Sculpting the human anatomy in Blender (Full process ! ) - Part 1/2

[Music] hello and welcome in this new video tutorial in which i'm going to show you how to sculpt the human anatomy using blender so i'm going to use the base mesh that we've created together previously if you have your own base mesh or you want to start from scratch don't this day to do that this tutorial is not a tutorial about a blender in particular if you are comfortable with mudbox or zbrush feel free to do that it's not software dependent if you want my goal with this tutorial is to share with you my knowledge about human anatomy and different tips and tricks that helped me when learning this complex subject again i would like to apologize for my french accent if you have any questions don't hesitate to post them in the comment section and if you like what i'm doing on this channel don't hesitate to subscribe in order to have information about the new videos that will be released so let's get started i've opened the base mesh that i've created in the previous tutorial and i'm going just to show you my setup in order to to sculpt quickly in blender so what i'm going to do is i'm going to go in the preferences and in the preferences it's in edit preferences as you can see i've set up in the input section i've set up emulate three button mouse in order to be able to navigate using a tablet and the alt key of my keyboard and this is pretty comfortable for me so now i can use my stylus without clicking on any button the only thing that i will do the buttons is something very um polygonal modeling oriented but it's not going to be the majority of things that i'm going to do so now what i will do is i will remove the wire frame of my base mesh so by going to the little viewport overlay section and i'm going to remove it and i'm going to enter into sculpt mode so by default you have different layers here a different workspace in blender i'm going to go in the sculpting section again if you're using zbrush or mudbox you don't care about this but if you're following the tutorial with blender you can follow what i'm doing i'm also going to set up some shortcuts uh so the shortcuts that i i'm going to set uh are pretty common for my zbrush workflow or my blender workflow about the different brushes so if you are on zbrush you can do that too so i'm going to select the grab brush and i'm going to add a shortcut so assign shortcut and the shortcut that i'm going to do is um alt w so alt w is switching to the grab brush i'm also going to do to add a shortcut with the clay strip brush so um oh apparently you have already one it's altc that i'm using and alt f is going to be assigned to the scrape brush so i'm going to right click assign shortcut alt f and um the the way we can change the scale of a brush in blender is the f key usually in zbrush i'm pressing the space bar if you're if you want to to do that quickly and the brushes that i'm using in blender are pretty much um those three one and sometimes i'm using or often i will say i'm using the crease brush and crease is shift c for me feel free to to to put the same shortcuts so basically the grab brush will help us defining the silhouette of our character and make broad changes such as for instance let's say that i want you to to move the drove forward or i want to change the way the neck connects to the to to the head i can do that here and it's basically the brush that i'm using a lot in order to make changes the crease brush is going to be really useful to create um how how can i say that to to create small creases basically um it's not going to be that much visible here because we don't have any polygons sorry we have some polygons but we don't have enough polygons so what i'm going to do is i'm going to apply the mirror modifier by pressing alt a and i'm going to remove the subdivision surface here so as you can see here i have a low poly character but what i'm going to do is i'm going to add what is called the mesh the multi resolution modifier and i will be able there to subdivide it's exactly the same thing in mudbox and in zbrush but the same concept so as you can see i've added some subdivision and now we can see what the crease brush is doing okay so it will help me to define some areas and this will be a really good brush for for for helping us sculpting the different muscles and the the clay strip brush the equivalent on zbrush is the clay tube or um or the place um oh i don't remember the name sorry uh clay tube brush i will say uh and uh this is a a clay build up in z brushes it's it's clay build up in zbrush but it's a way to add some clay basically on your on your mesh in a very i will say a very rough way it's not smooth sorry i'm going to shut down my my life advisor program so yes basically it's a way to quickly build up um the the different volumes that we are going to to do to to sculpt sorry uh if you want to increase the the the the the strength of the brush you can press shift f and as you can see with this brush i can quickly uh increase the the way that the brush builds up and this is pretty cool i think um maybe i'm going to add one more subdivision for now just to show you a bit a bit better the the the way it looks and the cool thing with this is that you can um smooth it and using the shift key like in zbrush and you will see that everything everything is like merging back uh in blender you can press the ctrl key in order to remove some geometry uh to not remove but to to to to dig into the geometry so basically the control key is the reverse of the brush the reverse action of the brush so basically that's it the scrape brush sorry the scrape brush by pressing alt f now is really cool for defining what we call planes in anatomy and in anatomy planes are really really important it's the way the form changes so basically for instance uh let's say that here we have the temples of the of the character i can use the scrape brush to emphasize the the the temples as you can see and this helps me to to to construct to to to build up the shapes same thing here if i want to flatten the [Music] the different uh eyebrow section i can do that like this i can basically uh carve planes or not carved but defined planes and this is really really important when sculpting okay so uh i think we can start uh i'm going to um remove the multi-race and edit back in order to start from scratch i'm going to subdivide twice for now and i'm going to uh basically start to define the different muscles and explain along what i'm doing okay so when i'm sculpting the anatomy what i like to do even though it's an exercise i like to do the full body um at the same time i would said i i don't want to concentrate on a specific part at least for eighty percent of the workflow i would say uh when adding details etc it's it's at the end you don't want to bother with details right now you want to have a good looking model with good looking shapes and good and a nice silhouette and in order to do this i need to turn around the mesh a lot i need to see my mesh from different angles and i need to use a lot of references the more you will sculpt the less references you will be uh you will you will grab in your folder or in on your second monitor because you will have knowledge um of the human anatomy that is more defined but if you're a beginner i would highly recommend uh putting something like 50 references on your second monitor and like some from time to time scroll around and and just um have a look at the different uh your i have take take a look at your references and like take breaks in order to to basically understand the shapes that you are looking at um it's important to take good references of course with good lightings or good drawings or good schematic views you'd want to to to take a beginners references of course but this is quite obvious and if you want you can also use a medical atlas such as a really good program called human anatomy at last i don't know the name in english because i i have it in french but i'm going to show you this program which is pretty cool it's not artistic it's not artist friendly i would say it's more like because as you can see the anatomy is like the design of the shapes are not that um um how can i say it they are not that that that good looking it's not the point of those kind of software but the the goal of this is that you can select the muscle and see for instance here i can look at the details and where it attaches uh where uh it attaches on the on the skeleton and this is pretty pretty good so for at least a technical uh references reference sorry so i will really advise you to to to have something like this or even having um if you're really serious about this having um um a quick uh figure a real figure uh pretty total uh are doing the gray models that are pretty cool so and pretty cheap compared to to the others so this is a good um a good way also to see the anatomy and understand the different muscles i will say that today we are going to do a generic male figure um and the the female anatomy is going to be very subtle compared to the male so i want to first do the the male figure because it's going to allow us to define the muscles uh way more um and and maybe later we are going to do a tutorial about the female anatomy that has some differences in the the the gestural way and in the the different masses of the of the body so let's get started for real now so the first thing that i'm going to do is as usual i'm wiggling around my model i'm like saying what is going wrong with my base mesh so i'm basically changing the different shapes so for instance here i'm going to to change the the cranium like this and this i'm going to do it by heart not by looking at some references because i'm used to do that for instance here you can see that you have the clavicle and the clavicle usually is more um has more volume volume sorry here it's just a simple like rope i don't want this so i'm going to adjust that later but as you can see i'm i'm fast i'm i'm putting the the the shape in uh in the bike handle way and basically i'm looking at the silhouette right now you can see that the ear is a bit uh is a bit [Music] distorted here so i'm moving it as you can see i'm doing a lot of moves small tweaks and if i'm not happy with what i'm doing ctrl z is your friend um sculpting is a very iterative process uh usually beginners uh thinks that uh every move that they are doing is uh the end is unique and is uh is going to be the end of the world so don't think like this uh even if you for instance sculpt let's say you sculpt a a giant squid you can always go back to a human body or whatever you want by manipulating the geometry so don't think that what you're sculpting is uh is final you want to to to move around to change things to update forms and to and basically to iterate until it looks the way you want or the way the human body looks right for you so as you can see i've added the the nasal bone or at least i've defined it a bit more it's wider on the top here and uh i'm i'm going to add the ball of the nose a bit more i'm going to to bring back the eyes a bit more to the center of the of the head and i'm going to define a bit more the um the eyebrows there and don't worry we're going to go back there one thing that is really important to do is to look underneath your model to have a warm eye view i will say to see if the planes are correct um same thing for from the top you don't want your head to look like this for instance you want your head to to to be to be in a trapeze trapezius shape as you can see it's tapering toward the front and those things are things that you will be able to spot only by moving your camera around so i'm going to drop down the ear a bit because it's going to lay down from the nose from the bottom of the nose to the top of the of the eyebrows so i'm going to change that a bit and i'm going to push them inside the ear a bit more inside the head a bit more so now i'm going to work on another section as you as you will see i'm going to jump around this is really important you you want to you want the whole thing to be homogeneous so i'm going to shape the pectoral muscles a bit the pectoral muscles are inserting in many uh different bones uh the first one being this the sternum here we have something called the super sternal notch which is the end of the the sternum and basically from here starts the the arc of the rig cage and the muscle fibers are going towards the sternum inside and then we have the pectoral muscles that will connect inside the humerus bone which is not a funny bone by the way but let me show you on the human atlas there as you can see it's inserting to in the sternum and it's inserting in the human humerus bone but as you can see it flips meaning that the top part that connects to the clavicle is going to be connected to the bottom of the insertion point and the lower part here is going to be inserted in the upper part meaning you have a wrapped a wrapping form here why that just because when you lift your arm you want the muscle to unstretch basically unfold so things to note but here of course we don't see the skeleton so we cannot do this so what i'm going to do is i'm going to use the crease brush and i'm just going to add an indent and i'm making sure absolutely sure that my pectoral muscle goes inside the biceps and i'm going to cut my biceps like this to just make the bicep go inside the muscles and i can also cut right here my deltoid so the muscle of the arm and as you can see my pectoral is going to split toward the clavicle like this so right now it's not looking great of course i don't care it's not the point right now the point is to make something that will lead me to something that looks great you can see the indent here is too much white so i can grab my my grab brush and i can move it my move brush and i can move it back and things will adjust with time don't worry so i'm going to smooth a bit here using shift and now i'm going to press shift c to grab my crease brush and i'm going to so let's uh let's define some more muscles here i'm going to divide the bicep from the arm so i'm just going to add a crease here and the bicep is not a round muscle like a lot of people think it's very round it's like something like something oh i cannot draw here oh son so something many people think i'm going to add a uv magic here a lot of people think that the bicep is something like like this this will only happen with uh very muscular people but usually and and that flexes the the arm but usually uh it's not it's not like this um usually it's more like uh it's more flat it's more like a tube shape like this with the the deltoid that is like a drop a droplet of water on top here you have the tricep and then you have the the the radius muscle uh they are called the the brachioradial muscle but i know that there are other names for it but as you can see the biceps basically is a tube okay so let's uh follow with this idea follow this idea sorry and i'm going to make just a small indent at the end like this to make it more box like okay but you can see that and this is really important for especially for beginners that as i'm sculpting the forms look looks weird always it's only when all the muscles are coming together that the forms looks uh plausible okay so you define a muscle but on top of it we will add some other muscles okay so here i'm going to to cut to add small small indication of the sternocleidomastoid muscle which are the muscle that connects behind the ear and connects to the clavicle if i'm adding some clay using the play strip brush by pressing alt c it's the shortcut that i've added you can see that i can even more emphasize them and i can also add the second part of the sternocleidomastoid muscle that will split from there as you can see i'm splitting there and i'm connecting to like um the the clavicle too and this is going to be even more defined later when we will have more um geometry to work with so going back to the crease brush i'm going to define maybe the mouth so let's use increase let's add a simple line for now and one thing to note and that is really really really important is that when modeling the mouth or sculpting the mouth you want it to follow a cylindrical shape like this because it's following the the teeth the the tooth sorry and i'm going down to sculpt then i don't want to make it smile to make him small smile sorry i want to make him having a neutral expression so that's what i'm targeting right now and um as you can see the crease brush is dividing the lips in two part uh that's pretty cool you're only using a one uh one stroke and as you can see using the the the grab brush i've pinched a bit the corners of the mouth and also what i've done is i've um i i've pushed the corner a bit more toward the in the the middle section because the mouth was too large usually you can drop a line from the center of the eye to the corner of the mouth and the the jawline from the front the peak of the jawline here is going to lie uh close to the the the center of the mouth so it's not perfect not right now but it's going to to work better later once we will define a bit more the shapes so now you can see here the structure of the the skull is not that much defined so what we are going to do is we are going to use um the scrape brush using alt f and i'm lowering the the brush and i'm going to define the plane the side plane of the of the skull by just adding by just scraping here and i'm going also from this view to add another plane here and this is going to divide the skull in two sections right now but as you can see it's not looking great again because we are lacking some muscle informations especially the the nasio nasolabial fold i think it's called like this in english okay so maybe we can edit right now let's do it really quickly i'm going to use the clay strip brush and i'm going from the nose from the top of the wings of the nose i'm going to add a bit of geometry and i'm going to follow the the mouse don't add that don't add too much of geometry as it will look look weird and you you go from the nose you follow the lips the the the corner of the lips and then you go back to the lower mouth lower ellipsoid okay but don't do don't over exaggerate this and then i'm going to dig under the the lower lip and i'm going to add back the gene okay we're going to go back to to that later i can also re-add a bit the jawline the the mass of the jawline and i can feel a bit more the the geometry right there and then scan can smooth a bit okay again we are going to go back to that later i'm going to add some masses here for the top lip and from the bottom i'm going to reshape the mouth a bit better like this so we've uh we've been too focused to the head so let's move to another part we're going to move um there to the torso so what we are going to add is the we are going to add a crease there to mark the ribcage like this more more below and this is going to help me defining muscles that are called the serratus muscles and they are um muscles that connects to the ribcage so let me show you this this one because it's it's really interesting to see those are those muscles that usually you see well defined on superheroes and they are just wrapping around the ribcage and around the different um how do you call that the different um bones of the rib cage i will say and you can see them some some of them there okay so we are going to just indicate this you can see it's very very subtle like this basically it's following the rib cage nothing more i'm using the clay strip i can add them back more we don't have that much geometry to do that to to to do that better for now so i'm going to push them back a bit smooth everything and for now it's going to to do to do the job so from the back what i'm going to do is i'm going to smooth a bit my geometry and from the back uh what we are going to do is to define the trapezius muscle which is uh the most important and most prominent muscle from the back i will say so in order to to define this muscle it's starting from the neck like this it's going to wrap around the front of the the body here it's going to connect to the clavicle and then it from the back it's going to follow the scapula right here and then it's going to to to to finish like this toward like a triangular shape and i'm going down to push back this part so it's more i would say more subtle so i'm going to smooth everything back i'm going to push back this point right now okay so now we are going to so usually this point is the lower part of the rib cage okay so now i'm going to define um more the a group that um so first what i'm going to do is i'm going to to to to define the deltoid muscle here so i'm just going to put back uh the deltoid muscle uh and attach it to the scapula so the scapula is again lying on the rib cage and as like a triangular shape like this um if i emphasize it more like this and it's a it's a it's a bone that's that is slightly tilted from the top and what it ends i think it ends in the middle of the of the rib cage so let's say like this and it could and it makes the arm it it's it supports the arm from the back basically using the deltoid muscle that connects to it a bit more from there i would say so i'm going to divide the deltoid there and the other group of muscle that will lie into the into the the scapula is a is made of three muscles but we are only going to to split it in two and it's basically this big shape and the lower shape like this so i really encourage you to look at the anatomy so that let me show you that by using the atlas here as you can see you have the this muscle and those two muscles together uh together sorry that are um that we're going to group together okay and the deltoid that is going to lie on top and this is the the trapezius muscle that lies close to the bottom of the ribcage it depends uh of course of um of your of the anatomy that you're sculpting sculpting so so here what i'm doing is i'm refining the shapes and i'm making the the three pieces the the the tricep muscle go below everything so as you can see i'm pushing back here this line so the trapezius muscle goes below everything okay and the deltoid muscle should go on top of everything so i'm going to use clay strip to add some mass on top of it and i'm going to smooth everything out because i don't want my back to look that that muscular for now and i'm going to put the trapezius muscle on top of everything from the inside and i'm going to follow the the direction of the three pieces using my my brush you can see like this and i'm going to smooth everything and you can see that it starts to look more realistic right now at least this section we are going to emphasize more the shapes when we will have more geometry again okay so the deltoid is not a round shape like this a lot of people are a lot of beginners are making this mistakes and it took me a while to to not to to counter this uh this this fact uh it's actually very flat uh you have a curve that is flat on the top it's more like i will say like um cone shape so let me show you i'm going to add i'm going to add a cone shape like this it's more like this with the lower part like this than a sphere or than the round shape okay so let's go back to the sculpting section and i'm going from the top to make the indentation using the clay the crease brush go meet the the side of the bicep okay so it's like a water droplet basically like this and it's covering everything and more moreover it's going also to join the clavicular the top part of the clavicle of the clavicle and it's going to join around what we call the acromion process which is a small um parts that covers here that covers the humerus muscle the funny bone so let me add back the clavicle define it more with a broader brush and then let's smoosh around like this okay so it's starting to to look more [Music] more defined so now we are going to add what we call the external oblique which is a muscle that is lying there so it's this big part i'm going to to divide it with the pectorals and i'm going to cut the pectorals a bit like this a bit more straight and from the middle section and it's going from the top to toward the abdomen abdominal section sorry and it's going to to go right right there to the to the bottom of the pelvis basically the goal of this is to twist your body uh from the from side to side okay and you can see this muscle going back to what i call the butterfly at the end or the triangle and the triangle is the indentation that you have here forming two dimples and you can connect the dimples like this and it's basically defining the pelvis shape from the back and from there you can see that we we can see the oblique basically and i can create two tubes in the middle like this um that will push the the scheme um you can see them so like two cylinders here and on top of everything we'll we will have a very wide muscle uh so when when i say on top of everything it's like i'm cutting that way but we will have a very wide muscle called the oh i don't remember the name sorry thanks to my human at last i will give you the name it's the the oh it's in french let's see new stories in in latin let's call it in latin but basically the idea is that it's a wide it's like a wide plastic paper on top of your of your back but below the trapezius muscle that will end more more there and it's going on top of the muscles that we've defined previously that were close to there and i'm going to cut the indent there as you can see we don't have that much geometry but it's basically a white triangle um with the vertex there i'm going to push that back with the clay strip brush and it's going from the back toward the front and that is the part that we see from the front that is popping out here it's hard to see there but usually i'm pretty sure you've seen that already on your own body or on a very muscular person like very wide armpit the shape is made principally because of this muscle okay that is the most dorsey so okay now we can define some other parts we are going to define the triceps so usually the tricep is divided into even if it's three muscles i'm going to use the crease brush and i'm going to divide the triceps like this as you can see one two and there is a third part that we're maybe going to add later once we have more muscle geometry but here is basically the elbow and i'm going to ah maybe i'm going to shift it a bit i'm going to shift it toward there because the elbow is going to be more located there due to the position of the of the arm so i'm going to again to split the the triceps in two and i'm going to make a one around arch there and so i've used another brush sorry i'm going to conceal that and i'm going to make it better so yes it's basically a round arch like this and the triceps is going to lie around the two parts of the triceps are going to to lie around there so i'm going to using clay strip to find those parts a bit better and we can define the the bone that will go straight from the elbow there to the to the the pinky finger okay like this and this is going to help us divide the front and the front and the on the top part of the arm so i can even dig near them and you can see that we have this bone that will split the the arm into section the forearm is pretty complex for beginners uh but if you remember this this quick tip that from the um from the side of the the hand toward the elbow you you basically draw a straight line which is the bone and then it will help you divide the different muscles from the forearm that you will be able to group way better than than without this indication okay so i'm going to to make the tendon of the triceps a bit more stretched and i'm going to puck push the the triceps a bit more we can always push it back later if we want okay now we are going to go to work on the legs so the legs are also pretty complex but don't worry we are going to to deal with it so we are going to divide the form in many shapes so the first thing i like to do is usually define a circle here or a half circle here that will um create a ligament that connects there and this helps me um on the figure to connect a very important muscle called the um saturday's muscle and the satirist muscle is going to go sideways like this and is going to follow the quads underneath the knee like this and even i would say even further down there it's going to follow the quads going there maybe i can push it back more inside and this is going to be the first um key placement for the upper leg okay so here we have of course the quads then what i like to do is to define the knee and the first muscle of the quad here and i defined the knee like this using a small v shape inverted the v shape and then i have the abduct adductor there and i'm going to smooth here the adductor and i'm going to push back the quad um the first muscle of the quad there as you can see it's like a giant droplet and i'm going to to smooth everything out so it works better so the quads will be located here in the in the front part of the of the leg and one thing to remember is that it creates a side angle from the lower point of the quads to the higher point of the quads and the knee basically will be indented side a bit sideway like this and i'm going to add a mass for the knee and i'm going to cut around like this and as you can see it's a bit sideway why because simply inside the great trochanter which is the bone that connects the leg to the to the pelvis starts and it goes inside okay and then from the knee we have another bone that will go so the tibia that will go sideways like this okay so if you look from the front we can start to see the shapes it's wider on the top the this bone and it's very visible so that's why it's not a muscle but i'm sculpting it uh very with a very important brush strokes and as you can see here it starts from there and i'm going using the the crease brush i'm going to separate it and it's going to the side it's bending to the side okay and from the side view the knee is of course going to create a bump so i can from the bottom view i can push push it a bit and underneath the knee we have another bump another bump so it's like having two bumps in this section and remember that the knee has a section that um that is going to connect the upper and the lower leg of course but it's not a section that is uh directly connecting the the top and the the top part and the lower part of the leg it's there there is a gap there as you can see it here we have um here we have a small gap and then it's it's pushing back and same thing here we have the higher point here and the lower point here you can see it's great it creates an angle same thing here it creates an angle and here the angle is going to be reversed for the malleolus which is the the small extrusion that we have there that is in fact the the tibia bone created by the tibiader so it's really important to make the tibia go sideway inward sorry and here we have another bone on the side that is going to create the second one there and we are going to see that a bit later when once we have more geometry okay so from the side of the leg so we we have a muscle that that will be really important which is going to to wrap i will say the the vast majority of the leg around what we call the great true counter so the great trochanter is going to be a small is going to be a small dot that is going to be visible i will say here approximately so let's add a dot and then around this we will have the different muscles of the of the leg that will follow the shape of the iliac crest and the iliac crest is the part of the pelvis here and as you can see i've created the first muscle here that i'm going to push back using a clay strip if i can yes and then we have the biggest muscle of the leg of the body i think even which is going to be the the butt basically and that is going to follow again the pelvis shape from the back it's going to you can see the line that i'm drawing there is is representing the pelvis the the iliac crest and you can see that it's higher from the back and lower from the front okay even though it's too much defined here don't worry about it right now just place your your your landmark and it will be a good uh later when you will refine everything so from the bot side you can see that it's going to go sideway again like this and it's going to wrap around the leg like this and um this muscle is going to be um really important let me just take a look at one of my reference yes it's going to be add approximately there and you can see that it's it's more like a butterfly shape and here it's too much wide i will say for a male here so i'm going to push it back more inside for female it's going to be different but for the male anatomy we are going to make it more like a butterfly shape and it's again don't make it too spherical and make it more uh wrapping around the the leg okay everything is lo is logical in the human body like you don't have the the luxury of making a shape that won't fit in the skeleton so right now it's not that much defined but because just we don't have that much geometry but it's going to to work well later and this is going to to prepare the the work for later okay so now we have other muscles from the side so i uh one one really important muscle is the one that is connecting there here then we have the butt muscle and then following the great torque hunter we have the very wide muscle um that is going to wrap the side of the of the leg and that is going to split the leg into like the tricep and the bicep and it's going to attach from there and i'm going to split it like this for now and i don't have that much geometry to make it more uh precise but in the end it's going to be a bit wider than than what i'm doing so i'm just adding more mass to remember that and i'm going to shape the gray true contour a bit more like this like a circle like a bump basically and then i'm going to smooth everything out a bit more one thing that i really want to make clear is that the butt here is going to go underneath this muscle so what i can do is i can push back the side of the leg a bit and i'm going to make the volume of the butt a bit more prominent here and i'm going to smooth everything out and don't worry we're going to go back on this section later it's probably the geometry underneath that is not following exactly the shape of the anatomy okay so now one other thing that we have from the back um is what we call the hamstrings and they are basically the equivalent of the bicep so we can can we can divide them there and i'm going to create an arc an arch there that is going to ease the transition from the muscle of the um of the of the the back leg basically the back of the upper leg and those muscles are separating here in two and it's hard to do but because of the geometry below but here it's very you should very make it fun go going underneath the butt okay so this muscle and this muscles are together are considered to be together uh and they are the equivalent of the biceps as i said and here we will have the a muscle that goes like this and this muscle is um going to be the extension of the quads that will pop out from the other side so imagine that you have a big muscle like this and those are the quads that we see from the side but of course i've uh exaggerated everything there so you can see that it's very pinched and i don't i don't want that of course so i'm going to smooth everything out and i'm going to make the muscle blends a bit better okay so let's push the muscle and make them a bit more tensed and we have a small muscle here but usually we don't see it so i can blend it with the with the the hamstrings that should be a bit less that should be less visible from from from the back and uh from the from the outside sorry and should be a bit more visible from the inside like this i'm going to push back the muscle of the butt inside and here i'm going to smooth everything out okay so don't worry it's going to be again better as as we sculpt the the the figure but again one thing to remember is this here it's good it's creating this shape okay it's cutting the shape like this not the other way around it's wrapping around the butt is wrapping around the front the side part to go to the front and to create a big mess from from the for the side of the of the leg okay so one thing that uh is usually uh hard to to manage is this small muscle that creates from the side view an indentation so i'm going to add it more and using the move brush i'm going to push it back a bit and make it more visible like this it's going to create like the first pump is from the oblique external obliques then we have the second bump here i don't remember the name of this bone and then you have a small bump here which will be near the great truck hunter that is maybe a bit too far i'm going to push it back and then we have the rest of the leg okay let's add more volume to those legs here too so from the back we have the hamstrings there that are a bit more straight than what i've done and then here uh we have again another muscle that we can split from there and this will help create um what i think of the triceps of the the tricep of the leg and you can see it you can see it basically merges with the the back of the knee there and they are called the gastrocnemius muscles and they are joining um to the together to the achilles um tendon tendon and they are making a a very wide tendon like this and maybe they are a bit high so i'm going to push them back and as you can see here it's very tense because it's not muscle it's it's a tendon so you can from the side make it a bit more straight and same same idea with your curves which this point is lower than this one like this one is lower than this one so when you go there your foot is going to be as a bit um cut toward your back like this you can see i've created a smaller curve and we are going to maybe shape the foot a bit better i'm not going to bother with the tools and things like this and this 2d i think we'll see but one thing that i can do is i can use the inflate brush by pressing i to as its name suggests inflate the feet and the fits are pretty long there i'm going to shorten them and one thing to remember with the feet is to add a mass on the top there and i'm going to to remove a bit of geometry there and to make them and and not to make them flat as you can see it's more realistic when you have a bump uh a mass on top like this and here i'm going wow i'm going to smooth here because it was poking through the geometry but here i'm going to use the scrape brush to remove the flatness of the foot and as you can see i'm creating small angles and here i'm going to emphasize the the arch of the of the foot and here i'm going to flatten it i really like scrape uh because it it it's like for me it's like smoothing the shapes i'm using it as a smooth brush i would say in in many cases and to define a bit better the the flow of the shapes so here i can make it you can use it to make the shape a bit more defined and the planes a bit more defined the arc the arch is a bit high so i'm going to push it back in general generally speaking the food is a bit white so i'm going to make it a bit more realistic with more more less white proportions sorry there are different kinds of food feeds sorry so for now i won't bother i will make a very generic food and i'm just going to use the crease brush to cut here the mask that i've talked about it's going to divide the foot in two parts and uh don't worry we're going to go back later to the foot once we have more geometry but it's very important to make of course the feet right because they are the what um what supports the whole body so okay so i think we are making good progress here we are going to to to to touch about the ends and um and the the lower arm so first i'm going to shape a bit the anatomy of the lower arm like this so usually the higher point is there why because you will see we have here a muscle that i'm going to add using the crease brush so the first muscle is a small one uh lying near the bicep and below the the vertex the point of the [Music] of the deltoid muscle sorry and then we have here we have a giant muscle called the brachial why radialis because it's creating a radiation uh it's rotating if you want and it's going to cut like this very um frankly i would say first i'm going to to to cut it very frankly here and it's going to divide the tricep and the and the to divide the triceps here and the uh the muscle that interconnects there so first yeah i think that i'm going to move the elbow a bit higher and the tricep therefore the triceps a bit higher like this it's going to be more realistic and so the tricep is going to to get thinner there so you can see that this is the tricep and the tricep is going to connect more like this and this big opening is the good place to cut the the brachioradial muscle down toward the thumb so the idea is that this big droplet that we are going to cut is going to to split the arm like this i would say even more straight here but once you have the hand rotated down the ground it's going to create even more rotation and then from the front here we can split this muscle again in two parts and this is going to divide what we call the flexors and the extensor so now i've destructed everything everything all my shapes but i can bring them back and i can sculpt them back but the idea is that you see that this muscle attaches higher [Music] attached to to the upper part of the arm and creates a nice shape by dividing the forearm into and again behind we have again the separator in the the joint that the the bone that separates the the different parts so for now just remember that you have this big mass here you have also a big mass that will stop usually there and from the bottom here we have the end of the tricep here and we have a small um a very small muscle that you can only see when you raise the arm and this is called the brachialis no it's called the oh i don't remember the name sorry it's a it's a small really small muscle a really big muscle but it appears really it's the brachial muscle so it's a it's a really small muscle visible on the surface but actually it's like having a stake in a layer behind the bicep but you can represent it like this and it pokes through a bit uh near the the other side and we've already defined it here as you can see it's this one imagine that this is like a stick layered in between the biceps and and the tricep so let me adjust the silhouette of my my arm there you can see the three layers there so now it's more a question of bringing everything together so i'm going to use the pastry brush adding more master and sometimes it's more important to define the muscles so they look right rather than they look correct anatomically speaking i would say so don't worry about placing every single muscles you won't be able to do that first because it's like you're not a doctor we're not doing a medical anatomy and we don't need this to live but the idea is to transcribe the general form general forms of the human body in an artistic way so here i would say the tricep will be from the back will be more more going through the shape so i'm going to push it to to to scale my grab brush to to make big moves and to push it a bit more inside like this and as you can see now it's getting very bumpy i don't like this so i'm going to smooth everything out and this is going to shine a bit better when i'm going to add more geometry so i'm going to remove the how can i say that the bumpy effect by smoothing my geometry a bit and this is going to make it more way more realistic so here uh for the arm for the hand sorry we have a strap so first what i'm going to do is i'm going to press shift b in order to zoom on this section and now my camera is rotating around this location this is something that you can do in zbrush by default because when you are clicking on zbrush it's it's focusing the point you were clicking on but here as you can see i'm dividing the hand using a small section and this is a strap that we have that basically is following the wrist and this strap is what's keeping the different cables of the hand inside the hand um it's really hard to sculpt there because it's too thin so i'm going to use the move brush and what i want to do right now is i want to use the the best brush of blender i would say which is the pose brush that will help that will help me creating a more natural pose for the end so sorry easy brush guy you will have to guys he will have to uh to to spend more time doing this using the transpose line tool but in blender it's actually pretty great doing this and i'm not going to to change the the the location of the of the fingers because i want to sculpt them and it's going to be easier like this i'm not going to use fancy masks and things like this right now i'm just going to sculpt with the minimal tools that i have i'm not very a big fan of fancy tools when sculptings so yes i really advise you to to just learn a few tools and to be very comfortable with them and to know your way around with those few tools tools so the best way to in my humble opinion to sculpt is this is to to be very consistent with the tools you use so now we are going to so for the end yes we can do simple things such as using the inflate brush we can make the base of the finger a bit wider which is the case yes we can um i think the thumb is the most harder thing to do because you're sculpting in a very old angle but as you can see i can sculpt it it's it's wider near the nail like every like unlike every other finger sorry and it's creating a s shape from the on the side view but you can see that even here i've made the mistake of making it aligned with the hand which is not not good at all so i'm going to use the pulse brush again and i'm going to press i don't remember yeah i'm going to press the once i have something that that looks great i'm going to press the ctrl key to rotate the thumb or to try to rotate the thumb a bit and this will help me using the scrape brush to define the plane of the thumb so as you can see i'm like putting the plane and now once i've i have a visual indication of the plane it's going to be easier for me to define the anatomy of the thumb in the right location as you can see here i've created a bump why because actually when you look at the skeleton the skeleton of a hand the thumb starts lower than the other fingers the what we call the metacarp of the thumb so here using clay i can put the an important mass of the thumb whoa no sorry it's not uh once we we are going to have more geometry it's going to be more fine but as you can see what i'm creating here just double checking is uh i'm creating a crease first here and then i'm just adding a small crease here and i'm going to add a line there it's going to be the first few things that i'm going to do at this stage and from the back we are going later to emphasize the fact that this part is um creating a wedge shape here same thing here and we also are going later using the maybe i can do it with the crease brush but we are going to add mass with for the tendons and if you look at your own hand and you like you you put your hand uh like 90 degree from the from your finger if it's possible for you but you will see that the different tendons are not joining toward the center the perfect center of the of the hand so they are more going toward the side uh so i can like imagine a point there okay and can join the the tendons to this point okay or to the a similar location okay not like this okay and once i've created like very obvious tendons i can smooth them like this and it's creating the trick the illusion of a good hand no no no no it's very far from perfect we have a lot lot of things to do importantly so you can see that this thumb is going to get crazy i'm going to um to work on it now i'm going to smooth what i've done previously it was just a visual marker visual indication for me and i'm going to add using the crease brush um a mark here and i'm going to push it back and i'm going to do a lot of things like this you can see if like here it's going to to to lower at the end of the nail we are not going i think we are not going to to sculpt the nails and things like this i don't want to make a very long tutorial i i'm known for making long tutorials but this time i want to make a i don't want to spend more than three hours or two hours to sculpt everything so and i don't want to make time lapses because i think this is really important that you um if you want to do this kind of stuff that you see the whole process and the efforts that goes behind them it's not something that that you will be able to do in one day and like follow tutorial and say oh look i'm an atomic master that's not it's not my case uh it's not even the case of the the best anatomy teacher and the best anatomy sculptors they are constantly learning but it takes time to create something convincing so hence the fact that i want to do the head the nails because nails are not the key selling point to anatomy in my humble opinion okay so ah the thumb from the top view is not great because here it's not wide enough so let me add a bit more mass and maybe the thumb is a bit a bit too long so i'm going to shorten it and maybe it's not inflated enough so i'm going to inflate not that much but i'm going to inflate it a bit and let's call it okay for now and of course we are going later to go back on it and like tweak it and do a lot of things i think i've over exaggerated the the plane i'm going to try to push it more towards this direction yes so i think it's better that way i hope it's bigger that way yes okay let's go back to that later once you've spent too much time on uh on a section remember to to change your mind and like do do something else something really important otherwise you will you will uh be frustrated so i'm going to reshape the biceps so it's more a box shape a bit like you can see here it's more angular and um i'm missing something for for the arm to be honest and i think the the the whole arm the whole arm sorry is too too bumpy and is also too um too small i'm going to make it wider without making my guy another cliche of the of the muscular guy which i don't want to even if it's something really interesting for learning anatomy but i'm going to push back here the muscles of the of the forearm when when when we are in an anatomical position uh stand like this usually the brachioradial muscles are not that twisted so rem remember that they are more straight than than twisted and the shape is not going there it's going from there the the rotation the what we call in drawing the apex of the curve but what i don't like is the bunny hop the bunny hope is look as you can see it's like there is no transition in the shape so what i'm going to do is i'm going to merge that and make it less obvious as a bernie hope pop sorry bernie hop not bully hope sometime sometimes english is really difficult for me so i'm going to sculpt back this muscle behind and using crease brush i'm going to make the brachial muscle higher more here if i'm looking at my reference yes it's way higher and you know what i'm completely mistaken here yeah even though i've sculpted this hundreds of times i've made a mistake here it's that that's why it was not not looking great at least i've seen that but the biceps the bicep is going there but the brachial muscle you know you remember the layer the steak layer is in front of the brachialis so i'm putting it back there now it's starting to make more sense to my eyes and i'm going to make it such as the i'm going to make this this um correction there this this correction and this is going to look much more realistic i think let me just add back some masses and like using the move brush yes it's it's now we have the good layering of muscles you can see that a simple mistake can lead to a very old way of of visualizing the section of the body okay so of course we have a lot of other things to do um we are going to do some of them soon i'm going to work a bit on the head and then i will do um a small break uh but you won't see that break in the in the in the video but i need to grab a glass of water and just to refresh my mind and i will really advise you to do that because it will change your life as an artist if you can have a break and stop doing something and coming back to it later this is something that i was very not comfortable with doing it but i've learned with the time that doing it gives you better results so so do what i didn't do for for a long time um you will do better jobs uh so i'm just going to add some fibers in that straight direction for the the group of muscle that is be below and i'm just going to cut under here the the the elbow so the elbow is still maybe a bit low so i'm going to push it back up and i'm going to re-revisit this old section anyway so don't worry it's going to look better once we will have more geometry and more we'll spend more time too to work on that so i'm going to to work a bit on the head i'm making the anatomy a bit better and make it more uh how can i say make it more visually interesting and then we are going to um i'm going to do a break you're going to do a break and we are going to to pursue with the the rest of the of the tutorial after it's going to be instant thanks to the technology okay so for the ad what we are going to do is maybe we can start defining the the i a bit okay so shift b i'm going to locate my camera near the head so you can grab basically my head and now i'm rotating around around the head and um okay so we have the nose and that is going to be i think enough defined for the geometry that we have but for the eyes what i usually do is i'm cutting inside and then i'm pushing the geometry up and down and as you can see it starts to reveal the knife and if you want you can of course use geometry and that's what we are going to do we are going to use a sphere but this trick is going to uh what i'm doing is really simple once you see it but when you when you start sculpting learning sculpting you will see a lot of tutorials just putting a sphere and like spending hours trying to define the leads uh here you can i think it at least for me it's easier to just cut a hole it's pushing the the geometry inside pushing the geometry below and then you are your lid defines and it's at this for me it's going to be easier just defining the leads like this and we are going to talk a lot about the eyes i think because a bad looking eye is going to completely create a life like a life lifeless no it's going to remove the the life of your character okay so for the eyes what i'm doing usually is um i'm i'm thinking of an angle that goes like this um the lower lead the lower corner of the the eye the inner corner of the eye sorry is what we call the lacrimal oh i don't remember exactly the name sorry i was making uh i was showing off like it's the it's the blah blah and i don't remember to be honest uh but basically the idea of this section is that it's um where you will have uh your droplet of water of lacrimal uh liquid i don't i don't know the terms in english sorry it's really hard for me but it's where you basically are going to where where basically your cry is going to to go out from and the shape of an eye is what i'm thinking of when i'm doing the shape of an eye is um let me go to the uv editing here just showing you basically i'm thinking of so you have the sphere of the eye with put the hole inside basically what i'm thinking of is you have a point oh i don't have undo's okay so you have a point there um there this is slightly lower and then i'm creating [Applause] i cannot change the i don't have undos here it's pretty pretty weird and then you're going to have this kind of shape so it's going to be flat on top like this rounder rounder on the bottom and slightly tilt it so what i want you to remember is this angle if you symbolize it more you can think of one line two line and you connect the things like this okay and in the middle you will have your iris that was that is going to touch and here touch the the borders the eyelids basically and you are going to have the crease here and then on top you have of course the the rest of the eyebrows etcetera etcetera so this is really important one other thing that is really important is that from this from the side view so this is the worst circle i've ever done i think this one is not that great too oh my god from the side view you have the cornea here and here you need to remember that the eyelid has a thickness okay so you will be able to see this angle and this angle so from the top of course you won't see that if you're looking down you will see this plane but if you're looking from the bottom you will be able to see this and remember that from the side the the top eyelid is overshooting the lower eyelid okay smaller pointers here here and there okay so let's go back to the sculpting tab and we are going to create exactly from a schematic point of view what i've told you so here it's maybe more round on the bottom flat on the top flat on the side here and now we are going to add a sphere for the eye and from the side the the top lid is going to to overshoot the lower lid so how can we do that we just put ourselves in a view that is comfortable to to do that move and same for the bottom like this remember and this is really important that the eye is a spherical shape you want your eyelids to follow that shape still so that's why here i'm curving around the eye and then i'm smoothing back this helps me emphasize the fact that the eye is wrapping around the sphere okay so here it's like completely the the my kite is completely a drunk but uh this is because uh on top of that on top of an eye you have of course you have skin skin folds and when you are tired those skin folds are more soft more less tense i would say and then um and therefore therefore it's like following more the shape of an eyeball so remember that and when you are getting old it's the same same idea you are your muscles are not contracting your skin that much and gravity is going to cool your skin etc we're not going to talk about that in this tutorial but yeah there are a lot of things to to note when you you're making different kind of age edges so let's add the sphere so i'm going to add one sphere there i'm going to rotate it rotate it and i'm going to do something that i usually like to do that is quick to do i'm going to select in edit mode this this section i'm going to press a v in order to rip it and i'm going to press l and i'm going to invert this section so ctrl m on the y axis control m for mirroring and on the whites it's not working why it's not 14. so if it's not working i'm going to rotate it like this like 90 degree on the x-axis 100 degrees sorry i don't i don't know what i'm doing like this and i'm going to push that back inside and i'm going to scale that and i'm going to push it even more like this and then i'm going to select the inner part i'm going to extrude it like this and then i'm going to shade smooth everything and then i'm going to go in the uh in the normal section all those moves and this is going to do it i think for now okay so now i'm taking this eye and scaling it like this and i'm going to add a new modifier and i'm picking the mesh like this and i'm placing now my eye you can see that the eye is too big because one eye should fit in the middle here and this is not the case so i'm going to push them push them back a bit like this and i'm going then [Music] from the side view to make them a bit more visible and then i'm going to adapt using a large brush i'm going to adapt using a large brush my geometry so it's not it's not working well here maybe just the eyes it's just too too too big for at least for my like for my liking so just let me scale it down yes something like this is going to work better i think okay so now i couldn't i could adapt my my eyeball to my eyelids sorry to the to the rest of the of the mesh now this day to take references for for this process it's very important and here i'm going to try to push the geometry that is visible from the inside of the eye pushing it a bit higher and i'm trying to keep this plane remember the plane of the eye is really important of the eyelid it's very important because the eye eyelids have a thickness okay so as you can see it's getting a bit weird why because i think we see too much of the of the eye of the pupil sorry and i think also the eyes not well placed let me do that better i think also the eyelid cool the pupil could be a bit larger so i'm going to select the inner part like this using l and i'm going to select this loop and on top of that i'm going to scale a bit this and you know what what i'm going to do is i'm going to remove or select this part with this here with the the point so the inside the hole i'm going to push it back and scale it down a bit push it back the other way and i'm going to make to press ctrl plus in order to select the outer ring and i'm going to add two materials and the second one is going to have in viewport display a dark material and i'm going to assign that to to to the 2di and now what i will do is ctrl um not ctrl i but i'm going to select those faces there by double clicking on it and i'm going to assign the first material and i'm going to go here and select like um okay let me just undo what i've done oh it's not undoing the the call there so i'm going for the sclera which is the the white part of the eye i'm just going to put a slightly beige part and here i'm going to add a new material and i'm going to select a brown color like this for now it's going to be fine and i'm going to assign this it's not this one it's this one oh no no it's this one and i'm going to assign this color to the eye i think again the eye is a bit too too wide so let me adjust that and now that i'm seeing that i have a lot of work to do of course to make it less creepy and this is going to take time uh don't so don't uh don't over think right now you're not at the end of your of your journey you have much more time to make it working to make it realistic while the eye is really big and the nose is really smooth so i'm going to i'm going to adjust the the head so i'm going to widen the nose i'm going to work on the nose a bit later don't worry and the mouse the mouth th is pretty hard for french people okay so one thing that is not so great with my setup is that my lens is really wide so here you can see that i have a focal length of 50 millimeters if i'm putting 80 i'm going to be closer than a closer than what i i want but i'm going to put 60 around something around 60 which is the the field of view which is the the length of the human height i sorry why i'm placing h everywhere in english i don't know and again my eyes very wide so i'm going to try to make it less wide the eye is very um frustrating to do at the beginning but as soon as you got the shape is really it's really fun and it's really you feel better basically i'm going to use inflate to to inflate the lower part but you're going to trust me you're going to work on on on the eye probably until the end because this is usually the case and every artist that i know are always working with the eyes till the end because it's what we say is that it's the window to the soul so i'm going to split a bit the idea making the shape a bit better and i'm going to use scrape here to create the shape of the eye bra so the here we have what we call the keystone it's like a flat plane that is not that much that much visible here and it's hard to do because of the amount of geometry that we don't have and but basically what you need to understand is at this point this is going to wrap inside and wrap then outside here you have like a transition point i would say that will make the the masses uh that will invert the masses so it's hard to explain there because i don't have that much geometry so i'm going to keep that for later but basically for now imagine that it's a giant tube that is following the the arcade and i'm going to here to to dig a bit inside trying to make the top flatter the top eyelid flatter he's a bit mad now to smooth a bit and everything and for the the lips i'm going to using ctrl key i can invert my brush and i can define very hard the lips and then using smooth i can push it back i'm going to press ctrl here to not control but i'm going to dig a hole there to create the top part of the mouse again i have plenty of tips to give you for the mouth but we don't have enough geometry right now for for seeing them properly so i will keep them for later but basically it's making a butterfly a butterfly shake okay so make it more happy by changing the the corner of the mouth i'm going to lower everything the part of the mouth the mouth the mouth the mouth th part i'm going to lower it a bit down like this okay and for now it's um i will say it's enough for what we what we want um let me think about another thing the nose is really really weird right now i'm going just to cut a bit more here and the planes of the nose are not defined so using trim uh using scrape sorry i'm going to trim the bottom here and i'm going to make the wings of the nose a bit more prominent here the purple lip is going to be much more in front of the lower lip from the side view as you can see so i'm going to push back the lower lip and i have a and i really need you to have less space more space in the bottom of the nose here so i'm going to put down the mouth and for now i'm going to do i'm going to yeah for now i'm going to do something like this i guess and this is going to change a lot so don't worry again i'm going to add the v in the mouth line here and from the top you remember that in the mouth the more the most time you will spend from a lower or a top angle because of the roundness of it so this is what you need to remember at least for now okay uh i guess that uh so when when i'm speaking like this it's probably because i'm looking at my references um [Music] it's not probably it's because i'm looking at my references but you probably unders understood that already um just in case i'm saying it i'm saying it to you i'm going to smooth a bit the arcade because it was too too important and then i'm going to cut the front part of the head like this to push back the cranium and to create the the shape of the frontal muscle of the cradling and here i'm going to cut the the temple section the region of the temple here i'm going to smooth everything out and i'm going to cut below the zygomatic bone that is going to connect to the ear and on top of it it's the temple and i'm going to smooth everything out again you can see it's starting to take shape here and i think that the ear could be a bit pushed inside like this and i i also need to define the muscles of the the face way better for now i'm going to cut gently here to define the muscles that will that will overlap here so i can i can cut there and again it will go below as a as i've already told you it's it's it's moving up it's like if i re-increase it it's it's doing this it's going back like a like this and here we have a small shape that we call the nodus and it's a small bump so if i'm exaggerating it's exaggerated exaggerating it it's something like this and it's from the side view it's in front of the lips so as you can see it's not the case here so i'm going to put back the lips and i'm going to put this part in front of it so from a side view we don't see the corner of the lips that much and this is going to make a nicer shape s shape and maybe i can bring the jaw back a bit and the front this the eye is still too big for me so i'm going to wrap to wrap it around more and i'm going to i'm going to rotate it a bit so it converge a bit inside usually we don't have the focus of the the our eye too much um too much toward the edges of the eye so hence the fact that i'm rotating them um [Music] on their own pivot point and i'm going to make here to create a shape that quickly goes back as you can see it's it's like escaping toward the back pretty quickly and this is going to emphasize the roundness of the of the of my character of the head of my character and one thing that i can see right away is is the the shape of the cranium is maybe two two squared so i'm going to emphasize more the mass behind there going to shorten the neck a bit we didn't warped that much on the next so this is something that we will have to do later and yes overall i'm pretty happy with the geometry that i have we didn't work on the ear this is going to be a big part later but yes overall um that's it for now i'm going to take a break uh i really encourage you to do the same uh otherwise you just continue watching and i will be there so soon i will take a break just tweaking things around don't forget to save too it's a good idea i think okay see you soon see you now so now i'm back from my break i hope you had a nice one too and we're going to to continue working on this character um so for this uh second part what i'm going to do is i'm going to work more on the silhouette of my character i think that we have the the legs are getting on the right track but they are not as best as we can do i think so let's work on them as you can see i'm going to make the the knee a bit larger and i'm going to emphasize some muscles so i'm going to take my reference again um and the one muscle that i want to emphasize is the uh is the the the quads are the quads sorry it's a group of muscle in the end and i want to make it a bit wider like this i want to have this point being the lower point on the outer side more visible and i want to make a more boxy shape for the knee so we're going to work toward that and i want to define more the overlaps of my leg anatomy so for this i'm going to again use my references the different references that i have on my on my board on my i would say mood board and by the way i'm using pure ref and pinterest for that see if you want to to do the same with you if you want to have the same setup and what i what i need to do i think right now is to the side of the leg is too much um visible so this part is too much visible so probably i will lower it and the the butt muscle is also very prominent so what one thing that i can do is by pressing ctrl alt shift i think it's ctrl shift or alt b sorry i will isolate this part isolate sorry and now i will be able to work on the silhouette of the leg so i'm going to flatten a bit the the side of the leg and i'm going to grab some leg references on my side so again feel free to take your own references uh maybe it's a negotiate maybe it's a good sculptor that you it's a sculptor that you that you like and that makes great um great shapes and that you you think is a is worth it as a reference in this case um i'm going to to change a bit the the quads like this make push them a bit forward and make a nice curve nicer at this curve like this and also i'm going to break the silhouette of the knee a bit more but again i don't have enough geometry right now for doing that kind of work so i'm going to wait a bit and do my best at this stage and i'm going to also bump a bit the the side of the of the of the front of the leg now i'm going to grab my crease brush again and i'm going to cut again again here for the gastronomials muscle muscles and they are going to be uh near another muscle that i'm going to define right now and that is going to start from there and that is going to follow the the dynamic of the leg basically straight down the leg like this of course now it's very exaggerated i'm going to smooth everything out gently on top i'm going to correct this uh just the shape of the gastrointestinal too large maybe i can emphasize the the the lower the the apex of this curve lower here and you can see that from the front it's looking much better right now also from the front i can cut the foot here it's what i like to call the wrench of the foot because it's like a wrench shape okay and i will need more geometry to do that so alt beads is uh going to rings bringing it's going to bring back my my view and i think here i can do a better job by cutting the the muscle here of the of the of the butt a bit better like this it's really hard to at this point without that much geometry to cut but you can see if i if i define more it's like this it's like a donut if you want a donut shape where everything is going to rotate around the great trochanter which is this again this bony protrusion and usually the back the butt muscle is divided and in two big shape you have one that is going like this and one other that is flowing down but we won't bother at this point defining that okay i'm starting to feel that i've spent more time on the back than on the front so it's time to go back to the front uh so we are going to to to to define a bit more the abdominal section and to define more the pectoral muscles so let's start by doing the abdominal muscles so the abdominal muscles will follow the ribcage so below you have below the pecs you have one muscle that is going to of course be hidden by the the lower pectoral muscles like this and then we have the first section and if you look at them at diagrams for the pectoral muscles they are flowing up and as as um lower as you get they are they are going to to straighten up to straighten sorry so i'm going to cut the abdominals like this and the last portion is more blended here in the in the center than the others okay so i'm going to to again smudge them like blend them for now they are so perfect compared to what it should be even like a very muscular person won't have perfect abdominals like this or in really rare cases and one thing to note is the that we have a belly so we are going to add it we are going to so the oblique the external oblique is what we call the [Music] in the it's what we call the the lava handles also we can emphasize them and really think about the gravity that is pushing the mass uh on this on this section right there so you can see here it's like floating so i don't want this i want to push them back there it's lying on top off and it's not floating like a like a air balloon so remember that but here i'm going to also emphasize the the the back muscle i like to call this the cape because it's i don't know why but it reminds me a small cape reminds me of a small cape zone and um okay it's the the external obliques are looking much better and here it's going to be a very hard section because of the geometry that is like very close together but we are going to try our best for doing that okay so now that we have the abdominal muscles a bit more defined we can go with the draw brush this time i'm going to to cut the navel to insert the nav holder and for the navel i'm going to make it using the the grab brush i'm going to make it more thin and i'm also going to um make it higher and like i think i need to to review a bit my my different proportions because now we are a bit off usually the navel is at um oh it's it's it's okay it's at the middle of the all right it's going to be fine and one thing that i'm going to add to to increase in um inside is probably the leg but i'm going to do that a bit later but now i'm going to widen the inner part of the leg and here i'm going to try to push that leg back a bit this part is usually hard in when sculpting and that's where you want to cut out the symmetry and usually we see image rise after but for this i won't bother i will just pursue my my my journey like this okay so now i will define the quads a bit more so the quads even though it's called quads we only see three major muscles the first one is this one i think it's called the vestus medialis in latin then we have a tendon here that connects to the knee okay so we are going to define that much more later with more geometry and then we have the external parts of the quads here and then inside we have a muscle that attaches here that forms a giant um shape that is slightly tilted so i'm going to tilt it i'm going to too wide to make it wider like this okay so now i need to work on the silhouette of my leg as you can see it's not looking great anymore i have a lot of work to do in order to make that fit the fit with the the rest of my of my body but i will switch reference i think i'm sorry not showing you my references because um i can't basically i don't have rights to show you that but there are tons of good ones on on internet and on pinterest and and they are free they are going to be far more uh useful and then you think again adding back the s this part is it's pretty important meaning the you know the the small um the small section here that connect that wraps around everything so remember that we have them in the in the anatomy we have the we have we have different muscles we have uh the one that that that joins that that connects around the greater counter and we have one that um that is in front and that is uh more visible so we we are going to to we put put back the the grater contour that has disappeared a bit and we are going to redefine the different shapes so here and here we know that we have one muscle okay so this this one is quite quite important and it is following again the it's following the isle iliac crest here maybe it's not wide enough so i'm going to make it wider like this and then we have this one the small one that i was talking about previously that creates that defines a really important shape for the silhouette of the of the leg so of course now it's too much but here with the the the clay brush i can make it more visible and more define with the other muscles don't worry if you don't understand right now what i'm doing it's something that you first you can look at your own references for this and second it's something that will be more defined with the with more geometry and i think we are going to soon increase the the subdivision levels okay so we are going to work now on the petrol's muscles a bit and i'm going to cut again below there not that much there because it won't be that much it will be more blended here and i will cut a bit here because it creates a hole that we all have even if we're not muscular here between the clavicle and the insertion of the the deltoid and then we have uh the deltoid will split approximately there to basically the deltoid is three parts three main the pectoral sorry is the three main parts you have the clavicular parts the coastal section and the the arms the coastal section so it's there it's basically connecting like this um and then you have the the sternal section attaching to to the sternum and sometimes you can see the the fibers they're fighting around and to attach themselves to the to the sternum and here i can open this also a bit okay the clavicle is too too straight here so i'm going to put back that [Music] put back like you can see here put back that curve that bike handle bike bike handle sorry shape and also i'm going to to shape the delta the packs a bit better and i'm going to remove a bit the mass of the deltoid that is a bit wide for me like this so now it's it's it's more or less a question of feeling and like is it looking great we can move around do you do you think it it's looking better like this or like this or like this and remember that the first rule for me of sculpting is it's very iterative so um it's a very iterative process so you have nothing is broken until you basically publish your award on internet and say it's finished you always have the the time to to to to to sculpt them to to tweaks to tweak here and there so until you decide it's finished so now we are going to work a bit on the head and then we are going to increase the resolution of our of our geometry so going back to the head things i think the eyes are still a bit big and the nose is maybe a bit wide there so i'm going to remove the it was very large there so i removed it a bit and from the top i'm going to make the arcade a bit more prominent depends on what you can on what you do what you want to do at the spawn and also the ethnical points of view that's the the the f beam all the sorry the e it depends on the the facial features are very different if you are sculpting um a caucasian or asian or um it's very different for for the according to the different uh people and um and you have to to understand uh the anatomy and to learn how much it can affect the forms depending on the origin of the people and this is very very rich in terms of details and for instance here making the the arcade more pushed toward and this is a this is something that you you won't do that much for instance for an asean people [Music] but here i'm going to work a bit on the neck that was very large i'm going to put the adam apple out to project the project out like this i'm not i'm not that happy happy with the eyes right now i think this is going to take a long time as i already said before so be patient everything will pay will pay off one day or another or one hour in another or another okay so now i think we're ready to save and to uh increase the resolution so i'm going to subdivide once more and now it's going to be much easier to add more details and to define muscles even better so i'm going first to smooth everything a bit a bit more it's going to look much more realistic as we go going to lower the back a bit like this so now that i have more geometry to work with what i can do is start working more on the the details of the connection of the muscles so now as you can see it's very schematic you won't see anybody like this in in the real life um so now with clay strip i'm going to make it more organic organic so i'm going to here and there add some fibers and using the my brush i'm going to make it more plausible basically so you can see i'm adding a bit of i'm filling a bit the shape like if i like if i was adding um a piece of skin on top of it i can add back the serratus muscles that are being cut by the the cape behind you remember the the door the lattice in the door side like this they are cutting the the serratus so you can i can emphasize that and i'm going to make them a bit rounder because remember that they are following the ribcage so going back to the clay strip usually the serratus muscles are also being connected to the oblique like this you can see the fiber and you have usually an arrow like this and their interconnects with the with the old legs like this you can see i think now you can see what i'm talking about so here for the packs we are going to make the a bit more fiber and we can smooth gently just by tapping tapping around like this usually it's a good idea to go in the direction of the muscle to sculpt in the direction of the muscle or if you want to to to not do that basically go across the muscle it can also heal the form quickly and make a a skin shape a skin idea why because the skin usually goes perpendicular to where the muscle flexes which is pretty logical in fact so the deltoid shape so remember that for the deltoid we have like it attaches to the scapula and the scapula remember is the triangle shape inside that that lies down the the lies on top sorry the the the rib cage i can add the the steak basically it's the small muscle in between the bicep and under and the rest of the arm i will go back to clay strip now and um now it's also a good time to plan a bit the bicep with the rest of the arm you know we don't want the bubble man we want now we are in the making of a more realistic or life-like character a live character it's not enough in terms of geometry but it's it's a start okay here usually you will have um [Music] a small muscle connecting that shows that creates a small bump there so you can add it in near the inside for now it's too clean like this is what we are looking what we are looking for is like to unclean the to remove the 3d aspect and to remove the the fact that the the muscles are aligned perfectly and it we want to avoid the schematic view basically so i'm adding fibers here putting back the strap but blending it with the hand will have a lot of work to do on the arm and on the and on the on the forearm i hope i won't have to do a second video for that this is my my goal i'm going to split the triceps toward the inside of the body here you see it starts looking more real because we are adding small imperfections small defaults and skin defaults and things like this and this is what making is making a character looks real this and also breaking the symmetry but we are not at the point where we we can afford to do this we still need our good friend symmetry so i'm going to add back the muscle that attaches there so remember here we have two muscles but i prefer to to to to group them i really like the sculpting and blender i was i i was and i am still a huge uh zbrush user i started uh doing some zbrush maybe 10 years ago or something like this but the way we skilled with sculpting blender is much more better than what we had in 2.79 and so i'm really really glad they are making that that work it's amazing blender anyway is amazing oh sorry it's not a software tutorial no more ad but you should try blender if you don't know it okay so now what we're going to do is still going through the whole body because now i've worked mainly on the top part on the torso as you can see for the abdominal muscle the fibers are going down they are not going up sideway but i can feel a bit the gap in the torso if you want to make your character even more realistic just remove a bit the the different parts like this you can see now it's starting to to look much more plausible even though the this guy is still still muscular it's much more yeah it's much more realistic than what we had and um again doing this kind of work is just a question of time i'm pretty sure that even at the end of this tutorial i won't be happy with the result because i i i won't have the time to to record or or i will say i won't have enough any enough things to say on top of a tutorial without time lapse and i don't want to make time-lapse um so at some point i'm i'm pretty sure that i will be saying the same things over and over and and that that the mesh the the sorry the the the result won't be what i usually do when i'm not speaking in terms of anatomy studies or anatomy work but bear in mind that this is only a question of time and of course the beginning what i've shown you since then it's a question of studying it's a question of knowing the the forms it's a question of using good references but now it's more question of organizing everything that we've done and blending them it's like when it's like when doing a in fact a good concept art for instance you you you spend less time on the on the sketch usually than on the rendering and here it's what i could consider to rendering because the whole thing is not you know as not that far from a correct anatomy it's it's at least it's it will be plausible i'm not saying that it's perfect of course it's far from perfect but at least it's close enough so now it's a question of organizing the things and like blending them and rendering them basically and this takes super time it takes a lot of time but it's also fun it's the fun part of it you have something that starts to take shape and starts to be alive and you can be if you if you if you follow this tutorial that long and you followed along with me or you posed and you full on you follow along with your own mesh you can be proud of yourself because i know it's really hard to make the jump of seeing something bad for a long time in front of you and like fearing the fact that the shapes won't be good enough but with practice and with um i don't know the word in english but endurance i don't know the word in french is called angels meaning that hard work i would say but it's not it's it's not exactly that but you you will you will you will get it the the the reward is is closer to to what you think was not intended to get towards a multiple motivational speaking speech but but alien that that that's what art is for me at least now it's just getting the things down done and just doing the things and here we are doing like something that is uh much more easier for instance than doing a a very thin character or a very how can i say a very realistic characters in terms of um closes and things like this we are only studying the anatomy studying the anatomy and um we for instance for me the the doing a female uh study anatomy study is much more complicated uh because it's more subtle and it's more the forms are more subtle and and gentle in [Music] in terms of silhouette in terms of muscle and even [Music] persons that are very muscular it's still subtle compared to a male so tricep i told you that it's we see mainly two shapes but in fact as i told you there is a third shape that is uh going to the outside but we don't see it here but basically it's it's it's more like this if you want so you have the tricep there and here you have another shape that is following the tricep like this but i think we can we can blend it in and make it fade into the into two groups i'm going to feel the cool thing with the clay strip brush is that it's like the clay tubes in nz brush or clay buildup it's feeling the it's feeling the the shapes so here from this view i'm going to adjust the the arm it's really hard to go into views that we we're not used to because we don't have that usually we don't have that much reference for this and it can looks very weird to the eye here i'm going to make the bicep the apex of this curve much more square here as you can see again remember that here the brachialis muscle is going in front of the bridgeview radial muscle so this part is going behind this part and this part is the stake in terms of proportions usually the pectoral muscle is the end of the deltoid from this side okay so i'm going to have a quick glance of on my my references just me let me just one second to adjust them into pure ref again pure ref is a really great [Music] program free free program that helps you organize your references okay so now i want to to go more to work more on the head pretty happy because now on the head it will be easier because of the subdivide i can add for instance the nostrils or maybe not you know what i'm going to divide one more i can always go back anyway to the solution level it's just i prefer for for [Music] i just prefer to to to work on one level at the time and and make the switch of a subdivision level a conscious thing but here i think i can do it like this you know what the fast navigation is really bothering me so i'm going to remove it it's fast navigation here it's going to be much slower but it's not going to undo my it's not undo but it's not going to trick me in the in what i'm seeing so the nostril the wings are going back inside the nostril something that's something to note so you can see here i'm making it going inside and for the nose i have some good references i think yes right there photographs are always good but here i'm going just to make them a bit squarish compared to what i am and of course they are going back there and they are following the the bones of the nose so here i'm going to to to add some creases and here it's wider and it's starting it starts to taper much sooner than what i have so i'm going to put that back the white part on the top and now what i need to do is to make the the transition here a bit more pronounced and i need to make the ball of the nose which is not there right now it's not visible enough so the ball of the nose is just imagine you have a sphere here that represents this shape and that's it basically so for for the lips so here also i can you know add the start of the nasal nasolabial fold nasal nasal labial throat sorry and it's going down here but then i can smooth it a lot because i don't want to it to be that much pronounced because we are not making someone old usually something that we see on older people and i'm going to here using the scrape brush i'm going to to polish my geometry like if i wear a jaw a jewelry maker i don't know the term in english but like polishing the publishing agenda so here it's is the the keystone that was talking about sort of a three piece three pieces shape and now we will be able to and that's pretty cool we will be able to to work on the on the the arcade shape which is pretty hard to think about there is a really good book that i will highly recommend you to buy which is called anatomy for sculptors sculptors sorry and this is um this is a something that a a book that will give you an an incredible amount of advice uh and tips on uh on the anatomy and the human body and um i've learnt tons of things using this book i have the paper edition but there is also a e-book edition and it really worth it with worth the price for for real so i'm going to drop this part back this part is going to be tricky because we we don't have the top of the underlying topology of the of this part but i'm going to do my best you can see now that it's harder to smooth and hence the fact that i didn't want it to i didn't want to [Music] to to switch quickly of subdivision level now we're more ready to do that i'm going to take my eyes i'm going just for a moment to to hide the the symmetry the mirror is going to help me sculpt inside and now i can use the draw maybe draw sharp it's easier for carving i'm going to push this geometry far really far so we'll be able to only work with the necessary geometry i can smoosh a bit if i want to to make it more homogeneous but you can see that now i have access to a much more logical structure for the eye okay so i'm going to push back the eye a bit and again i think depends on on on the angle of the of my viewport but i think it's still too too too big i should be able to see the the the other side from a three-quarter point of view and now i can also use the scrape brush to define the planes a bit better i'll be careful with the scrape brush not to overdo it if it's not a stylized [Music] a style if your goal is not to make it stylized and it's good from time to time to put some scrape work here and there it helps define the shapes a bit better and what i'm going to do is also add with clay strip here i'm going to add some some skinfold that will go on top of the of my eye and i will blend it on the top and i will try to make it greater than this of course integrate it better usually you see you see skin folds on top of the of the eye so now it's far too obvious that it's it's not realistic but let me try to to make it work so first i'm going to sculpt around the eye here and i'm going to first i'm going to smooth it with the my my surface here and i'm not i'm not very happy with the way my um my proportions turned out so i think i put the eye a bit inside like this it's it's much better i think and also i will with clay strip i will start to add a bit of the indication of the muscle under the eyes like this that folds the the contour of the of the eye and from there i will also add with grease i will add a much more pronounced eye bag but more toward the inside remember that this part is sticking out like this and i will try to blend it to do my best to blend it better like this for now it's going to do the job i think even though it's it could be also it could be perfect but it can always be perfect uh more and more perfect than what we have so it's just a question of time again but you can see that now it starts to look more okay the the character is more aged but it looks more real i think it's edged because of the amount of details that we have under the eyes and we'll say that this is something that we can work with and for the mouth we can add more masses here and another mass to the side of the lips the top lip and the bottom lips we can add two big masses like this so with the symmetry it means that here it's cut and here we have the big masses when i'm saying mass is like volumes basically is it's like this one this is a one two and then we have one here and two small there in terms of volume okay so one thing that i can do in order to make the mouth more interesting is i can push if i can try to push the line more inside and make the top lip roll over the other one it's going to be better and the chin as you can see is a bit undefined so i'm going to make it more defined like this can cut a lot under the mouth but you here it's going to be smooth always unless you have a very aged person and for now it's going to like this it's going to work i think okay so i'm going to select the trim brush now i'm going to trim a bit uh this part and then i'm going to add some some some planes here and there and for the year uh what i want to do is i completely forgot to walk on the ear but what i want to do is to cut here and i want to create what we call the y of the ear so the ear you have a big y shape like this that comes there so you can see it's a tilted y that that protrudes out then here you have like a cartilage piece right there that blends on the bottom but not on the top and the y is following the the border of what we call the helix with an h helix which is this the basically it's the border of the ear and goes inside so it goes out and then inside the ear like this and here i'm going to carve a hole and here we have the small protection for the the ear and with the grab brush i can work my way around my geometry here that is not perfect of course now and one important thing with the ear is to to work the back to work to work the back so before moving on i will just carve the hole using a dual sharp brush so the hole is going to to the left from this point of view it's going it's not going directly into your into your brain it's going you have a small corridor in this direction and here i can feel with skin and blend it and here i can use the inflate brush for the the lobe here and i can use the crease brush to make like skin crease like this and in this case it's probably better if it goes more toward inside here so i'm going to because it's protecting the inner part of the of the ear the the helix is going over everything anyway and that's it should be much smaller here so that's what i'm trying to do so this is going to do the job i think for now and um here on the back we'll have to to charge this part is always hard to to do i think the only good way i i think i i found for for making this is like using a mask so you can use the the mask brush you can mask here this whole section and you can by pressing a you can smooth the mask and you can invert it and using the grab brush you can try to to put the hole inside it's important to follow the shape of the back of the ear and once you've done this of course your skull is not going to adapt correctly so i'm going to clear my mask like this and now using the the trim brush is a perfect candidate for for introducing the skull back and i can also adjust with my grab brush everything and this is where i need to smooth a lot i'm using the crease brush i can also separate things a bit better the crease brush is also going to pinch so it's going to bring back the geometry together which is pretty cool so you can clearly see that here i have too much geometry because when i'm smoothing things are not getting smoother as much as i would want so here i'm going to define the top of the trapezius muscle so usually i don't work that much the the the back of the ear why just because my usually my characters have hairs but in this case i want to cut i want to make it make it good for you so i'm going to work again on this so from the bottom i can push it as you can see it's smaller than what you think it's like tapering toward the toward the skull and after that you can using the inflate brush you can add a bit of thickness to the helix from the back without breaking the front so just take a look at what you're doing of course and here we are going to carve to add a bit of geometry like this and it's going to it's starting to resemble the shape from the back but don't spend your lifetime on this because it's uh it does not worth it to my humble opinion unless you are doing a close shot of the year so yes anyway something like this for now and putting back some some skull master and smoothing everything out i think something like this is going to be for us pretty fine so now i'm going to add back some sternocleidomastoid muscle and make them much more tensed and here you can see that there they are splitting toward the clavicle and here i can make my neck much more realistic by going across the skin like this and by smoothing everything out and it starts raining a lot i hope you you don't you cannot hear that through the microphone if it's too loud i'm probably going to stop and make another break which will be i think welcome and uh i'm going to push back the adam apple like this it's like a triangle shape like and maybe my neck is too wide so i don't want to make it that much that much wide my jaw is too squared so i'm going to work on that a bit too and this mass could be a bit pushed backward like this it's starting to take shape um maybe i can um work more on the chin making it more making the volume a bit more pronounced on the side so it breaks the shape from the three-quarter quarter view three-quarter is usually the view that i'm relying on because it's it's the most um interesting i would i will i would say view for spotting the scum anatomy mistakes on the head so here you can see that i'm using the the trim i will redefine the zygomatic part and the the cheek part and the cheeks are maybe too too low so i'm going to push them a bit and now it's starting to too much better than what we had before i think i've met them i've made my nostrils too too wide so i'm lowering them a bit and um i'm going also to make my nose a bit more squarish and i know that here the nose splits in two and some people on some people you can see that even you can see that it's very pronounced but i don't want to make it pronounced but i'm going to split it a bit like this and this is going to add something to my character okay so we are we are getting there don't worry we're getting there it's almost two hours or maybe more i don't know but uh we have still uh of course a lot of things to tweaks to tweak so i'm going to to go on the knee now adding some skin folds and i'm going to re-emphasize the the importance of the saturious muscle that is along with the the quads here defining the the silhouette of the of the inner leg you can see here we can we can see it here so i'm putting putting it back and pushing it back you can see it starts to look much better i'm now going to re-work on the tibia and on the other side we have the fibula that we can remark of it using the [Music] strip brush i'm going to make to add weight to this i'm going to try to add weight to this uh to this muscle here again i'm going to cut it like this it's looking better i think okay so those muscles that we didn't talked about here are really hard to obtain in this pose because we are we are in symmetry mode so um but what you should know is that the fibers are going that way [Music] so i'm going to try my best to to place them maybe with crease it's going to be easier this is where layers in zbrush are shining and also we see racine master or it's maybe no no it's not called master or just rece smart prison sorry and one thing that sometimes could help is to use the pinch brush as you can see it's going to it's going to with a very large brush a pinch it's bringing the geometry together but it's it's also deforming a lot um a lot of things that i don't want so be careful with this technique but what i want from a silhouette standpoint is to here i want to cut make a plane change with this geometry inside and this geometry is going to good that way yeah it's really hard there what i will do is um i will save everything and i will um first i will put my level viewport to the maximum because i would i want to see my whole scope but i'm going to say uh apply base and what this function is going to do it's going to apply to my base geometry the modification that we have done and uh it's strange because it's pretty well defined here so i want to i don't want you to to make it more obvious in the low level geometry so let's let's stay with that let's just push the quads a bit more from the side it's uh it's it's not not good at all so now the shapes are not not well defined i'm going to to to make my my form is much more logical making the hamstring more straight maybe i can push the hamstrings a bit uh on the back sorry for a big noise that happened in my building and here it's too stretched from the back so i'm going to widen here the things and i'm going also to to add a bit of skin folds there it's going to be much more logical and maybe huh it's really weird because yeah i was projecting to the other side and for me was was looking quite weird but here i can blend my muscle together like this and i need to smooth a lot i don't want to my muscles to be like a plastic bag you know and usually when you have a crease in between two muscles at some in some situations here for instance you can add some skin faults for instance here i know that i have a much more pronounced skin fold even though it's a it's um it's a hole in fact but it's creating a a squeeze of skin that that i can emphasize like this so i'm going to push that a bit more inside and using the crease tool i can i can push inside so we didn't talk about some muscles that are so subtle that uh i didn't bother at the time to to to place them but i'm now going to do to to place them um so the gastrocnemius muscles are those ones and inside they are following the tbr shape like this and coming back again so you see the tibia is pretty pretty huge in this case so i can maybe make it a bit less huge and here we have a muscle that will go in between the tibia and the gastrointestinal here and following the following the rest here we have some other muscles but it's more tenderness shapes and i i don't want to to make that too too obvious so i'm going to spruce there usually it's not not something that you will see a lot on even on a muscular person so i'm going to fill that with a clay or clay if your clay strip but it's going to fill so it's clay fill okay and here i'm going to make that tendon much more visible and here the tendon is much smaller it's going to an end here it's coming to an end there and moving the foot a bit forward and maybe i'm i can shorten the leg a bit uh yeah so from there we have all other muscles that i can cut that are following the straight down to the leg that are following the the shape of the leg you can make the tibia a bit wider usually usually the tibia is also very how can i say very sharp in in front in the front oops i wanted to use the crease brush okay so now using the trim the scrape brush sorry i'm going to create a plane here underneath the gastronomous muscle i think it's going to work pretty fine like this bring them back then and what's not well defined here is the the fact that they're disconnected like this and from this side at least i think it's better to emphasize this part not that much from the back i think but here we can again take advantage to clay strip to fill the gap and make it more organic wow this was not intended wow is this too thin really wow it's really thin there this is not great i'm going to widen the foot the package is tendon and maybe i can work on the foot right now and we also have to work on the hands but before let's make again the the leg may be a bit larger a bit wider so and for the food i don't have that much references so i'm going to either find some either making it from memory i i have one but it's not really great so i'm going to make adjustments from memory and a bit from this reference it's much easier now to create the wrench shape here and we also have there a strip like we have in the end that will wrap the different tendons of the the toes and here it's clearly too it's clearly a mess here so let's sculpt that let's move stats it's important to remember that this is the tibia so you don't want to lose the connection and from the front i would like to see more of the not the tools i don't think i'm going to sculpt the toes to be honest with you maybe i can just here so i'm going to press alt b no sorry shift b maybe here i'm i may try to cut the big two and to see what it's if it's doing something interesting here i have the the connection of the the tools well maybe i can try one two three and the fourth here the little one is going to be around there okay change my mind i'm going to sculpt the toes so sculpting toes is um it's a bit harder than what you you think you you will that than what we can think sorry um you have to think that the toes are i don't know if i don't know if i i will carve the tools let me see let me try if i'm not happy i can always come back it's a question of finding the right proportions and usually there are graduate graduating like we have um here they are flat but here they are going up like uh a bit like close maybe i can add a strip i don't know if it was a good idea to be honest with you i don't have the the perfect geometry underlying the scopes to do that oh no i'm going to go back to smooth a lot and go back maybe i can go back to other layers and try to smooth underneath and go back to the fourth layer and we sculpt everything should have saved i prefer to have a blocking for now and i know i know it's uh it's something that i've done before in like sculpting toes on a lot of studies but it takes too much time and with a with a bad topology and i i don't think it i i i think it's better if we we don't spend the time doing this and we spend time doing other things that are much more to my humble opinion much more valuable such as defining the big mass of the of the of the feet so you have wonder wonder here it's pretty pretty carved and here you have the a fat bed no i think i will it's i think it's time to to to go into the tool options there into to find where the [Music] where the [Music] hmm the back face curling is this information on the auto masking mesh face set boundaries it's not this fast navigate no no pretty sure there is an option there mesh boundary front face front face okay that's what i was looking for i'm going to select my character putting it back on the ground and one thing that i'm gonna do too is i'm going to to work more in the balance of the the character right now so my character is i i think i can i i can push the torso a bit inside wow no what is what is this that mess something oh no no okay i think i will be able to to recover okay so i was able with the transform tool to was able to to recover my mistake oh no scotland please and um yes just lost a bit of work because i was trying to open and not to save full of where's the fall off it was in the options front facing yes i don't know how i was able to to to break my symmetry my my my model i will probably look at that when my video will be out okay you know what now i'm thinking that my my legs are way too way too large so what i'm going to try um or maybe it's just my maybe it's just my [Music] my pelvis that is too high so i'm going to lower down a bit my my pelvis and we're going to sculpt a bit the ends that we didn't touch for a long time and we are going to go back to the arms too so now i don't see my eyes anymore i'm going to push them back where they are i've missed something i don't know why and what so i'm pretty unhappy with that and i'm going to add more variety to the silhouette of the torso there pushing it back a bit making the the arm a bit more in front i think we will have to do another video i think it's too too long and too um how can i say two ambitious to make one video of sculpting the whole body i'm going to continue whatever however sorry um right now and then i think i'm gonna cut soon and we are going to to continue our our study and to push it further in another video okay so i'm going first to go to the end so a hand is pretty easy to sculpt because you have one usually so you can can start messing around with your own hand and see how the anatomy is working so you can see that the on your thumb you have skin folds that are going in front and the index finger is creating another skin fold here and then using clay strip you can add more details like this and again what's important to notice is that like duck we have we have pound fingers but it's less notice not noticeable so from the back here remember to carve in between two fingers and remember to let a space in between those fingers too it's really hard to do like this because i need to add the topology option to my brush even though even even with topology it's pretty hard to do and with clay strip i'm going to add here here and here and here i'm going to add my tendons back adding the knuckles so hand a hand is pretty much bones everywhere no there are muscle and and fat pads but it's a lot of bones at least that's what you you heal so the hands it it's not like the the foot will have to do more work on them because we usually see them and i have no not much to say here because as you can see it's pretty adding masses correcting masses and you you for this you will have to look at your own hand or or to to look at some references but knowing the anatomy of the hand is is important of course but it's less important than the rest for me at least because uh because you have some [Music] references in front of you the things that you need to know is that it's flat usually on the top and it's round below and here i'm going to i'm going to add some creases skin folds and here i'm going to add a skin folds too maybe this one i can from the thumb use clay strip you know to connect it a bit more with the wrist and i can make the wrist a bit larger and um before finishing this first part of the the video um i'm i'm going to to work um a tiny video on the forearm two and then we we will call it down done for this video so again we have the this muscle that usually you have a crease there it's pretty pretty emphasized so i'm doing it and there it's pretty straight and accompanying this muscle you have some other muscle following it and here you have straight more straight muscles same thing here it's more straight but underneath you have as i told you this small part coming out and it's more like a v shape you know here so i can put the muscle the fiber in the direct in this direction and then i can try to blend them in a nicer way and we can feel also here a tendon that i can put that i can blend it adds a bit of realism you can cut a the hole of the end inside the pole making it more realistic and you know what for his first part i think i'm gonna call it down done sorry and um i'm going to to record another video because it's starting to take so much time and i want to make it perfect so [Music] i realized that i won't have that much time [Music] to allocate on this video more so yes i hope uh that you like this kind of video um i hope to see you soon in the next one i don't know when i'm going to record it but um first i'm gonna see if you first like it like this if you sorry if you like this kind of video and um yes we'll continue that later i'm pretty sure cutting the external vector is pretty important too so yes we we we we still have a lot of things to do so i'm going to s to call it done right now i hope you liked it and we are going to see each other in the next part until then take care have fun sculpting a blender on this day to post questions to share this video with your friends if you liked it and and see you soon thanks

Channel: sociamix

Views: 76,086

Rating: 4.9291844 out of 5

Keywords: sculpting, blender, human anatomy, anatomy, muscles, zbrush, sculpt, tutorial, learning, workflow, 3D, modeling

Id: fQtSXfBzAM8

Length: 221min 15sec (13275 seconds)

Published: Sun Sep 20 2020