Understanding Form in 3D

again concept up here by Park Jin tsuki I made a youtube video talking about what is a hit and I'll do a brief explanation of what that is right now so a hit or more commonly it's called a hit or a break essentially either or they're interchangeable a hit or a break is the point at which think of it as what we'll do a couple demonstrations let's grab very quickly you know what the default here is fine I'll just grab a cube so it hits or a break is the apex of a curve or the point at which a form changes direction so for a cube finding a hit or a break is pretty simple right it's right here on the edge where that surface changes direction so we are going up and then we're going across the face of this cube but for something like a sphere or something that's a little bit more curved sometimes it's a little bit harder to find the exact point at which that curve breaks or changes angle which is what I like to think of it as sometimes the apex of a curve or shape so for instance if we very quickly just kind of nudge this in and we'll start from tip and we'll go from tip of the sphere to the other tip all right so I'll draw a silhouette here right about here that's where our shape changes direction that's where it breaks so we have one of these hits or breaks right here and then we have a straight or relative straight I did it pretty sloppily and pretty quick and then we curve again so we have that apex of the curve and this is where relatively the surface starts to break and change direction so I've taken some time already to outline some of these form changes here in this face and kind of draw some arrows and if people have some questions about some of this we can talk about it as we go forward but essentially I have the outline or external silhouette for all the form breaks kind of mapped out and a few of the internal form changes as well finding these hits and breaks is incredibly important and just kind of having the language to articulate that and understand it and visually spend a couple minutes and maybe do a draw over like I did here I think is super helpful and super super important for translating stuff from 2d to 3d so now we're gonna be doing the translating of duty to 3d so we gots us fear make sure we don't have any questions before we continue on what's going on doom hopefully we've done a good job of the sparknotes version off-the-cuff of hits and breaks so I have a sphere and essentially what I'm going to do is just duplicate my sphere I now have two spheres and I'm going to move this one in front weird we're only gonna block out the major shape of the head I don't think this will take that long I'm sorry if there's a lot of background noise I'm there's a ton of wind and rain going on outside and it's been really crazy out there but hopefully you guys can hear me all right so will be just blocking out the head just the face I don't think this will take very long again the focus being on blocking out the major shape changes the major forms here and yeah depending on how many questions we got we can maybe spend a little bit longer on this so I'm going to use primitives for the most part we have one two spheres two different sub tools if you missed it I did it pretty quick duplicated the sphere now we have another one in front I'm using the solo mode to swap between those very quickly I'll try to keep this as simple as I can here as we move forward I'm using dynamesh at a low resolution which you can find under tool geometry dynamesh pretty simple I think most of you probably know how to use that though use ZBrush before and I'll just dynamesh both of these spheres so for the most part the back of the head here it's pretty much just a sphere maybe if anything it's a little bit elongated a little bit stretched so maybe we can play with that a little bit as we continue on here for the most part I'm just using my move brush to push and pull stuff around if I go a little bit too fast though and I use a tool that you're not familiar with you see how that me and tell me to go back so now we want to work on what I like to call essentially just the Shelf of the face so I'm starting to shape this up and some of the first things that I want to look at my pen will work there we go is start turning around to the 3/4 view and just kind of getting an idea the basic kind of shape of what we're looking at I think for my outline I've gone a little bit too long in the skull back here which is fine we can correct that in the 3d but some of the stuff that I want to be looking for is as we're wrapping around here around the brow we've got a dip in around the eye so we have a break right about here that's where that curve changes direction remember hit some breaks and then wrapping around the cheek and then curving back in around the chin so that is what I will be focusing on so I might be looking at the 3/4 view and sculpting over here but for the most part I am looking over at that opposite side where I want that hidden break to occur so let's start blocking out a little bit more of our information and we can show how some of this all these pits and breaks and all this mumbo-jumbo can be a little bit more useful so I'll just start carving in around my eye cavity as well as just kind of using my move brush to pull out and maybe a pinch brush to shape up along the jaw line and then we can kind of pull this shape up so I'm looking at all these different hits and breaks here we got one flown from the chin to the back of the jaw and then up into the head so we'll start to work on that here next probably getting a little bit long in the face but that's alright I just want to keep this as kind of low resolution as possible I like to keep things relatively simple but sometimes I like to add in some sub divs and smooth things out I like to keep things really clean if I can but at least in the beginning stages it's more important that you just get all the parts and pieces in there more so than anything else so chin kind of comes to a little bit of a point and the reason I can tell that is because it's you know a pretty small dainty little chin but also we have this dip in here which is telling me that this proudly isn't quite as rounded as I have it so as we look at that three-quarter view you know we're quite a bit straighter now coming up from that point we're looking at this side here now we want to start to get that to dip in going the other way I have to bring these eyes down quite a bit typically for these anima anime anime style heads the faces is pretty small in comparison to the head sub the eyes the eyes are typically obviously huge here so we'll have to play around with that shape as we continue forward emphasis being on simplicity here let's continue that make sure we didn't miss anything else here all right so let's continue to shape this head up a little bit really again focusing on those hits so what's next year we got this internal shape that's kind of creating this volume this convexity around the cheek that flows up and around the eye creating that concavity for the cavity of the eye so what I'll use is a pinch brush you can maybe use lazy mouse with your pinch brush as well it's really up to you I like to just use a lazy radius of a hundred you can find this under the stroke menu under a lazy mouse if you want to play around with pretty fun little tool I'll just use the move brush I think for now and continue to adjust some stuff maybe like trim a little bit here to start planning things out and let's just kind of get an idea for for what we're kind of where we stand right now so we're wrapping around the you have't II I could probably come back a little bit further and I'm probably not going to create eyes or super detailed lips or nose I really want the emphasis on this demonstration to be on the house geez how simple the reform is Here I am at this point probably going to dynamesh these two spheres together that I've started toward but before I do that let's take another quick look at our silhouette so we're coming down around here around the brow it looks like we can dip in a little bit more get a little bit more deep there go a little bit closer around the cheek and then a dip in around the chin so we're getting closer and getting closer that's for sure let's see how we feel in now we're getting there I think we need some more volume here we come up and around our cheek I'm just using my clay tubes brush to sketch that in very quickly and we might be a little bit long in the protrusion of the face so what I'm going to do use a quick mask lasso and let's just shrink that back a little bit maybe a big old move brush to pull that in as well all right we're getting there we're getting there kind of move this edge up a little bit more pull back on the eyes and probably mess with the depth for the bridge of our nose here a little bit typically when I'm blocking stuff out I like to keep my edges on whatever I'm blocking out relatively hard I think it helps me just kind of see form and understand what I'm creating and then it's really not that hard to go back later on and you know soften a transition but just keeping that hard plane change I think can be pretty nice and pretty helpful I think we're getting closer but now let's take the time to merge the Shelf of our face in the back of our head together so what I'm going to do is use the Merc yeah merge down merge down function so we're going to merge theirs merge down the Shelf of our face and our sphere so those are now combined beautiful and we'll just run another dynamesh I think I'll increase the resolution up to 120 or so and we'll just blend between these which should be really easy at this stage everything should be super low res super easy to work with another thing we can do at this stage if you're having trouble figuring out proportions the more stuff that you get in your scene the easier it will be to kind of gauge proportions against one another so I find that putting in something like a neck or a body can be really helpful in that so what I'll do is just very quickly you know instead of doing it that way I'll just click on append and click on cylinder 3d okay and then we have a cylinder and we'll just move this down and scale it into position here for a lovely little neck and let's just make sure that's going all the way up and in there add a little bit of some curve from the front whoops we look at the shape here so let's get some of that and as well from the back come on and typically on the styled characters the next are very thin I think for now we'll just kind of leave this as simplistic as we can now and and I think we can go ahead and merge that together as well I think there would be any reason not to so we'll just dynamesh those together same processes before merge down and and then just a quick minute here to blend between these shapes I was just adding some form there to the front to kind of get that feeling a little bit closer to that shape transition that I'm seeing there and then I'll use a trim dynamic brush I'm holding the Alt key you start blending between these shapes and remember this is all still just dynamesh really low res now time to start just making sure all these shapes are feeling nice and good together make sure that that's working back there we're gonna do a quick zremesh here in just a moment to really get this working together a little bit better it's also widen out some areas here around the face or that's starting to dip in a little bit too much all right and now we are gonna run a zremesh so that's just down in tool geometry zremesh and we'll set the target poly count to 1 or 1000 Poly's all right so we just spent some time xiri meshing this so we took our dynamesh geometry and remesh this to a more simplistic shape and now we can add subdivision levels if we want really at this stage it's important that you're stepping up and down through your subdivisions if you want to have subdivision levels it's very easy to kind of let that get out of hand very quickly so I'm gonna go through here and start cleaning out now that we've dynamesh tall these shapes together proportions will be even more important and a little bit easier to understand and simplicity is the key anime ads always end up looking like aliens in the beginning which is my favorite part all sculpts end up looking like aliens it's just part of the part of the magic but staying in this stage for as long as you can is extremely important and yeah I think staying in this kind of area the longer you can the better the end result will be I say that no amount of icing will save a bad bake so essentially no amount of details on top of some bad primary forms or even secondary are really going to make much of a difference still going to look bad so we want to take a lot of time to build this hop and we got this pretty simplistic neck but that's okay most of our focus I think is going to be here on the face so we are I think a little bit too wide here for the bridge of the nose just looking at how close these lines kind of come together and as we wrap around here I'm looking at this line here on the left come into this crease we give them a little bit too deep over here you know what I would like to do I would like to just soften this plane change a little bit I think that'll help see what's going on there ever so gently all right then wrapping around the cheek I think we could use some more volume just a little bit lower in the cheek and then from what I can tell you know a little messy don't worry about mess at this stage sometimes I get caught up in it but what we're gonna do is just carve in I'm using my met cut brush it's essentially like a damn standard pinch brush combination if the pinch brush would work pretty well for this as well I'm very quickly going to just force this plane change here that I'm seeing that convexity or I'm sorry concavity this first arrow I'm just looking at my silhouette and then I'm just gonna bring this form down a little bit and start inflating that using my clay tubes brush and let's just soften that a little bit how are we doing so from here I'm going to take this chin I really think most of the silhouette here for that last little hit is actually from the form that's going to be created underneath the lips if you're unfamiliar with what I'm talking about well you will use this as a reference even though it's not awesome so this this hard line essentially all the shapes of the face mouth lips eyes ears etc all create additional form as they blend into the other parts of the face so specifically the lower lip has a shape that it creates with the chin which is what we're seeing there as that kind of runs out and changes direction so I will probably not be able to get a ton of that form in right now but the more I can the the happier I will be at this stage for sure so we'll try to get that as close as we can I think that's feeling a bit better if anything we could probably you know pull out on those cheeks a little bit more and just make sure that we're not getting too boxy up here all right and very quickly let's make sure the angle of our jaw is going the correct direction says we're wrapping around this isn't just a perfectly straight line there's actually some curve to it from what I can see we'll do that get a little bit of that in there and then wrap up and around and into the head we can see how we're getting like a bubble out there that's not what we want always remember that as you start to build up secondary forms on top of your primary forms you don't want that primary form to fall flat or essentially get ruined like what's happening right now it's very important that we nip that stuff now in the early stages all right and now I think with just a little bit of fading around that area we can start to blend this pretty well why did you not continue sculpting with dynamesh so I swap back and forth between dynamesh and zremesher all the time it's actually probably one of the things that I get asked about the the most and you will figure out when you need to swap between the two you'll figure it out for your own workflow just sculpt a lot really really the answer to that question in short is mileage and just getting that mileage up you'll figure it out as you keep going but right now I have subdivision levels the geometry is not really helping me down here in the neck it's kind of getting really messy so maybe I'll run a quake dynamesh if I need to get those subdivision levels back that's a really quick process if you guys want to learn more about this process and having you can swap between dynamesh and zremesh and reproject information with subdivision levels I have a video on my youtube channel that talks about that process that I just released a few days ago I'll share it here in chat for you guys and Folly got Shh shush me so she passed me I'll share it right here for you guys um that's weird gave it a timestamp than that but yes check it out and I think that'll help you a lot I also talked about some of the what would you call it common problems that occur with projection so I think I think that'll be good but yes this is dynamesh now oh no it's ruined right no it's not we can get the subdivision levels back very very easily I'll just take some time to clean up some of this form though or getting a little crazy I think we got most of the primary shapes in there for what we're looking for for the shape of our head most of what I would do now it would just be starting to move up from this level to start sculpting the nose the eyes the lips the ears and after I got everything in then I would do another proportional correction I think it's bad too you know once you get to a point where you're comfortable with your proportions enough to move forward I say go ahead and do it because once you get all the parts and pieces in there things really start to come together a lot easier and it's so much better once you're in that stage to figure out proportions than it is in this stage but for the blockout you do want to spend your time here that's not to say like rush ahead as quick as you can you want to stay in this stage for as long as you can until you're really comfortable with that primary form so that you can move forward from there progress on your sculpt but yeah I think that's pretty much all I'll do for for this there's obviously some Corrections that we can make I think the eyes need to go a bit lower and just because of the perspective of this I think there's some kind of walking that's going on and we can maybe change some more stuff but I'll give a little bit of time here we can answer some questions and maybe spend a little bit more time as in specific areas if if we have questions about that but yeah I think here we'll do a quick reprojection and answer some some keys so now we're at a stage where we have subdivision levels that we can step up and down and essentially the benefit of this for those that are really new to ZBrush is that I can sculpt you know high-resolution details on this if I need to or I just have a smoother surface that I can work on but I also have a subdivision level where I can step down and make really big form changes whereas at a higher level of geometry if I try to do that look how it warps my surface it creates a really really bad large move so it's not very helpful in that regard so now I can make you know a really big form change like if I want to slide the eyes down I can do that at a lower resolution a lot more easily than I could at a higher resolution and let's see how we doing on correcting this shape I think we're pretty close like I said I would probably spend more time on this once I got the eyes and everything else in here let's see but in terms of most basic primitive shape if we look at this from the silhouette I think we're looking pretty good oh cool cool well as long as we don't have any more questions we can move on to the next thing let's see take a look at one more look at this from the profile view from the top view that's actually not too bad try softening that form change a little bit all right cool cool cool all right I think that's looking pretty good like I said in terms of the hard edges again I'll mention you know I like to plan out stuff really tight obviously but then after this we could probably come back through and start softening some of these sharper transitions around stuff like the jaw if that's feeling really hard and awkward but just taking the time to really focus on the silhouette of what you're creating think about the hits and breaks of your shape I think all that's really important and hopefully that demonstration was helpful for you guys but yeah from here

Channel: Follygon

Views: 124,391

Keywords: ZBrush, Speed, Sculpt, ZBrush Speed Sculpt, Follygon, 3D, Art, Concept, Creative, Design, GameDev, Illustration, Fantasy, 3D Printing, Toy, Game, Movie, Maya, Pixologic, Autodesk, Adobe, Character, Sculpture, Digital, Topology, render, painting, Tutorial, Dynamesh, Zremesher, Disney, ZBrush Tutorial, 3D modeling tutorial, understand 2d form, 2d to 3d, understand form

Id: 6FQgJUmw3j8

Length: 26min 0sec (1560 seconds)

Published: Sun Feb 17 2019