Learn to Sculpt Like a Pro in ZBrush

hey guys having a Morton front flip normals here this is a video I've been one to do for a long time now and it's about sculpting techniques this is something I haven't really seen covered before I see some people talking about speed sculpting or like how to sculpt the specific thing and we've done that as well but this is gonna be purely sculpting technique how do you use the brushes to get good a good result how do you how do you just work with see brush just to create good form it's like practical sculpting Theory yes exactly so it's not this is not about anatomy or sculpting eyes or these kind of things even like dabbling we sometimes do but um we this is purely about how do you sculpt but how do you get a good form here yeah so specifically what I want to show is it's my personal approach here to sculpting and generally form this is how urban sculpting for years now and it's one of these ways which it just seems to work really well for me and I feel I can sculpt anything like whatever it is in see brush I can sculpt this using this technique here and so let's just get start with this the way I'm using ZBrush is mostly by claybuildup and the Alpha oh six as in general one it by default you might have this one which is super nice but it has a lot of textures a bit too much texture for me and then you have with nothing which I will be using as well but it doesn't have enough texture for me so I think it's a bit hard to get specific shapes but you can also totally just use this with it without anything so we're just gonna be sculpting right now with alpha 6 the round one and don't really know what we're gonna be sculpted on instead this here is just like to generate some shape is yes to talk about it yeah it's about the journey yeah I know if the destination here so regardless whether is I'm premature starting off just with big broad strokes here and also you need a tablet like we had questions about this as well do you how do can you do to Mouse you can't do it this month also because I mean you might be able to do to a certain extent but at some point you're just gonna start to be frustrated and it's not gonna it's not good no so whenever I'm doing like a head mate maybe this here is a head now you can just blocked it in and maybe this is a nose and here could be like some eyes here so just - this is a hard one for me to do because I have to explain the way I've been doing it for long it's like how do you explain handwriting so it's gonna be a bitter like just watch and learn yeah so the way I'm doing this is I'm not just I'm not just going across like this I'm not just scroll to a direction I'm going across I'm doing this going across the shape and the reason I do this it just seems to just work from it gives me really nice textures and it gives me really nice control over the form it's a lot nicer - faith it's a lot easier to fade out the form you know to have a peak in the center of the form and have it fade out towards the edges if you work across the form versus a blended right exactly exactly so if you just do with the form I like in general I I'm not a big fan of sculpting with the form like the first example where handing just great directors greatest rate of chromes that impaired this yeah yeah exactly yes it's it's it's harder to control and it'll it feels less organic even if you're using an alpha like or no alpha with the with the claybuildup brush you don't get the same organic feel from it all it's it's harder so across the form just gives you a lot more fine control exactly so yeah I can't stress this how important this is for me like and this is something I've just been doing for years and then so you've made this little cheekbone thingy or like um there's some little cheekbones here whatever looks like et yeah so you can see here is always across I'm moved from doing a nose here I'm not doing this and then doing like this I'm sculpting across the form to get these volumes here cuz then I'd like more to say you can blend and like now everything everything just kind of blended together just kind of by default and then different wanna carve ceptin just hold on the Alt key and oh this is just the way I'm doing I'm just kind of like circling around you know mm-hmm and then it's still just going across the form here so I'm not doing I'm not doing this to get the shape here - to blend it I'm going do this and they we'll go across it so this so it's super clear when what I mean by cross I mean this done done there you go instead of instead of with the four more along the form I guess it's yeah you want yeah you want to go perpendicular to the direction of the form yeah I suppose yeah so again completely personal preference here this is just what works well for me so and I mean it happens to work well for me as well who knows maybe we're onto something here maybe you - no I'm just I'm just sculpting some stuff you're like I'm pretty complete a freestyle no reference no thing in mind here we're gonna see like I'm just working of the volumes here fairly low intensity actually on like this is default here but I'm not I'm not holding the max pressure like if you were to use a mouse here like has a mouse right here it would just be the same pressure all around here but it's just like maybe I have 30% of the actual pressure here because this means that I can now blend stuff super nicely so let's say I have a shape like this super angry so I have a shape like this now and I want to blend this together here yeah I'm not gonna I'm not gonna use a smooth brush I never use this blue brush essentially I can just work across the form here with low intensity yeah it is really blending this together the issue the issue I have with so I'm not like I'm not like a no smooth brush evangelist here and hatred I don't know not a hater but like I try to keep my smoothing to a minimum it's kind of like so you're doing real clay sculpting right and if I don't know if you've like oil-based the water base you have water turpentine or whatever you're using to smooth it out you lose a lot of detail and a lot of form really quickly so you have to be really careful with it whereas the technique where you just you fill in the gaps that the smoothing would create otherwise you get like these extra little forms in there instead of just like smoothing things out and loosing cool sculptural detail you can actually build up some extra form you see all this all this variation here it feels like I mean obviously the sculpture here is absolute terrible but don't even know what does this here but the point is you still have these sculptural details you have this like it almost feels a bit like skin it's because you have this variation here compared like this smooth area here when you're pronouncing has been treated yet hmm - like this area here which has been treated it just feels far more organic and interesting right away just coz discuss we worked across the model and I haven't hit the shift key once here but also like I said here I don't use this movers ever like I'm more like more like it's just like I try to avoid as much as I can yeah because if the moment I smooth something out you're destroying shape that's why I'm looking at you're destroying what's there and in some cases that's what you want to do you want to remove something let's say I'm like god this is terrible the eye here is terrible I'll just go like do and now the eye is gone but if if I were to the section something about this once more and I just add some more details here so if you if you have let's say have too many strokes here you have to you have too many brush strokes here and this is vittu nasty sleep in a final model unless you're do going for a sculptural feel you don't have 1/2 brushstrokes you need to remove them at some point because otherwise it looks like your character is made out of clay which is awesome if you want to make it sculptural but if you want to make it our skin you don't want this so two ways of smoothing this out here now one is smooth it boom the other way is to be more subtle about it if you smoothie here that's like the whole turpentine that is like you put water on clay and then just smooth it out with a cloth everything is gone now everything if interest is gone the way I'm doing this this takes more time but it's far it gives far better results here I'm going over with you can decrease the intensity or you can just have a light pressure of the hand and really working across it here yeah and one thing I would actually advise you to try and experiment with as well is like so earlier on doing when you're sculpting you know keep the intensity where it is but the further your progress with your sculpting the more detail you start to put in like you progress to the secondary and tertiary details you can try and lower the intensity like any seven because then the the control that you need to exercise and on your hand in terms of the pressure this is way less so it becomes a little easier especially with this kind of smoothing when you have a lower pressure on on you know the Z intensity is lower it makes it easier to smooth in quotation marks so what Morton is specifically talking about here is so right now this is as fine as I can go like with my current pressure like off the hand and now I'm barely touching the tablet here and you can still see that you have these rush marks here so what I will be doing and what we're starting but it's bring you down I'll bring it down to something like five or even lower and like maybe like two and now I'm just working across it here now again there's working across the form and you all the the brush strokes will now most let me remove so I'm trying to not remove them completely just cuz they add a lot of character to the sculpture here they just add a lot of form to it again compared this here to like this mm-hmm the nice thing is you just have more control yeah I mean you can of course have control with the smooth brush as well you can do the same thing where you you lower the intensity of your smoothing yeah I think if you gives you better control but I do think you run the risk of removing some of the nice sculptural detail that you've done absolutely what I've also doing what I'm doing well when I'm refining it like this I don't regard it as a smoothing pass I regard as a refinement pass so for this kind of stuff here now sure there are some brush strokes here let's we want to remove the brush strokes again smooth it or you can actually in or you can refine it so here bunch of stuff here so let's increase intense a little bit here and instead of destroying the forum make it smooth I'm just regarding this just I just want the shaper to read a bit more here like I want us maybe there are some like muscles going down here or maybe has a bit over the fold going down I'm adding like this skin like the weight of the skin maybe around here definitely Holika lips or something like this so you just have shapes going around this so I'm often doing this with really low intensity discuss it's it's about refinement for me instead of instead of sculpt smooth sculpt smooth it's it's just old sculpture in sculpture on first year doing the big shapes here it's like get a superficial super-city eyes and then you're going in and yours refining it I think I see that a lot just thinking about it for for people who are starting out with sculpting in ZBrush is that often often they're okay there's like I think it's like two ways of - mistakes that I see one is adding just the sort of primary forms primary shapes and then going crazy with alphas yeah so that's like you're relevant for this example the other one would be the at the primary at the primary forms but then once they get to the secondary ones they start to smooth things out too much and you end up with a weird sort of kind of defined primary shape wise model but you lose a lot of the definition yeah and then you have this semi smooth but with details details model you know and and it it it's almost fun example but it's um it's explain it I think it's a very clear indicator of someone who's starting out with sculpting because you know this the smooth shift key is right there you know it's so easy maybe you should just even like like relocate or something uses your something else like do an exercise we were like okay for this entire face I'm not gonna use smooth at all you're gonna actually do this you can hold on is just keep and they can set this to something like where is mr. trim dynamic here or have you and then down there we go so now I'm sure this is super fun for you guys watching us do this we're not adding this app so what you can do now you can actually instead of now to shift this it will now be the term dynamic brush yeah so now you just forced you now work with planes here instead of instead of we're just smoothing it out so this is again the whole thing like now you're you're sculpting and then as refinement to getting refinement planes and you can actually use the trim dynamic ass ass brush as well same thing like you see here you have the shapes here you can just hold on the shift key now for trim dynamic and do the same thing just like lower intensity and you get these real nice planes yeah and then you could just work across it here and just get this super nice texture here so definitely a good way of working like this what I also do is I think Norman will start looking for like it's hard because we don't have any to any any images of that is it's like missing mid frequency details that it's like so you have the primary shape which is like the shape of the nose here which is like the big strong shaped it's like this kind of stuff and then you have the fine frequency which is like it's like pores and all these small things here well there you have everything in the middle which is like how the skin wraps around the mouth here it's like these subtle and that's where I think most people go wrong is that it's so because it's like when you observe something you should watch our observation video by the way when you observe something if you don't have a trained eye and what you'll see is like you you'll see like the silhouette and you'll see the major shapes and you also see the super fine detail because that's stuff that stuff that's really easy to pick up like you know you have the pores on a scan okay that's cool you know it covers the entire thing that's easy to see the shape of the head okay that's easy to see but the the way that the the skin folds like if you if you're aged a lot you have wrinkles there's a lot yeah minor wrinkles that that's this kind of stuff that's hard to pick up on if you're not trained in looking properly this is specifically this kind of stuff here this is this is what a special spent a lot of my time doing when sculpting like this is this is some it really is the frequency which is to elected which will just separate the the experienced sculptor from the rookie here yeah because if you are if you're not experienced you know you're gonna skip this face here like at this point here you've already gone into into pores you can already gone into details here but for me I'm spending so much time this level here and I see that so like Kenny and I we worked on a film that shall be named unnamed and this is the exact issue we were running into and we like we were really really arguing to get like okay we just give us two weeks you know give us two weeks or week or something day a day just please an hour just something where we get to focus on the secondary details because we haven't had the time yet we've only had time to focus on big anatomy we've only had time to focus on silhouette and the technical stuff there's been no refinement of the secondary details yet there and I think that's where you really start your creatures characters whatever it is a hard surface things really start to pop really starts to shine I guess I may imagine you had like this sci-fi box okay really easy primary shape box shape alright okay that's cool the the tertiary of shapes which would be like the pores or something on on a face would be small inserts and rivets right but if you just do a giant box with rivets that's super boring you know you want something that that breaks up the box maybe you have like these hexagonal because everything in sci-fi is exactly like shapes going across some that are that are smaller than the initial silhouette but not as small as the bolts so maybe that helps you to sort of figure out the the detail level sci-fi box sci-fi box yeah yeah I think I just can't stress how important mid frequency is here so no okay here's another example okay you got another mid for you you have a tree right so with a tree the the this this or is it called the stem of the tree that that would be your primary details alright your leaves and your buds that is your tertiary details the secondary details is your branches and your your big things that grow long maybe maybe that helps you I think that's like nature metaphors mate you're right of course instead of sci-fi whoa sorry go ahead no I'm just I'm just amazed by tree metaphors oh okay okay I'm trying to think of it was I think that side that's actually true in terms of the importance over though that's why I actually really like the metaphor because I first I like metaphors but uh but it the the secondary details are the mid frequency is as important to a sculptor as branches are to a tree otherwise you have like this weird trunk with leaves on it is like that is that is the equivalent here like how weird it is yeah it was once we once we have something this which now obviously super skulls but like that we didn't I know what we're doing here I think it's your best work so far thank you but um there is no move brush here there's no smooth brush whatsoever there is hell no trim dynamic even though we satin shift key it's this is all playbill up with one alpha here the only differed on is we change this for twenty five to six and that's it so this is this is for me the most important lesson I've ever learned 20 click when it came to sculpture work across deform let's take stick to just a few brushes keep it simple that improved my sculpting more than anything I've ever done apart from learning figure sculpt you learn figure sculpting yes but then once once you're at this stage here we're you know you're not done like at this point here you know I'm gonna subdivide once more we own it now in the mill and a half so it there's still too much texture in it for me here and I'm still missing I'm still missing a frequency here so what we'll do at this point I'll do than standard you're missing the secondary and a half yes for exactly so now you can see I'm going in and with super sharp stuff here Elaine takes intense it down a little bit because this is crazy I think that is a pro tip for you I like to keep the damn standard that maybe 15 or so just like ten point below where I think it starts or something that usually gives me a lot more control yeah it's just a bit like you can see here it's like this is a bit crazy so I me I do the same thing yeah I don't really I don't really have like a preferred setting like I don't know if I think whatever feels right yeah like lower than the original that's for sure so what I'll do here is now we were clearly missing some sharpness here so it's going between refining shapes or blocky shape out and then refining it's good because you want this here to be sharp this is something I've seen you know a lot of people scopes they're missing sharpness for it so I really like them how like I like the skin fold here but in reality stuff is very sharp here and also because when you are doing like shading and texturing you're gonna be losing all of this stuff if anyway like you're gonna be losing all the sharpness through subsurface scattering soft lighting all this kind of stuff so I highly recommend taking a pass off with it with the damn standard brush and it's really refining this here you see that I mean you see that so much with the details that I maybe I've brought up this example before with with scans if you if you have access to scans like maybe there's a free yeah there's like the free infinite realities scan or something get that scan or if you can get like a super close-up scan of skin the depth of skin pores blows my mind like when I look at skin pores in real life you see them as tiny bumps like that go in but once you see that's a scan like if the actual depth of pores you know some people have deeper pores than others clearly but I was actually amazed by the depth and after after seeing that I think that made me realize that it's okay to carve in a lot deeper yeah do using the damn standard and just exaggerating that form a lot more you can probably go a lot deeper than you then you're really thinking yeah yeah when it comes to them standard as well as wood I'm just going to share this in the back here so there's nothing is I'm not just doing this it's not just a single straight line here there is a variation in stroke discuss a beefy drawing as well you don't want to do this and just be done you want to have some like you want to play with it you want to have areas which are like these starts of soft then it gets harder and then it gets like softer gonna get a bit harder again this dis just means that it's so much easier to create form with this instead of just doing ticka ticka ticka everything is the same you can go in here and you can kind of create this like little overlaps and no just do everything in one stroke but really just have have differences in intensity here it sounds like we were describing an erotic novel right now so I'm always just going over he sure it's slower but it really is means that I can just real just go reform get these nice organic shapes Oh one thing to add to that actually while you're doing that there it's exactly exactly what you were too about to do there man was - NSYNC is is opposite it's like detail opposite to the side you're cutting into or something like you you could you do this two ways what Henning is doing now where he's sculpting with the clay build up on one side you know to emphasize that side or you can go in with the damn standard on one of the edges and make that harder sort of then you get that soft fall off it's um so yeah exactly like this if you hold on the off key now now you just gave me folium mm-hmm and Here I am sculpting with the form not doing this yeah don't don't use Damien standard across the form that's no standard is it's one of the coolest part is because you can work with it with inverse so let's say you want to have like some like spikes here or something on that there's some like horns or whatever it is yeah you can you can do that them standard is it's like my one of my favorite things in ZBrush by far like that is when it comes to like it's suffered Mudbugs versus ZBrush in terms of actual features you know it's all super taste more advanced but in terms of pure sculpting tool set fairly similar there but what what Siebert has is good sculpting tools it's just the dam's feel of this of the brushes it's so hard to explain I've had to I've talked to people about this before like trying to explain the difference between Mudbugs in ZBrush and I'm like I can't I can't do it in words it's just a feeling yeah it's you can visually show it with like this is what I can do in ten minutes and see brush yeah this and and this is like your hair on the ground because it was tore all out in my book one thing that's nice to note about the Damien standard brush particularly with when you're doing form like this is that you know you know you've you've gotten your your primary shapes out of the way yeah you you really worked up your secondary forms that's all good and before you get to the tertiary ones like Hennings doing now like he's getting in stuff from the lips and got out of scar trick guys you got out of scar to it so I'm working single time so if you have something like let's say the nose or something or or the lips it's an excellent way to create contrast mmm and oh yes we should do a video actually mmm wait did we did we talk we totally talked about creating contrast within the stuff yeah yeah I will do another video but creating contrast within your sculpt so it's not now you're you're sort of like you're in between a stage between form and detail hmm and that's sort of like a contrast stage where if if you have a have the nose that was just sculpted before with just the clay build up it can have that soft look to it even if you're not using the smooth brush right but once you start using the Damien's standard to define define like a cut in that's when you start to see contrasts like weird like even there's there's there's contrast in color and there's contrast in shape and this creates contrast in shape just like just like if you had a white thing next to a black thing and then next to a black thing again yeah you would look at the white thing because that's the one that's different if you have an overall area that's softer then once you start to cut into that shape then you start to look more at the sharp shape because that's what stands out yeah for sure which is also important now that you don't want everything to be detailed like you don't want this you don't want to do this on everything and just go crazy with it because so what I'm doing now is super ugly but like it's like now everything has like you can do this a bit prettier and I'll show you specific examples so now I'll just do this xing radially from the mouth here which you know you can see some older people have they have this crazy stuff here the reason I don't do this now there is no contrast here like now everything is the same sorry if I were to work with this let's say you do have an old person which has all these like wrinkles here so first off go back to clay build up and just start softening it up here you want to have areas of focus you don't want everything to be equal so you might want to have some some wrinkles here which are like the primary ones which are two dominant ones yeah that's how we that's how we were taught we had had a teacher called Peter Chan a fantastic artist and who's talking about dominance in design and is all about you want to have areas which dominate others other things so right now already just by going over here with the Cleverley brush you can always see that certain things read better than others yeah so and then one one one thing that is actually a really good sort of trick for that is like if you have using the lamp stand or any sort of cutting brush to cut into stuff then a really cool way to build up volume is that you can build up volume in between to Damian standard strokes and that sort of like gives variation just to that area exactly like that because now you've sort of you made a it's kinda like you you're drawing as a kid and you have like a coloring book now you're just sort of coloring inside the lines yeah you can really and that can really add just I've really like it's almost free detail yeah it's like look look at this line here not like there are three lines here like this but now I'm just gonna add volume to it again going across the form here and just adding volume to it like this this kind of stuff is so helpful yeah so this is obviously something we can do delivered forever now but a one last thing I want to show here is it's a very special brushes the brush is not a lot of people know but it's called the standard brush oh my yeah I know it's actually it's crazy how under underrated yeah standard brushes the Steiner brush is fantastic I mean it's kind of like tongue in cheek that like nobody knows about it but seriously nobody's using the standard but now it's loved for lips yeah its longest from eyelids so what I'm using this for is to add I'm not using the necessarily I'd like specific or like to add like weight to it I don't I don't like for like this kind of stuff to add way too far prefer the damn standard and Kleber so this is because then you run into that issue again where it's just like it's just a form yeah that looks the same it just looks like this yeah yeah so but I use it first for specificity easier to define stuff here so let's reduce intensity a bit and speak a bit softer we're doing fine also I do okay I might be lying here but correct me if I'm wrong I do believe the standard brush preserves your sculpting on yes so you have if you have like yes exactly let me actually show a specific example here so if you have wrinkles here or you have this kind of stuff super nice and then you're set this back to Freehan nothing now you can see that it preserves stuff this preserves the details while the cable up will just destroy it yeah that's - I get preservative to a certain extent by obviously once you start expanding yeah too much you'll start to do some of the detail so let's just talk about here now how to damn stand oh sorry the standard brush works I keep saying damn Stan because that's what we used to cuz that's what I'm also stick to we're full lips here now Rekha can just really go in here and just really add this sharpness to it this is where I would actually use a smooth brush for it so let's just see if we can find this back where it where do you live oh now we have this problem again here we go so like this is where I just want to smooth it off a little bit because it's just a bit too sharp here so instead of going back to going back to the clay brushes I'll just have a little bit off of smoothing here destroyed soft enough but that's like this was literal the first time in this entire scope I'd used this brush so I think it's really good for this kind of stuff for really just adding like specificity to your model but if you see like if this arose to sculpt now we're at the last last stages of it obviously in this stage with skips here was any kind of design or no we're like I think I think this kind of stuff here is well sculpted it's terrible from a design point of view like there it's just not any that's not been any part of it but like in terms of like how we're sculpting here this is how we're doing for years and this works really well it's really just working across the form here I wasn't do it for like Morgan was saying for the eyes as well you can hit the U key to get to see intensity you for yes so here you can just see that you get it you get a specificity level which is a fun this would be a lot better than something like them the dam standard the dam standard here would be too aggressively for example this is where the built in alpha of the standard brush is perfect yeah it is so damn Steiner is too aggressive and the clay verses are too too general I don't have enough control so going in here and just adding some wrinkles some specific lines and now I'm not going across the form I'm only going across the form when it comes to the clay brushes here you add some more weight to it here and some people scope their entire thing with the standard brush and that's that's totally okay as well you know whatever you prefer a lot of people they do they sculpt with the standard brush and then they smooth it out custom and using severs like 15 years before they were clay brushes yeah so that totally valid as well so this is generally how I'm working with wood sculpture and this is I'm doing this regardless what it is so you can see here no move brush no smooth brush essentially only the claybuildup brush with this here and it's a good exercise right just try to do and try to do without the smooth brush actually one thing I want to show here as well is we briefly talked about this in beginning this the clay brush without an alpha mmm this is really powerful that's that's my preferred method I actually I rarely use and use an alpha with the clay buildup it's such a good way of doing them just because for me I personally I just like the softer feel I feel I have more control if there's no alpha but you know whatever whatever works for you by me yeah that's like I just do this as well just work without any I'll phone it because you still have sharpness for it like you still can still get all the shapes done what I what I do where I do use this specifically is in the last kind of stages of off like the secondary details is going over it and just refining stuff here very similar to what I'm doing on the alpha with the alpha on but this one is nice because it doesn't leave any marks yeah kind of it it doesn't leave any strokes or anything like that so this is for like you still see there are some strokes here which I need to remove so I'm going over it now it's not smoothing it looks like it's a smooth but this is just going over it with the claybuildup brush here that's cheating honey yeah I love the argument of cheating it was like you're already working in a computer everything's a T yeah where do you what do you stop this it's like yeah you gotta make mix your own pigments using like like egg but egg whites or something like shells where do you stop this stuff yeah I only pay with ivory crushed elephant horn which you shot yourself yeah brought from India but yeah so this this is really like last last thing I want to show you here just how to use playbill up here without any alpha with a super low intensity just really going across it here and just really just getting the subtleties I'm not sure if you can see this in the video but I really Listerine this so to sum this up back up the head so let's move this out see I'm smoothing now because one glass yeah I know I want to destroy the shape here I don't sacrilege yeah so my personal approach in 30 seconds set this back to something like this start sculpting the rolled shapes here work across to shape so the Lister's work across the shapes here then set intensity down refine it more mmm really just gets shapes which are more natural smaller brush start getting like thinking about have skin folds across it like this again work across the shape here get this like nice secondary skin folding here ever smooth such as and then go back to maybe set outfit off sculpt across it here really just reduce all of this remove the brush strokes then them in standard or fine stuff don't do this have control looks like you're doing sketching yeah just imagine you're sketching on the form real dis controlling the forms here and then once you're done with that then it's the infamous standard brush real just getting this you get some volume here to get some specificity to it and then maybe at the end maybe you want to do some subtle smoothing of different areas like if it's a big to harsh oh no no please sacrilege so that's how to sculpt like a pro in around 35 minutes did this this method here has worked really well for me over the years it's the one I'm still using in this date it's like it's like a methodical workflow which works just day in and day out and for me personally it's improved the look of my model by like like order of magnitudes it feels so much more for now and it just it just gives me like an approach to how to actually sculpt so we really hope that you've enjoyed this video here let us know if you have any any comments or if you have suggestions for more sculpting videos if you would love to hear your way of sculpting as well uh yeah that'd be interesting or if you think this is completely stupid way of sculpting if you have any way to improve it you know like we're all up for this yeah so if you want to see more content like this in the future make sure to LIKE comment and subscribe thank you you

Channel: FlippedNormals

Views: 228,623

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, sculpting like a pro, better sculpting, improve sculpting, how to sculpt in zbrush

Id: 0PaYUUvgwYM

Length: 35min 53sec (2153 seconds)

Published: Mon Jun 11 2018