Sculpting Scales in ZBrush

hey guys welcome to part two of the detailing part so we talked about in the video before how we can actually do detailing and we are using three techniques here in this tutorial on this model and it's about alphas it's about using the masking technique with pulling out and we're doing some normal hand sculpting as well so there are definitely a lot more things you can do for detailing um and improving your but yeah we are talking just about these three things here um but before we are starting and we are using all our knowledge we have now and to just jump into our model i need to talk about something real quick um which can be useful for you when you are sculpting or when you are painting or whatever you are doing this can be pretty handy because we need to work smart to work a little bit faster i mean our tax time we all know that but there are a few things we can do to work just faster or be smarter so what i mean by that um i want to talk about layers here in zbrush and i think layers are pretty handy when it comes to client work um because you know we all know the feedback sessions we have with clients like we are doing something on the model then we are sending some screenshots over and the client is just looking over it and tells you what it's good and what is not good and which part you need to redo and when you're using layers it can be faster to work on the model especially when the client says there are some parts which are not good and you have to redo and what i by what i mean by that is simple so we're just going to the layers section here and this window pops up so let's say let's say you just sculpted some bumps on your whole model and then you're sending this over and the client says yeah i like the model but i don't like the bumps here so please get rid of these and when you just save the file because it's the next day and you close the software and on the next day you open it again then it is on the model maybe you have a file you saved before what is always good but overall the bumps are on the model right and when you need to get rid of this now this is a pain in the ass so you have to just sculpt over it and smooth it and you know doing this on the whole body would be really really slow down your your workflow so then the layers come in and they're pretty pretty handy with that so let's say we just open another layer which you can do here on this button and you see that you can turn off and on the recording for this layer because when the recording button here on the right is on and you're sculpting moving painting whatever you're doing here will be recorded on this layer so you can turn it off or on i just clicked it and now it's off you can see this because you don't have the rec button here you only have the um the eye button on the right corner which you can turn off and on the layer so when you're pushing the the button here on the left then you're going into the recording mode again so let's see we are doing the bombs again and we like them and then we're done with the whole body uh we are sending this over to the client again and the client says yes i like everything but please get rid of the bumps and now because we are using layers here we can use very very fast to get rid of these if you have them on a layer so what you can do now is you can actually turn off the whole layer with the bumps and ta-da it's gone pretty easy right or you can't just push the slider and make it more soft for example when the client says oh i like that but they're too strong please make them a little bit more softer you can do that here as well you can also go under 0 and do the invert if you want that but yeah this is pretty handy so you can do a lot more layers for example you do another layer and then you say like okay maybe i want some scar here or i don't know what whatever um and then the client says okay i like the bumps now but i really don't like the scars here um then you can say okay i have the scars you're on another layer you can actually name them um and then you can turn off just the scars or the client says i really like the scars but not the bumps so you can turn off the bumps it's pretty handy right so yeah that's what you can do you can delete them here as well um you can duplicate them rename it of course um and something you have to keep in mind is when you're exporting your model you have to put all the layers on to the model because you can't save it with layers and you can do that by clicking on the bake all button here because then all the layers will baked onto the model the layers will disappear and you have all your details on it so make sure you're saving another file where you have the layers um still on but um yeah keep that in mind so yeah that's it about uh working a little bit smarter with layers now like i said you can do that with color and blend shaves and a lot of different things just be creative with it and try it out yeah so this is something i wanted to tell you before we're jumping into the detailing part because maybe you want um to use this uh later on or you want to change something so yeah make sure you're using it wisely um and in a smart way um and yeah that's actually it and i think we just can jump into the detailing part which will be a little bit more more faster because you know making all the masking can take a little while so let's see what we can come up with and here we are speeding up the video a little bit so you can see it better um and it doesn't take so much of your time as well so you can see that i'm choosing um more like a square shape for my masking and of course it's just up to you which shape you are choosing you can also choose like more roundish shapes which you also see a lot for dinosaurs but because i made like these roundish shapes for an alpha you saw before um i thought like okay maybe i will stick with my masking more at the square shapes and when i want some um rounder shapes i just use the alpha then so yeah that's actually just the thinking behind that but you can go with every shape you want to of course and you can also see here that i told you before that going with the wrinkle flow is always a good idea to make it more natural and this is what i'm doing here i'm choosing big wrinkles and i'm just going along with them and yeah this is the first part i'm doing and just going um through the wrinkles and after that i'm filling in all the spaces as well so yeah that's definitely a good thing and now you see that i mask a few parts for example the the ear and the part from the spikes because i didn't want it to affect the these parts with my alphas and this is actually something you have to keep in mind always work with masking and then blur it out and only then do your alphas because sometimes we don't want alphas everywhere and only on some few spots so it's pretty good when you're using the masking not only for the patterns you can use them to protect some areas so the alphas don't affect them and yeah we're just going along with all the wrinkles and yeah this can take a while and i know that a lot of people um find those kind of work um relaxing so maybe it will help you as well you can watch a movie beside of that or listen to a podcast or whatever um because you don't really need to be too much um focused on that um it's more like going with the flow and do some patterns so you definitely can do something beside of that so one thing i really like to make it more natural um is to jump back and forth between all the techniques i'm using so i'm doing sometimes a little bit of masking and then i'm using alphas again and then i jump over it and sculpt by hand um i'm doing that back and forth because i think it makes it all a little bit more natural when you're doing it um at the same time instead of just focusing only on masking and in the end then you will decide where you want to put some alphas but sometimes we just have to be in the flow and while we're sculpting something we see like oh okay maybe this spot now it will look better when we're using alphas instead of masking so you were doing that instead and i think that helps a lot when you're just jumping back and forth between all the techniques you're using i do that all the time i'm doing a little bit of masking here and then i jump to another place and think like oh okay alphas look cool here in this place and then maybe sculpt a little bit over it and then going back to the masking parts so yeah this definitely helps to make it more natural especially when you wanna um [Music] make the transition between all the techniques better because i know the technique with the masking can be very stylized and you know like compared with the alphas so when you're doing that at the same time you can better control the transition between two of them so yeah definitely keep that in mind [Music] remember that don't make it too symmetrical when you're working in an angle where you can see your surroundings like for example in the front view you can definitely see a lot of in every site like on the right and on the left side you can see everything there so make sure that you don't use symmetry when you're working at those parts um on all the other parts which you can't see at the same time like i told you before you can definitely use symmetry because it just will speed up your workflow but always make sure because this happens a lot for me um make always sure that you have the symmetry on when you work on the sides because sometimes i thought i have it on and then i look on the other side and i did a whole bunch of sculpting and then i realized oh damn i forgot to turn it on so make sure that you always look on both sides um every minute or so and yeah just make sure that when you want to work with symmetry on um that it's actually on not that you are doing the work twice or something here same for the eye we're going with the flow a little bit more curved and definitely smaller patterns because eyes are very small as well and fragile so we need that to be more smaller [Music] [Music] [Music] and now you can see that i'm using the third technique the sculpting over so i tried to sculpt over all my masking parts to make them a little bit more natural because now they're all very flat and stylized and i don't want that um i said before that my models are a combination of realistic and stylized so that's what uh i'm making all the time to lose the stylized part a little bit [Music] [Music] and you can see here that i don't put patterns all over i really want to make the eye a little bit rest on the front hat on the horn and on the front lip for example so i try not to make everything with details um to just make it more interesting as well and just sculpting over it a little bit to loosing it up to make the transition between alphas and the masking patterns better i also try to make the horn a little bit more used because we all know nature is not perfect and this dinosaur definitely uses his horn for hunting or fighting so make it a little bit more loose all the edges and yeah just go with the flow or sculpt over it a little bit [Music] and have fun with it just have fun try to sculpt a little bit in between mix something up make out of two small little patterns one big one it's just up to you to play around with [Music] it and here i decided to not use the masking technique on the upper spikes because i think uh it works better when i just sculpt it by hand because of all the alphas around it not like the patterns on the bottom part so make sure that you just break some of the transitions [Music] and i'm using most of the time the clay brush it's a default brush and z brush and to make all these little bumps on the patterns to make it look a little bit more realistic more natural and i'm also using the damp standard brush to go in between um all the patterns because sometimes um they're a little bit messed up and i need to make these lines in between as well to get a better depth and yeah so i actually just jumped from uh using the clay buildup and the dam standard here in this in this part and sometimes the clay build up brush as well here you can see i'm using the alpha with the more round shaped patterns which is kind of nice for the for the jaw for the bottom jaw and now i'm just using the clay brush to loose everything up and to make it more natural [Music] and now i'm working a little bit more on the tongue we already made it kind of finished in the sculpting process before but i thought like a little bit more detailing um is definitely nice so i'm using most of the time the damp standard brush for having some more wrinkles on the bottom part and everything else is just done with the clay buildup and some alphas as well to make these little bumps on it and i thought it looks a little bit alien like this tongue uh but you know be a little bit more creative it's a dinosaur it's nobody really knows how it looks like so um yeah you can just be creative with that and here i'm using another alpha for some lines because i told you before that dinosaurs often have these um more elephant kind of skin on the bottom part of the body so i did that and just used the dam standard as well with a low intensity to go along the wrinkles again to make it a little bit more pop and i'm doing some asymmetrical um moving for the teeth as well so and i guess that's it we are done with the sculpting part of our head actually and i just put on a different kind of material so you can see it better how it looks like with all the details and you know just having everything on place and this is the head part we still have a lot going on on the other parts of the body so i guess we have to jump into this so we can finish our model so be ready for the next video

Channel: FlippedNormals Marketplace

Views: 24,129

Keywords: flippednormals, tutorial, training, cg, games, film, morten, jaeger, henning, sanden, vfx, marketplace, curated, career, texturing, production, sculpting, zbrush, scales, dinosaur, creature

Id: --LQL-3Fsho

Length: 25min 33sec (1533 seconds)

Published: Wed Oct 07 2020