Master Sword: Sculpting Toys with 3D Printing in Mind - Ian Robinson - ZBrush 2021.6

oh here um so so what is going on everybody hello hello welcome in to another pixel logic stream my name is ian hopefully you guys can hear me pretty well all right looks like it took a minute for me to connect so hopefully there's not too much of a lag how is everybody doing all right so just a real quick recap this week's challenge for pixar was subtractive sculpting and a lot of us had done that i did it last week on where we were making this master sword let me get a better color so everybody can kind of see what's going on give me a better color all right so i was subtractive sculpting this master sword last week all from a rectangle essentially hey what's going on hello hello welcome in guys from australia nice what is up matt hello so we are doing subtractive sculpting and i got pretty far but now i want to detail it i want to clean it up i want to get it looking better so we are not going to be continuing the pure subtractiveness um i found that it was actually pretty good for like conceptualizing in zbrush just kind of like cutting away at stuff and seeing what you can get but at the end of the day i also want to present something kind of nice so i have a few ideas on what we're going to do but yes i'm going to also kind of load up i have a concept that i kind of want to at least showcase there we go so how are you guys doing so real quick before we get started though let me just load up some stuff here real quick all right you guys can't see my um can't see my reference i'm actually down a monitor this week usually i have two monitors but one of them took a took a pooper so so we're down a monitor which is totally fine but i have a little concept we're gonna be uh kind of following that i sketched out which is pretty cool so before we get to it just real quick just want to say if you guys are here for the first time if you are new to either twitch or youtube please do me a favor and for uh subscribe and follow so that way you know when everybody goes live because i'm not the only one here on pixel i'm actually one of many and my name is ian most people know me by iris scopes and i do toy statues toys for 3d printing just generic sculpting for the 3d printing side as well as for uh toys so don't forget subscribe follow all that good stuff i'm also kind of feeling a little funky today so don't mind me if i seem a little off but let's get to it so this is what we did last week carved it all out for the most part maybe maybe cheated just a little bit here and there but uh now we're gonna clean it up and refine it a bit what is up tl 101 how are you doing i'm doing well good morning chad alex how are you doing a dz lifestyle welcome in guys so i'm gonna go ahead and just start kind of clean this up it's weird being down a monitor just gonna throw that out there real quick so let me see if i can actually pull in an image so you guys can kind of see what i'm working on let me see here where's my purif nice australia i'm brazilian nice well nice to have you here actually i don't think i need to do that i think i just need to go to i think i have an image actually let's see if i can load one up i do yeah so i'm going to go ahead and place an image down so you guys can kind of see what i'm working on so this was the idea in a nutshell have the master sword like such so kind of put that right above my head and let's go to let's go to brush let's go to i believe it is samples yeah spotlight production gotta turn that off you gotta turn off spotlight projection if you're gonna use texture image as your reference not all the brushes work if you don't have that off so there you go time from east 8 o'clock nice nice so so yeah so we're going to go ahead and start cleaning this up a little bit but i also want to bring in a few other elements as well so we're going to go ahead and do that i want to sculpt the uh princess the silent princess as well as a korok creature so hello hello ryan how you doing so let's get into it so like i said last week for those of you who are new coming in last week was subtractive sculpting we took it as far as we could but i really want to clean this up i really want to make this look nice so that's what we're going to be doing today and also too please remember you guys can ask questions and i'll try to explain what i'm doing as i do it but if you have any questions please let me know and i will answer them as best i can so first things first let's actually build the silent princess so i'm gonna grab a sphere and we're gonna roughly scale this down a little bit there's something like that oops there we go let's go and solo this out [Music] yoda was on the cover yes it was yeah that uh darth grogu is one of my favorite projects i've done so far the original concept artist was actually max davenport he works for uh gearbox gearbox games and he let me sculpt his work it was really amazing are you going to print this as a resin more than likely yes that's actually the idea to print it as a resin and that's where the flower is going to kind of get a little tricky because we're going to want to make sure that the leaves are thick enough to actually give us some you know give us some wall thickness when we print it but yeah more likely this will be small enough to want to uh to print a resin fdm might be a little challenging without splitting it up too much hey what's up louise how you doing good thanks how are you i'm doing really well man doing really well i'm just feeling a little under the weather today but nothing too crazy okay so we're gonna make one pedal first and then we're gonna use a rain mesh to get the rest we're gonna get a general idea of what this flower should look like kind of lift the side up we're actually going to use the move infinite brush and kind of scoop this up a little bit so if you don't know the move infinite brush which is b m and then n actually what it will do is it will move everything that it sees through that viewport so if i touch here and i lift this up it's also going to touch that back side like that so we kind of want to it's a great brush so if you just want to kind of like scoop things down or move it a little bit it's a great brush for that happy sunday everyone hello casey what printer do i use i have an epax x1 for my resin printer it's a great printer it's very equivalent to like a elgu mars let's actually lower the topology a bit two's a little high there we go all right so we kind of have a little bit of a uh a pedal here we're not gonna get it too crazy just yet so let's go ahead first let's save it and then let's use a rain mesh to actually get the the flower petals what we want to do so go over to raymesh turn on array mesh we want to turn on transpose and also lock position it's very important now we're going to do is it looks like there's about five petals so under repeat we're going to hit 5 and then we're going to go to rotate and on the y profile we're actually gonna rotate this 360 degrees something like that now we're going to take our gizmo turn off uh symmetry and we're actually going to go ahead and just move this around we can actually position this something like right about here there we go good tips for someone brand new to digital sculpting brand new to digital sculpting depending on what you're trying to sculpt of course my number one tip is just get in there and just start playing around don't worry too much about producing the best thing possible just play around and just kind of see what your you know what's working for you but don't don't worry too much about like oh this has to be perfect uh you'll just kind of like you you'll just freeze yourself out there's no need to do that just get in there have some fun and then you know enjoy yourself play around see what works what doesn't if you have an idea of what you would like to do as far as like if you wanna do character work you wanna do hard surface you wanna do you know uh props you know if you have a general idea try to focus it on that but really just take time play around see what each tools do um look at what other artists do use them as uh inspiration but don't compare yourself to what people like 10 plus years have done uh just enjoy yourself have fun have i made a link um i have not made a link to what printer i use however i do have a link to my socials and stuff so you can go ahead and check me out there which i will copy and paste right meow i'm kind of iffy about getting resin printer have you had to cure the print and then and it can be a bit of a mess yeah the printing the the cleanup process or the post-production process is definitely a little bit of a tedious approach you so you definitely do want to make sure that you really pay attention to um you know pay attention to what you need get all the right tools don't skip out you know you're going to need isopropyl you're going to need you know rinse tanks you're going to want gloves you're going to want safety glasses like there's a lot of things you definitely do want when you're getting into resin printing that's why i do tell people if you're getting into printing brand new it's a lot easier to get into filament printing but at the end of the day you know if you want resin printing just make sure you really just do your research uh bro i'm late to the stream how do you instance in zbrush oh you're not like the stream we just started how did i instant zebra what do you mean nice to see you again yeah and i see you too dj okay so we have these pedals right here with array mesh and now what we're going to do is go ahead and hit make mesh so we have our pedals here and now we're going to go ahead and i have a shortcut for auto groups but if you want to do auto groups go to polygroups and go to auto groups that way we can just isolate each leaf if we need it or need it to be different like that should be perfect alright now that we have that i want to make the actual i want to make the actual stem of the uh silent princess so we can do that a bunch of ways but i find the easiest way is actually to go to insert and insert a z sphere let's actually turn off the main sword we're actually going to go ahead and scale this down these spheres are amazing use w to kind of push this where we want it to be there we go something like that we're going to look at the top you hit q we're going to drag out and hold shift which will snap which will have the z sphere snap to the right position just like such and then we'll go ahead and hit w again to move it there we go it's being a little funky yeah now 3d color printing has been applied oh yes 3d printing 3d color is i need to get into that a little bit all more let's scale this down a little bit something like such now i'm going to hit q and i'm actually going to go ahead and touch one of the spheres on the inside let's turn off symmetry hit w again we're just going to kind of move that this will allow us to create that stem man you are fast loveseat thanks i appreciate it loves these fears yeah z spheres are amazing you can hit a as well which will give you a preview of what you're looking at and notice this dynamesh right now so your best thing to do is go to adaptive skin take your dynamesh resolution knock that down to zero so when you hit a it actually is going to show you a subdivided version instead of a dynamesh version which will be easier to manipulate later on so i know the hero4 or someone similar to color 3d printing i assume they use fdm uh there's a lot more methods to the color printing i would actually wouldn't be surprised there's a company i can't remember their name but they do they do color printing as well because anyway they were actually at the zebra summit last year or the year before um they do color printing but it's more of like a uv it's almost like a uv ink that like gets spread across a platform like supports and all and then it comes through and cures it and they have color variations very expensive machine i'll actually have to kind of see what not to get the name of that for you guys but it's a really cool process okay i'm also going to go ahead and just kind of use the z sphere here too just kind of get that situated kamara but you know pursue has a lot of um color 3d printer options now so if you're looking to get into it it definitely is it is a lot more fun the only downside to ftm right now is that it is definitely slow but if you guys want to have like your socks blown um go to youtube and then type in like speed boat fdm printer like type in speed boat race like no bench erase type in the benchy boat race um people are printing benchies in like seven minutes with fdm which is that's very amazing very impressive stuff i actually wish had a little bit more finances for that thing it's pretty cool okay if you guys know me you know i love this freaking song hopefully it's not too loud all right so i'm just quickly like tapping with d and i'm getting just a little bit of a feel like that i'm going to go ahead and hit a and then i'm going to hit make adaptive skin bloop i mean i might have done that like twice i did do that twice so now i have this right here and we're gonna go ahead and copy this and bring this in so we're gonna hide this original one hit paste and actually let's put things in a folder so we'll call this the silence princess and then let's organize this we have our leaves and then we're gonna have our base stem just like that let's turn this guy on let's actually position where we want this slow speed prints right yeah exactly okay now i'm going to go ahead and hold this pizza box and i'm going to select the leaves and the stem and i'm actually going to go ahead and position this which side do we out want this on where's the front front's back here i'm gonna scale this down and we're gonna set this over here like such so kind of put it behind a little bit and we'll even maybe do something kind of angle it a little bit we're going to want to see it i use the spotlight for the image i am i am yes it's a great way to just kind of have quick reference you could also use a plane if you wanted to as well but that yeah that's what i use gotta move this research there we go i'm working with one monitor today because my uh my tablet kind of went went a little kaput so i have to have the chat like on the very very top of my monitor so i can see what you guys are saying so i don't like having to constantly wiggle it yeah and if you do the spotlight by the way when you have the spotlight right here and you're using this as an image source just make sure that you go to brush go to samples and hit spotlight projection this is usually on if this is on when you're working on it a lot of times what will happen is your move brush standard brush sometimes it just won't won't do anything just kind of annoying so okay i'm going to go ahead and hit ctrl shift d to duplicate the bass stem and what i'm going to do is actually come over here and it looks like there's a nice little addition to this flower that i like so we're gonna go ahead and place the second stem right where we need it and then we'll get rid of what we don't need so we'll have it kind of grow out like that so i'm actually gonna isolate the groups that i need delete hidden and then of course i'm gonna go ahead and hit close holes the iron close holes there we go select this part kind of fade that out and then we're just going to go ahead and start angling that down a little bit i could have done that in z sphere absolutely but you know wasn't quite sure exactly how i wanted to do it so oh i have back face mask on and we'll just end up merging that together when we need to do that so the correct process is not to weld the pedals by dynamesh correct um so at the end of the day you want to get the look of the of the flower correct first before you start welding things together but when you're using a ray mesh and then you you uh make you make mesh yeah you know if you're using subdivisions don't dynamesh right away until you're ready to weld things together um because you may want to position these petals a little bit differently we may want to isolate one and manipulate it so um it's not necessarily the correct process of not dynameshing or choosing to do so it just depends at what you want to do at the end of the day i will be dynameshing the pedals together once i know it's right where it's at as i prep to make things water tight for 3d printing okay okay what i'm going to do is duplicate this one more time i'm going to shrink these down because they're essentially everything i need it to be right here we're just going to put this in the middle and let's turn the master sword off for a second so we can just get this where we need it to be i'm not worried about scale right now i'm just worried about the appeal i can fix the scale after which is there a way to weld things together without having to dynamesh there absolutely is and i will show you in one second you can actually use remesh by union which is one of my favorite ways to do that so i'm going to hit control w and then i'm going to go ahead and hold ctrl alpha has subdivisions complete higher hold control and actually start creating duplicates and i guess it doesn't really matter how many are here i'm just going to go ahead and hold ctrl a few times and create some duplicates of this inside so if anybody is ever curious unlike if a screen tablet kind of like changes your workflow a little bit versus a normal tablet i'm back on a normal tablet for right now and as i save up for a cintiq and it is a little weird not looking down i'm not gonna lie so used to that process it's not even funny okay so we got these right here and let's make it an odd number much like we have the uh the the petals themselves i keep wanting to call this flower a lily because that's what it reminds me of but i know that's not right i don't know why it's it's a very funky thing all right let's hit auto groups there we go okay so let's let's say we want to weld this part of the stem to this part here together so this is the way you would actually want to weld things together so the first thing to do is actually merge them down so let's save it real quick because you know life happens and so do crashes and let's actually delete this thing here we don't need that don't need that all right so let's go ahead up all right let's go ahead and merge these two down from each other so i'm going to go ahead and go to sub tool merge down say yep now generally we want to make sure that these two objects are different polygroups so i'm going to go ahead and hit auto groups and you generally also want them to be the same subdivision if possible luckily for us because it's an exact duplicate of what we have it is so we're going to go ahead and make sure that this is embedded inside of the flower that we wanted welded to then what we're going to do is we're actually going to turn off symmetry hold alt and send this to the middle let's kind of send this to the middle of the uh of the object itself i'm gonna hit this cog wheel and i'm gonna go remesh by union what that's gonna do is actually stitch this together and it's and it's you now you don't want to do this with active subdivision so you definitely want to do this with like the lowest subdivisions you can and we want this to get welded what you're also going to want to do is now that we've done the remesh by union we are going to want to kind of clean this up a little bit so what we can do is take like the standard brush come up and turn on sculpt sculptures pro if we go to stroke sculptures pro we can actually turn off adapted size if we don't want to have it vary and we can scale that down a little bit and all we're going to do is kind of just paint over where they collide just like such and this will make sure that there's enough geometry there so when we go ahead and zero mesh one more time that it's gonna make it a nice watertight object something like that perfect all right now that we have that we're just gonna go to geometry z remesher you can keep groups if you want it's up to you i like to turn adapt off and go ahead and hit z remesh and now you can see that this is actually welded together and the geometry itself is pretty good we can actually maybe take that down a little bit let's go to two there we go so now this is welded together this is this is one this is one piece we turn on double you can see the inside of the object and that is that was how you would weld it using uh uh remesh by union uh oh no what happened to the xp pen uh what happened to the xp pen was i was trying to uh i was at work trying to use another program and it kept crashing the program then i found out that the drivers were conflicting i reached out to them but you know such as life so i just switched out to a basic wacom tablet until i can find find a replacement is this a fictitious flower or does yours species actually or this species actually exist in the region of the country what would the name of this flower um so i don't i'm not sure if it's based on a real flower it's the silent princess from breath of the wild so not quite sure 100 if it is a fictitious flower or not i'm sure it's fake but it definitely resembles flowers i've seen before so asian deep art artist interesting okay i'm going to go ahead and actually make this a little skinny so i'm going to take the deformation inflate and actually drop it down a little bit now i'm going to smooth this out relax smooth by holding shift start smoothing and let go she'll kind of relax smooth it i also turned uh sculptures off at this point there we go hopefully that answered your question by the way about the merge let's go here let's shrink these down as well just a little bit now i have different i want to actually move these individually i'm going to hit d so that we have dynamic subdivisions on i'm going to come up to brush and i'm going to go to auto masking and i'm going to turn on topological what topological will do is allow me even with a huge brush with the move to actually move only the poly group that i select so i can grab this and literally move it all over the place and it will just move that one poly group and if i stop and start moving something else you'll just move that one polygroup this way i can go ahead and kind of come here and manipulate these exactly as i want them to be are you newer to the channel i am i've been streaming for pixel for about two months now i was once asked about the artist housing i know the numbers are very well but i can't i can't carve a character interesting i would have to google it to see what it is it's similar to the wild blue heart tulip oh nice that's very cool here let me see artist yeah i'm not sure ibm motion oh yeah okay i read that yeah i actually just there's the flower is so detailed in the game so there's a lot of things i can do with it now we do want to keep in mind if we are going to be printing this by the way that we set ourselves up for success by getting things as close to each other as possible because wall thickness is a huge thing when 3d printing and we'd want to make sure that they actually print and these would be pretty skinny almost as skinny as supports so we're going to want to be careful to make sure that we don't like make them too thin because then they'll just snap off and we don't want that i'm also going to turn on back base with move that will allow you to kind of grab and pull away from a wall and get that kind of merged in together like such i'm sorry you meant sculpting i know the numbers are very wet oh but you can't sculpt the character um but i'm not sure i understand what you're what you're asking ibm motion are you saying you're having troubles like following a concept and go to brush real quick and let's turn topological off now i can move everything together again i'm going to hold relax smooth and kind of get that going just like that again we go turns out my xp pens hotkeys are less useful than i thought they would be so now i'm using the keyboard finally yeah i stick with the keyboard 100 like it's just something that i do um keyboard is i don't know it's like makes the most sense uh do i use substance for texturing or strictly zbrush um if i am doing something like this where this is purely high-res this is a high-res sculpt meaning i'm going to 3d print all the details um i just i stick in zbrush now if i was doing something for like games and such or animation um then that's another that's another topic but even even still all the textures can be done strictly in zbrush you can get a really high resolution and then you can use the zebra sculpt to bake some of your maps as well so just depends on the project but for 3d printing only use zbrush thoughts on space mouse i want one so then i can actually have more legitimate thoughts okay i'm gonna do now is actually create a kind of a bulb a little bit and then we'll create some leaves here to attach which will be good so let's save this and let's continue creating what we need to create when you finish all the modeling will you will your work be at the color level or will you explore the materials in depth i noticed an sss in the flower um i'm gonna definitely once i block it out start playing with colors and materials i mean before with my walking pen tablet the shift control alt and the scroll was wheel was useful ah yeah i don't use any of that stuff there's a bunch of buttons here i just i never use them i'm always keyboard i'm weird that way um did i print the a hold on hey did you print the roon already uh you go to me to watch it again and i'm definitely gonna do the kakaguru scope now nice sparks nice um i haven't yet i actually need to order more resin i've been doing just client work for the last two weeks so i've just been swamped and completely just tired so i need to get back on that um i have one i have one by wacom tablet with 2048 printer pressure sensitivity levels don't know how hard i should press to get 100 strokes in zbrush um it how firm your your wacom tablet is in zbrush is completely dependent on you i have mine set pretty high my my the the pen pressure is set to firm just pretty pretty solid actually so okay it just it just greatly depends on how hard you press if you find out that you press pretty hard then maybe you know maybe set the firmness up a little bit so that that you don't you're not always at 100 but just kind of play around with it and see what feels right you know have though have the settings on the side start adjusting those go in zbrush make a few strokes make some movements see if that feels good it's kind of a back and forth very custom thing okay we're going to do real quick and start making the bulb so we're going to go to transform symmetry radial symmetry and i'm going to turn this on to four but i'm going to turn on four on the y-axis yeah that's what we're gonna do there we go i'm gonna start making the the kind of bulbish shape that i want something like such kind of pull this out a little bit actually let's maybe go a little bit more let's try eight let's back this up a bit like such there we go there we go something like that uh let's see here what is the intended scale of this when you print it enjoy the stream keep it up thanks garage man the intended scale in my head is probably about seven and a half inches or give or take a few i don't have a official number just yet i have pretty small printers so i i'm thinking maybe something like that but scale can definitely be whatever you need it to be at the end of the day we just got to make sure that we keep wall thickness in mind not a problem absolutely hold on one second i'm gonna do [Music] what did i do with my xp pen um what i did with it was set it down on the floor next to me where i can probably kick it right now if i'm not paying attention okay now i'm gonna try something a little bit different we're gonna go five on the radio and we're gonna make some leaves let's see um did the tablet surface scratches when you sculpt yeah it kind of does if you let your if you let the nib or the little pen tip go too long it definitely will start scratching that's on any tablet though yeah not just screen um if you're going to do maps do you like zbrush uv painter maya 3d smacks or stuff like that um if i do maps i'll choose another program typically but i have used the brush's map multi-map exporter that's pretty it does pretty well actually like this does really really well you have up to 4k that you can use and you can actually export a good chunk of your maps you have a bunch of options but generally for when i do client work and i need i need maps i generally will use another program never unders you never understood the difference between insert and append so insert what insert will do is it'll actually just insert right below your current uh your current list where appends will actually drop it all the way at the bottom so if you're hovering over this right here and you insert it'll actually insert the sub tool directly underneath append it always kicks it down at the very bottom of the list and insert also selects that one uh appends a pen does not if i right yeah a pen doesn't the pen just drops it on the list but it doesn't actually select it so if you know you're going to be doing stuff and you want to quickly just drop in some spheres but you don't you don't want to work with them just that second that's what a pen will be for generally you you develop your work style around append or or insert i generally hit insert because if i'm ready to do something i will be popping that in right then and there at that moment so hold on one second obviously i'm working a zbrush and i know every setting about program but i don't work because golden character do you understand um it's okay if i understand you right ibm motion it sounds like you're just having a hard time sculpting in general and if you are for character sculpting the biggest advice i can give you is definitely focus on anatomy um you can't do any type of character work without the basic understanding of anatomy so stylized sculpting you know a lot of people sometimes start off with really cartoony styles but that's not necessarily a good thing because there's a lot of cheated anatomy and if you don't understand the basic idea of it you could have a hard time figuring out where to place things take funko pop for example very simple anatomy but you know at the same time because the style is so simple it could throw people for a loop so focusing on anatomy of anything you're trying to do like everything has anatomy from a tripod to a tree to a person to an animal to your cup on the desk like everything has a structure and a foundation in which it's built on and that's anatomy so really just focus on learning anatomy at least get the basic stuff from where things are supposed to be and volume and proportion of that anatomy and that that will help you out a lot more um it just takes time and practice of course which i know is like an easy thing to say but trust me when i say it it very much is so hopefully if i understand okay we're going to do now is i'm actually going to use the uh let's see here i'm gonna use the mask pen and i'm gonna make some leaves now so i'm actually gonna go ahead and start painting some leaves that we're gonna use for this pad right here and notice i'm using radial symmetry i'm going to sharpen that i want a kind of asymmetrical feel to each one but i want them to be fairly identical to themselves i'm going to hold ctrl alt and tap to sharpen that clean that up now i'm gonna go to sub tool extract it's kinda hard to see right here extract i'm gonna change this to zero thickness because this will give me a single sided geometry i'm going to hit extract and then hit accept and that's going to give me this right here and then what i'm going to do is actually clear that mask i'm going to go to masking and select border mask by feature turn that around and soften it just a little bit and then i'm going to go to deformation and polish by feature which will give me a sharper cleaner edge just like that i'm gonna go ahead and hit auto groups and now i'm gonna go ahead and lower the resolution a little bit to like let's say a two keep groups actually maybe not this is actually pretty low let's see here turn off symmetry let's try that there we go turn radial back on now we have this see um so what are using now did you get a wacom i did not get the wacom i wanted yet i borrowed a wacom from a buddy of mine who had an extra one laying around the house must be nice right uh mine is life-sized and to place in the middle i have an office building in the day or night and dead of night so we got there by magic and set it up to inquire in the background and some spotlights as part of the electric prank that's funny thanks no problem thank you for answering my questions of course absolutely thanks a lot sir do i always have to learn anatomy in order to develop my skills yes the short answer is yes you would you're always going to want to you're always going to want to develop anatomy um and really get it looking like i guess the easiest way to say this is anatomy is a life journey it's not something that is going to just miraculously like you know uh there's always something to improve how can i how can i put it that way it's something that you don't need to rush to learn a lot of it at once anatomy could always and forever be something that you strive to get better at but you don't have to sit there and say i need to learn every single thing right now like i still study anatomy to this day been sculpting for five years there's always something to improve on but you know i know what it is that i'm actually uh i know what it is that i'm trying to achieve and that's the important part so so yes you are going to want to keep learning it no don't have to fret on it i'm also trying to think of how i want to do this i'm actually going to apply this geometry i'm going to try to inflate this together there we go you just keep working on it and just note too a big tip that um i think really helped me out in the beginning of my sculpting days uh like first year somebody sat down and told me don't rush your projects there's no need to sit there and try to get it all done in 30 minutes to an hour you know there's a lot to it and layering your projects making sure that there's like contrast depth um you know taking the time to add the detail you know especially in the beginning don't worry about being fast like that's not gonna help you just worry about focusing on the project and does it look like how you want it to look and then you know don't be afraid to call something done even if you sit there and you notice that there's so much to it that you would like to quote fix don't worry about that like at the end of the day have fun with it and you know if it didn't turn out exactly as you want it to but you kind of know what you did wrong or somebody gives you some advice go ahead and just take that advice and apply it to your next project i'm gonna go ahead and kind of smooth this down a little bit so kind of a little bit of a bulb we're going to make sure that this bulb is like not quite um it's not quite uh so where i'm looking for uh you know not quite bloomed yet so we'll do a little bit of layering like that see um let's see you can't make a car if you don't know how a car works and how it looks it's the same for characters exactly absolutely oh nice what do you think about it um i think it's pretty cool chris yeah yeah actually i find surprisingly like this uh it's an intuos tablet i'm currently using it feels a lot smoother than my xp pen did so yeah pretty pretty happy with it okay i'm gonna go ahead and re z remesh this oh yeah that symmetry turned on let's turn that off i'm so i'm subdividing again i'm dropping it down pretty low so that way i can get it a lot smoother because the lower your subdivisions the cleaner you can get your model to look but the less the least amount of detail you can slam in there so if you want to have a nice clean sculpt um you know go really low on the subdivision until you're absolutely ready for detail something like that there we go let's go here real quick and we're just going to kind of pull that in let's push that in just a little bit so i'm keeping this inside on purpose because they're gonna intersect with each other and make it that make it water tight so kind of what we want all right now we're going to go ahead and turn off symmetry i'm going to go ahead and bring up the the gizmo turn on the pizza box and deselect everything and just select what i want to move and now we're going to position this into place something like that anatomy is the base of any organic sculpt yeah i i would say i would add that it's the base of any sculpture period even hard surface you know if you look at something there's a lot of um there's a lot of uh design and purpose and everything you know you guys should look up uh if you're especially very on the zbrush youtube go through some of the past videos they did this video collaboration with disney i think it was disney maybe it's pixar but it was actually talking about uh zootopia and it was talking about how the the character designers and the environment designers were actually trying to figure out how to incorporate design and if you take a look at a leaf for example the way the leaf um veins go is the same like the shape of the veins in the leaf is the same shape as the trunk which is the same shape as the branches like and so they utilize that anatomy in the design of one flower or one tree and had to repeat it and then they use that for the full environment so there's definitely purpose in design especially if you're looking at a hard surface like take a look at modern clean surface like just look at architecture you can see so much design and anatomy built into how how it looks so there's definitely a lot there okay i'm going to use inflate and actually kind of skinny this up a little bit more something like that so let's go ahead and hit save uh let's see taking advantage of this the procedure of yours when placing the pedals on the surface of another object below is there no collision tool in zbrush for that moment um do you mean as as they're kind of intersecting on top of each other no just make sure that the sub tool is is embedded in the uh in the object hey what's happening what's going on intermittent arts lovely stream thank you so much i'm more of a programmer than a 3d artist but i enjoy doing both if i want to make a portfolio but as a technical artist i'll be in uh it will be enough uh there it all if there are only mat cap no texture and put them on our station um if that's a question yeah just you know think of it as more like uh presentation is key make it just look appealing it doesn't always have to be super fancy it just has to look good and if it's in your portfolio it'll be it'll be perfect because i suck at texture painting my pc doesn't support something painter so yeah i mean just make it look really really good what you could do too is um if you go to you know go to render go to preview ao and turn this bad boy on say like 25 intensity like if we come here turn everything back on like with preview ao put that there for a second here's preview ao off looks pretty flat put it on and it'll help with the depth a bit so you know i would say do something more like that but if you can if you can put some sort of texture on it even in zbrush it's definitely better than nothing but work with what you got of course you know at the end of the day if your machine can't handle it then don't worry too much eventually just try to upgrade when you can that's that's really all you can do right okay hey what's up how you doing is this the commission or just for you uh so most of the pixel streams that i do in fact almost 99.99999 percent of pixel streams are going to be just personal stuff i don't usually show any of the work uh without special permission and so yeah i realize i'm going to break this up for a second i also can't spell master sword so i fail there's not an eye it's an o i actually want to break this up real quick so i'm going to kind of select the section right here ctrl w to polygroup and i'm actually going to split hidden and we're going to go ahead and close holes because uh yeah we need to definitely make this look a little bit better there you go close holes there we go so we'll end up making this look better make that two pieces plus now i'm thinking about printing and i'm going to want to split the base up with the with the actual sword itself let's see our our panel loops the best method for hard surface i would say definitely worth learning panel loops if you're trying to focus on hard surface i'm not much of a hard surface sculptor myself so i can attest to what um a really good heart surface sculptor would use but when i do use when i do hard surface and zbrush i definitely rely on them a lot so it's worth it yeah okay all right so now i'm going to save this one more time and then we're going to add a few more leaves and then we're going to build our korok body because i wanted korok peeking his head around the sword i thought it'd be adorable uh z modeler for sure yeah both i would say z modeler panel loops and thick skin and here's why i say thick skin i'm going to go to z sphere real quick i'm going to make polymesh 3d all right i'm going to subdivide a few times so check this out this is like the coolest thing on the planet and i did this a lot with my darth grogu the lightsaber blade i did this specifically i went to thick skin and i found a thickness that i really really liked and then i painted a stroke okay let's go a little thicker than that let's do that i painted a stroke then i hit one a bunch and you get a really nice flat surface so if you have so if you really want to like have some fun like start drawing hold shift snap and then hit one a bunch you can get some pretty nice shapes i'm definitely not saying use it for everything but if you're in dynamesh a lot you know use lazy mouse snap hit one a bunch which repeats the stroke and you can see here just just by doing that you can get some pretty cool stuff even minus you find them want to come here start hold shift minus come in whoops like such and hit one a bunch of times so you can get some really cool stuff when you're conceptualizing your hard surface but panel loops is definitely gonna save your life and so will um see modeler so definitely think it's worth worth doing you are to be congratulated this flower really is too complex hey what's up slump how you doing okay let's go ahead and add a few more leaves so let's turn off the master sword real quick let's add a few more leaves uh we're just gonna sculpt one so let's go ahead and here's that bulb let's put that in there and actually you know what we're gonna do let's go ahead and merge this down say okay and then let's rename this um uh sp for cylinder princess bulb because it's not blue it hasn't bloomed yet that's my excuse and then let's go back to z sphere and let's actually let's sculpt a we can use just a kind of a generic leaf we don't have to go too too crazy too quick i'm gonna hit x for symmetry and let's let's kind of manipulate this a little bit more uh let's see sandman 5000 love that name by the way what is the best method to make a mesh out of a vector svg logo for the best quality with text and basic images i want to make like a class ring with writing any help is appreciated that hey sounds like really really awesome um what i would recommend doing is coming down to z plugin and going into 3d text and you can actually load in new svg so if you use another program like illustrator create your svg and then come in here and you can load that but i would definitely recommend following thomas he sculpts on mondays so tomorrow but he sculpts in the evening i think around 8 p.m pacific standard time or it's daylight now pacific daylight time um definitely check him out because he does a lot of jewelry and i don't do that much julie so i don't do that much wrapping around objects in zbrush but he would for sure so huge shout out to him i would check him out tomorrow around this time maybe like another hour from now he would definitely give you more uh insight into that but i do know that you can come in here you can load in your shapes um and then you could play a lot a lot with uh 3d text i also know if you go to pixellogic on youtube and type in you know 3d like text 3d like ask zbrush text 3d that could definitely get you a lot closer but that would be the best way to load in an svg for sure but check him out hello is it possible to make sure 3d printing models have no errors in zbrush or do you have to check a netfabber mesh mixer there is ian also awesome name um there is absolutely a way to do that so what you could do is let's come here to this guy so let's say we go ahead and duplicate this we have this side by side each other like such yay we love it it's awesome we're gonna go ahead and merge down say good i take a second just merge two million like it was nothing and then let's go ahead and dynamesh at 500 say no don't freeze it there we go okay so we dynamesh this guy and it should be watertight right that's kind of that's kind of what we are looking to do and so we can go ahead and we can check two ways you want to check to make sure something is good first thing is come down to [Music] display properties turn on double once you've dynamesh something together go ahead and actually select the inside and you can take a look yourself and kind of see if there's any errors with inside the model and then you can actually kind of delete some of those if they are the more technical way of doing it is once everything's the way you like it come up here to transform and there is an analyze select the sub tool and if you click that it will give you a scale reference you go ahead and pick the one you want and then it will tell you if your sub tool is watertight and if it is not watertight if it says not watertight which happens from time to time then just go to geometry modify topology go to weld points and close holes go back to transform and click it pick your size and then it will say at the top whether or not it would be watertight um sometimes i've had that not be 100 accurate or it will say it's not watertight if you're if you're um if you're like let's say your polygons are folding on themselves so um i've brought in models that said it's not watertight and it worked fine there was no issues but i would say if you wanted to make sure 100 this is the method i'd follow not a problem ian absolutely that vegeta head yeah that's actually uh that's a huge work in progress i gotta get him printed out uh a little bit more i've articulated vegeta and it works via ftm i've been trying to get that project working well articulated in resin but um i don't have time right now it's mind-blowing how much how zbrush works with high poly mesh i know it's totally black magic that's what i tell everybody it's really just black magic let's delete that all right let's go back here okay and go ahead and kind of use the damn standard of bits just to kind of cut this down a bit do i have thick skin on nope good okay okay what i'm gonna do now is actually just go ahead and dynamesh it so hopefully that was helpful guys let me know but yeah it's definitely a lot of ways you can you can utilize to get things watertight so we're going to go ahead and actually use that move infinite brush again just to get a little bit of that kind of flare and shape i am definitely going with a little bit more of a generic leaf for now i might try to find some reference here in a little bit let's get the damn standard i mean sorry not the damn standard let's get the transpose and then i'm going to hold alt and i'm actually going to go ahead and kind of bend this up it's a really great trick if you were trying to get some sort of curve to your shape just holding alt to draw out hold alt hover over this white box and then you can use it's like a deformer within the transpose tool it's really cool hit y again gizmo set that to the center and you're good to go that's how i do most of my tongues as well which just kind of looks like right now what i'm going to use is the snake hook brush here in a second to give it almost kind of like a little bit of a a little bit of like a spiky feel to it do you recommend anyone to watch to learn panel loops absolutely yeah do it because you can use panel loops a lot you know it's not specific to hard surface but it can't hurt i don't use it as often um but i have used it from time to time and i think uh michael palpovich has some great tutorials on panel loops not only on his channel but also on pixel logic i think so definitely check it out he he's used it quite a bit but yeah i definitely recommend okay i'm gonna go ahead and actually hit five and we're gonna zero mesh it and get some something a little bit lower res it's like a million um have you uh i've watched some of michael pelvis but he is as far as to have it down to somebody my level yeah he's a fast guy he's awesome all right so give me a second and i'll kind of do my best to run through panel loops just uh just a little bit but i'm i'm not an expert but we can play around a bit with it panel loops aren't my 100 forte but if you guys don't mind watching me bumble around i'll go around we can we can figure some stuff out okay all right only your brief can change only your belief can change your level absolutely yeah just try it i mean that's my method that's that's literally my answer to everything try it see what happens that's how i learn i'm sure a lot of you learn the same way but so we'll do that like like i said i'm not an expert on panel loops but i'll definitely jump in there try to utilize it real quick um well let's see what we can create maybe that'll kind of help and then what i will promise by next sunday okay so i'm giving myself some homework but i'll definitely study up on some panel loops and then i'll bring that to the table all right let's get this going so here's what we're going to do we're going to go ahead and we created our leaf there we go please don't worry about it i was just wondering i appreciate it no absolutely are you k trust me my goal as an artist uh is to learn as much about zbrush as i possibly can and if it helps you guys it's going to help me too you know what i mean like i enjoy the stuff so much it's uh it's what i do yeah get it done the way you know how if you come across a new tool or opportunity to try a new method take the time to experiment absolutely yep you guys have seen me experiment a lot um already in just the last few months because it's just something that i just kind of do naturally and if you guys have joined me on my own personal streams which happens once a week now due to being extremely busy um you guys know i just kind of like come in there and just start like hey let's try this we'll see what happens there we go yep absolutely yeah okay i'm going to go ahead and clear that mask and i'm going to go ahead and hit auto groups and i'm actually going to go ahead and hold ctrl and duplicate this process here so we can just bring down what we've worked on already okay i'm gonna hit auto groups one more time and i'm gonna go ahead and actually delete hidden on one of those leaves we don't need it isolate this guy i'm going to go ahead and kind of push this more like here i'm gonna just go ahead and mask off this area there we go oops maybe rotate it so looking for a peel at this point i want to see what it looks like from afar afar afar and see if it's something that interests me in any way shape or form so if we look at it from back here let's turn everything on does this look good at the end of the day and not too shabby go ahead and isolate this and we're going to do the same exact thing but now we're going to i'm going to go ahead and actually control this here yeah let's couldn't no let's not do that let's actually hold the gizmo select that one and then ctrl drag as well because we're going to make the we're just repurposing at this point i came to the conclusion that box modeling hair is going to be easier than trying to sculpt and re-topple it it depends on the style that you want to do but yeah if it works absolutely yeah there's nothing wrong with nothing wrong with box modeling here what you might want to do in zbrush is if you hit b and c they now have curved flat snap and curve flat brushes which you can probably use this now to get a bunch of hair as quickly as possible they're more you might be able to use them more for like hair cards but you know at the end of the day it might that might work for you give that a shot um i've also also used fiber mesh before as well just created a really thick card and then made like little cubes and stuff out of it and then if i wanted each individual strand that's kind of a pain in the butt approach please tell me how you change the the figure like vegeta yo you mean the uh the cam view this guy right here yeah absolutely i can demonstrate it i can also link you to um a youtube video that i created that will kind of showcase that a little bit more i'm gonna hit auto groups real quick let me just finish this thought let's grab that let's go here i'm actually going to solo this and the cool thing is we can actually just kind of hide that temporarily do that real quick let's hide that real quick i'm gonna rotate that around so you guys see it's a lot of repetitive just kind of create one tool that you really like and then repurpose that so that way you don't have to do the same thing over and over again and then you just take auto groups come here again we'll just go to brush auto mask topological with the move brush and then what we can do is actually take our move brush and push down and lift up the things that we that we just want to change or hide really push that underneath push that underneath as well like such move that one there there we go boom not too bad silent princess and we'll just end up cleaning that up a little bit let's go ahead and just kind of scale it down there we go and that gives that gives us the look that we want let's go ahead and save it and now we can go ahead and make the the korok yeah then fiber mesh yep please tell me so the vegeta figure so let's say i wanted to make this my this is my cam view so i want to make this my cam view so what we're going to do is actually go ahead and hit f on the keyboard actually first things first we're going to go ahead and actually merge visible that's what i recommend start with merge visible which creates a new sub tool and we're going to send this home and then you're going to hit f on the keyboard a bunch so that way we actually kind of frame it and then you're going to go up to document and you're actually going to change the back color to black okay and then what you're going to do after this point i'm going to i'm going to hide my spotlight so hit f make sure it's centered my wacom tablets being weird okay so once you have it centered on that sub tool you're going to go ahead and go to preference cam view and then you're gonna say make cam view and once you do that it's now gonna go ahead and you see right up top here i now have my silent princess facing the direction i want once you get this set the way you like it which you can go back to preference you can change the size as well if you wanted to 150 is usually where i keep it if you notice here on the left hand side underneath your your alpha and just above your material you actually have texture and then right here you'll actually want to save this image out created a new image so we're going to go ahead and hit export and you're going to want to save this in your can view folder so if you go to your local disk wherever that is and then go to program files and then you're going to go to pixel logic you're going to want to go to zbrush 2021 or your current version z startup and then cam view and then you're going to want to save it there go ahead and export that now you couldn't see that part because i only have one monitor so it's only capturing zbrush at the moment but what we can do is you save that there and then you come up to your preferences your config and make sure you store configuration okay once you store your configuration every time you load up zbrush now that is going to be there if you would like to make sure that you uh you want to make sure that yeah you do it every time everybody whoops i'm gonna go ahead and i can send you the video i created a video on it right here that should help you up awesome you're welcome man from i'll see here when it comes to 3d printing what are you keeping an eye on topology poly count quads triangles no none of that the thing that i'm keeping an eye on is actually wall thickness and whether or not it's printable so let's actually put this back there we go okay so when it comes to 3d printing oh here real quick sorry last thing if you end up wanting to change your cam view to something else just gonna back back on that for a second go back to cam view and hit next until you get the model that you want i had saved vegeta a bunch of times and then just go back up config and save okay um so so when 3d printing what i'm keeping an eye on is height and thickness and how parts interact with each other if i'm going to be keying them later trying to make sure that there's enough space to actually create keys the uh the main thing to really focus on is how thick or thin something is because this will be about seven inches and a height the the concern that i have right now for this in particular is actually the printability of each and every one of these little leaves that i have going but that being said you know i don't have to really solve that until the end but um the more you 3d print the more you'll start understanding that most things can't be printed uh below 0.2 millimeter for thickness but that's really tiny so if you want something like this this um like these veins or not veins vines to be printable then we need to establish a size and then kind of compare it to the rest and make sure that it actually will print you also thinking about structure and shape you know this will need supports so if i want something to not have supports how this item flows will greatly depend on whether or not i'm going to make its uh make it have supports so i know i can print this base without supports and this master sword because this is an overhang meaning that there's nothing underneath it to support it will need supports so topology don't care about you can make it however you want um really just focused on thickness and overhangs the big big two to focus on hey what's up ninar how you doing so love that little touch of the sensation oh heck yeah absolutely okay i see no not a problem yeah luckily for us in the 3d printing world and even in the toy world for the most part topology is never something that i worry about unless unless i'm specifically asked to if i do a project that i know is going to be a toy but then the client says hey we're going to want to animate this then for sure i'm going to have to consider retopology down the line but for the physical product that's going to be then cut and sliced and then sent to production i don't care about technology in any way shape or form it's just not it's it's not something that i need to lose sleep on and that's the beauty part about working in toys specifically is that at the end of the day we don't really ever need to leave zbrush to do most of what we do i mean of course depending on the company you work for you know but yeah see brush is it man zebras is it see here i'm just going to copy this bulb spread this out a little bit i'm going to repurpose this always okay we're gonna go back to brush i have topological turned on hey what's going on commander how you doing and the other thing too is um sometimes you can get away with like hiding a little bit of detail um you know something's gonna be so big you know let's say like this bulb is only going to be you know like 1 8 of an inch there's really not a whole lot of worry on putting in a lot of small details that the the printer may not capture so other little things like that let's see what about 3d print models with textures well um that will be printed in sandstone so printing textures the golden rule is think about plan on about 15 of all textures will be lost in the print process so and what i mean by that is you're going to especially when printing in resin resin is going to give you higher details but when you factor in supports and sanding and cleaning up your model and of course two there's always tricks to get things done a little bit cleaner but for the most part you'll lose about 15 percent of your of your detail in the print process naturally so what you'll want to do to counteract that is make sure that you cut deeper cuts in your model that you exaggerate some of those cuts so that when the detail gets lost it actually turns out the way that you want it to be again like i said there are tricks especially with resin printing using some sort of dies that will help alleviate that process but by making your cuts deeper by making um your you know the the look and feel of it a little bit more contrasty that'll help you out in the long run getting what it is uh getting the look and feel that you want so just little things to kind of remember i'm going to go ahead and auto groups one more time there we go now now what about action figures or module structures do you need to sculpt each part individually or break them up apart the final step break them up at the final step uh articulation is a articulation okay is what re-toppling is for animation it is a process that is done after the sculpt um and it can be just as tedious as manual re-toppling the thing that you want to remember when learning to articulate or doing any type of articulation is you're going to want to um kind of make sure that the structure and the appeal and the design of the sculpture is not is not just thrown away the integrity of the sculpture needs to be preserved as much as possible so you know if you look at any toy that you have that you know let's say like a todd mcfarlane batman or something like that um the the integrity of how the the toy looks the sculpture work is preserved as much as possible so all that gets done after the fact um it's a huge process and i'm still currently trying to develop a good way of teaching it without so much confusion because it is a lot of it is a lot of engineering and technical uh as well so but i would say that at zebra summit 2019 type in hasbro uh type in hasbro zebra summit in youtube paul bennett did a great job and i link everybody there first to get the basics id of it but i'm personally trying to create a course that will talk about articulation and there's so much to cover that it's taking a very long time to do that but i do want to run articulation through one of my streams but it's very tedious and can be very boring so you know something to kind of consider but yeah i equate articulation it's it's re-toppling for toys it's insane it's amazing um but it's tedious coffee has me doing well for the moment absolutely yeah and i will say this um anybody who's articulated before in their in their life will know that articulation is is generally custom you can create brushes and key cuts to make it easier on yourself but it's not a one-size-fits-all approach so just something to kind of consider yeah that video is great that video even helps me from time to time like paul bennett is amazing all right so i'm kind of looking at my korok reference real quick because i have an idea how i want to do it and working with one monitor is really like funky okay i think i want to do kind of like a curvy little a curvy little fat because korok i think it'll be adorable to do it so so let's go ahead and block him out so let's insert a sphere and let's drop this all the way down at the bottom and then let's go ahead and hit ctrl f and we're going to call this the korok just call him a korra character right now where am i from i am uh i'm from california yeah i just bought a master chief figure to sacrifice as a study yeah i have a little batman guy from uh todd yeah you know from from mcfarland toys uh 22 point articulation and i have ripped him apart about five times a key trick to ripping apart your toys if you want to preserve them because the material um is either abs or pvc or some sort of rubber so if you find that the part has a lot of like flex or give get a get a cup and warm it in the microwave for like um like 30 seconds to a minute just hot enough that you could dip your finger in but it doesn't burn you and then take your toy and stick them in that hot water and that heat will cause expansion and it'll loosen things up and then you could just bloop pop them pop them apart oh i just explained that but uh here is the video that links straight to my youtube channel that actually shows how i put that vegeta in the corner i i just i literally just went over it like five minutes ago so you can also go back uh if you're on youtube and watch that as well okay so i'm actually use transparency right now so i can keep the size of this korok character and i have my reference on my phone here kind of like just look carefully at my coroxy without bouncing back and forth and not my korok seed my core rock maybe i'll maybe i'll make the you know maybe i'll make that korok poop it's like just a it's a little you know hey what's going on odon welcome in guys welcome in okay yeah yeah no problem okay let's go ahead and start first off like the the main sphere is is usually um a lot of topology but you know if i click the poly sphere if you go to the q and hit the poly sphere and then start scale this up you actually get a much better sphere so that's gizmo go to the cog wheel hit the poly sphere and it's a lot better of geometry and now we can start manipulating this the way we want it to be and like i said we're gonna we're gonna make him a little a little cute and fluffy hey you're from brazil hello how you doing welcome man from brazil i'm from california nice to have you here okay and literally like these these characters aren't super complicated so i'm not gonna make it super complicated and try not to let me rephrase that i'm gonna try not to but you know i've been known to overcomplicate a kirby before i'm going to mirror and weld it there we go turn on symmetry and we're going to go ahead and let's also turn on local sim which will scale up universally let's come here real quick okay now we're going to do is turn everything off that we don't need because we have the rough size of our korok and i'm going to go ahead and take the clip curve i'm going to hold shift and control select clip curve and i'm just going to go ahead and literally drag right across from right to left not left to right because that just did that bloop green's from peru hello slave pier is this for work or for fun now this is a fun project 99.9 of my pixel streams are all just fun projects most even most of my own streams i rarely stream even my personal streams i rarely stream uh client work nine times out of ten clients don't want you streaming their work it's not something that is generally done although that doesn't mean you can't i've done it before i've had some clients that say they don't care if you are going to uh freelance or even if you are working with somebody typically studios won't let you but if you're freelancing with stuff that you have people who don't mind you always make sure to ask before you do okay let's get the shape in here like such i'm even going to go ahead and duplicate this roll this around so there will be some asymmetry stuff to him but first we're just walking out basic shapes give them like little horns or something here let's go ahead and auto group smear and weld it so the groups are the same on each side hey what's up sir chan did you continue with the mary jane carnage um i haven't done that yet on my no not yet i haven't continued any more on it i will be doing that soon though so generally i stream on my own on my own channels um every wednesday morning before i go to work and i work from home right now but work is keeping me busy guys uh what is the best marketplace to selling 3d printing 3d printing projects in your experience art station cd trader where honestly okay this is going to sound weird anywhere you can sell do it just make sure it's your own ip of course um but you know i don't really want to dog on any company so i'm not gonna say um the ones i wouldn't do but gum road is always a great for selling stuff art station is always good for putting your stuff out on there i'm even mentioning um on instagram um or you know creating a patreon page that like you sell stuff through there um if it cuts the middleman out at the end of the day that usually is pretty helpful especially for freelance opportunities but um yeah i i would i would say i would say those are good places to start but even just being on twitter and telling people hey you know i have stuff for 3d printing if anybody's interested x y and z you know that's it's a good place to mention it gumroad is always good if i didn't say that already so yeah okay we have this shape blocked out let's go ahead and merge these two together it's gonna rename this korok body and then we're going to go ahead and merge it down so we have this guy right here and then i'm going to apply dynamic subdivision so i actually have some i have three subdivisions when you don't apply you know when you hit apply it gives you three subdivisions and then i'm going to delete lower so that i have now i'm at the highest subdivision and then what we're going to do is turn off symmetry and then i'm going to turn on my gizmo center that come here and then we did this earlier today remesh by union which will stitch this guy together and then i'm going to take the clay buildup this time go ahead try symmetry back on and turn on sculptris and we're just going to go ahead and sculpt this these uh seams with um sculptures pro turned on to give us a little bit more geometry it's kind of tessellating on the fly right now but that way these seams will be a lot better and then we'll remesh it to be one one smooth shape let's go ahead right click army right now i switch back and forth yeah zero yeah rematch by union it took me a while to get used to it i'm a little old school you know sculpting a zebra for five years you develop a lot of you develop a lot of habits in that time and you know dynameshing to weld things together is a little old school it still works it's still great and i use it a lot but i'm starting to use uh remesh by union a lot more okay now that that's good let's go ahead and turn adapt off turn on groups we got symmetry turned on and i'm actually going to go ahead and let's see let's try two see what that does uh what tablet do you recommend or which is the best in my in your opinion so would i recommend any tablet i recommend any tablet i don't have a real preference wacom has a name for itself and i'm currently on a wacom i have been using xp pen for the last few years i've tried uh julian once they were okay um but if you just need a tablet and you're just getting started you know the tablet doesn't make you a better sculptor the tablet is only going to improve your workflow over time so if you're just trying to get a good tablet you know i always recommend xp pen you know get a basic forty dollar tablet yeah they'll last you a while had one for like two years works out great um and then when you get more comfortable with sculpting and you want to have a better tablet experience that's when you start looking at the higher ones uh hey and i need your wisdom how can you merge together two subtools i have a head with subdivision and a body with dynamesh is there a way to merge them without losing the details of the head um there is absolutely so what i recommend you do is run for the hills no um let's save okay what i recommend you do actually is utilize projection so let's say okay i'm gonna go ahead and i'm gonna duplicate this guy real quick we're gonna solo him out okay i'm gonna do is subdivide him a few times yeah he's massively subdivided and i'm going to go ahead and dynamesh him oh come on delete lower dynamesh there we go okay so this is a for instance right he's dynameshed before you start merging things together let's say we have our we have a guy right here i recommend you use projection okay so we have our guy yay one second okay so we have projection what i recommend you do is you duplicate the sub tool turn everything off but those those two sub tools you want the one you're going to project details to at the voi at the bottom the one with the details the one on the top so this top one right here that's going to be your details your deets oh my mackerels i can't spell um and then your bottom one is going to be your projected okay the one you're going to project to so what we're going to do is everything's turned off right so we have that all turned off we just need those things turned on go ahead and your projected the one you're going to project your details to we're going to z-remesh those okay so go ahead and z modeler that best you can do let it do its thing because it's easier to merge like things together you also could you know so this is this is like a dynamesh to to zebra mesh workflow right and then what you'll do is you'll just quickly subdivide this a couple times and then go to project and if you have color great but mainly geometry needs to be turned on hit project alt and and there you go not projected projected now you have your dynamesh look on your new subdivided model and then merge those together with remesh union or take your subdivided one dynamesh it at a really high dynamesh and then merge your dynamesh together dynamesh it so it's welded water tight and then zero mesh using a uh using projection it doesn't matter if my head has a slight mouth open um i would be careful with that if i would open his mouth wider if you're gonna dynamesh if he's already dynameshed you may want to close it that depends how do you avoid having weird artifacts with a projection um having weird artifacts with rejection is going to come down to how clean your zero your your z remeshed or your topology is you'll get weird artifacts a lot if you try to manipulate for example let's go back okay so if i try to manipulate this a little bit like i zero meshed it then i started manipulating it or i zero meshed this then came back and made changes that's when you might get some artifacts occurring but if an artifact occurs try to z try to clean up the topology or try to try to uh z remesh it again till you get something that you like to project too um you could do that you could do that a lot of ways having uh different poly groups and then keeping groups while z remission can help you clean that up also too if you are if you are if you have an asymmetrical model and then you z-remesh but you kept symmetry on you're going to create artifacts that way so if your asymmetrical model you want to project from dynamesh 2 to subdivision make sure you use zeromesh without symmetry turned on so then when you project the details it knows where those details go it used to have a lot of problems but they've really fixed a lot of bugs within projection but i do say would you do a custom piece say perhaps for an album cover i've done i've done stuff for pure 2d render that gets used not specifically an album but always down for fun projects okay great thanks not a problem saving a morph target can also help absolutely absolutely hey not a problem yeah at the end of the day if you're getting weird artifacts with projection it will come down to your mesh and just try to get a clean mesh as much as possible okay so from here i'm actually going to turn off symmetry because now i'm going to start making this guy a little bit more asymmetrical don't be afraid to go asymmetrical guys like at the end of the day you want to keep it as symmetrical as possible until you pose but asymmetry gives it a lot of feel a lot of love i'm going to use the inflate brush and i'm going to actually do a subtractive just kind of get a little bit like such i'm gonna clip off some areas because he's a piece of wood we'll turn symmetry on for this part like such there we go something like that this little guy there we go and of course two we're gonna actually apply the uh subdivisions so i can start getting a little bit of detail underneath his arms and these characters are fun and simple so we can have a lot of fun with the shapes we don't have to go too crazy have i ever used my zbrush models for animation i'm actually working on a project now that is going to be for animation i can't talk about it um unfortunately yet i can't wait to show you guys actually it's going to be awesome um but generally no generally my stuff doesn't get animated because i work with uh i work with toys and static statues mainly so most of my stuff doesn't get animated but this one particular project will be and i'm so freaking stoked like really excited okay what are we making today my kisses hello we are continuing the beautiful wonderful so i have the master sword that we subtractive sculpted last week if you guys don't remember um month of may we are doing here at pixel logic a uh subtractive challenge and i i did the master sword but there's a lot with it that i still need to clean up and i tried the challenge it was fun torturous but it was good i had fun um and i definitely recommend people trying it however i want to produce a really good model so i used it more of the sense that i conceptualized what it would look like now i'm going to make an entire statue around that but uh i'm not gonna i'm not doing subtractive what do i use to animate with i don't animate so i don't do that um actually my project will be sent off to an animation team who will do well it'll be first sent off to a rigger and then it will be sent off to um then it'll be sent off to an animation team so yeah hello brother what's happening okay now we're gonna go ahead and actually make the leaf on his face so what we're gonna do is actually use you guys are gonna like this i think we're gonna go ahead and use mesh extrude mesh extrude is a lot of fun um we're actually going to go ahead and duplicate this one because it doesn't work on subdivisions apparently that's that's always no good okay what we're going to do now though you guys are going to like this little trick if you go up to picker okay it is on continuous aha it's not okay so what we're gonna do is usually let's back up for a second okay so every brush within zbrush is actually defined by this picker and the move brush for example has a continuous z orientation so what that means is that wherever my brush goes and drags it is going to continuously find all of the geometry that follows along the z-axis to then know what to manipulate but if we look at picker and then hit control for our mesh extrude it says once so what this means is that when i drag this over and i let go it's only going to identify one spot wherever i started on that mesh to get that information and then the rest is just going to go ahead and kind of do whatever zbrush wants it to do but i actually want this to follow the shape and feel of this character so what i'm going to do is i'm actually going to go up to picker hold down control and hit continuous z when i do this it's now going to follow the shape of my character at all times within that z-axis so now what i can do is i can come up here and i can drag the mask of this character like such let go and now it's going to follow this shape and i'm going to go ahead and just kind of flip this up a little bit just like such okay this will be that leaf on the korok that i'm gonna love so much this will be his mask that picker is very powerful and in my opinion very underutilized and then we're going to go ahead hit sub tool and we're going to split unmasked and then we're going to go ahead and delete the korok body we don't need and now we have this shape here that will fit on his body and then we'll clean this up oh i missed a lot sorry subtract the sculpting sound like a pain it really was yeah what is subtractive sculpting uh the subtractive uh challenge is make a sh make take the shape of like a cube a square a cube a square a cube a sphere um and then you can only negatively sculpt um but it doesn't act the same way in zbrush as it would in real life you know like if you take if you take like a block of wood and start carving it's like traditional carving or whittling so um and i did the best i could but now i just want to make something awesome let's see here oh so you don't use your own program you just make the sculpture yes i am just i'm the digital sculptor correct uh would you be able to create an animated version of a person for like an album cover an estimated price uh ajd if you would like to pick my brain further on that feel free to reach out to one of my socials like dm me on twitter or something i'm pretty busy right now but you can definitely reach out and i can we can negotiate prices and stuff like that if you're interested let me go ahead and send you my link tree there you go yeah thank you ninar um let's see here is it possible to become good at 3d artists by learning itself without school or whatever yes yes dj absolutely i am a self-taught artist i do not go to college i do have 2d background artistry um that i did in high school when i did study animation um however uh i am i am definitely a self-taught artist um on in the 3d world so you don't need a degree to be good at 3d art but seeking knowledge is key that makes any sense i'm gonna go ahead and create the stem actually actually for the stem you know i'm gonna do i don't need i don't need that anymore i'm actually just going to go ahead and kind of mask this section out right here click that and i'm just going to literally pull this out just like such and i'm gonna now dynamesh it and then let's let's clip curve like that let's see is there any way to invert the zoom direction in zbrush invert the zoom direction what do you what do you do you mean like if you're going you like pulling like pulling up to zoom in instead of down i i don't know to be honest with you i've never tried never consider i just got used to dragging up and down up goes out pulling in goes inward so i never questioned that to be honest i don't know if you can i would recommend maybe trying to do like an ass zbrush or even rich reach out to the pixel team uh you know like the support that might that might do you one better on that front oh my goodness keep having this wacom thing show up stop it what is happening okay still have to customize my wacom settings it is i have a lot of options happening okay so let's go ahead keep groups i'm gonna zero mesh this now and we're gonna make this looking good uh i'm learning at 22 too late no not too late at all i'm 38 and i started z-rush five years ago it's not too late i've had previous experience in 3d before but forgot most of it and i didn't do much sculpting no it's it's not too late trust me when i say it's not it's not too late at all okay let's go ahead and make some eyes real quick i think you guys are gonna think you guys are gonna like this you can do eyes with you know live boolean if you want but we're gonna kind of make some custom eyes here so what we're going to do is i'm actually going to take the mask pen sorry not the mask pen i'm going to take the mask lasso i want it that way yeah let's do that gonna grab that guy invert this so i did this last week and some of you thought it was pretty cool so we're going to go ahead and do it again so i'm going to make some i'm just going to make some holes where this guy's at display properties and use double okay and i'm going to delete hidden and i hit all polygroup then what i'm going to do is actually pull up the brush i'm going to use the curved bridge brush and this is a really cool feature so i'm going to hover right in here hold shift drag that grab this edge hold shift right there that's going to kind of weld that together let's actually do a better job at that come on yeah it's gonna be a korok there we go so now we just made these holes right here now we can go ahead and dynamesh this oh you did that did you okay see if we close holes what happens ah that's what happened okay let's back this up for a second let's grab that guy it's better to do this here on this side just want to make sure there's no holes like that sometimes that happens okay if that happens when you're fighting the geometry go ahead and put this back and we're actually going to go ahead and use deformation and we're going to go ahead and polish groups to get a cleaner selection let's turn on double one more time and then let's delete hidden now let's try that one more time there we go oh it is not liking me today great i go to show it off okay okay let's see what you were doing let's go here let's try something geometry zebra mesh keep groups let's do something that's a super useful trick yeah except for it doesn't want to do exactly what i wanted to do right now so we're going to make it do what i want it to do we're going to we're going to do it i'm gonna oh here's another thing we can do actually you guys ready for this so we can go to dynamesh keep let's turn on groups turn blur off resolution at like 500 watch this okay maybe maybe 1 000 that's fine and actually let's let's grab this guy right here let's make this another polygroup so we have just the two i'm gonna dynamesh with groups turned on let's see what that does anything nope it's not liking me all right let's try this again come on that moment when come on there we go let's try this one more time is there any way to hand z brush speed with gpu not that i am aware of there we go maybe no okay you know what it's because i think because my symmetry is throwing me off because it's asymmetrical so let's try this with one hole at a time wow it just doesn't like me here so bizarre okay let's try one more thing let's really clean this up sometimes it's all about how well your everything is clean so let's smooth groups and let's really like let's like smooth it by hand because it is really fighting me but i'm determined to make it work because i'm stubborn and i showed this trick before and it is real useful when it works so we're gonna make it work there we go i'm gonna do this any advice where to find a good mentor for sculpting i'm already watching tutorials honestly good mentorship um i know a few people oh so at the top of my tongue spicer has a great mentorship program and if you're in my discord then you can get a little bit of a deal joining his he has a great mentorship program going on um i don't have one at this time but i'd be happy to help out any way shape or form if you also join my discord which i'll send you a link you know you can always ask direct questions and i'll answer them as soon as i can it's more of a community so there's a lot of artists in my discord but anna carolina she's also so both spicer and anna carolina are also uh they are also pixel streamers and they have great mentorship programs and then shane olsen who is my teacher um has a great 3d character workshop i don't know how many years from 3d character workshop shout out if uh if you are but uh those three have some of the best best mentorships that i definitely recommend so yeah oh just on that link tree scroll all the way down to the bottom and that should get you where it's at um yeah it's great course it yeah it's amazing okay i need to turn double on but those those are great courses highly highly recommend come on okay if this doesn't work then then we'll just do it we'll do it the other way you know sometimes okay yeah this is just fighting me all right if something is fighting you you would be you know don't don't don't stress if something's not working let's just do it the other way which is totally fine when in doubt move on that's probably the biggest thing i can recommend so i'm actually going to go ahead and actually insert a couple cylinders we'll give them some rounds uh just circular eyes but it's a mask so we'll just go ahead and we'll use some live bullion because that's actually easier too but if you need to create holes that's one way you could do it when it works you know this wacom menu i need to turn this off keeps popping up you guys can't see it but it's there i can attack santa carolinas and spicers for sure they are awesome yeah if you're in my discord and you show up you know uh if you're in my discord i have a 25 off for spices course if you guys are looking to join his course and that's off of his his direct mentorship or even just his on demand um so pop in there if you are interested in that stuff but definitely uh it yeah it is all great both are both are amazing well all three because shane's awesome too so there we go okay i'm gonna go ahead and subdivide this a few times i'm gonna go to subtract and turn on live boolean and then we're gonna put this underneath add this arrow there we go at the end of the day we just need to just need to make it work and then we're actually going to use this mask lasso to get the mouth going i'm going to cut the mouth up as well and tighten this up like this solo for a second we're going to clean this up clean the back off we use the mass lasso it goes all the way through now we're going to kind of redefine this a little bit let's turn on lazy mouse we're going to paint the mask a little bit cleaner yeah live bullying is really overpowered and it's really awesome what i love about zbrush is that there's like 100 ways to do the exact same thing and none of it is wrong as long as your message looks nice and clean and that you are you know really just like pushing something and getting the results you want at the end of the day yeah as long as you get the results that's all that really matters okay i'm gonna go ahead and tighten this up and then we're gonna go ahead and go to extract and we're gonna again turn the thickness to zero so we get a single sided surface hit accept so what we got i like to clear that mask let's do the same thing masking to borders only although it is creased so what we could do is do just crease mask by feature invert that soften it a little bit go to deformation polish by features and i'll just kind of clean that up a little bit and see here the crease is being a little funky so let's go back and do borders which is what i think works better in this instance there we go it's a nice cleaner something like that now i'm going gonna go ahead and keep creases and we're gonna zero mesh at like a five maybe like a two there we go a little bit better and then we're gonna go ahead and use the modeler hover over our face all poly groups we're just going to cue mesh this out for the cut it doesn't matter so i'm going to go pretty far and then we're just going to push this in like such subtool make that subtractive that's not going all the way through so we need to make sure that that goes all the way through so what we can do is isolate it and hit y to get the transpose alt tap there we go it's happening i only started in zbrush in december and the amount of improvement or yeah improvement i've seen is fantastic yeah it's truly wonderful okay that's being a little weird isn't it so let's actually go a little bit more such oh that's it's going in some weird direction i think i hit something on my tablet and that's giving me all sorts of funkiness there we go that's gonna pop through like that there we go yay perfect now we can use live bullion on the mass front like such so actually we can hide this real quick come up to actually before we do any of that let's make sure there's subdivisions on this sky that's good that's good okay so with what we have visible let's actually go with boolean folder and that will give us this mask and then we can actually put this back in the folder we can turn everything on let's turn off what we don't want anymore so we don't want the mask that's cut we'll just save that and now we have this guy right here save as doesn't hurt to save what you got going and then i do want to z remesh this so i'm actually going to go ahead and hit group by normals so if we go to [Music] polygroups group by normals it's going to kind of make sure that whatever is at least 45 degrees or sharper it will be a different polygroup and then we're going to go ahead and keep groups we can even do a crease by paul gabriel so we can go to geometry crease crease polygroups and then we can keep creases that'll just help zebra measure guide a bit more and then we'll go ahead and let's try five we'll zero mesh the mass so it's a little bit cleaner and a little bit more spicier yeah no problem dj absolutely yeah so now we have some decent topology to work with and then when we hit you know subdivision we have a low 5000 poly group and then we have this mask as well [Music] we can start detailing it when we need to and actually what i'm going to do is i'm actually going to save as a new sub tool spicer yeah i love live boolean easy to tweak whole shapes uh exactly yep when in doubt live it exactly yeah but i like showing that uh i do like showing that that curve bridge it is very functional but it was not liking me today so we moved on right okay now what we're gonna do is let's actually pose them so let's turn everything on because i actually want to pose him before i sculpt him so we're going to go ahead and save i know i did that already but i save a lot okay now this is 3.4 million polys right now because this sword is dynameshed so i'm gonna make sure that he's pretty low perfect we don't need the silent princess on right now only show what you need when posing it's very important because at the end of the day you know the more you try to utilize cheap t-pose mesh to get things looking good the problem that you'll notice is that the denser the file becomes because it kind of merges everything together the harder it is for your computer to work so only show what you need to show i only need the bass and the sword to do this pose so we're going to go to transpose master and t-pose mesh real-time printing at the end oh that's awesome right all right real-time printing we'd be here all night okay now what we're gonna do is we're gonna go ahead and actually want this guy to be peeking out behind the master sword let's get them a little close now this is okay so this is the fun part okay so i have to decide right now in a sense or at least keep in mind maybe not fully decide but i have to keep in mind exactly how i want to proceed with the printing process and i actually wouldn't mind printing this character attached to the sword so the sword in this character would literally just be this piece that then has a key that slides into the actual base so that being said i don't mind a little bit of interaction between the sword and him i'm gonna kind of push him in a little bit because the sword will have a little bit of a squish going on his belly i'm going to do is select just this guy i'm gonna isolate actually let's wipe this here let's grab this i'm gonna isolate just this part of his arm and we're going to go ahead and kind of start pivoting this so that he's holding on to it actually what we will do let's actually up this soften let's soften that mask just a little bit do i print my own figures or do you contract out to do a service um i actually contract out if it goes beyond 3d printing if i actually do any freelance work with clients that needed 3d printing i'll print them one but generally the printing process happens outside or after the fact but generally this the company that i've worked for the freelance stuff they do their own they do their own manufacturing i'm going to relax smooth him just a bit isolate this guy there we go so his arms kind of on it like such and then we're going to go ahead and isolate this like that soften that up hi link hey buddy come get it uh to bridge the holes like you tried before with the curb brush you could try z modeling edge and bridge instead next time yes absolutely yeah that is another method of doing it for sure especially when bridge curve tries to talk back to you the way it's talking back to me today you know it's like when you take your car to the mechanic and you're like i have this this ringing that happens you know this this tick tick tick tick tick and every time i drive it's like grinding and smacking and the mechanic turns in there and turns the car on he's like yeah i don't hear it carl sounds great yeah yeah except for is the opposite i'm like telling you yeah yeah it works great guys it's so beautiful and then you know as it as it tends to do there we go okay kind of smooth at it right there there we go oops so we're going to go ahead and isolate just the body here for a second i'm not going to worry about any details in the in it right now i'm just going to make sure that the blade of the master sword stays straight that stays true but that's him right there there we go all right i'm pretty happy with that let's go back and send tipos all right let's get something to drink there you go it's post perfect there he is let's go ahead and save yay there it is okay great now let's start working on a little bit more of uh master sword detail okay cool i'm actually going to realize there's this piece of a blade right here we don't need this i am thinking about keeping this one piece the way we had it so let's go ahead and grab that let's go ahead delete head and close holes trim dynamic nope b t d for trim dynamic start cleaning this up a little bit start detailing the sword just a little bit more but we're gonna also add some elements and stuff to it so you know so we will be using clay buildup and stuff but i kind of like what we did here so we'll use a little bit more of like old school z brushing we'll like put some clay build up and then we'll do like some uh h polish or or whatnot just to get keep it that kind of statuesque feel i'm also gonna weather this blade a lot okay let's turn on back face mask back base mask with polish will actually make sure that you don't push too far beyond a certain point and help you keep some sharp edges and then we'll use the pinch brush to kind of refine a few things and then we'll use damn standard as well to get some cuts happening all right so do that now i have uh symmetry turned on both uh i believe it's y and a and x no x and z so i can work on both sides of the blade at the exact same time not do twice the work you know about back face polish i've been trying to do that by eye not a problem yeah and you can actually too if you come up to brush and you come up to depth you can actually uh play with this not only with the you know with embedding but if you you can actually turn depth mask on you can actually control its fall off on that back face so that depth can really give you some nice uh so you can really get some control with that feature right there so if we go back to the h polish for example turn this on you can see backface it's already this is already pretty flat here but we can make that even more so so it really concaves so then you can get a much bigger brush and you can see it's not wanting to hit that edge so you can come in and really clean that up really push it so back face combined with brush depth and push that and you get some really cool stuff and if you find something that you like then you can actually take this and then save that brush out as your own custom h polish brush and i'll have all those settings set in there for you next time so yeah some really cool stuff awesome yeah no problem oops okay i'm just gonna go ahead and kind of hold alt i'm using the lazy mouse by holding shift and letting go to create some more sharper edges i'm actually going to take the move brush and kind of manipulate this geometry i could probably just you know what i should probably just create i think i'm just going to create my own gemstone i don't think i'm just can't speak i think i'm just going to create my own gym there i don't know if i want to keep manipulating this i think i might just like cut that out and fix it before we do that let's just kind of focus on everything else okay the lazy mouse let's turn that up let's get a little bit cleaner of an itch like such there we go so i'm using the damn standard to create some of these edges like that perfect it's looking pretty good actually use the damn standard a little bit kind of trim that off i'm going to put my glove on actually my wrist is starting to bother me a little bit cut that gym out put your own in game over oh yeah no i i failed this attractive challenge i'll be the first to admit guys i did my best i tried just you know it got me what i need but now we're gonna make it look as awesome as possible so it's okay it's okay guys it has to be okay i mean i guess it doesn't have to be right okay all right this is where it gets really fun so you're trying to create a really nice clean line when you're sculpting try to place the model where your your most comfortable stroke is it'll really help out if you get a really nice clean line like let's say you like yes this line right here is beautiful hit one repeat that if you need to do it again it really is just helpful one again because sometimes it's hard to chase that line you know there we go whatever that's intense challenge yeah it really is hey thanks tom riddle lovely name by the way you did awesome for subtract sculpting definitely reads nice man thanks mind blowing the whole scene real quick oh wait am i in showing the whole thing real quick again not at all here it is that's what we got going so far my japanese has stalled and that's don't worry my i know a handful of japanese and it's not much i've honestly put my studyings on my studies on hold a little bit because i've been really busy working and time man time is everything but i figure it's going to be a life journey for me so i'll get there when i get there i'll finish it when i finish it cork is awesome nice stuff thanks man i appreciate it yeah it's yeah last week we did subtractive sculpting and this week i'm cleaning it up my way [Laughter] and because yeah i don't think i can finish it what's in my mind and how i want to finish it definitely two very different things but the challenge was amazing and i'm so glad i gave it a shot you know but at the end of the day to like you know what i think i'm gonna use subtractive sculpting for uh moving forward is actually and i think this would be really good if i want to conceptualize a thought real quick kind of like how you know sometimes you know an artist will just quickly sketch but that sketch is gonna be repurposed and redrawn multiple times it's not gonna be the final piece like they're gonna have to do it again and again um it's gonna be kind of the same thing we're like you know what i'm gonna use that to maybe start concepting and sketching some ideas and then refine that that sketch um it's kind of been a nice little study practice for doing like uh i would say quick or um you know just like one-off ideas that you just kind of want to see see through so i don't know if that makes any sense but it's definitely it was definitely a lot of fun to give it a shot okay i'm actually going to use the move infinite brush again so that i can kind of just squeeze this handle and taper it because again i'm not actually changing too much the overall shape i just want it a little thinner yeah that's better that that reads so much cleaner yeah but i want it's i wanted to be fluent and at least yeah no i do too i i agree with you no point in learning a language if uh you're not gonna be able to use it for me it's just time and what's funny too is like you know anime japanese is very different than actual japanese you know like day-to-day real life japanese is very different than than anime japanese so you know while it'll help you understand anime it definitely um it's a different experience talking to somebody in japanese versus listening you know because there's acting and stuff like that like it's a little bit of a different world just like voice acting and american you're an english you know nobody really talks or speaks that way okay i'm gonna mask this off so i don't ruin it yeah exactly that's what i mean yeah yeah nobody really speaks that way so it's it's kind of funny it's kind of funny to think about it a good idea force you to think differently yeah absolutely that's kind of the idea i'm getting more and more into concept sculpting and it's definitely definitely helpful okay okay so now i'm just kind of trying to finalize some of the little bits that separates the handle from the blade there we go okay let's start cleaning some of this up here this looks pretty gross so one of those things i was like what was i doing you were just subtracting nope there we go in real life we rarely use proper grammar 100 of the time in full sense or sentences unless you're an actor or someone who gives speeches but even then like i've heard you know you've heard interviews of like actors and such that are like um um um you know yeah just nobody speaks that way i think what it is is like you know when you're used to hearing your own language i think you don't think of that you know so like when i started uh trying to learn japanese um which again i'm like very very basic i i think i understand more listening than anything else but the instructor had said like um you know there's also like there's all there's also like um like nobody speaks that way but it's also like there's like let's call like respect i forget the proper term for it but it's like you know the way they speak the way they speak to their elders or to somebody who's younger or of the same stature i guess we'll say is vastly different i forget what the term is called but um i just think i just like i didn't think of that until somebody said it and i was like oh that makes sense i'm just used to hearing my own language so i don't think about like oh that's how that would be but i wish i had more time to study language uh definitely definitely love it but yeah so are we talking about real japanese versions interesting yeah yeah formal yeah um i wish i'll think of it here in a second i'm sure but yeah it's just like in the way that you would like the way you would speak to your brother is not how you would speak to your father it's not how you speak to a teacher um so there's so there's different uh approaches to it yes kiko thank you keigo yes that is that is it yay but what's funny is when i listen to anime now i pick up on more things so i just need to practice speaking it with somebody all right so we're just using that h polish and we're actually just coming here and smoothing stuff out yeah okay go yeah so and and so in that explanation like in anime they don't normally use proper kego they normally just have a script that they follow you know it's just something so it's not it doesn't always follow standard uh standard structure was that was my point yeah there's kegel there's none okay and then there's something that i don't know that's the name of this like super k yeah which is like extreme formal and so like you would talk to your classmates like your respective um equals in non kego you could just even like your brother you could just be like you know like whatever dude but then um but then you know when your parents enter a room it's it's definitely like has to be kego which is respectful and then your grandparents would be even more it would be like the next level yeah so see yeah learn in a bunch all right i'm just cleaning this up a little bit more i'm going to use some clay buildup i'm actually going to soften it and low intensity and kind of just like fill in some of these imperfections watch this be the sculpt off challenge this year i hope they do a sculpt off challenge anybody participate in the sculpt off challenge last year curious what you guys thought of that i was i participated last year and i loved it yeah exactly use kego for your for older for boss for yeah it's like you wouldn't walk into your boss's office and be like what up dude i mean maybe i guess it depends on your job but i personally wouldn't walk into my boss's office i'd be like hey dude how's it going bro like yeah it's it's that instance like you know what's the happy hat brother and if you can that's awesome okay let's use the pinch brush now so you see here where like it gets a little it's a little tight right there so i'm actually going to use the move brush turn back face mask on and we're just going to pull that out a little bit maybe in the future when g kids become bosses that's hard to talk yeah that's the thing over your trash talk like yeah oh that's funny you never know maybe one day we'll get there all right i haven't used zbrush until this year and i really want to participate in the sculpt off at zebra summit hope it's an in-person event yeah i'm hopeful that yeah i'm hopeful i mean i'm in california and that's usually where it's held and i can't speak directly of what pixar was going to do but i can say that i do miss the in person and it will definitely be nice when we can get back to that point there we go back that up let's actually tighten that up a little bit oh wow hey what's going on i missed it what sort uh what sort rules were there oh so the scoped off was um you had three hours you could only use z brush you had to sculpt a an illustration and the theme was um the theme was uh oh my gosh steampunk yeah that took forever anyway theme was steampunks and yeah three hours sculpt and render um it was a lot of fun a lot of fun okay let's grab the sky here dude your vegeta orientation thingy in the corner there awesome thanks man so much yeah there's actually um if you're curious on how to manipulate the cam view i actually have a tutorial on that if you go to my uh youtube yeah that was one of my favorite scopes i've been uv unwrapping for hours now do i have to unwrap my sub tools to apply materials and mark appreciate it yes if you want to utilize the full potential uvs will help you a lot um what are you are you just having problems or you just hit are you just trying to like uv unwrap as as much as possible but yes um it's beneficial to have uvs when you try to take it in something like uh something like marmoset but you don't have to if you're just trying to render and you're bringing over poly paint you don't have to but it can't hurt yeah it's that it's that situation right okay now we're gonna do is actually start creating some of this bevel okay so actually i'm gonna take the trim dynamic let's actually mask off this section right oh interesting okay hold on let's try to get this a little bit better uh straight right there perfect that's a little bit cleaner all right let's mess with that so i'm going to do is actually take the trim dynamic that's not the trim dynamic that's the move brush there we go okay let's turn lazy mouse on so i can really get a clean as much as i can actually let's okay let's go sideways here real quick come on i go a little bit stronger on the intensity now this sword will be damaged so i'm not going to go for perfect but we're going to go for close to perfect hopefully let's actually take the damn standard now there we go there we go something like such uh let's see um is the perpetual license worth it in marmoset um we'll keep the topic a little bit more towards pitch logic because this is a picture logic stream but i would say on all softwares my opinion is if you can buy a perpetual license it's always worth it um i'm not a big fan of subscription based but yes if you can i recommend it no no no you're totally fine totally fine um about that i use multiple software sets so when optimizing for game assets and creating uvs i use use maya no you're fine then bring those uvs into painter or marmot would you say that the process is more efficient in zebra shalom um so i mainly do toys but i do know the video game pipeline fairly well and i would say that you're on the money um you could do a lot in zbrush ivory topboad and zbrush it's possible you can do it is it efficient uh that i can't really speak to that so much but if you only had zbrush could you do it yeah i i don't know that's a hard one zbrush can do a lot you can read toppo and zbrush you definitely can uh fake maps or not bake maps you can i mean you can export maps using the multi map exporter more normal map cavity ambient inclusion blah blah blah blah that probably bring into something like unreal but zbrush is definitely one step of the process obviously to get a game and its optimal performance you're gonna want to utilize more software but yeah yeah that's that's my thought on it sorry yeah in terms of time also not just poly counts and stuff i mean look you know you can get a sculpt out really fast uh depending on your skill level in zbrush faster than you could most program i i don't think there's a program out there that really competes with the efficiency of like how fast you can get something done and poly counts do play a fa a big role in what can be done as far as efficiency goes the faster you can get something done is obviously going to benefit it benefit you more but uh but at the end of the day zbrush is a step in that process and i don't think there's a company out there that solely uses zbrush nor so yeah you know so i don't know if that makes any sense yeah i can't believe how fast it's been about a year nice i i can't say this a hundred percent zero what zbrush has done is they had made it if they're making it harder and harder to leave zbrush you know once i learned zeb uh the z model brush for example i stopped taking my stuff outside to do box modeling or to do you know uh simple processes like that even even creating uv seams and stuff you can do fairly efficiently in zbrush it's just how meticulous do you want to make it you know how much time do you have that you want to invest into it and then of course two if you're working with a company companies always have processes and their own pipeline that generally you'll stick with so at the end of the day you know it's just a step in the process but like for what i do for example with mainly making toys i don't ever have to leave zbrush i consider myself to be a lucky lucky in that sense where 9 times out of 10 the job will keep me in zbrush because i can do it all in here and get it ready for production even scaling getting proper measurements all that stuff can be done very very well and efficient and zbrush so hopefully that's helpful hopefully that makes sense okay we're gonna do is actually take the we're gonna take the h polish now and i'm gonna try my best to get this nice and straight and polished up it's looking pretty good still got that you know still has that kind of hand sculpted feel a little bit because of the subtractive challenge we did uh just last week but i don't think i actually want to deviate from that this this project has been super fun i will be making my own gym though and also some my own bands here in a second how much time do we have oh it's eight o'clock wow that that's fast all right so this is what we have so far guys all right let's go ahead and save it it's taking forever cool all right guys does anybody have any final questions because it is eight o'clock um fast three hours i super enjoyed it thank you guys so much for stopping by i appreciate it hopefully you guys are enjoying this uh this project it's been a lot of fun we're continuing next week i like having projects that take me a few weeks to get it done so yeah i hear you where the company production production pipelines are concerned not all studios are the same toy makes sense absolutely yeah what i definitely recommend when coming to learn game pipelines or even perfect your own gaming pipelines definitely just take a look at what other artists are doing take a look at what studios do studios are pretty open with some of the stuff that they use so you know if you know they're using unreal engine for example you know stuff like that you can you can pretty much assess a certain pipeline so but yeah no problem have a great night guys everybody thank you so much i hope you enjoyed your weekend too hopefully the week was good if you guys made it this far and you're after you're watching after the stream you made this far or if you're sitting here right now and you haven't done it yet hit that subscribe button hit that follow button so that you know when pixel goes live uh ztl or zpr i'm having problems opening zpr files so just remember zergchan cpr files are project files and they're massively stupid big they're so big just be careful but ztl is how i generally save and i save in steps i'll save multiple ztls throughout my progress love your style and your pro your process thank you for showing it absolutely thank you guys so much for being here and hanging out with me i really appreciate it i love teaching zbrush i love just teaching art in general so definitely it's fun to come here and hang out with you every single week so again if you would like to follow me and my socials and stuff like that please drop me a follow jump into my uh my discord which is more of a community it's just more of a place for artists to come hang out um i would love to see you there you can share your work you can ask questions there are tons of artists there and again don't forget to subscribe follow hit all that good stuff and if you're watching this afterwards comment your comments down below and if you have questions somebody will gladly answer them most likely from pistol logic or if i happen to run across it i'll try to answer as well all right guys again thank you you guys take care and i'll catch you all next sunday or if you want to join me on my streams uh wednesday morning typically 7am so alright guys that is it later bye [Music]

Channel: Pixologic ZBrush

Views: 3,905

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Id: Et8S6-nlfHY

Length: 185min 29sec (11129 seconds)

Published: Sun May 16 2021