Hey, what's up, guys! Pablo Muñoz here. Welcome to another tutorial. Today, I'm going to show
you how to sculpt stylized hair within the ZBrush. Let's go ahead and jump straight into it. All right.
So this is what we're going to be aiming for. And this is just a quick kind of like sketch
that I created to sort of like cover the basics and the and the main steps on
sculpting this type of stylized hair. And I do have some reference here. So this is kind of like what
we can try to replicate this type of like hairstyle. Of course, this one is a little bit more messy and there's more, you know, flying flyaways in terms of the quantity and the details of the hairs. But this should give you a pretty good idea
of how to approximate or how to create something. Ladies, that is more like a sculpted hair. Right. So I'm going to walk you through all the steps. Some of these steps are very repetitive,
so I'm just going to skip things along the way so that I don't,
you know, bore you with the entire sculpting process. But I'm going to show you the workflow,
which is what I think the most important one. Now, a couple of things to get out of the way
before we get started with today's tutorial. This is more of a follow up to the previous video
where I showed you how to use the sculpting brushes for sculptris
pro and hair. So let me just show you what I'm talking about.
So this is a set of brushes. This is the lightbox from the image, by the way. So this is a set of 15 brushes
that I shared in the last video, and these are available from the ZBrushguides that they
they're absolutely free. You can just go ahead and download the entire pack
so that you can just play around with them eye, make sure to watch the previous video
in case you haven't. And this is where I explain how to use these brushes
and what they are for. Okay, so the idea with
this video is we're going to use the main three kind of like block out brushes, these three right here. And you'll see that in my standard UI.
This is the ZBrush standard UI. The only difference is that I went ahead and I added my three brushes here
so that I just can access them quickly. But these are the main brushes
that we're going to use to set up and block out these. Now, you don't have to have these brushes. Like if you don't, I mean, they're free,
but if you don't want to use them at all, you can replace, let's say, these surface
blocking with something like a brush clay buildup. It's perfectly fine. If you want to replace the standard brush,
you can just use obviously the standard brush and maybe just add a little bit of
increasing the intensity. And if you don't want to use this refiner,
you can use the dam standard brush like so, with a bit more intensity. So these are like custom brushes that I tweaked already for you
and they work better with sculptris pro. You see that they have like a tiny icon next to each
one of the icons, and that refers to sculptris pro. So it's a little bit easier
to work with these feature enabled. All right. So at the end of the day,
the brushes are kind of like interchangeable. What I like to do to focus on is on the workflow
that I'm going to show you. I'm going to give you a very specific set of steps
that you can follow, and I can guarantee you that
if you have a good set of reference and, you know, kind of like what to aim for,
you can get something pretty decent in almost no time. So let's go ahead and jump into the work file here
that I've prepared for you. And you see,
I have a bunch of sub tools here on my right hand side, and these are essentially all the steps
that I'm going to cover. Right. So I want to start with the most basic one, and let's go ahead and break it down
so that you have it as a reference. So the first thing I'm going to call it,
this setup, right? The second one is the block out. Then we're going to go into sculpting
and then we're going to go into detailing. Right. So four different steps. So the first step, like I said, is the setup. And the setup just consists on having the meshes
and the things that you want to create to, you know, to build the hairstyle. So in my case, again,
let me bring in some references here. It's not that that far from the skull,
so I don't have to create like something crazy with long flowing hair, but believe the process
that I'm going to show you on the workflow works exactly in the same way. If you want to create long,
you know, long flowing hair or something. I've even more curly like all sorts of different styles
is more about the approach, right? So the setup again is about having,
you know, a basemesh. So this is what I have a simple head, then I have some eyes and then I have the scalp or,
you know, an extraction of the face. so I'm going to start by showing you
how to create this. And this is very, very simple. I want to use the basement that I have here
and I have a nice topology in here. So you see is a pretty decent topology. So I want to make sure that I have the perspective off
So let's go ahead and press the control and shift key to access the selection tools.
And I want to select the lasso. So what I'm going to do is duplicate these head. So now I have an exact duplicate of that head, and I'm
going to also make sure that I have solo mode on and holding control and shift
to access that selection brush. I'm just going to delete whatever I don't need, you know, so this is this could be, you know, something very, very quick. It doesn't have to be that perfect, to be honest. It helps that you have a nice and clean topology
so that I can speed up the workflow. But as you can see, it's not that hard. I mean, this on release controls, shift, click and drag somewhere outside of the canvas
just to go back and invert that selection. So maybe we can include that bit. So you see what I'm trying to generate here
is just the area for the head, right? That's pretty much it. If you cannot see inside the volume, you can go to the display properties here and click on double. That should fix that issue. And I want to go ahead and invert. And now we have the scalp back, we need to remove whatever is hidden, because right now
if I just hold control and shift and click, it will be visible. So let's do that. So it is hidden. Let's go to the geometry palette. And that's the reason, by the way,
we duplicated this head. So we're going to edit that,
make sure that everything is hidden. There we go. and let's go to the geometry tab. Let’s scroll all the way to
this is a little bit messy, but let's go to modify topology and let's click on Delete Hidden.
When I click on that. And now even if I hold control and shift and click and drag, there's nothing to record
because we basically delete that mess. All right. So that is the first step
done. Let's go ahead and turn this off. Right. And let me just show you the next step. So the next step is going to be taking that and adding
a little bit of thickness so that we can dynamesh it, because I'll show you what happens if I go ahead
and Dynamesh is what I had before. So let's go back to this setup stage. We're still going to set up stage. Don't worry.
I'll let you know when we move to the next step. So if I go to dynamesh
and this is kind of like the ideal way of working and blocking things, I think because it really doesn't
restrict you in terms of the technical aspects of it. So I want to click on dynamesh
and see for the most part it does a pretty good job, but I want to be able to control things
a little bit better. So this is just an alternative in case,
you know, the dynamesh doesn't work for you or you have something slightly different from my self
So I'm going to show you how to do it. So the next step would be to go to the dynamic
subdivision, which is here on the geometry palette. And I'm going to click on dynamic. So dynamic is going to dynamically subdivide the mesh. So I don't want to subdivide the messages. I want to, you know, let's just said this to zero, so
now it is not doing anything if I turn this on and off. But one of the cool things about dynamic
subdivision is the thickness or the dynamic thickness. So I'm going to take this slider all the way to one
and you see, just like making everything puffy and it's doing it based on the center. So if I turn this off, which is go ahead and draw it here. So this is the edge roughly of that scalp
or that piece that we creating. Let me take this on. If I turn dynamic, you see that it is doing it based on that line, like it's
inflating it inwards and outwards at the same time. And we can control this
So we can tell ZBrush we going to actually offset it negatively so we can just take this offset
and set it to minus hundred. So now let's ZBrush it is doing is adding that thing. It is but only towards the inside.
So that's kind of like what I want, right? I might want to add a little bit more of thickness,
but we can do that after. So that's pretty much it. We have something that is pretty linear in terms
of how it's going to be dynamesh. So let's go ahead and applied that dynamic subdivision
and then we're going to go to the next step still. So within the setup, this is just part of the setup. When I show you the next step,
which is this one right here. So I already have set this up
and this is the dynamesh object to see. This is slightly different,
slightly better than this simple dynamesh. But again, it could work any way you want. So I just want to cover a couple of extra alternatives
in case you want to follow along. All right. So with this one,
I'm going to go ahead and click on Dynamesh. Let's go ahead. Let me actually collapse all of these
because it becomes a little bit crazy having all of these tabs open. All right. So from the geometry palette,
let's open up the dynamesh, click on dynamesh and 128 should be okay to start with. And you see, we have a pretty decent mesh. Let's go ahead and hold control
and W just to assign a single poly group and to clean things up, we can actually inflate this area just to make sure
that there's no weird artifacts in here. So let's go B to bring in the palette
or the brush palette. Then I to inflate, and then, N to select the inflate. So I'm just going to scale this up. I also have
symmetry enabled, by the way. So let's go ahead and from here, just inflate that bit until it sort of closes that gap. and let's go ahead and redynamesh
control, click and drag and there we go. So this is pretty much all I need. We can, you know, smooth things out if we wanted to,
but that is it. All right. So if I get out of slow mode,
let's go ahead and turn of the sculpt for a second. You see, it is sitting right there, you know,
almost in there exactly what you want it to. So one more thing that I want to do for the setup
before we start with the with the volume. So the blocking is to inflate these a tiny bit. So let's go to the formation palette and from here we can go to the inflate tab. And I'm just going to type one
and I think maybe one or two as well. One more time. One more time. Actually. We can just do it three times in a row. So let’s type three then we also
now it is kind of like sticking out perfect. One more thing before we move into the block out is
to define that that sort of edge a little bit better. So if we have some of the reference, yeah,
we actually want to leave it in there in the screen for, for a bit. And this is just some images
that I got from Peter. It's nothing too crazy. Let's select the brush, the Move brush. Right. So this is the normal move brush. I have the Accucurve enable. You see why this is very pointy. And for you
that would be under the brush palette curve, Accucurve. So if you turn this off,
you won't have this sort of like pointy effect. But I do like it just to block things out very quickly. So let's go ahead and have a look at maybe
like a side view like this, right. And rotate our model like that. And I'm just going to go ahead and push this back, holding the alt key and push it back in. And this is just to define
that sort of like hairline, really. That's all I'm doing. This is not blocking. This is just pure set up
just to make sure that I have enough forehead in a way. Also smooth this out. There we go. And if you one this is a little bit too sharp
so we can just smooth this as well and you know, adjust this the way you want to. So this is the main kind of like primary shape,
you know, the bulk of it. That's why I'm calling it the set up
and that's about it. Let's go ahead and move this out of the way. Let’s turn off the poly frame. So this is our setup.
We're ready to move on into the next step. So for the next step, let's go ahead and move on to this one,
which is the one that I have already set up for you. and it's turned that on. You see that this is actually one more, one more
this would be the one. and you see that what I've done here is to define
kind of like the parting of the hair with a very sharp line.
So that would be the next thing to do. Right. So in here, the one that we were working on to say, let me turn this off. We can go ahead and define that. So let's go ahead and try that. So I'm going to turn off symmetric
because this is not asymmetrical mesh. Let's go ahead and click on the refiner. So this is the first custom brush.
Like I said, you can use dam standard as well. And this is going to give you a very sharp line. Now, these brushes work best with sculptris pro. I'm going to enable that. And that way
when I, you know, kind of like do something like this, we're going to get a very sharp line. with in no resolution. Right. So this is pretty much what I want.
I want to set up that line. You know, you can do like one in the center
and just create like some kind of a different style. Or you can do it whatever you want,
but this is just the beginning of the setup. now once we've done this and we're ready to move on into the blocking stage,
we can go ahead and start using the move brush. So that is what I have in my next step. Right? So you see, it's pretty simple. It is exactly the same that we had before. But you already have an idea of where we going
for. It gives you like the blockout. that's what I'm calling it. the blockout stage to have an idea of the general volume
that the haircut is going to have or the hairstyle. So if we go back to this one that we're working
on, what I'll do is I'm going to select the move brush and I'm going to hold the control key and select my lasso, my masking lasso,
and I'm going to go ahead and mask this half of the head or roughly half. Right. So that means that I can just go ahead and push,
let's say this one up and start giving it some volume without distorting or affecting too much. The other half. So this is basically the second step,
which is the block out. So we're blocking out the main volume without sculpting anything,
just making sure we have enough volumes to work with. All right.
So that's just pretty simple. Let's go ahead and invert the mask.
And I do the same thing here, for the other side, like I said, I'm
not going to spend too much time actually sculpting because this part is very repetitive,
is more about like doing little tweaks, as you can see, checking the model from every angle,
masking bits and pieces. So for example, this one right here, we can push it in like so and then use the move brushes
to pull this sort of like flick of hair like so, but very, very basic. Right now I'm not trying to create any strands of hair
or define that too much is purely the main shapes or the primary shapes
that I'm trying to get right. right. So at this point,
I think it also helps to have the perspective enabled. So you have a better idea
representation of what the model will look like. All right. So something like that. So that would be the block out. And the next part is also part of the block out.
We're still going to block things out. But it's a lot more fun and you're going to
you know, you're going to really enjoy the process with these brushes. So the next step,
let me just show you what that looks like. There we go. so this one has a quick polypaint. And what I've done is
I use the same brush that I showed you before. And so this standard refiner to basically cut
through the model and define the bigger chunks of hair so you could treat it as blocking
or defining the secondary shapes for the hairstyle. So in other words, if I bring here my references,
let's have a look at this one right. and as you can see, what I've done here is of like mark
these with green like this chunk of hair. The red one is this one right here, the blue one
is this sort of portion here at the back. Then we have the purple
and the pink areas here at the back. So I just try to like cut it into pieces
that make it a lot easier to refine later on. But this is one of the most important parts
that you can look at your references and recognize what are the chunks of hair. Right. One of the areas that you can actually,
you know, isolate a little bit and say, okay, this whole piece here could actually be,
you know, a big chunk of hair or like a secondary shape without worrying
too much about like the details on the strands of hair. Right. And one very simple, very silly trick
that I can give you is that you can squint your eyes, and that would actually help you to identify the big
chunks and the highlights and the contrast in the hair. and that actually helps you define these crevices.
So let's go ahead and do that. I'm going to go back to the one that we working on,
and I want to use the same brush that I used before. Right. And let's say I want to start here and I'm going to do something like this. Just cut it. Maybe this one this way, right? Perhaps I want to cut this through here as well,
just so I have a reference. Again, these are just markings were not sculpting. Just make sure that you kind of like try to stay true
to the to the references that you collected so that it makes it easier later
on when we are refining this. So something like this the same thing with a
with this side it's a little bit shorter here something like that. But you can see that with this brush And again,
it doesn't have to be these brush. It might as well be the dam standard brush. You can also turn on sculptris pro,
but this one already has the tweaked settings for you. All right. and just obviously make sure that because it is
a 3D model, you work on all the areas or you just spend some time here at the back as well
and thinking of how these lines meet here at the back. All right. So pretty simple stuff is just about marking. But you see, we have like pretty big chunks of hair
that helps us, you know, identify where the main areas are going to be. Now, the next step within this sort of blocking stage
is optional, the next sort of technique. But if you haven't done this much
or you are kind of like starting with what is sculpting and you want to get this sort of stylized hair done,
I would strongly recommend that you go ahead and do it, and that is to paint the areas that you consider to be,
you know, the main the main chunks of hair. So you can either go with the markings
that you just did or you can just click on the brush. We can go with this paint brush. And a stunt of sculptris pro let’s live RGB on And now just to mark some of the main areas,
I'm going to use a red color to paint. This area doesn't have to be precise. It just needs to be enough contrast
so that you kind of like know where you're going when you start blocking things out
a little bit better or like refining the block out, I should say. So that's another one. Let's do a green one and let's do a blue one again. I'm not going to do the entire thing because as you can
see is more of the same is a very repetitive action. And we can do the same thing in here
in terms of like the different chunks of hair. All right. So something like this, it's not perfect,
but this is enough for you to have a reference to say, okay, the red one of this chunk of hair
is going to be pretty high up compared to the yellow. And then the blue one as well is kind of like, you know, with the with the hair
sort of like lifts up a little bit at the back. So that will give you
a good understanding of what to do. All right. So let's go back to white color. So we have this base block out
But now we are ready to start playing a little bit more with the with the brushes and literally sculpting
that blockout just to refine it a bit more. And that's
what is really, really fun with these brushes. so let's go ahead and turn this off. And I'm going to show you the next step,
which is this one right here. So you see, this is a proper block out, right? So at this point, we already have the secondary shapes
and, you know, everything. For the most part, it's is there. So you can understand that this is the hairstyle
and it has the flow and the main chunks have been defined as well. So this is really important. and if you get this block out of these secondary shapes done correctly,
then the next step is going to be so much easier. Okay, So I'm going to go ahead and to do this, I
want to jump back into this testing one that we doing. I want to actually go to dynamesh and I'm
going to increase the resolution just a tiny bit. And I want to redynamesh everything
just because I have some stretching polygons. If I let me just show you what I mean. You know, because we use a move brush
and we start pulling things about. So we just need a little bit more resolution,
not too much because we're going to end up using sculptris
pro anyway. So just redynamesh
that maybe with a bit more resolution. There we go. All right.
So now we're going to take the surface blocking, right. Again, if you don't want to use this brush,
you can also use something like the clay buildup brush or the clay tubes. It's just that this brush already
has the settings ready for you. And what to make sure that I have sculptris pro enable
and we do a slightly smaller brush size. I don't want to go too small. I want to make sure I have the main blockouts
like I said of the main pieces ready and then I'm going to move on. So when I click and drag
and you see this brush creates this nice, sort of like, you know, brush strokes to block out the shapes, right? and another thing is
that it's not adding too much resolution. So that is, you know, this is pretty good. So all I'm doing is try to fill in the areas
that I blocked out. So those colors and the markings with these brush. And I'm going to make sure that I try to maintain
sort of like a flow for the hair. So this part is, again, more of the same,
very repetitive, but it's a really good idea to keep an eye on your references to see how the,
you know, the main volumes actually behave. Now, the cool thing about these brush is not only that,
you know, it allows you to create this sort of look out really quickly, but it also allows you
to create volume really, really fast. And because it is using these sculptris pro,
you don't have to, you know, constantly redynamesh it. And so I'm just going to go ahead
and press a little bit harder here just to add. And with a smaller brushes size,
just to add more volume here and oops, rotate around and just to add more volume, all you have to do
is just go over the same area over and over. and that just creates, you know, the extra volume. So that is pretty cool. All right.
So I'm going to do something here at the back. And by the way,
if something like depending on your computer, really. But if the whole thing
the whole process start to get a little bit laggy just because you have the sculptris
pro, just make sure I'm sorry. It just keeps like rotating around. Just make sure that you have enough resolution. Or when I say in a resolution that the settings
for your sculptris pro have enough resolution to handle the amount of polygons because if you look
at the active points here so I have 278,000 as soon as I add a new strand of hair,
it just goes to almost, you know, 10,000. Yeah. So every time that I do a stroke like this,
it adds a bunch of polygons, right? So what I mean by that is that if you at some point
see that this is getting a little bit crazy in terms of the amount of points
and it makes the whole process very, very sluggish. What you can do is just call control, click
and drag to redynamesh. You see it goes back to a more decent number
and then you can just go back and continue the refinement process. But I haven't found like, you know, a massive issue. I just wanted to let you know, depending on your
on your computer specs. But anyway, the point is that as I go through these, I'm not only just thinking about adding volumes,
I'm also thinking about subtracting. So I'm going to start holding
the alt key as well. And push things in. So when I to do the same thing
here, maybe add a bit more. So I want to start, you know,
alternating between adding and subtracting volume. It's going to slow mode here just to make sure we get this part right. All right. So now that you sort of like get the idea, let me just leave this one as it is
and continue from here onwards. We the one that I have already prepared. And you see it's pretty much the same thing.
I just spent a bit more time setting this up. And if I go into the poly frame,
it is pretty dense, right? So right now I have 790,000 for these. but you can see that
the flow of the here is pretty much there. All right. So that's it. Once you get to this point and you have like
a good understanding of how the strands of hair go, like the length of different pieces, you can move on to the next stage
now the next stage is not necessarily detailing. I wouldn't say that this is the detailing stage,
but it is kind of like detailing the blockout. So in other words, is refining the block. If you know, if you take a screenshot here
or if you do a render at this current stage, I would say this is a nice block out of a hairstyle,
but it's not necessarily the polish version. So in order to polish it, we first need to
refine these block out and then we can start detailing. So this is the next stage to refine this process. So we're going to
go ahead and select the standard block out. And this is a pretty cool brush. Let me just show you what it does here. Again, using sculptris pro,
if I just press like so it is going to add kind of like the same effect of the standard brush,
but it has a very sharp line here in the middle. And the same thing.
If I use the alt brush, it is going to push in like so. So I want to use these softly again,
depending on how hard I press. You see,
this is very, very much a control way of adding, you know, very little volume, very narrow stroke all the way to these
sort of like bulging bulky strokes. So I'm going to use these brush again. It's all part of that pack of brushes
and I want to start adding some refinement. So I'm going to go over the main chunks. So these one right here
and then just maybe that's a little bit too much and add a little bit of that. There we go. And whatever there is like a crevice
I want to push in with the alt just again, pressing softly, depending on how much I press, you know, the volume will be more or less. So let's go ahead and do it here.
It will be a little bit more obvious. There we go. So I want to go ahead and go through the entire model
all like this is what I would do. Again, I'm not going to subjected to watch me
through this entire thing, but this is pretty much the same process. This is more of the same. Just repeating the same action over and over,
but make sure that you have control over your strokes. So what I mean by that is let's say let's position
the camera around here or around here,
and I want to do a long stroke in here. So if I start doing these like
so then rotating the camera like so then like that, you end up with this thing
that doesn't really look very nice. So my, my suggestion is just to find a nice
angle and do a single motion like so
that gives you that, that sort of like flow as well. and don't worry too much about maintaining the,
the crevices. That's something that we're going to do in the next
or the last step. Really, one of the last steps for now is just
make sure that you add the volume that you need to. So maybe here
we need to press a little bit harder to get more of a chunkier clump of hair. and this is also an optional thing. Like if you want to go for a much more stylized
version, what you can do is refine or do the same thing that I'm doing here, just kind of like going over
the same blocks and the same strokes over again. But with the with the previous brush that we use. So you're going to get a flatter sort of like,
you know, squarish stylization of the hair. But I think these one and they and they kind of
like steps that I'm giving you will work really nice for you know to there to get the result that
I showed you at the beginning of the video. All right so as you can see is more of the same. I'm doing it a little bit too fast, but this is the idea that you can just go from that
blocking into something that has a bit more depth and that has more, you know, in a way more detail,
even though will not be telling things just yet. But once you're ready, once you have these ready,
let me just show you the resulting bit. This is how it looks like. So you can see It is more of the same as you can see,
just adding bits and pieces. So if I go from the previous one, there's the one that I was doing manually showing you
and this is what I end up with in the next step. So now that you have these,
we can go back to the standard refiner. And again, this is kind of like the equivalent to
the dam standard brush, and we can use these crevices maybe with a smaller brush size and just refine that like so
maybe that's a little bit too small, right? So all I'm going to do is go through all of these sort of like pieces all around
and make sure that I define them a little bit better. Right. So even from the place or the root of the
or the strands of hair on how they connect to the scalp of the head, that sort of thing. Right. So that's one step or one part of the process,
just like cutting back to the model and essentially what you're doing is re readjusting
or remarking those, you know, those pieces here. and I think I just reach 2.6 mil. That might be a little bit too heavy for sculptris pro. So I'm just going to do a redynamesh. We with a bit of resolution and see what this gives me. Yeah, something a bit better. All right
so I can control the lines a little bit better. So as I was saying the whole point here
is just to go and redefine those markings that we did before or not even the markings,
just like the difference between the, the chunky pieces of hair
that you created with the surface blocking brush. Right. And as you go through this one, what you can also do is hold the alt key
and use the same brush to just add some highlights. So this is what I would say.
This is how you can start detailing the mesh, right? So you cut through the model just to add
a crevice there, and then you can also hold the alt key and start adding right now. Also as you do these, because it's really, really easy. The same thing with any sort of like a sculpting or something
that's called any detailing technique within ZBrush, ZBrush and custom brushes and things like that
makes the detailing process so easy that you can sort of like get lost in added details
and lose a little bit of the big picture. So make sure that you step back, analyze
everything from the distance and see, you know what? Maybe there's a little bit too many lines in here,
so you need to flatten this a bit more or, you know, you want to keep this relatively flat
and maybe just add a single strand of hair in there, but try to maintain a nice balance between, you know,
the strands of hair or what you are kind of like or carving in or creating in terms
of, you know, these sort of raised points and that is a really good balance
between the areas of rest and the areas of detail. It works in the same way if you're doing,
you know, pores all over the face or a skin or sculpting the skin of a character,
it works in the same way. All right. So after you spend some time doing this,
let me just show you the result of that. So let me just scroll down a bit. There we go. So before, after, before, after. So again, the process is the same. The technique and the workflow is exactly the same. You obviously spend a bit more time refining the crevices and making sure that,
you know, things like these have enough depth so that you can recognize them as strands of hair
and you can spend a lot of time making sure that all of these is working. But I went through the entire model,
maybe not so much here at the back, but just created these stylization
and these detailing of the mesh just by doing those,
just going the alt key to raise or to create a detail. And just the normal effect of these is standard refiner to sort of like
cut through the model and create these details. Now the final stage is this one,
which all I did for this specific model was to increase the dynamesh resolution and I
added some poly paint, but I'm going to turn it off so that it doesn't distract you from the difference
between this and these. So I also use the move brush just to adjust
slightly the hairstyle so you see before after. So this one is a little bit more,
you know, kind of like a standard generic hairstyle. This one has a little bit
more of a, you know, a bit more character, I think. So I'm just going to show you the two things that I would do with this before
I move into the absolute final step of the process. so to get to the next stage, what I do, I'm going to go ahead and select the move
brush with very large brushes. And I'm just going to adjust this. So I'm just going to push
in, maybe pull this out a bit. Again, little nudges here
and there just to refine the placement of the hair. And you might need to come back and adjust kind of like
how the, you know, joined the head basically or attached to the hair, but always make sure that you
maintain that that nice flow that you establish. So we're not changing the block out of the original
like we're not changing the original block out. That's what I mean.
So Make sure that you keep an eye on that as well. And these are like just literally tiny nudges to yeah, to make sure that the entire set of hair strands
that you're blocking out fall into place properly, adding a bit more volume here. All right. So pretty easy, pretty simple stuff.
Just using the move brush. This has to be a little bit more rounded. Perfect. So like I said, very simple process. Just spend a time, make sure that it looks
all right from every angle and the next step will be to dynamesh at a higher resolution. So let's go ahead and do that.
We right now have 2.4 million polygons. So in the dynamesh resolution, I'm
just going to go ahead and push it to something like, infact you can click the dynamesh resolution slider
and drag it to the add to the hair. You see how the number changes. So I'm going to pick something that has a lot of detail
like this area right here, kind of so you see ZBrush kind of like tells me
that I need around these much resolution in order to describe this amount of detail.
But maybe a little bit more than that. I'm going to go for this and click on dynamesh. And there we go. Now this is it. That's the kind of like
the end of the sculpting process. A couple of things
that I would suggest that you can do as well. If you have something that looks very bumpy and you want to refine it,
you can go to the deformation palette. And in the Polish slider here,
you can just press and drag it. But I'm just going to type number two and that should polish things a little bit. And the other thing it's really cool about this
stylization is using the clay polish. So I'm going to open these one up
and click on clay polish and you see it just cleans everything nicely
and sort of like creates this very, very sharp, stepped kind of like effect. the only thing to keep in mind with the clay polish is that every time they use
these ZBrush are automatically masking some areas. So make sure that after you click on clay Polish,
you hold control, click and drag to remove that mask, you see, just change the color slightly. So those two things just increase dynamesh resolution
doing a little bit of polish of the surface and then clay polishing will give you,
you know, we'll get you, I would say 80% there and then you can just,
you know, refine this a little bit so that you can use any of the brushes or sculpting
brushes and ZBrush to add a little bit more detail. Now, one extra tip that I can give you just to wrap up
this tutorial is to use the insert brushes or curve brushes.
So this is what I've done in the next step. So this is the one that I end up with. And I went ahead and added these strands of hair. So this is turning this on.
So these are the ones that I'm talking about. Let me just start off poly paint as well.
So these are the ones that I'm talking about. So, you know, it is still a sculpted hair
and the stylization is there. but this gives you another level in terms of the depth
and the detailing of these here. So this is pretty simple thing to do.
and I'm just going to show you the workflow. Really. I'm not going to spend too much time on that
because it's pretty simple. Again, more repetitive action. So I want to click on Append and again
to select anything. It doesn't matter what it is
I'm going to click on gear 3D. Like I said, it doesn't matter. Select that gear 3D. and I'm going to go into solemn mode and scroll all the way to the bottom
and in the initialize tab I’m gonna click on QCube. That's going to make a tiny cube
that is sitting right there. I want to bring in the gizmo,
and when I turn on transparency and I'm going to scale these down until, you know, it is sitting nicely within the volume
so that you don't see it. So this is an important step
because that way you will be able to add all this strands of hair and, and the curves without affecting any of your previous models
or any of your previous meshes in this case. so now we're going to go ahead and click on the brush palette
and we can use any of these, you know, curve alpha. So you can use curve to use any curve that you want. So the one I would recommend is these curves Alpha
or any of these, the difference is that with these when you add multiple ones with this one,
you can add one at a time. So, you know, after you I want to click on this curve
Alpha and it comes with this star. So I want to click and drag to do this. And you see so like pushes this,
this is start to shape away from the from the hair and you can control the size by just reducing the brush
literally and clicking again on the brush. So you can add
these really interesting pieces of hair. And of course this is just a cobra,
so you can just manipulate that and move it around. So this one is really handy. I prefer to work in a slightly different way,
so I'm going to go ahead and edited. So the first thing is, by the way,
you can change these and create your own alpha as well. So in fact, I'm going to show you how to do that
because it's really simple. I want to switch quickly to a select a cylinder and let's go ahead and make sure click on polymesh 3D and it's turn off perspective. So I have a cylinder that I'm looking at from the top,
and when I bring in the gizmo, hold control, click and drag control click and drag Control click and drag it. So I have four, four pieces in here. In fact, we can actually scale this one down a bit
just to variate it, this one as well. Let's go ahead and invert that and scale that as well. And maybe this one, we're going to make it
slightly bigger. All right. So looking at this from the side,
you see nothing too crazy. I want to whole control and shift to select the slice. Sorry, the knife curve. This one right here. So that way I can I can kind of like cut maybe from left to right
so that the shape of the line is pointing upwards and it cuts this. And we have like the same level for all of them. And now from the top, I'm just going to go ahead
and click on the Alpha and click on from Mesh. So this is going to create an alpha
or allow me to create an alpha from the mesh. So from these cylinders and I'm going to click on. Okay, so now we have this alpha
and if we go back to what we're working on, all I did was create a different alpha. You can do this in Photoshop, by the way. I'm going to click and drag
and now what's ZBrush is doing. It's going to use that alpha
to extract four different strands of hair. So that is pretty cool. Now, the other thing that I want to do
is to go to the stroke palette and I want to click on Bend End and Lock End,
so these four things I'm going to keep enable. And when I remove the repel strength
so that way ZBrush doesn’t repel or, or pushes the curve away from the from the geometry
and from the picker. I want to switch from closest Z to const Z, or continue Z So this continuous
Z is going to continuously evaluate the surface. So we will be able to draw this along
the curves a lot easier. So I'm just going to give you an example by clicking
and dragging like so. And you see it is following that curvature you see is not perfect
or at least is not like as smooth as I wanted to. So what I can do is click on the curve and once I click
to start manipulating, I can hold a shift key and also smooth it out
like so I So let's push this up a bit. Let me go
you know click somewhere else to finish that. And I want to do one more just to give you the full workflow. But you know, this is another very repetitive process that needs patience and tweaking and let’s
do one here, that's it. Now what I'm going to into what you see,
I have these sets of strands and when I remove the mask and I'm going to also turn on poly
frame and turn off the line so you can see the colors. And let's go ahead
and from the poly group palette, here poly groups. And when I click on auto groups.
So now we're going to have different groups. Just I think these ones are connected here at the end,
not a big deal. We can still use the they move topological so with this
setup let's go ahead and select the move topological. So B>M>T larger brush size
and it's going to start adjusting. So you see it respects the continuity of the topology. So we can literally manipulate
one strand at a time, which is pretty good. There we go. I wanna hold the key just to pull this away, we can also reduce the brush and sort of like pull the,
the roots of these strands a little bit more. There we go. But as you can see, it's more of the same. It's just spending the time,
repeating the same action. And like I say, one of the most important things
that I would say when you're working on these is just to evaluate
your model from all different angles. Make sure that you step back a little bit, analyze how is working in terms of the silhouette
and the primary shapes. And you see bit by bit you're going to end up
with something that looks pretty convincing at the end. So I'm going to show you again the end result of what I ended up with,
which is at the end, I just deleted all the steps that I that I've been showing you this tutorial
and I have pretty much the same thing. This is still a dynamesh object
and I still have, you know, the strands. By the way,
if you want to remove this hold control and shift, access the select rectangle piece, select
this holding the alt key. So again, control shift to drag, then the alt key to hide it and then go to modify
topology under the geometry palette and delete hidden. This one has subdivisions,
so I'm going to delete lower and delete hidden. That's it. And then we also that's pretty much it
All right, guys. So I'm going to leave this one here. I know it has been a long tutorial, but hopefully the workflows and steps
that I showed you in this tutorial have been of help. Let me know what you think in the comments and again, I'm going to put a link to the free brushes
that I mentioned at the beginning of the video and the ones that I use for blocking out the hairstyle
in the description of the video. And I'll see you in the next tutorial. Cheers.
