs than what we do yeah you can't sculpt yeah we probably weighed that art sculpting and a personal trainer you have hopes of otherwise and getting more fun trust in there as well just trying to again it's that constant battle of you want to preserve a design yeah I also want to get some realism into it yeah but at the same time it is also a little more stylized so yeah yeah you all CA you listen you got to respect that as well yeah got a respect that somebody has mr. Enrique destiny has has to sign this but already they're like this might be a little bit exaggerated but it's it just adds some contrast in the between the little chin chin scar I'm also confused about the word chin because in Norwegian chin is it's like only the side of your face so I always confuse the chin and cheek I actually made a mistake earlier I said I said the chin bone for sure to set a cheekbone and this guy's like phonetically they're the same word but if really get confused with me English in a region in war but man the chin bone does defining the ear but as well like the ear is a tricky one to do and here it just kind of looks like a general protrusion of the head but the ear always has the same has the same shape I mean if you're doing if you do know gorilla and ork or human or whatnot it's pretty much the same shape there was some variation in proportion yeah but um it's mostly the same shape so I'm just gonna it's not necessarily indicative later but just define a little more yeah it's like it's indicative but nothing more yeah exactly and this is also scope we could have spent like hours for like really going in with all the arrows we could have spent an hour talking about your eyes in the ears and all that yeah I would actually be cool video as well sculpting ears yeah cuz that is a tricky one to get right the way I learned to sculpt the ears was just to sculpt a lot of ears there is not a whole lot of like oh the logic behind it pull and push and pull these shapes or is just it's just a shape memorize these shapes essentially just do a lot of years yeah one thing that's really cool as well I remember like when you're squinting this part and here's obviously right now I'm exaggerating the shapes to sort of get this but you can see that you have this big buildup of volume one thing that um there's a soup Marcus on the last film I worked on he talked about me he's like a fake hip guy so good at free shapes yeah really and he talked a lot about like you always have to keep in mind you know where when you compress a volume so like when you're squinting your eyes that volume doesn't disappear no it has to go somewhere so and where does it go so there's there's always gonna be it build up somewhere else like because you're displacing a volume it's like you know putting up mmm it's a break in water or something so the water has to go somewhere is the same thing with like when you're squinting your eyes like this you know you have to compress it and that compression starts to build up volume somewhere else you know like here and then you can get depressions other where other other places so it's just it's trying to think logically about where we're with the new volume sort of appeared it's also really cool when it comes to face shapes like if you're if you're really good at doing phase shifts that that's a job this is something I know a lot bunch of people don't actually know but when you're doing these kind of things like if you are looking at at the Hulk you and and you have face shapes that's not just a rigor which is like ah we're just gonna move the shape up here like for an animator pushing it there needs to be very specific and bespoke face shapes made for this and and that's it that's a really cool job that you're sitting in this faces all day long it's highly specialized and the people who are good at are they're so good you know we're like we were like noobs yeah comes to that yeah I've actually never done face ships professionally and I know there are people who I've done some blend shapes for stuff but in a specific face shape yeah because the people who do that they are they're so good they usually they usually come from sculpting because you need just an excellent knowledge of anatomy and particularly you know obviously the face yeah we know a guy who came from like Florence won the Academy's Academy there was just such a beast when it came come to sculpting he was just put on to face ships because like it's not it's not necessarily knowledge of 3d of course that is also important I have some technical blend shapes action all that but just knowing how the face compresses and reacts yes that traditional experiences shouldn't underestimate it no it's a lot easier I think to go from being a traditional artist to a digital one then from the digital one because I you get so used to the tools and I give you if you've done traditional stuff you've just been I mean not that digital artists don't grind but you learn to see in a different way look at things in a different way from just from a traditional point of view yeah also because there isn't really the Florence Academy of see brush there's no that were you happy somebody brings you bring your three norsu teak and it's just sculpture for 12 hours a day no exactly I I personally really dislike working with traditional particularly like doing like small maquettes cuz I'm like this bloody thing cuts my fingers and I can get the same result like what takes me like three hours to do setting up the maquette and all the wiring I could do literally in four minutes in ZBrush yeah but it's also a really a rewarding experience as well it's a very different point where does a pure output I can be I'm just so much faster then you also have people like Simon lean spider Cyril was just an absolute beast when it comes to traditional yeah he started getting into see brush now he was posting his stuff and Instagram and Twitter and it's like those people shouldn't have access to see brush is way too much power he's gonna make everyone else are bad so it's interesting looking at this and really thought about it before with the platysma but the variation is pretty big in the platysma so I was doing exactly these kind of face shapes for film was working on previously and it was very very interesting cuz you just you you have to look at a lot of people's participants usually you have access to your own like me for example I only have like so like to define defining strands that go up here but some people like the are reference it's just like it's covered into this much everywhere so you know find whatever works for your project and undo that looking at the whole care now he actually has like three which are just equal yeah I would actually broken that a bit up I think you can just do is just emphasize again just creating contrast just also like what more normal interviewer for like a variation individual variation we will to talk about this because there is so much individual variation yeah and particularly if you're doing like a bore or something like that there is no such thing as generic and not to me generic Anatomy is a starting point where you have some general rules like this is the origin and insertion of the muscle but that is a starting point that's not where you end up if you do that if you if you only use generic Anatomy you're gonna get generic characters and designs I don't like where this model here is kind of like the flow around him like Jessica there's like a nice gesture from the side there so one thing you you have this again with the build up is you look at this this is something I miss before like there is actually there's no build up here now so it's not just about carving in with the damn standard this is actually one of the few cases where it just straight up going to use damn standard but you probably have this build up of parts of it gets pushed out a little bit just to give a little more surf surface variation to it and with Ascot leg or something I would also just I would just exaggerated it because there's a troll / hold - / so why not yeah yeah I've never really I never really looked at myself and be like man I push this too far now it's always like you push it in the you push in here beginning and then you start adding volumes to stuff and you start we're finding it and you just lost everything which was interesting about this original sculpture happens every time you'll see what Morton is doing as well be like don't be afraid of carving stuff in here like just defining the back of the head a little bit here because it's hard to own in original sculpt is kind of hard to see with neck ends and and oh then the head ends and neck begins so I actually like just evaluate re-evaluating this thing probably just go in yeah like I said it's like it was one big lump yeah so just trying to find a natural break point in it just so we can have some contrast again yeah yeah again destroying old form a thick plate below it's just I mean you just got to do it and in terms of like brushes we did question what brushes do you use it comes up all the time anyway yeah it's been the same and when we are painting a Photoshop as well what bursts you use this or a custom one no it's the round standard one with and with a tablet I think it's it's like it's the full when you see people doing something and you want to do the same thing you think there's always like a magical solution is right yeah yeah there's always a secret to doing it but no simplicity I found works the best for me at least yeah for sure we also had our has a question so there's discussions in the comments about should you use a tablet can you do this phone tablet it is like time technically we can't would put a written reality you need you need a tablet in it you can't just sit with a mouse its first off you're missing the pen pressure which is which is insanely useful but also from a health point of view you probably get like like what's called tunnel carpal carpal tunnel carpal tunnel syndrome and you your arms are just gonna be screwed up like crazy I had that I had that in both my arms and who was miserable I had her at the same time and was because I was sculpting too much no imagine he was doing that with a mouse and you're just clicking all the time when I working Maya I'm actually going between a tablet and a mouse discuss them it's good for my hands and wrists but I highly recommend getting a tablet and and for the tablets as well to some recommendations I'd be used to be called the bamboo I think they're just called interest huh but the cheapest into us it's like $60 60 pounds whatever is it there I've been actually been I'm sculpting a fair bit on what am i teaching and they're perfectly fine they're simple they're not doing any of the crazy like old touch-enabled you don't want that actually wish I could just I want like just them think they are smaller because I want a bamboo that's the size of my medium Intuos tablet because I think I don't need a touch stuff no I I bought it by accident but like damn it I don't want any finer settings I don't want any buttons I just want I just want a pen and a surface I could sculpt on unpaid on yeah the very first thing I always do whenever I get a new tablet or your PC disable everything I think this is probably the majority so let's just see where we came from this one take back the undo thing I'll be careful out there is a bug in ZBrush if you change the subtotal now it's going to delete all the undo history I have it last week it's gonna delete all the undo yeah so let's just duplicate this yeah well I guess technically now I I did that yeah I had that last weekend I was showing to somebody and it was like oh man it just deleted all of it so okay we don't have the teeth and we doing the eyes yet but we can still sort of this is the original one yeah a new one so it's just like you can see how it's like we've created this point of tension here yeah and what that point of tension has done is I can't actually I'm pointing at the screen because so see how there's a buildup of muscle and skin and everything now where's before it's sort of like he looks a little limp mmm it's just so it's just trying to emphasize some of these areas creating tension um adding some volume here building up some more volume here on the nose building up volume on the on the brows and then just a little bit of posture to not have him hunched over so much you know it might not be what Henrique dusk 90 is looking for in his design but these are still all applicable for whatever you're doing when you're doing facial expressions so it's really about get the bony stuff in here and the return with us before recording life become we're not gonna show it but if you were to take this further one thing I would do fairly immediately will be break the symmetry yeah like a four if you're doing a production model I wouldn't do that because then then you're in a world of pain but if you're doing four concepts copes I would break I would break symmetry quite quickly the nice thing about so when I was doing phase shift so at that point of when you're doing phase shift you already have your finished model nice and at that point the phase shifts that you're doing especially so if it's face shapes that um you know you would have like from side to side they're open the jaw that could all be symmetrical having something like this where you have like a maybe have a brow raised or you have a Swint in that shape you add as symmetry in the actual shape is that's how that's how you do a symmetry there might be some sculptural asymmetry in there as well the asymmetry really comes from or asymmetry really comes from from the from the shape because I just enjoy just breaking it up yeah like this because it just looks so much better right away like you just move one corner off the I love to mouth up a little bit move one eye down and it screw up the shape of the ear a little bit and you just have like an instant character right over here so yeah I mean this is this is pretty much it we really hope you've been enjoying this video here and if you want to see more content like this in the future make sure to leave comment like and subscribe thanks for watching thanks guys

Channel: FlippedNormals

Views: 42,676

Keywords: 3d, sculpting, zbrush, concept, maya, tutorial, autodesk, film, vfx, animation, twitch, mjthehunter, flippednormals, henning, morten, creature, character, texturing, sanden, jaeger, substance, painter, designer, education, foundry, pixologic, nuke, cinema4d, art, fundamentals, art fundamentals, art school, art tutorials, drawing tutorials, face sculpt, improve your sculpt, sculpting tutorial

Id: PmB2TnGbnZw

Length: 41min 54sec (2514 seconds)

Published: Mon Jul 16 2018