Make it Happen in ZBrush - The Workflow with Pablo Munoz Gomez - ZBrush Summit 2018

wwsz brush guys wwsz brush guys calm i can't stress enough how valuable his resources his learning resources are he's a genuinely nice guy and a super talent with a real passion for the clay and ladies gentlemen put your hands together in a warm ZBrush summit 2018 welcome for Pablo Munoz for that introduction thanks so much hi everyone thank you very much for coming and just before we start I just want to acknowledge the pixologic guys thank you so much for the invitation and everyone involved in this making this event happen it's absolutely amazing you have been having a blast all the volunteers and everything I just think they do a phenomenal job and meeting all of you guys and all the people is fantastic my presentation is a little bit different I'm gonna be doing a little bit more of demoing and show you how I do things in the ocean so I feel very very honored and humbled to be here and very excited as well to finally show how I do things in ZBrush and well the whole workflow how I do it and that's why I make I called it make it happen in ZBrush so my name is Pablo Munoz Gomez Louis said I am a 3d artist a concept artist that runs the serious guys website and if you want to hang around with me in social media that's my handle at poblano calm and for those who are not familiar with the ZBrush guides it is essentially a learning hub for digital artists and 3d professionals to level up their skills in ZBrush in particular but also in other software in the industry so you'll find things like that that you might seen sometimes pop up on the Internet they're very specific is tackling very specific topics in within ZBrush it's also a big library of materials mad caps for presentations for for sculpting even a few resources custom resources like brushes like this very particular again and you can find all these things in the ZBrush guides come it's also like a relatively big library with video tutorials and guides where I share an insight into my own creative process and also solve certain technical things that might pop up as well and our reviews of the new upcoming series features and things like that so if you're familiar with the website you might have already seen my work because I I use that as a platform to share the things that I do and how I do them so this is some of my work some of them is still old and but relevant the chimp on your left is the one of the latest ones that I haven't published yet but that's the type of things that I do and just to give you an idea of the type of topics that I tend to gravitate towards when I'm working with ZBrush creatures a bit of sci-fi you know environment a little bit fantasy correct is that type of thing and what's important to highlight is for all of these and these ZBrush has been an instrumental part of the entire process some of them actually from the very beginning of concept all the way to render with BPR so that's what I'm gonna try to show you in this presentation so this is what I prepare for the presentation this quirky weird looking guy with heaps of fibermesh this is a hundred percent done within ZBrush I just took it after the BPR passes combine them in Photoshop a little bit and tweak the the curves but it's a hundred percent on each ZBrush so I'm gonna show you how I do concept and mock-up how I you see sphere for thumbnails and the highlight points in orange are gonna be like the core of the presentation so how I use the new deformation severs to create really quickly very interesting base meshes polypainting glo-coat show you some really cool techniques like hand painting poly paint I'm just gonna complement that a little bit with a different technique to create a realistic skin but hand painted within ZBrush then I'm gonna show you some groomy grooming tips for fiber mesh and again if you were here for Damien presentation he did a fantastic job and I'm gonna try to complement that with something else but again everything within ZBrush and if we have time sorry if you don't mind letting me know ten minutes 15 minutes before finish I'll show you a compositing overview of the entire process so how I put all the vpr render passes together to create this type of image so it was just a close-up of a character so you can see the detail of the fiber mesh and things like that all right so during I want to make it as dynamic as possible Internet questions as well I tend to just zone out when I'm working in separation when I'm actually showing you and demoing stuff I cannot do two things at the same time so if you ask questions I'm happy to just stop and answer them as I go I have a few things prepared but we might not go through everything and I'm happy to also receive questions afterwards if you guys want so I'm gonna show you my sketching process that's just a quick time-lapse so I try to do these type of things almost with every con every project that I start with and I'm not aiming for anything in particular I just do this to get ideas out of my head I'm trying different body shapes different proportions different different ideas for the character that I'm gonna tell when I create but there is a common theme that sort of permeates the entire sketching session and that is because I have an idea in my mind of what I want to create I wanna we're looking character that is kind of creepy but also cute like an in-between those things that has fiber mesh well hair because I want to use fiber mesh the horns and the ice so this one is particularly interesting just because I made it thinking about the features in series that I was gonna show you guys but that's not always the case so that's generally what I do what program is that you're using to draw others alchemy I believe this is a free software okay me yes alchemy yeah I like it a lot because it has that connecting lines so it's sort of like raw salt everything it's not locking me into a particular design okay there's one new that you can do it straight from the website which is web cam e same thing so once I have that I do what you guys probably do already which is collect a bunch of reference and images and I do a collage or like a photo bashing with the reference that I really like sometimes I take a whole photo and I just like a tiny bit of it so I use that and I create in Photoshop just a very basic idea what I want to do and this is extremely rough is something that I won't show anyone or a direct or anyone I just do this for our personal reference because it gives me two things one it is something to aim for like this is something that I can see and constantly refer back to it or what I want to get to and the second thing that is important to me is it allows me to do something that it I call feature mapping for a lack of a better term I don't know if someone else does it I just found it really really easy for me to discover new features so I'm going to show you that so feature mapping is I take that mock-up of this collage of images this photo bashing and even before I open ZBrush I start thinking about which features which tool within the software I can use to solve this problem so I treat this as a problem and this is my pre-production for a for a personal project so all it is is just think about thinking about the features so for instance if we take the horn I just listed spiral 3d see spheres curved brush deformers and this is very important for me because it gives me a little bit of a structure so having that little structure before I start the project it gives me more creative freedom I don't know if that makes sense but when I open series and I don't have a clear idea what to do it's so easy to just get lost and a sketching session and then you try to deviate from what you were originally trying to do so having that little structure allows me to when I get to do the horns I know all right I know I don't know exactly what I need to do or what I'm going to do but I know for sure that I'm gonna try spirals see spheres curved brush and deformers so it sort of locks in the creative exploration I guess and this is kind of like the the workflow that sort of is the catalyst of creating these series guides because sometimes I just want to see if the spiral 3d will do an interesting effect so I just go and do it and sometimes he works sometimes it just doesn't at all but when it works that's when I think look this is kind of cool I'm going to share it and so some people will just take it and do something completely different and it's like enriching everyone's workflow so that's what it is so now I'm gonna jump into ZBrush and I'm gonna actually start the demo with the decease fear so when I sit down alright so see spheres is something that I found like extremely valuable and it's something that I've been using for a long time since they came out I remember what this was the highest topic and it's still I mean I still find it really really valuable to create very quickly base meshes so I have symmetry on and that's why I can put it right in the middle but you'll see this allows you to create something really quickly within minutes just to have an idea of you know the base mesh the proportions so if you haven't used severs 4s or you see spheres for this type of thing I really encourage you to try it because you can create a very clean mesh actually just from from you see this and if you saw Miguel's presentation he also used this type of thing to create like them the moose I tend to do similar things but the difference is that I try to create the volumes the entire volumes straight from C&C sphere so I'd add quite a bit of quite a bit of this history so so at this point I'm not even really looking at the anatomy or anything like that I'm just trying to get the shapes right the anatomy and all the reference will come later because one of the things that I use series for is to develop the the design a little bit further so once I have this it looks pretty weird now but what I do is I take I give it a maybe a skin shader make it a black skin shader so I still have a tiny bit of specular here that you can see roughly and then I can just take the background color make it wide maybe just hide the floor for the time being and see which allows you to well in this fear it series allows you to play with layers so I'm gonna create a quick new layer and with this base I'm gonna start rotating the design if you if you actually click between the different scissors you can rotate everything from that point onwards so something very subtle but then because we have this in a layer the changes that we did we can go back and back to zero so I'm gonna create a new one this time I'm gonna play with maybe a bit more of the proportions and scale things down try to make it maybe like a skinny character this time and again you can do that clicking on the see Spears make them smaller or if you click on the actual connection between the C spheres it will scale everything at once alright so that's another thing maybe just push everything back a bit and maybe closer together alright so that's another layer grab bumped up this one back to zero and do one more just so I can show you the real effect of these ones this time I might just push the neck a little bit backwards maybe just stretch everything back a bit so that the body is longer and Tina and maybe even just make everything a little bit you know skinnier and taller so this one's these two sisters at the top are kind of like the the placement for their horns so I'll just leave it like that and then just move it back to zero so you can see the difference between the original and what I just did so now what I do is I probably said this one around here this is my original Asus field thumbnail and then I just take a snapshot you can do the same thing with shift s and then bring it here and then start playing with it with a with the layers right and then I can mix them up so this is kind of cool and I put it here take a snap should the cool thing is also you can go back in negative values so if you make something skinnier here you can go back and make it sort of like more blobby and scale the everything down a bead and at this point what I'm doing is just trying to find the right silhouette really I don't care about the anatomy or anything at this point just try to find something that looks interesting okay and because I have these layers it is very easy to you know play around with a pose or like I said a silhouette the proportions and you guys can do I don't know 20 or as many layers as you can with these and that will give you even more options and if you have the time you can have one layer per limb for example so one day is just to tweak one set of they used to adjust the head or the neck and the rest for the look for the legs okay so I'll just do a couple more of these so this one's sort of skinny with the neck slightly tilted back that's kind of like what I went for all right so once I have these ready like you know you know you know blank canvas screenshot that I would probably go to the document and click export and that will give me a single image that I can just import into Photoshop and I can just paint over just to again to keep refining that idea that concept until you have something that you're happy with so you spend a long time doing something that might not work on might not be ideal so that's that's the process of creating thumbnails for me in which see spheres and I generally use the entire space and do one one or two of these canvases full of of the silhouettes so now what I'll do is I'm gonna show you I'm gonna reset back everything to what I had it before and I'm gonna load they are mature so this is the the one that I came up with again the anatomy is not yet yet there is like a little bit of a structural yeah the armature is just the structure so that I can build on top if you want you can actually do it very very thin and then use the SIS catch to just add volume really quickly so at this point what I'll do is go to the adaptive skin and by default is set to 256 dynamesh resolution I like to work with the old-school method which was just subdivision so I just set this back to 0 usually the density of 2 is fine you can do a preview if you want to see the the mesh so it's very close to the to the actual see spheres once you're happy with it you go make it up the skin and you have a new mesh here and this mesh is relatively clean so if I turn polyframe you see very nice distribution of polygons and this is what I start with to shape and at this point I will pull the the references and start to see all right where is the actual knee of this character I have a bunch of quadrupeds like horses goat and these two users are a reference and make this character look believable that I can actually exist so to do that I will start using I have a set of brushes here if you see all of these ones here you don't see any brush around my UI because I have these brushes as the essential ones and they're log all of them standard the standard stem standard the clay play build up I just have a custom ones around here but I won't get into those ones because you can do everything that I'm going to show you with the false stuff so also like the move brush and also enable a cue curve so if you haven't used a key curve just very quickly if you have a Q curve enable gives you a very pointy when you point effect when you activate it if you turn it off is more bulky so with a clicker Venerable enable I can just pull like the armpit back a bit and sorry finding these shapes and the the less geometry that you have it's actually better to to play with the main shapes and the many forms to get it right again this is a process that is a little bit boring to watch but it's definitely very important I spend a lot of time in this and this process as well just fixing the the volumes and sometimes I go back that's why I have the materials here I go back to you know a dark color look at it from the distance and see if it's working or not and then quickly go back to what it was and do large proportional changes so that's essentially what I start with and then now recently since the introduction of civic sculptures Pro I try not try to incorporate that more into my workflow because it's a very powerful tool to just freely a schedule have no topology constraints or anything so what I've been doing recently is to take these take my only sub tool that I have here and I'm gonna use something like that maybe the clay brush right and enable sculptors Pro from here and very early in an early stage I like to lock in some some landmarks of this Anatomy although it's a fantasy creature so the the eyes are going to be quite a feature piece of this character the rest is just here oops this has subdivision levels so you just delete that and enable it again you should be able to start sculpting and what's great about this is that at this level this looks kind of like weird because you have these faceted polygons and these blob is glowy areas but if you sort of define what the the mouth is going to be really quickly all these the cheekbones and and the cranium all this call of this character and then you can go back with shift and then clean it up a little bit and just maintaining the volumes so this is again a process that it's a little bit tedious to watch but it's really really important so I just want to stress that that idea that in this stage I spent a lot of time a lot more time but because it's boring to watch I'm just gonna skip ahead and just show you the final sketch so this whole process is just using basic for your essential brushes like the move brush the clay brush and it's moving every now and again we sculptress for a navel so once I'm happy with this sketch so this is what I called it the 3d sketch at this point I'm starting to define a little bit of the anatomy to have some idea of where I'm starting to think a little bit more more logical where things fit together how things fit together and how they will actually work in real life and for that I use tons of references and look at different things so this is kind of like the the back part is from a cow then you have like horn the shoulder blades where the shoulders be like gonna be I took that from from a ram and things like that so here I started to do some more research about it and tweak things I still very large volumes so you can see this is a dynamic sketch that still is not very detailed but what this allows me to do is a few things it gives me a solid base that I can start working with and the anatomy for this guy is not very important to get it right very detailed not like an equal shape but because everything is gonna have fur so you sort of like cover said now try to hide it or or anything because it will you will grow the fiber mesh from the right points and having the underlying geometry is definitely important but I didn't go into too much details because I know it's gonna be covered by it all right so at this point I'm another thing that I like to do is go ahead and append a Polish here I'm gonna select that and I want to look in the eyes was one of the first things that I do oops that symmetry on I'll just put it on the right side of the character and with the I in place I can go back with to the character I'm gonna disable sculptress Pro right now and I can refine these this area's a little bit and just feel a little bit better around the around the eye I'll just leave it there you can mirror and weld the DI if you want I just want to have it at this point like that or actually you know I'll just duplicate it and whoops duplicate the eye and I'm going to mirror that so now I have two eyeballs in two separate sub tools go back to my sketch and here's where the introduction that I gave you about how to do the horn this is why I start exploring because I can use different forms what would be the best way what would be the fastest way sometimes is the right way but sometimes I just like to spend the time actually sculpting I enjoy adding manual details and all those sort of things and that's that's how I develop some of the brushes that I have on the website so at this point I'm not going to show you all the different steps all sorry not all the different options but some of the steps of one of the options that I found really interesting with the deform is so what I'll do is instead of working on this sub tool I'm gonna select this cylinder turn that into a polymesh3d and I'm gonna scale that up actually scale it all down and scale it in the y-axis like that so you see this is just an stretched cylinder and what I like to do what a method that I found really interesting was to activate a radial symmetry on the y-axis because that's the one that I stretch it up and maybe increase the demand of the radial count so you see they they snap very nicely to the to the tube that this will make sense in a second because it's gonna be the horn right so I can just go enable and select select this standard brush I'm gonna enable sculptors Pro and Scopus Pro works very very well with their symmetry as with the radial symmetry I'm gonna turn on polyframe just so you guys see what I'm doing I'm gonna hold shift and I'm just going to add a little bit of more of geometry so now we have this thing here I can start going a little bit closer and I'm gonna start defining some details of the horn but you see that I just need to do literally once one little bit of the stroke and because I'm using the radial symmetry is doing it all around right so at this point it looks very symmetrical and not very interesting but that's how I generally work I start building it up by by layers of work if I set up the base mesh I set up the the primary forms and then start getting into details I'll just do this one really quick just so I can give you an idea of how I do or how I did that one for the creature alright so that's the first pass then I might go with the Dunst underbrush same deal but this time I'm just gonna push it in a little bit just to define those bulky areas a bit more alright maybe I'm not gonna do the whole thing just because you get the idea so you get this thing that looks very very odd I'm gonna go back to the standard brush this time I'm going to remove the radial symmetry I'm gonna go back to my symmetry X X symmetry and I'm going to turn off sculptures probably cuz I don't want to add or delete more polygons at this point so now that I have these I'm gonna hold old and now we can just push this one in a bit you can play with the C intensity as well okay so I hope I'm sure you guys can tell already what I'm going with this but this is like the base mesh of that horn right so what I'll do now is because this is relatively dense topology I'll use one of the the new presets which are this mission master one of these ones you just click on 20k and it will just do the whole thing and reduce the amount of polygons and what I'm gonna do with this is basically use that cylinder with the deformers particularly the bank of modifier or the bank or de forma to just create that shape of the horn and I found that that gives me much more control than even the D brushes or like a curved brush just to create the horn and hopefully give you more ideas of things that you can do with the deformation so this is relatively high if it crash when I'm doing the deformers it will be definitely a user error but I think we'll give it a go so I'm gonna copy this sub tool I'm gonna go to my sketch I'm gonna paste that in and now I have these I have symmetry on I'm gonna turn it off and I'm just gonna hold all just to reposition the pivot of this gizmo whoops scale it down and I'm just gonna position that kind of where I want it to to grow from because it's a separate subtools you can just embed any one effect anything else right so that looks weird but this is the starting point right and this is something that I was actually speaking with one of the guys here that I just want to load it into the presentation is that sometimes people start working and you see this is not going anywhere I don't know this looks weird I don't wanna I want to start it over again but if you push yourself to just keep tweaking it you might not end up with something that you really like but you will learn a lot along the way so just complete a project even if you don't like it you start over again but you know how to do it better next time rather than saying now that looks horrible I'm just gonna do a do it again so at this point we went back to the presentation I will just click on the COG icon here click the Bend curve and this is an incredibly useful tool I'm gonna go into solo mode just in case so I have less subtool disables with this little count here you can determine the axis that you want to use so remember that I stretch it in the y-axis so I'm just gonna push it to the y-axis the orange one allows you to set the amount of editable points in the curve so I'm gonna go for something like let's go for six I usually start with a few but the good thing about this one is you can start editing and then add more points or reduce the points and it won't change the shape so I have these ones right here and let's bring back our guy and you can take one of these ones and do these type of things very quickly you have this shape and it sort of carries them this sort of indentation that we did from the original cylinder and what's good about this as well is that you have these two other cones that allows you to pinch or squish the points so I can use this one too [Music] yes all right so you can just push this one down and it's sort of like scales is like a pinching tool but is vocalized or localized on each individual point so you can do select the next one and it's a little bit slow because what I told you I'm using a lot of geometry in this thing you might want to start with less geometry than this or do a quick retopo but this moving these points is really easy that's not yep and the reason why I like it maybe even more than a than a curved brush is because you have way more control of where you want each area to be okay all right I think you get the idea once you're ready with once you're happy with them with this you can except just to lock in the changes and either you can move it in place a little bit better reposition it I like to just reposition the the people or these gizmo and then use it from the base from the way it's starting and once I'm happy with this I just go mirroring world and I have a sub tool with the horns okay so that's how I go about doing these type of things and exploring features in ZBrush and I just want to show you another really cool way to create eyes really fast the first one like I said at the beginning I like to lock in the eyes because I think it's very valuable and very important that obviously they they have so much expression that if you start working and developing the concept when you have the eyes they're everything tries to revolve around the eyes so especially for characters right so I try to do that very early at a very early stage so I'm gonna show you one of the materials that I have for that it's called the simple a madcap so let me give the guy a little bit of okay so now let's go back to the I mad cup and because it is a markup is based I know it looks funny because it's markup base it's just an image it is driven by an image so when you move around the guy is always looking at you right so that's you have something maybe just always like judging what you're doing so that's a it's nope no pressure right so you have that like like that alright I'm going to go into solo mode because it looks silly I know but from this point you can take it way further and I actually use this material to tweak it a little bit and that's the one that I use for the render for the PPR render and I'm gonna show you really quickly how to do it so from the material palette by the way this is a material that is something similar guys you can just download it right now go to modifiers I have two shaders so the first one is for the reflection I don't know if you guys can see it there yeah I'm gonna increase the intensity just to make it really clear so these for this first one if I turn it on enough you see it's just a reflection pass the other one is where the image is so that's the image that is driving the whole thing right when I reduce the intensity a bit and you can put literally any image that you want here right you can create a super realistic I just put it in there and always have a simple material that you drag and drop and that's that's your eye but other than that you can use the depth to make it look very funny like a cartoon so this one's sort of like pinches the image that is wrapped around the madcap right so you very quickly change the size of the iris and the pupil as well and I add a little bit of redness to the border of the sqs the sclera and that is just so that when you pinch it it looks like it's the blood vessels and all that if you go the opposite way like very very small values and this is another really cool thing when you hover over one of these sliders you'll see this one pop up here at the top that is very fainted and if you grab that one allows you to do very small increments so you can go this is kind of like the shape that I use for the final render like a massive you like dilated and also you can use hue to change the color saturation and this is all altering the image directly in ZBrush without affecting the original one right you can also use this color to colorize a little bit the DI you need to enable colorize here and then just use this you can also use orientation so if you want something more interesting you can take the image that you create it and take the pupil and the iris and just shift a little bit from the center so it's not right in the center a little bit offset it so when you use this rotation let me just bring back the depth of it so it's clearly clearly what I'm doing with this orientation a you actually rotate the image right so if it is not in the center it will sort of rotate around so now you have a judgmental character that's looking you from the side so that's one way to do it once you're happy with this you can even use this button here create madcap texture if you click on this it will preserve all your settings that you did for that material and if you go to this texture palette you'll have it here and you can explore that and maybe create a UV map really quickly for the eyes and then just paste it in there and there you go and that way the eyes one was will stop following you all right so that's one way to go about it and I'm gonna switch back to this material if you wanted something a little bit more detail that maybe a close-up or something like that I'm gonna do it with this eye I'm gonna duplicate this one first so I have two spheres right in the same place I'm just in solo mode and the one at the top I'm gonna bring in the gizmo and I'm gonna use the project primitive the format and again I'm gonna delete that first project primitive if you haven't used this I really encourage you to do it like it's literally one of my favorite tools right now it's incredible what you can do with this it takes a while to get used to with all these controls but it has so much power so what I do for four eyes now with this with this method is these bounding box in the outside it refers to your you original mesh the one in the inside is for the primitive that you're projecting so as soon as you pass that middle lines you see this is pushing as soon as you pass this middle line it will start pulling pushing in so you're pulling pulling and then pushing in right and that creates a very quick way to sort of the indentation for the iris so you can play around with this maybe squish a little bit on the z-axis push it back in scale it up you know just really quickly refine this and you can use the blend which is this pink pink own make it really sharp or very smooth the transition so very quickly you have something that looks kind of okay you can also go to this white one and accept the changes and that way you create another primitive another project primitive within the same sort of like deform it you haven't gone out of it so let's go ahead and I'm gonna reset so now if you see I have the changes that I looked in with a white cone and I reset it that project primitive so it's back to the normal one I'm gonna push that one out again but this time I'm going to use the second primitive type the first one is just a sphere the second one is you can kind of make a cylinder and at the bottom if you hover of any of these things at the bottom it will tell you they what it'd what it does so with this I'm gonna try to holding shift also it's sort of snaps to to the integer numbers so here I'm gonna push this one to zero and it creates this kind of cylinder and I'm gonna check that the blend is to zero as well so it's a perfect cylinder right now I'm gonna take this cylinder scale it in da z-axis and it scaled it down right again I'm gonna try to push that one pass that bounding box so now it's pushing in and now we have these two create the size of the pupil really quickly with geometry okay you could do something similar with them bullying's but it just requires to have two two measures and then combine them and then bring them in so I just found that the is quite easy if you wouldn't want the you don't like the harshness of this edge here you can again use the blend you know to add a little bit of that bevel edge around here but that's pretty much it right you go except and so it you have the the base mesh for you right and you can go ahead and detail it with sculpt and I'll give you some tips about how how I go about this but now we also have this all the other image that I duplicated before so what I'll do is just leave this to visible and I'm gonna inflate this a tiny bit and maybe turn on the transparency so you'll see there's a tiny bit of gap between the the eyeball and the Bulge where the reflection is gonna be so this is really useful because I'll use exactly the same technique project primitive come on delete project primitive and I'm going to push that in I have to do a full reset so I go back to the original primitive the sphere and I have this this thing that I can use to create that sort of like extra bit of geometry and you can see hopefully you can the the edge of that iris that I created before okay so I can just go with this and I know exactly where this sort of curve starts to create that bulge of the eye right and I'm happy with this I'm gonna create lock it in with accept and now we have the eye and we have these the geometry that we can use for a reflection okay so very quickly with the deformation I know you guys have I'm trying to pack in as much information as I can if it you have questions feel free to stop me at any point and I'm gonna show you how I do it I'm gonna go out of transparency and this is how I sort of detailed is this I so this is a really cool trick as well I tend to use radial symmetry to be able to work faster and create more details but obviously this guy this guy is not in the center of the world right so if I enable symmetry and go to maybe the z-axis enable radio you won't see any thing happening with the brush I have to zoom out and you see it's not in the center of the world right so that's like okay what can I do with this I'm gonna forget about a the reflection sphere and what I'll do with this is turn off symmetry right now and click on this location icon that will make sure the the pivot or the gizmo is centered right in the middle of the eye and then click on this house I can and I will send it back in right so now I can enable radial symmetry and remember this is just a very basic geometry with a few polygons because we use the project primitive so this is how it looks like but because we have a sculptress Pro we can start adding some details really fast so right now what do you mean by that what do you mean you have sculptor's Pro and you can add details really fast what do you mean by adding details real fast because right now this is the mesh that I have so there's no many polygons so we when you enable sculptress Pro you can add really fine details without having to write apologize for doing anything this is just a base mesh and then you can make things just like there sorry yeah just just in this it's very localized it's it's not fair I'm sorry all right so you I'll do this type of things I tend to when when I'm working with these type of assets and radial symmetry or normal symmetry I just change the radial cone every now and again just so that it creates a bit of a symmetry and if you keep it kind of like in odd numbers like 3 is 5 7 is even better or like it's it's hard to recognize that the symmetrical pattern I guess all right so that type of thing I'm just gonna leave it like that because that's not the trick that I was gonna show you like I said with zeros I tend to just get carried away with stuff that are not part of the project ok so what I want to do is instance that I put it where I want it to be but I want to keep keep it as well in the center so that I can keep you know refining some details so you can do that with the array michw actually so I'm gonna get out of solar mode so now the eye is right here in the middle and I'm gonna go to a Rhema SHhhh click a ramesh click transpose so you won't no longer use the gizmo you will use the old-school transpose line which is still really powerful locking the position locking the size and then turn this off now you have this transpose line because I lock the position the transpose Isis stay there but I'm just holding the click and then I composition this this guy so it takes a little bit of back and forth is just a workaround but I think it's really valuable just to be able to do these type of things and because we had the size ready beforehand I don't have to worry about resizing it's just positioning the asset so let's say that I'm I'm happy with this as it is ok so if I get out of Sala mode you have this one here that if we enable radial symmetry you know I'm gonna do something with just so you can see the effect right as I sculpt it is being duplicated here right so you can do very cool stuff here that it's been instance and once you finish with with the details that you want to add and all that you can simply create a mesh from the from the make mesh button and then mirror it and then you have a mesh that it has quite a good details but you always saw it from where you want it to be from they actually eye socket all right so I'm gonna show you how the sketch looks like so here we have the details already so this is still sketchy and if you see this is still very smooth I just refine it a little bit of of the muscles like define them a little bit better but I concentrated on the face because that's what's gonna be visible in the render the rest is covered by my hair so this is still pretty rough but you can already have an idea what they details are going to be and because most of the the thing is gonna be covered by third I didn't want to spend too much time on doing very fine details very manually so I use a few of the brushes so at this point I'm going to show you the poly paint technique that I used to for most of the time most of the time I use this technique to create a skin type of like standard skin I guess texture all within poly paint so I'm gonna get into solo mode go into the skin shader and I'm gonna enable symmetry as well I'm just gonna select the standard brush and let's go ahead and turn that into turned into a poly paint brush okay so I turn off the C at and enable the RGB so this I believe this technique comes from like more traditional painting with airbrushing for practical visual effects so you layer up you do three different colors and you style that you're not layering up your details so the first thing I want to do is select a very bright red color like that and then click fill object so that is completely red right and this red represents like all the muscles and the blood vessels of of the character then I will take something like the yellow color again very bright and I'm gonna change the stroke to color spray and I choose color spray other than spray because this one shifts the the hue a little bit as you create as you paint so it gives you more details in terms of the texture and I'm gonna select another alpha like alpha zero eight and now with the yellow color the idea is that you target the protrusions or like they the bony areas are closer to the surface so all the sig Ematic are like all the maybe the the jawline and things like that so I'm gonna very roughly oh I have to forgot to do that so in the texture palette I have these selected so make sure you don't have that so now right you have this yellow color and very roughly if you don't have enough resolution it looks like you're not painting a lot of details that's because poly paint is based on the amount of polygons that you have so you might want to subdivide your your character or your mesh a little bit more again this is very rough but it's just the first pass I'm not gonna do the back of the head for this demo just to give you an idea of this entire workflow yeah I think that's that's kind of okay and then you the next color will be blue so the blue and will be to try to accentuate a little bit more that's call so I like the hollow area so the eye sockets maybe somewhere around the mouth although the mouth also has quite a bit of blood vessels but if you kind of paint the skull in a way or like where the hollow areas of the skull would be it will work much much better so I'm just gonna target that region and also with a bit more time I'll be a little bit more precise in applying these colors and also you know switching the alphas also will help okay something like that should be alright for what I want to show you so if you think about it yeah the yellow one represents like the skull or the areas that are closer to the dermis of the skin the blue ones are the hollow areas and the red one is just blood right so once you have this first pass you can also use layers if you want to have more control for this case I'm just not gonna do it and you can select something a little bit more you know like a dollar color of skin it could be a dart skin could be whatever it could be also alien skin just make it blue and it would still work so I'm gonna select something like that still quite saturated and maybe change the alpha alpha 58 usually works fine and then I start doing this always in a circular motion and I don't I don't tend to pain with like straight strokes like that but you can already tell how like the colors are starting to mix and I'm not applying a lot of pressure and a lot of pressure right now and you're covering that sort of like clown looking pass with a single color safe constantly I should be fine I'll do a quick save just in case by the way if you want to change how often ZBrush saves or how big the file size you can also go to the file untick undo history so that it doesn't create a huge file and also on the Preferences I believe is in quick safe yep you can change this so I I tend to do quick saves every now and again like manually or I'm just not doing it today and then if you change this to 600 it will take longer to do these auto saves or just less if you want anyway back to this now at this time I will choose extra minutes that's in minutes 600 is in minutes and that's for between restorations the restoration is 600 minutes that he set it to and then the inactive mouse is set to whatever you had it brilliant good to know see always learning something new um so now with a different different color maybe just tweak the hue Abid change the saturation maybe change the Alpha as well so the idea is to create a lot of different variation in the color okay again I'm going to target the areas that sort of look more saturated at this point like these yellow areas at the back I'm just gonna cover them but you can sort of tell like that there is some song color some indication of the original colors underneath and that's what I'm trying to preserve and at this point you can go out spend more time on these but you can just go to the masking palette and use something like mice must-buy smoothness just wait until series does is seen and you get this this type of effect right you can blur the mask or you can sharpen it I like to just click this view mask so it's not visible but I mean it's still there unless you then you can take a darker color right and at this point if you want you can actually get out of symmetry so it creates more interesting patterns this is too dark yeah and you just create some variations but remember that the mask is still there so you only paint in that area so that's one thing you can do the other one that's really helpful for me is the mass by cavity that will create a mask on all that indentation and crevasses five minutes so good all right seven minutes all right two minutes to finish this and I try to get today to the grooming tips [Laughter] I'm alright let's go for ten let's go for ten let's make a deal here ten minutes all right let's go let's go all right so I'm gonna invert the mask right I'm gonna I'm gonna select a reddish color something closer to like a blood type of color and then it's not like painting these areas maybe a bit darker you know so that really brings back all those details jazz with texture I mean this is too dark but you get the idea we only have 15 minutes left you know what I mean give them a Saturday night here we go all right you're warmed up you can also use peak peak and valleys this might take a little bit longer that's fine and let's hide that I'm going for a very light color now I'm just gonna add some variation to these clear the masks you can also use something like alpha forty and actually you wanna you want to refine this technique as well a lot I recommend you guys follow Magdalena the dela she does amazing job with substance painter and she has a I think she did a presentation on only dad and you can translate what she's doing into ZBrush and he's fantastic so this one I'm just I believe it's something like molting I'm melting this technique or you are like little spots of yellow around again just to create variation on your texture and the color of your texture again this is pretty rough but at the end when you spend more time on this you can switch the Alpha I'll try something like 58 and then select one of these colors that you sort of happy with and use this to sort of blend I'm going to turn off lazy Mouse and start blending everything together so that you know I always try to push everything to the limit and then just step it back a bit and that's generally the process all right so I'm gonna show you using the shift key there and the RGB is on the Ciara's off for this one yet for the brush yeah also if you enable if you hold shift and turn it off here you kind of blur the color as well so that's kind of like it's matching the color as well I'm just going to show you the final result of the poly paint actually I'm going to skip a few steps we only have 20 minutes so pose fibermesh let's go for pulse so the pose already has the final poly paint that I use the one in the body is pretty rough but I wanted some big chunks of colors that I can extract the fibers from right so at this point I do the pose first the previous step when it's still in that sort of like T pose like symmetrical pose that's when you define whether you go for a concept type of art which is what I like to do or you send it for production right because fiber mesh it's better to do it in a pose already than just you know have to post it with the fiber mesh so really quickly Lois oh it's fine by all means go goes really really quickly I'm gonna show you how to create a fibers so you just mask out an area so in the head and by the way I have polygroups already so they will preserve that as well so on the fiber mesh always five minutes here we go so click preview and you see it already has the color right and then I can just play with the modifiers I already set up this thing so it would remember even you save your CE tool and one thing I'd like to do let's just click accept I tend to just click no and then control that preview setting from underneath the PPR settings sorry preview settings so you can turn it on and off and actually this is something that I used quite a bit I just turn it on and I'm finishing and you close it and then you have less fibers to work with all right I'm gonna show you the final result ohayo looks in zbrush and again you do the render from there so this is this is the guy I'm using all of the big chunks of are from I have the fast preview enabled and if you wanna turn it on just go here and increase it and there you go that's all I have what can I say the adventure of a lifetime have you ever had a bad haircut puttan have you ever had a bad haircut all the time yeah right this is like this reminds me of when I was a kid my mother would bring me to this place called burr nose hair styling you drag me there kicking and screaming gonna like I want a haircut like Duran Duran is like this is one of those moments I'll call this a short and sweet one but we appreciate it sorry to cut you short like that no no no it's all good they say the ball keeps on rolling how about it again one more time Pablo Munoz around the world guys they're tapping their keyboards remember ZBrush guides calm the skies calm ZBrush guys calm hashtag

Channel: Pixologic ZBrush

Views: 30,449

Rating: 4.9711933 out of 5

Keywords: twitch, pixologic, zbrush, zbrush summit, zbrushlive, zbrush 2018, pablo munoz gomez, zbrush guides, video games, tv, film, 3d printing, creatures, digital sculpting, 3d modeling, photoshop, concepting

Id: Fe2b55APpEM

Length: 58min 8sec (3488 seconds)

Published: Tue Oct 02 2018