Organic Modelling in ZBrush - Full Character

hey guys join your amp in here with cue brush calm welcome to chapter 1 organic modeling in this chapter we're going to be doing the sculpture for just the base mash the character himself yeah will and then then the next one will jump in and do the armor and accessories alright so let's just jump into it and get started so I just start with a basic sphere here in dynamesh 43000 Polly's basically what I'm going to be doing is working the primary form mainly with the move brush what you'll see me do with this with the sculpting brushes is just put in some landmarks occasionally and then using the move brush to go ahead and using those landmarks position them in the right place anything that's the move brush anything that's the sculpting brushes I sort of see as secondary forms and the move is really in charge of a lot of the primary forms so yeah let's just go ahead and sculpt the skull using old with the move brush that pushes along the normal I push in those ears eyes sockets and then just putting in some landmarks here a mouth mound pulling out that cheek hollow sort of that's sort of the basis of a skull and that's as far as I go with the skull before I start really putting flesh on it you know there's no point for me going a full-on skull that's that's enough for me so just pulling that that mouth socket back so that you've got a bit of draft there I like to line up the eye with the nasal labial fold they're roughly very roughly it's not really a guide that I stick to but it's very rough now he's an older male dealing with the concept this is really just playing in the mud here this is totally freehand concept in I don't really know what I'm sculpting here all that the brief said was a fantasy mercenary character of my own sort of take on it so I wanted maybe something a little bit Game of Thrones II maybe a little bit Persian II with desert II yeah definitely a body so not that Persian sir body's pretty nasty sort of character of it his um the decisions he's made through his life starting to show on his face so I was going for a pretty coarse gaunt yeah bit of a grimy character tall an elongated and yeah this is his boy fooled decisions through his life or whatever are starting to show up on his face so yeah just masking off the nose area that's so that it didn't get affected by that move and I'm along gating his face he's an older male so you can do that using the Damien standard as a modelling brush there with here - carving in the lip but just prior to that was with the alt button down to use it as a positive adding geometry for the nasolabial fold is coming in that lip normally and this is I'm searching for the character I'm just getting the knowing as well here I don't really know what the armor and everything I'm going to put on him it's just spending time with him here you'll you know and seeing what comes out and every guy's different and sometimes it really doesn't want to work but you've just got to persist and you know go look at reference if you need to yeah just playing in the mud here so making sure I get from the top view in the bottom view they're just checking the back of the skull making sure the widest points towards the back the highest point at the back of the skull from the side here I'm about to extrude the neck down this is sped up to about 125 percent so it's not that much faster than live but of course the u-az brush records the movie you also speed it up a little bit because it takes out any lag between your clicks then I have the brig dynamesh this is where I do the ear so as you can see that that's pretty much where I'm going to extrude from I mean you've got that of course but that's the area that I want connected to the head you'll see how I pull it out and now I'll stretch it so I don't have to tuck it in behind it's just a handy little trick that I've worked out doing is and now just pushing and pulling around Singh just working with proportions looking at what do I want to do you know what kind of character is he a nasty dude so smaller is probably bigger ears are normally saved for for um yeah fun characters or nice happy characters just working on that skull still on that tempest the temple area you know I'm just masking that off and then H polishing it back and polishing H polishing a bit of this to get just a little bit of planar on that zygomatic as well really powerful tool to hig polish it you can really use it as a it can affect areas very subtly but really nicely as well so yeah now now I'm just going straight into the UM as you can see here in the subtool I've created a new sphere by just inserting a new sphere and this will be the ribcage so pulling it up here you'll notice I didn't have symmetry on so I just mirror in world keep going pulling that the up in the the upper the upper rib cage in now putting in the stomach area midsection and the hip so if you can see here this is really important this is really important this sort of this gestural and then you've got the the leg we'll do the opposite but everything braced against itself this character I purposely took this out a little bit normally I normally angle this even further but anyway so this and then this here is really flexible this is where most of your movement happens and it's braced against this one everything in the body if as you get to understand anatomy and everything you'll notice all this this reoccurring bracing I come from a construction background so you really notice this as you get used to it that everything is sort of braced against each other that's yeah anyway Wow get down so yeah just putting in a couple of spheres for the shoulders this is how I like to work the base mash is with primary primitives I find it really easy to adjust proportions and I just think it's probably the I can get what I want with the fewest amount of clicks I think doing it this way and it's just it just seems to be a bit cleaner so they don't just pulling out the pecs pulling over the traps adjusting a gesture a little bit on the back pulling down the abdominals putting in the 10th rib line which I like to call is as you notice the elbows should line up with the 10th rib which is that section in the middle bring in some hands just chopping them with the clip brush just may be getting a little bit cute there wasting little time but I like to be able to get to this point and look at it and this is where I can change proportions really simply if I want to but I think I hit it pretty close straight off with this one another thing I adjust the proportions of that much because I'm relatively happy this is another beauty so here I'm using it if you notice the move topological so after you've got these primitives in before you die to match them you can move each individual one with the move topological and not have to worry about you know dragging the other one around with it which is really nice for these as you can see these make up the main forms of the body so you know and there I've just dynamesh and just thrown a quick smooth over it now go in and start putting in secondary form putting in some just pectorals they're pulling these back now if you're just getting into the gesture or the arm there else I'll try to catch it a bit later if I can show you something I'm not even that out of me expert you know um there are people who have to hear much better than Adam II than me um I focus more on stylization and stuff but um yeah there's some really great raft grazetti Anatomy thing on gum on gum road gum Rhoda is great but yeah just putting in that full delts and trap not traps triceps near the traps just putting in the scapulae stuff there the enforce Prada whatever you call it and the lats now the lats are the one thing that I really don't like to work until I've done the fingers and everything because if you can notice under here you don't want this to be too close until you're finished with dynamesh because you don't want this welding so I leave the lats until after I've done the fingers normally so yeah just a lot of clay tubes a little bit of inflate they're just just giving it a little bit of bulk rather than using the clay tubes because I'll have to smooth it out using the move brush there to pull that gestural back this back underneath the arm and this one comes more onto the forward just putting in the structures of the of the forearm now I'm not going to get right into the anatomy I mean I don't like Jeff really I have I haven't been classically trained or anything so a lot of the anatomy I don't know the names for and stuff I just know them in my headers or this is the low one or this is the high one and any of those tips like that I see along the way I'll sort of try to impart I mention them but yeah I'm not really massive on names of anatomy which I should probably learn but so yeah it's not looking real great up here at the moment but sometimes you just need to keep moving around constantly moving that's one of the main things is constantly rotating constantly looking at you can you can only see so much from each individual angle so especially with this shader on as we get into but every time you rotate you seeing the outside of the silhouette change and you're you able to locate errors and you know problems so that's pretty much what it is is its death by a thousand cuts which is really the reason why I prefer sculpture over a run over 2d is because it's just so fluid whereas 2d stuff is very rigid in a lot of way it's like a pencil line I used to really like drawing but nowadays I really struggle to get back into drawing because it's just so rigid that I struggle with it struggle with the you know the limits of it order the rules so that you have to obey like you know make pencil line live with it smacking around there with a bring in a fifth rib but don't think it really works I sort of just leave it there for the moment so just bring in some of Donald's here just really rough really quick and putting in the obliques I don't bother breaking symmetry here in the abdominals until much later on it's really only a few adjustments to one side and you completely broken the symmetry you don't need to sculpt at all sometimes it's nice to do a sculpture in pose you know as a bit more of a traditional experiment or study using no symmetry so yeah just putting these here marking with the gesture of the forearm this upper one comes up and it's much higher the peak and the much lower the peak on the bottom one while moving a lot of just checking what's what needs to be fixed that's all that rotating is is I'm looking at the silhouette I'm looking at the form a lot of them a lot of new people too I see they get into sculpting and they they sort of get on one view and just sit there and I breathe the more rotating you can do the better and the more brush chant you should be changing the size of your brush regularly as well especially with moving operations you should be young you can sort of adjust the move brush to be the perfect size for each operation you just get better at that putting in the Elliot kress their lower abdominals at this point I think I was thinking I wanted to be really pretty thin I sorta back out of that a bit later but that's the beauty of ZBrush is fluid so yeah just just mucking around with that um that side silhouette if I can catch it pause it there for ya here I'm just getting that mesh out of the way because this is the upper body mesh and then we a separate piece for the lower body so yeah just more tweaking using the Damien standard is sculpting there again something that I've just recently started using a lot more is a large scaled Damien standard brush as a an especially for the pot with alt pressed in so for positive modeling technique so it just gives you it's just because of the Alpha it is just the standard brush isn't it with the Alpha so here you can see see there I mask that bit out but I didn't have enough geometry but I didn't want to subdivide or anything so I just control D which gives which just divides that little bit in there so that just gave me a lot more a lot more geometry just in that little bit which is all I wanted I just might still want to stay low poly here this is adding a little bit of character so I can I'm just spending time with him at the moment and just getting the now iam you know normally really the face is sort of the last thing that I really nail down because it's when you've spent the most amount of time with him but your eye will always work the face early as well just to because it dictates a lot of what the you know what the armor might might be like with accessories cultural artifacts etc so I wanted you to have this guide to have dead eyes so this is a bit different to a lot of the ways that I do eyes but for this guy I just felt like this was the way that I wanted to do it most of the time I'll just put a sphere in there first and then scope the eyelids around it but I wanted him to have these dead eyes so the heavy upper lid hanging down so I just did that first now I just put an eye in there of course it's a new subtool now this is the second movie it's the quality's not the best I accidentally recorded it on medium and I couldn't get it back I couldn't change it after the fact so I apologize for this but it only goes for 10 minutes or so then all of the rest are good quality again so bear with us we'll get through this one so yeah just doing the lower section so this is another subtool you can see we're doing it the same way as I do the uppers is with these primitives doing the ball as knee cap just so that I can have that multiple normals to to shoot my cylinder off here I just turn no I don't even turn perspective off just clip the bottom hard h polish to get those rough sizes then if you can get to an angle which you know what the profile looks like that's why the head is so quick to do is because you can go to the to the side and just sculpt the head from the side and then go to the front and sculpt the head from the front and you've done in those two two without any more rotations almost you get it you'll get it in the ballpark anyway but the foot is can be a bit difficult but if you can clip the bottom and then get underneath and put the footprint sort of shape that'll help you get the get the top done quicker as well and this is the one bit that I didn't really do well with the primitives was the lower leg a little bit lumpy down there and I've 148,000 it's not too high but it's just this resolution there's some bad recording that makes it look of the whip so yeah just putting in the bum putting in the fasciae latae yeah and just adjusting these legs slowly rotating trying to get rid of that lumpiness putting in that vastus medius and bestest ladders slowly banging it in the shop bit of a panel bed bedding job this one put in the quads groin muscles yeah there's not much to say here really I really wish that I would come off of this shader at this point because it's a bit hard to see just working the patella and all of the knee structure just working on the gesture or he's just not looking that great it's working that Achilles down the back of the runs right up the back of the leg join with the calf and here we go is finally swapped to the basic material which it's a lot easier to see as you can see so yeah and just just still putting in that that basic form in them in the body in the legs getting pretty close now to something roughly it hasn't got much stylized on it yet I think first thing I do at the beginning of the next one is elongate I put him in transpose master and stretch him up a bit just adjusting by I you know however I want not really concerned too much with the anatomy of the legs I know there was going to be a long dress on top of it as well as the original at this point I was planning on putting a large back cloak as well on him but I didn't end up getting around to that I didn't think it needed it in the end the poses that I created um didn't necessarily require it so then I'm just using a transpose master as here up in the corner you can see it's got the recording because it puts recorded and yeah when you when you stretch out the transpose master there like that it posts up the top here in units so you can use it as a measuring tool as well so just from the pelvic bone up to the top of the head and down to the bottom should be relatively equal here I'm just rotating the feet out just giving him a bit of weight when I transpose just up here you'll notice here I careful not to let those touch if they touch they'll weld with the transpose so yeah just rotated those legs out a little bit and gave them a hell of a lot more weight with whoo riggers don't like that little riggers like their feet straight ahead and everything like that but um supposedly I'm just not hard to twist them back so yeah just touching up some secondary forms here still still pretty rough but we're in the ballpark and at this point I think I've been gone for probably a little bit over an hour an hour and a half or something so yeah I'm you know I've spent an hour and a half with him I'm starting the I'm starting to get it up get to know him that's really what it's about I think in the end the whole project ended up taking me about 40 hours or so somewhere around that mark anywhere a fair bit of that was just rendering out ZBrush movies and stuff cause that really slowed me down on this one so just putting in those are for our muscles again you'll see me come back to certain areas couple of times till I'm happy with what I get like I say I'm not I'm not I'm not an expert or at anatomy so criticize away still learning so yep just getting that dealt to go right up underneath it connects to the muscle connects to the bone I mean up underneath the belt so just continuing that right underneath adult getting that little vacant pocket between the delt and the PEC back of that delt back in to meet the little lats are the trap sorry so here I start looking ahead a little bit more really I've always got to pull myself up to stop myself doing this because you could you can really get sucked into the head too much early on I feel I like to do the head last when you um when you're really knowing I'm thinking about his cultural sort of stuff especially while I'm doing the accessories and armor and stuff like that I'm sort of thinking about what he's you know what's he do with his spare time what's he you know what's his past what you know does he believe in God etc except uh all these things that make up each an individual as a character I sort of see this guy as he um yeah so other probably an ex-slave or something it's been a long time since he's been normal anyway and all of these are we he's he's obsessed with money and stuff that was the idea behind mercenary angle was that I do anything for gold and it's it's all starting to manifest on his face a bit so just touching up touching up things that I see that are wrong this is all going to be under under clothes here in the great your counter area here using a little bit of a choice there which helps it's really like a powerful smooth when smooth smooth is really like a relaxed but H polish is a lot like a natural smooth can be anyway so here I'll work the hand and then I'll be able to do the lats afterwards so I must that off and split that hand off as you can see just for ease in case I wanted to go solo yeah just for ease I'll read dynamesh it and reweld it I think I did think that's why it took me so long to get here I knew he would be having guards on his hands or something so I did think about was I going to be having a hands is separate I think just after I make these hands I decided to just weld them back on so yeah let's say I'm like a finger same sort of way primitive pull the nail back in you can see there that's a gesture is pretty standard there and then in at the bottom I mean that took me all of like 30 seconds I probably should have gone through and put a bit more tech dial on it just to save me time later but who being a sucker for punishment yes so just rotating these fingers in a bit getting a mum or angling curving around you know they're not all four of them aren't just dead straight are they the thumb I just make out of a finger as well that obviously needs a little bit of work so being horrible that I can't believe I didn't scale that in a bit that thumb bit long oh yeah I gave them a little bit more fatness and now I just switch to so those fingers were done as a separate sub tool of course yeah now I'm just jumping back to the palm I'll bang that into shape before I smudge it with the fingers and dynamesh it yeah there's a really what defines the knuckle is really the hollow between the knuckle in there and the finger in between rather than the raise of the knuckle putting in the hand creases pretty sanded stuff building in those hollows panel baiting you building up this at the helix cut no it's not the helix of the year I think is not okay so there you go it's dynamesh together now just adding those three knuckles the pinkie really doesn't have an a intense knuckle it's normally it's normally hidden under the under a under a line of fat from the from the other knuckle from the other finger put in some of these tendons on top of the hand just subtle knocking on back putting them in knocking them back just a little bit of scaling and then we go it's welded to the upper body now so now that that's done I will be able to go back and do the lats and all the other things I can pretty much turn I don't think I do too dynamesh off but I can pretty much turn dynamesh off now all my forms in there I don't need the world anything that's really all dynamesh is for is welding stuff everything's world now so it's it can be zero measure from now on and that's really a pretty pretty big stage as soon as you get past the the dynam Donna Messing stage then you can start working towards a low poly good zero meshed which will hold your detail at a lower cost everything so yeah this is a concept sculpt I see Adam I see it as so once it's all finished I would it's really just like I say a concept sculpt and then if it got approved or it was going to be actually used you'd go back through a lot of these assets at the end and just really polish them up make them nice and you know maybe go in that one for the level I think I I I don't take him right in up to super high Polly's this guy has a hell of a lot of assets and I think at the end he's probably close to 35 30 million or something or maybe 25 million or something like that which isn't super high you know so yeah you could totally come back afterwards and if you're going to use him if you like him yeah fatten him up they're just tweaking tweaking adjusting wherever you see something that's not right rotating rotating constantly just looking for errors you know all right guys see you in the next one you

Channel: Marc Brunet

Views: 542,990

Keywords: speedpaint, bluefley00, mb workshops, free brushes, speed painting, mech, digital painting, digital speed painting, concept speed paint, time-lapse, marc, brunet, marc brunet, imaginefx, tutorial, painting, speed, Drawing, Paint, Photoshop, Adobe Photoshop (Software), Paintings, Paint (software), mecha, anime, timelapse, mbworkshop, workshops, tutorials, bluefley, bluefly, cubebrush, cubebrush.com, ZBrush

Id: tMxir6VFy40

Length: 38min 56sec (2336 seconds)

Published: Wed Jan 28 2015