Sculpting a Simple Orc in ZBrush - Beginners Sculpting Tutorial

hey guys any important firm flick normals here in this episode we are going to be looking at a chapter from our introduction to see where series which is going to be some real-time sculpting for you to follow along this is meant for people who's very new to see brush and this isn't necessarily have a lot of experience with sculpting so you should be able to boot up ZBrush follow along and have some fun so gonna start off with a sphere gonna drag it out into edit mode enabled symmetry and make it a polymesh3d right away we're also going to convert it into a dynamesh which is under tool geometry and dynamesh if it's shift F we see the wireframe just we can just we can see what dynamics is activated just sit dynamesh and now you can see it's activate here every one I would drop the resolution a little bit here because you know we want to block something basic out in the beginning and having a lower resolution it's like we've talked about this in some of our all the other sculpting tutorials as well just the initial block out face can be it can be more manageable if you work in or res yeah exactly so we're going to we're going to switch to madcap first because this is a bit awful like the problem when this madcap is it doesn't actually give you an honest view of the model so we're going to switch to one of the other default ones which such as madcap quarry this is a great one as well the problem with the wax one that you have by default is that creases tend to look a little bit different yeah and they actually are exactly give you sort of false depth so we start off by enabling symmetry simply hit the X key and we're going to start off the brush just one simple brush the move brush B and V and we're just going to block out a simple face here just keeping it very simple I also prefer to just early on just quickly just indicate some ice a nose like cute little mouth the reason is here is simply because they don't know where it is I know where the front is facing this is not in any way in education of the design so on the second monitor cell we have a reference picture here so we have something to look at just so we use we're not working a blind here so we're just gonna kinda match it to work looking at but we're pretty much just freestyle here it's always nice to have reference so you don't I mean I know a lot of people see so many posts on Facebook where people be like well didn't totally use reference and just use reference it really pushes your designs a lot further so just very quickly this blocking answer form here what I'm thinking about it's pretty much the overall proportion I'm not thinking too much about and not to me at this stage but this isn't not even gonna be about an app and this is gonna be more cartoony it's just general proportion is he shaped like a bean is he shaped like a triangle what is a shape does so this is probably gonna be a block of goofy like a goofy or key character I remember with the s key you can change the size of your brush yeah especially just a lot easier than having to go up to the top menu all the time exactly and again this is just one did the original dog much we haven't remesh this at all this is simply the first initial version of dynamic and then yourse dragging out a pair we does but that's what I'm thinking right now I'm actually a thinking about like you know having the computer overall shape as in the beginning it's it's very important not to get distracted by details yeah which can also be an advantage when you're working on a lower resolution mesh because then you you don't have the option of adding detail exactly I can't do it here not exactly you haven't unlocked that power yet exactly just wait immunity is masking and just mask out the ear bit here so just hit done the ctrl key just so is masked then I'm going to invert the selection for control clicking and then we can just drag it out you can totally do this without masking as well it just makes it a bit easier for me now I have like a sharp line around the ear but now you can all see now we have to rematch it cuz now he gets really stretched i can't sculpt anything here i just wait a little bit with the raw machine because there's no rush I mean weeks I can always remesh so just trying to keep like a big round shape of it I don't want to have like a shape which goes like this and we're just full like like small little peaks and valleys I want to keep the overall silhouette clean and nice you can also just smooth out forms pretty shift-key in general though I will requirement avoiding the shift-key if it can it generally produces a lot of flat and boring result I guess it really depends on what you're working on exactly it's really nice when you use the initial brushes and the move brush to just they're really good for pulling out some some really defined shapes and the unfortunate thing about the smooth brush is that it sometimes has a tendency to make everything very blobby yeah and then soft by definition it's a smooth brush that's what it does so I'm just really just roughing or blocking this out I'm just getting nice clean shape so if you've seen any of her other videos that's it this is what we're all about big strong plain shapes yeah you get de vikke to preview the silhouette as well this is a very useful tool now we can just really evaluate the silhouette and see if there's any anything would like to change and this works by flipping the primary and secondary color over in the left hand pen sensually just doing this just moving the colors up and down here just changing into black it's not a silhouette mode per se it's simply just proving it with black hmm and again only using the move brush so far literally haven't touched any other brush and that's a good practice because you can't add any details with a move brush it's simply impossible this step the stuff we're thinking about now is also what what is the structure of the skull look like underneath the surface yeah and that's sort of how does that affect when we've got skin on top yeah so if we're going to move into the clay partial claybuildup brush soon this will move a little just want to make sure the form here is working well I think it's time to move into the clade Bell approach and that the hotkey is V CE B and like we talked about the force well currently it's going to have a very harsh alpha so if we if we sculpt with this you're going to see this really harsh result which might be what you want but for me it's it's just too harsh so I'm going to remove the Alpha altogether this is gonna serve the character better it's this is more of a cartoony character so how many likes mu they're stronger lines it's going to serve a character better but even when working on something more realistic having working with this softer surface is or the softer alpha you'd say is really nice cuz it it's really effective for building up volume later on you could go in with something like the trim dynamic brush to define the Plains more I'm also going to just reassure them control drag and now we see now we can actually sculpt on the ears and a nose it becomes more even hmm so just defining it a bit more holding down the Alt key with the claybuildup brush using no alpha it's actually a good technique as sort of an alternative to smoothing exactly I very rarely actually used a smooth brush I just build volume just briefly thinking about some anatomy now just blocking in some some landmarks this is not gonna be an anatomical sculpt at all this is gonna be more cartoony because we're thinking about what are the parts of the skull that protrude the most was it color the least and fat and the least skin that's what's gonna come to the surface the most exactly and the way to do the way you learn this is just by doing a lot of scopes yeah just getting some nostrils in getting some bigger some of the more the bigger shapes in that we're not doing pores or anything a mouth might be neat though so I'm just carving it hold on the Alt key and is carving in something nice little knife beautiful beautiful keep saying encouraging things to me well let's go so when I'm working over this I still haven't used a spoon brush well sculpting with this brush just getting the features in here and also one thing we haven't done yet is perspective mode hit the P key because I can see it changes a bit it's not a huge difference but you know it's enough to is enough to change a character yeah and we mentioned this is an earlier chapter as well that you can unfortunate go and sculpt for a long time and realize you haven't been sculpting with perspective on exactly and it might change the model a lot exactly I'm just thinking a bit more about the skeletal feature because before it was only blocking in using didn't brush yeah just getting a bit just thinking a bit more about that but again this is gonna be a more cartoony character but even cartoony characters would have like some like cartoony cheekbones this is gonna be fairly like hard and rigid we're not gonna let go realistic for this but still like it's all based on what we know that's based on the real world in some way it's based on the anatomy that we know and then we just stylize it so you know we're defining stuff like the brow area the cheekbones the jaw those are the ones that poke out the most to circling it we're also gonna add some teeth and some place this just a sub tools because we just want that practice as well we just want to we just want you to be used to dealing with multiple sub tools and like we did with sub tool master we make one on it's not dupe it over instead of having to create two eyes exactly and this is a good way to bring up the symmetry mode that we've been working with because we're saving ourselves a lot of time yeah exactly it's not always needed like sometimes you might want to do an esse metrical sculpture yeah and let has its mirrors as well and it's a good sort of it's a good way to study I think we're human asymmetry can be a lot of fun as well it's just you just get so much character any models the moment you disable symmetry and that's a lot more sort of like how we would work well kind of traditionally like if you're doing a face traditionally obviously you're working as symmetrical yeah some parts you would do at the same time with both hands so that's kind of like having symmetry the most bootleg symmetry yeah like it what I do one run on the right side matches kind of go brain so you're just thinking about someone at me so this is skull this is skull and this is just some bony landmarks and this is social skull and then we have some regions which are cartilage and and just flashing flashing skin so this is more cartilage this is more cartilage and then this is soft soft skin and by and we're thinking about this it's a very different treatment but it's like how would how would this Howard skin react if it's over if it's over bone comparative it's over soft soft soft fatty tissue you can kind of think and of it in the way as you're sculpting as well sort of the softer areas might require less pressure salsa brush the harder areas with bone might you might want to press harder on your tablet as well exactly I just went to the dentist Orchestra watching you can see even at this point there's still not a lot of detail it's still building our way up to the details exactly because once you start detailing I mean I'm not talking about specific just like poor detail that kind of detail its detail can come in many forms it can be you know the blocking is one kind of detailing doing muscles is another kind of detail exactly hard small points that's another and then then adding pores that's like the last part of the detailing it's all I think you learn to prioritize when to do and this is about practice exactly you just haven't dude is a lot in Stefan she's a lot hmm and then it feels natural but there is no nothing so far which is complicated in terms of like technical sculpting the most complicated thing here is the artistic ask me out like everything we saw you've done so far is two brushes it's one sphere dynamesh and just pushing pool points and it's tricky for most people when they start out like this is like people will stuff issues with navigation yeah the most yeah exactly yeah you just don't used to how to like navigate in ZBrush yes maybe if you don't have 3d experience maybe it's easier maybe yeah it might be a Cosi brush is tricky I mean it might look easy because I've been doing this for so long and this is what I do for a living I sit with this ten hours a day so you know if if you can't get the stroke right the first time don't worry about it just just practice if you can't get a model which looks identical this don't worry about it just just keep practicing this is not the idea here is it for you to get something identical it's just so you can see exactly how we how we'd build a model how did demystify it if you want and that's why like this whole sculpting process is very it's slow and meticulous what we're doing now and it's intentional for you to be able to kind of follow along it's not when you're doing tutorials like this and you're following along with tutorials I I would say unless the tutorials about create this specific character it's just about what you can take away from it and what we want you to take away from all of this is a working knowledge of ZBrush yeah and this is just try to try to put that into work now exactly so no we blocked it out using the clay in the move brush and then a bit of like of clay brush as well let's just go back to brush this is not this is not a linear process it's not like move brush face Hoover this is a very nonlinear process and also we're kind of designing on the flies well here this is the design hasn't decided and that's what's so cool about it once you've gone through the move stage and you can up to build up the forms and you start with the claybuildup you can go back with the move brush and then you can really change your character it can change a lot in just just by moving a little bit around and exactly just want to smooth out some stuff as well so I usually only smooth out if I actually have like errors every mesh if it's something like it's not artistic thing it's just the geometry isn't isn't aligning the way I wanted to then smoothing can be great and we smooth again just by holding out his Shift key and just just painting or sculpting oh oh you kind of get the feel already right yeah this is after like 16 minutes it's just you know you can very quickly get the feel and again if you go from the distance you already have a feel of the character so let's just quickly just add some ice jam here just so we have something and that's something we should probably point out that very early on you want to add eyes yeah because you might you know you have an idea what does the scroll look like with eyes in it but until you actually get a sphere in there it's impossible to tell because apparently I've kind of like approximated but that's something people don't think about it's the most obvious thing in the world but nobody thinks about it just because you're not trained for that you're like looking at this now we can see that the inner part of the eye would need to be pushed in yeah exactly in order to fit around the sphere is that you don't think that there is actually a sphere inside the eye like in a human yes don't do that so do I do that is I just go and create a sphere say with spheres before and just hit make polymesh3d then i just go to tool again sub tool and just append now it's gonna be this was the sphere we used originally so I was gonna be this the same size of the skull and we can just use the transpose lines move and just drag it out well hold down the shift key make sure you're snapped double you make sure you hit the shift key just snap the view this way you know it's gonna be straight like this can be a straight line it's not gonna go in a weird angle yeah and now we can drag out to a scale of the line or scale transpose line miss scalar down you're gonna have to do this a couple of times so just just chill out and depending on the scale of your scene the that also affects the transpose line so sometimes you might have to scale like a thousand times before you get there sometimes it's just one exactly so our whole line shift again just two that's wrong hit the W key to move in to move brush and if you want to move off axis like this you just don't hold down the shift key yeah exactly want to scale it down a little bit as well hit a shift key so it snaps drag it out drag it down and it's almost in place now we can just use the the subtool monster like we did before see plugin so pure monster we can also just hit mirror here or we can just go something monster a nightmare I'm more comfortable doing this because it's a big button absolutely feel more safe feels more safe so now we have ice here and we can see that my eyelids they don't work perfectly and it needs some more refinement we can also just hit the X key on this by default nothing has sindri so if you hit the X key we get some nice entry we can just what I like to do I like to just create some likely to pupils it's my iris this in the ice this is really a quick and hacky setup and it makes a huge difference like if you're sculpting on a model with no indication of iris it can be the model can change personalities so quickly so do we undo this this is gonna be very quick and dirty is the standard brush B s T and then I just hold down the Alt key while just sculpting a little bit here so you see right away it has more personality so this is your iris let's just create some pupils as well as a general tip if you want something to be look look scary small people's you want to look cute I think people's but already you can see that we get more character so let's as you have subtools now we can just all click on the sub tool to switch between a sub tool or we can just change it here but also recommend renaming it slow just beat there earlier rename it to better us this it just keeps it easier because eventually you end up with 100 sub tools and you have to go through and rename them all at once Acme so it's very easy to get into add I select this B and V just to get the move brush back and now you can see like we're pretty close yeah it's still an approximation without a sphere so it's never gonna fit perfectly exactly so let's just I just want some sharpness in the corners here that's something a lot of people mess up as well they don't have like sharp corners of the eyes one pretty much everybody you have sharp corners on either side unless you go in very cartoony even with cartoon you probably want you probably want to sharpen this here otherwise there's if you could do like this the eye doesn't have anywhere to like really integrated exactly and from visual point of view you can't really you can't really rest your your gaze and it's a nice way to create create some contrast because we go from something very soft that surrounds the eyes there's a lot of fat except in the parts where they sort of break from the upper lip to the lower linear you create some really nice contrast with a rough or like a hard shape so just is it's just keeping it simple for now and the eyes needs to work if the most important bit of this entire sculpt is this region yeah if this if the ear is perfect but the eyes didn't work you were just in trouble that's what we do as people we connect with eyes it's nothing we're so it's it's literally in our genetics yeah we just we look for eyes to recognize it because there is so much contrast there that's also gives my teeth teeth and let's do the same thing let's import let's append the polymesh3d we already have that so we don't have to create another Polish polish here we go we can just move it down then let's create some asymmetry in teeth I'm not gonna so try this I'm just going to scope this status because it honestly probably has enough resolution yeah and by not adding subdivisions I can sculpt one and I can duplicate it around which is a big advantage hit the Q key to go in to move brush and now we can I mean it's so low this we can see it a bit better and a really cool thing is that because we're working separately with separate talk tools here anything we do when this is not going to affect the head so we're not sculpting symmetrically on this it doesn't really affect the head exactly so now you see we have a beautiful teeth let's just make this a bit sharper this would be more to canine teeth a bit like a Fang almost you clearly didn't go to the dentist he should have gone to the dentist yeah beautiful and a symmetry can add so much to our character out highly recommend looking like no not making your character completely symmetrical so what I'll do now I'll I'll just drag that transpose line and hold on a controlled key and this duplicate is around and then we can and this is important you can't have any subdivision levels on your model we're doing this not if you're duplicating like this within the sub tool because I still go ahead and duplicate this up to duplicate here but you can't yeah and then you can just rotate it around a bit and we hold on if you hold on middle one is can wrote it on his own axis and this is a bit cumbersome can use to you but you just you just got to do it yeah I want to give him like two more teeth hold on the shift key and just to disconnect of you and I control key just duplicated and do it again and now you can see that it's being masked out so I don't have to mask it out right now so nice definitely sure so now we can just move this around just make this a bit square and this is a nice tip as well there is a brush called move topological which is B it's actually something we haven't covered but it's really really inside decorations like it's useful in specific situations we have B and T for it which is brush move topological so if you see here if you if you move using the B and V brush you move this everything moves but if you use B and T from brush move topological you can now you can just move single items like this it's kind of like with when you're hiding stuff with continuity homological top a new continuity is the same thing same way so instead of making polar groups here and masky stuff out I can simply just do this I'm pretty sure that's what it's doing under the hood probably probably I mean I don't know it works so when doing teeth fangs or anything on this we have a lot of a lot of sub tools close to each other I just our models within the same sub tool I use the topological move it can be great for closed mouth or my life it's real nice and for the teeth there just wants more sharpness to it as well so I'm gonna use the one brush would cover before it's from dynamic bTW this is just gonna give it some nice planes here you gotta be careful with the trim dynamic brush when you're working on sort of points where there's not a lot of mesh in between the front and the back because then it can sort of start to merge the whole mesh together into a weird black hole exhaust just gotta keep that in mind so now the teeth are working alright you know it's it's not to monsterpiece but you know it's it's ok I think it's the best work you've ever done so we can use so the trim anomic as well in general here just to just to get some nicer planes another way to sort of I guess go away from the standard smooth brush because here we're we're eliminating a lot of the noise that's I know the brush strokes because you see here right there's a lot of noise don't a lot of noise there's just a fair bit so we can use the smooth brush and we can use Trevor Levesque again smooth just for holdout is shift key so one thing I like to do when I'm sculpting is I like contrast between soft and hard and I think that works really well so we can have really harsh lines here what the light is gonna hit and they can have really soft lines as well just move it out a tiny bit that's a another way to just capture your eye you start with your I likes contrast so I'm just gonna work a bit more on on the under lip here be and you saw instantly gotta think about sort of how does the skull and the teeth like the skin on top right that teeth would really be pushing out the lip because they're so big exactly so what I want what I'm thinking about as well is that and this region here it or probably some kind of indication of the teeth just to make it more grounded you see this like it's huge Warcraft words a lot of times people just Chuck teeth inside their face stuffing in the mouth but you you come do that look how angry is now yeah there's definitely the dentist's name oh yeah we've got the medical bill not happy like a freakish button nose but for orcs I'm super sad there you go there we go so restrain you some dynamesh now and we don't really need to because currently we haven't really stretched anything too crazy so what you can do we can just disable dynamesh we're going on tool dynamesh and just disabling it and hitting ctrl d currently we're at eighty-five thousand Polly's which is fairly low I just want to get like a slightly more definition around the eyes in particular so this is kind of where we're switching up the workflow right except this would be at the point where you're going into the subdivision mode maybe you could see Ramesh it if you're ready to take it to your next level it's just this way we don't have to worry about the topology and like masking and unmasking all the time back there just keeping it simple so I'm just gonna hit ctrl T maybe twice our 1.1 and a half million it just keeps it the computer can totally have a million half almost regardless of which computer we have unless you're from like 2001 yeah I think even then even then so I'm just gonna use the standard brush now just to show how you can use different brushes that's B s T I like to use standard brush for this kind of stuff as I have a lot of like I have a lot of control here so I'm just kind of this standard brush is really underrated when it comes to creating creases is your this is really nice very definition because you collect the clay versus our amazing fighting volume but not so much for adding actual definition if you like you don't have as much control yeah exactly well that's what standard brush is just that's what are you here for so I'm just going over and just just defining it just going defining where the eye actually is and I'm holding down the Alt key as well a lot more carving in place like this and look at a reference as well even if you're doing cartoony or guys III still have a mirror on my desk and it's so useful it's like people look at you weirdly I worked yeah sometimes when you're working on face stuff you make weird facial expressions you sit there you're like ah yeah it's a bit weird the people if you're working something else as well yeah yes just that mix with sharpen see we don't thinking too much about not to materials just just adding a bit off just adding a bit of sharpness to this you can see the variation in our shape as well sort of how the sharpness of something like the cheekbones contrast the the folds going down from the nose and exactly actually here I'm using the standard brush for this line but I should be using damn standard I'll undo this I'll show you what I mean be the s for brush damn standard as I said before the damn stand brush is the best thing in existence it just it just really gives you like this sharp lines it gives you this sharp lines which room you know what a brush can give you yeah and we're doing this I'm varying the quality of the stroke like I'm not just doing this I'm doing slow or like mild pressure and hard pressure and then mild pressure again this just creates a lot of more interest so here is a low pressure and then it goes into like more hard pressure again so so just that's a more advanced technique but for me that works really well so the way and the way the Damien standard brush works is that there's both a subtractive element to it but it also pinches the mesh together in a circle and to get the really nice and hard creases you just go around here as well we can also hold on the Alt key just to get like a sharper line the old key will just add to it we just give like nice sharp line like this done perfect just a little bit more sculpting now what I'm gonna move into polypainting also we can just add some a sintra Jim now because currently he's very symmetrical so the problem is when people add like wrinkles and he's like this he's like oh so angry that's silly yeah exactly so I'm gonna use the claybuildup brush be C V that's wrong B C and we're asymmetry really starts to look really makes your model pop out is the S symmetry that happens in the center of the model exactly is if you have something symmetrical on either side and like the ears you're not gonna notice that sack but wrinkles close the nose or wrinkles in the forehead yeah the position of the nose you know like pushing the nose to one side that's all the stuff that helps sell the asymmetry exactly so I'm just doing this this part here with a syndrome because the customer like morons doesn't just look so much more interesting and pick your battle so here we have like 45 minutes just to make a model you know I need to spend I need to spend my time where it's useful I'm not gonna spend a time on the back here because nobody airs I'm just gonna do like you know I'm bid of like off angry wrinkles because he's really angry angry I think that's the anatomical correct word I'm pretty sure that's actually it it's he was he was definite entus so he's he's anatomically angry and we can issue some the move brough be and and just like Martin said just add some a centering this cuz why not a symmetry can just be incredible just like to the eyes as well just like adding some mason for you that's really gonna sell also you start working on something like an expression having back man I mean obviously sometimes you might have a symmetrical smile wow he's messed up he was like hit by cars right after like a punch oh yeah yeah yeah by dentist and also just like some asymmetry here as well and you know just right away you have more wish when did you see how much he's a different character or exactly story-wise now he's been through some stuff yeah maybe he was a too hard by that like his nose to mouth feel displaced but also just like see here this ear is here kind of pointing up and this here here is kind of like pointing down now like maybe you can't you can't logically pick it up what your brain does yeah your brain can feel this so this is pretty much it for the scope we're gonna keep it very simple let's add some quick polypainting to him as well it's just a nice way to make your model pop out yeah exactly so we're gonna make it green because we all know orcs are green exactly like exactly this color a sewage color yeah we're gonna make it like a little more saturated like something like this maybe and um once we've done that once we add a color we have to bake it into the model we do this by going to color fill object with RGB active and with the standard brush B s T we have to we have to just disable Siad and enable RGB and then we can start to paint on it if we want red eyes can give them some nice red eyes and you can also use symmetry for this I would actually recommend using symmetry for first pass hit the X key for symmetry on the x axis then we can just go a bit crazy crazy actually crazy just oh that's like warping actually kind of cool so the way I like to design or like start off is it's kind of a blocking in values like which means make it brighter or darker also before we move too much too much ahead here we're going to change material to the skin shader which is found here this this is just a way more neutral material you can see how much that actually changes the crackling so before your previewing it with maybe a darker material so you're boosting up the lightness of the Greens I need more light so we're just going to block in some very quick colors here just some quick colors in circuit values and just go a bit darker and brighter just to make you more interesting this way you can fake a lot of stuff you know you can fake some shadows exactly you're doing something stylized it's fine yeah indicate the cheekbones just to get some more depth in the face exactly it's like the makeup well I assume I don't actually know any makeup yeah I assume this is what what they do when they apply makeup good pretty much you can also just add a color a color spray or spray I'm just going to use sprite and then alpha such as alpha 7 I mean these are great it's just this is like give me like a nice spectral result it's nice with some randomness to this dirty went through mud just so this just gives you a lot more variation right away and though I again the hotkey for and color picker is si si for color yeah hard key that makes sense yeah yeah that was probably just by Johnson do you see Lacey Mouse's on you can see that because it's dragging you having a little line behind it so if you did L you can just disable I don't need lazy Mouse what I'm painting like this and for most brushes it'll make it a little faster to work without lazy Mouse sometimes you might want it though exactly demonize I just want to add some redness to the ears you want to think about it so where where's where do you have a lot of veins where would you have a natural buildup of blood because you have don't have too much fat or something the cartilage in the ear not a lot of resistance there so that you would have red ears on the cheeks next one of the eyes so I'm just unleash you see some colors are just you like to make it more interesting to some blues and some yellows and some reds you know just to break it up you don't want to have you don't want everything to be perfectly cleaned what then we can also just make this region here darker as well because currently it's still it doesn't pop out does it guess again like again what I assume makeup to be touch you should really get someone professional in this we should probably do that nice and then you can go crazy and just like more pins go cool I mean it's kind of cool then we can once let's say this this painter here is done now we can just switch back to white color and then we get like white on the rest here on the other and the other subtools we can change to a nicer madcap again this is a pretty nice one the default one it looks it looks pretty cool but you can just go through some of the default ones the great thing about the skin shader is just it gives you a more representative view of your actual colors yeah exactly and switching back to any of the other met kept like it's totally legit you can only do that because they tend to but they tend to show off your model in a really nice way exactly so this is pretty much it we just got through this slowly methodically and regardless of what model I'm doing professionally or from person work this is the same approach I'm use I'm slowly building it up using the same brush is using a move claybuildup trim dynamic diamond standard and standard brush just slowly building it up if I'm doing like a high-end concept for film or from doing a syllable work for a demonstration you know same process so just just take your time do it slowly methodically yeah the basics can it really can't be over no exactly and you just saw how simple this was in terms of tools the most complex thing here was probably to make the sub tools for the iSeries the rest is literally just a sphere dynamesh and like three brushes for like the majority of the time yeah so I hope you think that I hope you find this this to be useful yes thank you very much for watching

Channel: FlippedNormals

Views: 71,332

Rating: 4.9424615 out of 5

Keywords: 3d, sculpting, zbrush, concept, maya, tutorial, autodesk, film, vfx, animation, flippednormals, henning sanden, morten jaeger, creature, character, texturing, substance painter, substance designer, education, foundry, pixologic, nuke, art, fundamentals, art fundamentals, art school, art tutorials, blender, flipped normals, 3d tutorial, learning 3d, learning ZBrush, 3ds max, cubebrush, cube brush, gumroad, marvelous designer, photoshop, mari, blender guru

Id: k_kGhPwRL7c

Length: 38min 56sec (2336 seconds)

Published: Thu Oct 25 2018