ZBrush Digital Sculpting Hair Tutorial | LIVE DEMO |

all right so I am just setting up a couple things really quick on our screen and then we will get started give me just five seconds here to make sure that the stream is alive because it's been about a month since my last dream so I want to make sure that everything's working here if you don't know my name is Ben I go by folly got around here we're gonna be doing a hair demo tonight in ZBrush and we will be getting started on that in just a moment I recently there we go cool I think we're good to go so I recently did a character in collaboration with Nadia axle she's a really talented 2d artist she does stuff digitally and traditionally and she ended up creating a character design for me and I ended up sculpting that character and that's what you see in front of you her name is diabolo sue and she's a demon it's her OC right now she's dressed as a witch so I recently released a video over on my youtube channel wherever that is it's just folly gone I'm falling on on everything showing the entire process kind of giving some tips tricks explaining my process along the way you guys get the idea you guys can check that out if you're interested in it finally gone on YouTube but essentially I had a lot of people asking me about the hair for this character so I thought it would be cool if during our return to the live stream here on the pixologic channel that I would do some playing around with hair tonight so I am going to show you guys and I'll hide that image for now we'll talk about that in a second I think that's actually going to be the hair that we create but I will show you guys my process for how I created this hair and kind of how I tackle most hair pretty much all hair there are some exceptions for specific hairstyles but for the most part knee of that like long flowing complexity that's what we're gonna be looking at tonight if you are just now joining us say hi in chat maybe shout out where you're from where you're watching from and in a coffee shop or whatever hopefully my chat is working and we can go ahead and I think maybe shout out one one more thing here really quick and then we'll get started if you guys want to check out more of my stuff YouTube channel following on appeal Academy is my major course most of my students are located in that but Gumroad comm slash polygon that's where you can get all my brushes materials that check it out it's down the internet Gumroad comm slash polygon and then my art station if you guys want to see some of my stuff and you've never seen me before cool let's do it so hair hair is pain right if you've ever tried sculpting hair it kind of kind of sucks you can also get into a really nice Jenova Chen desk flow with sculpting hair though so there can be kind of like this big feeling of oh my god I'm never going to reach the end of this but while you're in the middle of it you can get into a little bit of a rhythm right if you've never sculpted hair then you have no idea what I'm talking about and maybe you can learn some cool new tips tonight whether you are experienced in hair sculpting or not so like I said I had a lot of people asking me about how I created this hair and we are going to be sculpting I'll be turning off the hair for this character and we're gonna be giving her a new little hairstyle a new haircut so I will be I think I think I'll be okay to keep this in here I was thinking about maybe deleting it just because the file size would get a little bit a little bit too large but we'll stick with what we got so here's her current hair she's got there are a couple of things that are missing there we go a lot of this is kind of roughed in some of it more towards the front to kind of match the silhouette of the concept which you can look up on Nadia Axel's Instagram or her YouTube channel you can kind of see how that kind of fits that a little bit more closely so a lot more attention paid towards the front but let's go ahead and start the demo using this image over here and we're gonna hop up on over to photoshop real quick and if you look through my sub tool list you can see how many different sub tools I have for the hair actually let's turn that on just so we can inspect what we have right now so I kind of have this larger chunk representing just the top this was a combined from a couple different things mainly modeled from a sphere we have a lot of distinct individual flyaways which is something that we will talk about a little bit later just kind of a quick little chunk of hair in the back to represent that quick little bun that the character has and then all the rest of these sub tools are the individual strands that you see represented for each of these some of them a lot larger in the back because I didn't want to take a ton of time obviously with too much of this stuff that would not be seen cool so let's hop on over to photoshop maybe check out chat real quick night shadow what is going on welcome to the stream Robert hello from las vegas how you doing man and night shadow says that they like to use the orb crack brush for sculpting hair mm-hmm I believe I have the orbs correct brush in here or cracks there you go I don't even remember what this brush does I assume it's some similar to a damn standard if I remember right yeah so I think that's a great brush for getting some basic volume we'll talk more about that here in just a moment so let's go ahead and hop on over to photoshop like I was saying and essentially what we're gonna do is do a little bit of a breakdown on this hairstyle and start creating it in ZBrush so if you guys are interested in sculpting hair love it hate it either or don't care hopefully you'll find some helpful stuff along the way feel free to ask any questions and chat while I go because I will not give you a moment of pause to ask any questions I will just keep talking um so LMS what does that what does that mean huh large medium and small so this is a very simplistic fundamental concept to help you break down form I use it all the time when I am doing draw overs or it's kind of always floating in the back of my head when I am sculpting so if you're familiar with sculpting at all you probably understand the basic concept of starting with large shapes first and slowly working towards the details you don't want to start with a really simple shape and don't not spend any time getting that accurate start throwing details on it right away because later on that shape is probably going to need to be tweaked and changed right so how can we look at this for our hair so let's start off with the large shapes first and try to break this down and make it a little bit easier to understand so a large so let's look for the large chunks of hair let's go ahead and just outline these really quick we have this one large segment coming down here and this does kind of split here you can see how that splits a little bit through there we're not going to worry about that yet though we're just gonna outline kind of this major wedge of hair and I'm not gonna spend too much time making it perfect we'll just do it nice and quick here and get another one of these little segments see how that kind of flows down through there so we have so far one and two kind of these larger segments and we'll start to break those up a little bit more in just a moment and obviously the crown is in the way but we probably have some kind of like little hair part up there and the hair splits in some form or fashion up through there I'm gonna just outline the larger shape of what we're looking at there's a lot going on over here it's a little tough to kind of see and make out exactly what is happening but for the most part from what I can tell this is the major what would it be conch convex Ridge poking out towards the rim of the face you can see it a little bit better right here in this side image so everything within this area is kind of depressed and there's a bit of a negative cavity there so that is the major kind of separating line there so it's very important that you spend some time with your hair and just take some time to outline it and really understand exactly what you're looking at from there we can start to break that down a little bit more I'm just gonna try to alpha that out little bit and we'll grab this next color and start breaking things down a little bit more so this is really helpful for me and just not only with hair I actually do this on a lot of characters especially if I'm having trouble figuring out some form what I like to do on occasion is also do a little bit of a draw over of some topology to help you kind of figure out some of the shapes like for instance in the face maybe we have this Ridge flowing up from the nose up around the brow and we can see exactly maybe like how that would connect and you can maybe draw some geometric kind of planes for exactly where that means to flow and that can be very helpful I find that to be very helpful at least so maybe that's something that you can try here with your hair as well but in terms of kind of splitting this up a little bit more into our medium shapes this is anything that starts to break up your primary form so in for instance I mentioned those that kind of split shape down through here which is kind of splitting all of this larger chunk into these smaller segments let's start to recognize these a little bit more same thing kind of happening over here there are some smaller chunks but we can see that there is actually some additional form happening here one thing that's very helpful when looking at this kind of information is understanding the highlights and shadows that you're looking at so for instance on the side of the hair we can see that there's a highlight on the opposite we see a little bit of a shadow so we have this Ridge right here that's flowing all the way through this hair that is a nice convex line nice and sharp convex line it's pretty a pretty sharp we have some additional form up through here that we can kind of outline really quick and we'll look at how we can use something like this in ZBrush and then over here of course we have you know up top some more additional hair strokes and we'll just kind of sketch those out real fast here and outline them just some simplistic stuff and then we'll talk a screaming about small shapes very briefly and then we'll hop on into Z Z town alright so what are small shaped small shapes typically do not affect the silhouette but I would say that our little flyaway hairs that you see here these little guys these are what I would definitely call silhouette effectors but they're not really something that I would call a medium shape because I'm not really a huge fan of working on super small flyaway hairs while I'm in the process of you know working on larger and medium shapes it's kind of just a kind of like a final little touch thing I pretty much try to save flyaways till the very end I also find that they are kind of in the same vein of like putting a highlight on an eye it really helps things come alive and feel a lot nicer there's also some like little sketch early strokes to the hair that we could maybe add at this point you can see some of those flowing through here but that would be the stage at which I would start to do that as well so any of these like little tiny additional textures or anything like that so that's the basic idea of working with large medium and small in kind of just like breaking down the shapes so how do we actually apply this in ZBrush so let's hop on back to ZBrush take a look at our hair that we have currently and then I will talk about this hair here as well strange time to stream for you know I normally stream at this time on Tuesdays it's just that I haven't streamed in probably probably a month or so then it's been a bit for sure so I'm coming back from having a crazy bit of travel and work all at once so I have time I have time to stream again so let's see so with our hair currently we've kind of already looked at this so let's maybe not talk about that anymore instead let's get in on our new hair and how we can break this down using this as a reference so what we want to do is start with our large shapes first so we pretty much have this one large shape here so we got one two and three and we can kind of connect up some of this there's also some information in the back that we can't really see so we're gonna have to interpret some of that a little bit but let's go ahead and start getting those major shapes here first so how are we gonna do that let me see or would we like to start I'm just gonna make this a little bit easier for me to navigate through all these different sub tools let's go ahead and append a sphere so if you guys are kind of new to working with hair there are a lot of different ways that you can go about starting to block out shapes one way that I like to work with blocking out form is just starting with a sphere starting to kind of manipulate it into the form that I need in this case I think that I am just going to use a curved brush I'm going to use a default curved brush just so you guys have the exact same tools that I'm using here I'm going to be using the curved tube snap brush a very nice curved brush I use it all the time and let's go ahead and start getting in some of these hair segments so let's just draw one of these on here and your first initial stroke does not need to be perfect it's actually in my opinion better to keep things a bit messy at this stage just to kind of illustrate that point even though this isn't exactly what I want I'm going I'm just going to keep it I'm going to use what I have so we can have this geometry and start manipulating it with our move brush so we can just start kind of pushing and pulling twisting jointing honking is a very technical sculpting term it means to move wildly or something so when we got that coming up over the ear and maybe the long pointed ears aren't great for this hairstyle so I think I'm gonna turn off the ears so they aren't poking through there we go I'll just toggle those off real quick oh let's get the earrings as well make it a bit easier to work on this hair let's see it is not a hair study we are more so just doing a maybe a hair study for you guys an illustration a demonstration demo hair demo so we've already kind of talked about a little bit of large medium and small and what that means for this hairstyle and how to break form down if you guys are joining us a little bit late and haven't seen anything like this before no worries everything gets uploaded to YouTube after the stream is done let me make sure that I didn't miss any questions here ah yes daylight savings time that's the one that's what's got us confused let's see yes the stream titles are often messed up but that is not a problem I'm sure it's fixed now why not use hare geometry this is geometry right here alright so like I said it doesn't really matter too much if that shape isn't perfect starting out because we can always fix and correct that later so let's go ahead and do that now I like to use if you got some really thin geometry that's like really bothering you you could probably just inflate that really quick to get that up to the level that you need essentially what we're looking at is this large shape here so if we hop back to Photoshop we can see that comes down in a straight line and then curves in on the outside straight line back behind the shoulder and flows down and across so that is what we're looking for we want this back behind the shoulder and then flowing across now we also need the hair that wraps around the head as I mentioned we cannot see that right now all right because of our concept it doesn't show the back side so we'll have to do a little bit of interpreting on that for sure so let's go ahead and fix some of that start to get that the loop in and I'll just go ahead and continue to tweak some of this with my move brush and you know what I'll keep the I wasn't going to keep a lot of these accessories and stuff on the shirt but we'll just leave them for now I think it'll be fine and let's go ahead and start to get a couple more of these little strands so the save time I'm just going to duplicate this and mirror it over to the other side and she is posed right now so there is some asymmetry I am going to 0 mesh and actually the hair over here is flowing behind her ear so that is thing that we will need to tweak so we'll push that back a little bit you know what maybe we can change the hairstyle ever so slightly so it's not quite doing that for the back of the head we can either you know move this stuff around combine it with other geometry you know sky's the limit I'm just going to continue to repurpose what I have because it's in the scene already and I'm too lazy to draw on additional curves so we'll just kind of grab this and manipulate it to about where we need and that's fine like I said it's probably best to keep your geometry a little bit messy at this stage because we don't really have you know our main shapes down and we're not really trying to keep our geometry super clean just yet but we will in a moment want to clean that up I'm using the IMM primitive brush to just insert a quick sphere scale this up just to create the top of the head for the hair actually here you know I'll delete this because I'll show you a different trick that I like to use this is a bit easier when when you have symmetry enabled but because the head is kind of tilted and tweaked here it's not really going to work so I'll just kind of eyeball it really quick but I like to create a mask and extract the hair from that to kind of get a basic idea of the hair that needs to kind of the top a little bit of the shorter hairs around the skull I always I used to call it I can't even remember now it's my hair mask it's really not important you're just getting that basic shape I honestly realized that I deleted some of the stuff on the back so that's fine that so what we're gonna do after we have our mask is just duplicate our head and throw that down to the bottom that is extremely high poly let me step down and delete sub dues then there we go so I just wanted this this is all I want here this piece of geometry scale that up and now we have kind of the base of the head there pulled out just a little bit so we could give that some thickness we could play with that in many different ways to give it some volume but for now let's just continue on and get the rest of our form in here so let's see let's kind of close up the huge gap that we have at the back of the head and you know what I'm just going to use this geometry I deleted what I had before somewhat on accident we'll just kind of do this really quick so like I said many different ways to continue creating lots and lots of geometry and mainly all I've been using this entire time is the move brush so nothing super crazy all very simple so right now all we are doing is focusing for those that are just joining us on the large shapes of our hair so what are the large shapes of our hair there everything outlined in red here so anything that is within the super large shape over here it's kind of additional piece that kind of curlicues around and then the other side of the head over here so that is our objective create the most basic shapes first and then we'll start splitting that up a little bit more into some secondary shapes this is quite a bit shorter on the other side more so I think it's just kind of tucked into her outfit so it's a little bit harder to get a read on exactly what is happening over there so what I will do is 0 mesh piece of geometry that I'm working on just to get it really low poly make it a little bit easier to manipulate and work on and actually before I do that let's combine it with the other side so we're just going to make this one giant large large chunk here actually I'll even move them just a little bit closer because my dynamesh because of the scale of my figure my low dynamesh here was a bit higher than what I anticipated so we'll just kind of lower that quite a bit and like I said messy is fine especially low poly geometry is fine makes all of this quite a bit easier actually and as for this up here how that blends into the the base of the skull not important because that is something that we will correct as we start to work on this and sculpt it and give it a little bit more form later on so we just want to focus on that big shape so what do we got we got some gaps going on back here let's kind of cover that up let's maybe just sculpt on this just a little bit so it's not quite as thin so dynamesh doesn't give us any holes that's never fun right and we will start to kind of work on our silhouette now so we have some geometry representing the form what do we want to do we want this to be straight and then curve in so straight then curve in we also want it to wrap around the shoulder it's also another important part of what we can see happening here so that means that it comes out a bit wider here and then tucks in like so then we have that piece wrapping out and around doing a little bit of a curlicue so we'll start to do that and because it's a little tough to see we'll just hide that temporarily give us some volume um let's see what Mouse am I using I have a razer mouse but I do not sculpt with my mouse I have a Wacom Cintiq 27 it did look like a puppy yes the it kind of looked like it had some ears all right yes I spelt with a mouse hidden from the camera tentacle Mansour not that could be cool um yes back face masking is how I was sculpting on that without getting it to sculpt to the other side I pretty much always keep that on for almost all of my brushes a few I do not Hannibal what's going on welcome back man how you doing all right so we've started to get some volume in there we're just gonna leave it how it is for now let's go ahead and grab her curved tube snap brush yet again and we're gonna create this piece of geometry here that kind of curlicues out and around straighten trying to think how that would look for you guys this way but we're gonna be doing something a bit different here we're gonna be using the stroke menu with the curved tube snap brush in here you can see this curve modifier size button we want to toggle that on and make our curve fall-off look like that and then we're going to draw a nice little curlicue like so wow that turned out turned out great okay let's try that again beautiful that's exactly what we want so we got a tapering down we got it fitting mostly the right shape right direction I want this strand of hair to come up down and around and then we'll kind of hide that in there so the hair from what we can see in this pose is actually coming down and covering her eye a little bit so that means that we need that to come more forward so I'll just use a quick little mask pull that a little bit more forward and we'll push this a little bit more in in front of her eye like so and then kind of looking at the relationship between these two larger shapes we can see that it's a straight line until it passes about 80% or so 90% and then it starts to like curve in there 80% or 90% through this shape this secondary shape so we want to keep that a relatively straight until that point and I'm going to turn off the feathers on this character because they are getting in the way a lot of things are getting in the way I probably should have used a different character for this demo but this is the character that I most recently did and this is the video that I had a lot of people asking about how to how I made the hair for those that are just now joining us actually I can show you the hair let me turn it on really quick so this is the hair from the original character that I created in collaboration with Nadia axle but we're looking at the same process just a different hairstyle I had to find a different hairstyle and I think this one is relatively simplistic if it's essentially what we're going for here but you never really know until you start getting in and working on something a bit more how well it's going to translate on over to 3d so let's see that shape kind of pulls out and goes around you know now remember that as I said earlier working with those larger shapes it's extremely important that we spend a long time working on this stage to make sure that everything is kind of fitting the major shapes of the silhouette because what's gonna happen is if we start to work on the secondary shapes and start to split things up into second like individual parts or start to make things a little bit more complicated we're gonna end up hurting ourselves a lot more later on when we want to make some large-scale changes makes things much more difficult to like make big scale changes the more complex form that you have so simple is easy to move around where as complex is not quite anyway let's go ahead and make a few more changes I'm gonna look at this just from some additional views to kind of get an idea of how I can maybe make that look a little bit nicer try to get a little bit more flow it's a little a little thick through here I'm actually ok with that we'll probably thin it out but later but let's start to manipulate this piece here our little curlicue it's not quite that um that long so I'll just chop off the end really quick it's a bit thin into about that point there so anything past here it starts to really start to thicken up quick so we'll just grab a back face masking move brush and really start to thicken that up nice and quick now that curve is really nice and clean all the way through so we don't want any major hits or breaks in the silhouette there that line is relatively straight as well so we'll just kind of manipulate that and do what we need it looks to me like that is not resting on these feathers or armor so I'll just pull it off from the surface a bit more there's also this larger Ridge coming down but let's just kind of focus on the silhouette first we'll kind of get into that here in a moment maybe very quickly you can take something like a damn standard brush or a standard brush or a number of other brushes and kind of carve in a little line here looks like there's some kind of additional form here and I'll just sculpt on that with a quick clay brush few strokes maybe a pinch yeah that's fine that's good enough for now let's do 50 let's do like a hungry down cool with dynamesh because it's dependent on scale I was pretty much just trying to find something that worked a little bit better there so I just raised it up until I had enough geometry to retain the form that I was creating so this strand is tucking up under this piece here it's very important that we do that let's pin that out tuck it under so if we look at the shadow here this whole shadowed area right around here I'm gonna make a new layer right around here well that tells us is that the hair is obviously you know starting to tuck up under here right but this is about where it starts to turn direction so it's starting to get depressed in there there's a concavity which is creating that an entire shadowed area so it's important that we understand not just the silhouette of what we're looking at line that's very important but highlights and shadows are equally important understanding three-dimensional form so that is something that we can start to tweak here and get a little bit closer to the shape of our hair now the problem with this hairstyle the main problem that I think I will experience is trying to get some of this to work over here on the other side because that is kind of tucked up into her her outfit so it's a little tough to get some of that to work I think we'll probably just keep it as is just a little bit shorter on that side and maybe we can play with and manipulate that a little bit more later to get that a little closer a little bit of an inflate there and that strand of hair is going into her cheek we do not want that avoiding interpenetrating geometry is extremely important don't want that bad push that back because that is what we are seeing is that disappears into the concept and yeah okay so let's start to move into a little bit of secondary shape as well as continuing to clean up what we have because things still look a bit awkward right but it's important to know during the early stage that what you're doing is not trying to make something look good right away you are that's always in the back of your head right but kind of like how a traditional sculptor would carve something out of the block of stone you have to be able to see the finished product underneath all the garbage that you have right now so what we're doing right now is we're doing construction right we're building the foundation so it's very important that our foundation is strong or else everything we do on top of that will not not work out too well for us I am going to do a couple things on this little chunk of hair up top and then we can give it some thickness and continue on hello there mr. Fellig on or should I say sup my boy yeah we'll go with the ladder what's up dude what's going on George how goes it certain brushes it should be turned on by default I agree I agree absolutely I think it should be on by default for like almost 90% of all brushes I must have super strong shoulders moving the pen from side to side off of the screen I'm not sure what you're talking about thank you they're very burly how can I control hair edge stain mmm how can you make thin edges for your hair I recommend a pinch brush or a mech brush try out the pinch brush though first see if that helps you out would you say a few key commands out loud if slash when you are using them we're switching tools now I will not that would be just all I would say I'm constantly pressing hotkeys and yeah that would not be fun let's see anything else I need to catch up on any other questions before we continue on oh it looks like I'm breaking through my webcam cuz I have some black stuff in the background yes I'm breaking the the second dimension I guess the third wall not quite the fourth are you palms sweaty all the time yes fix your title I can't I'm not the official pics a channel is simply a simply stream here alright so let's go on here I'm not seeing any other questions I just did a quick remesh on this so I could grab a zmodeler brush extrude all polygons I know I did that quick if you want to know more about it just let me know and now we can start to merge and combine some of this stuff to make it a little bit nicer to work with as well let's see what our music is doing as well it looks like it stopped off-topic how do you make a border or picture frame on the border of say her dress how do you make a picture frame on the border of her dress I'm not entirely sure I understand your question Hannibal if you could maybe word it a little bit differently maybe I'd understand a little bit better make a border or picture frame yeah I'm sorry I don't understand how do you use curve to you click it and you draw it out like this Boop curved tube beautiful I use it all the time love it sculpting clothes clothes that have overlapping parts oh I kind of understand what you're saying vaguely I'm not sure maybe I don't like um I guess like overlapping clothes why is this so small like something like this usually just all curved tubes this is this is all done very quick and simply so maybe something like that is that what you're talking about that's all I am maybe maybe not maybe I'm misunderstanding I probably [Music] the overlapping leather parts of the clothing need a border or frame could you link an example I believe the pixologic channel allows you to link stuff but I'm not positive if not like tweeted at me or something and I'll take a look I am very quickly just throwing a few quick strokes on this hair just so it's not a completely blank here and I use the damn standard brush they're really quick on this but I pushed it in way too far I'll just fill it in really quick I was just trying to get a quick little bit of additional form there so yes all very junkie very quick but what we're going to do next is still work on this primary and I might turn one of these ears back on it's just that they're so long and pointy it's quite a bit different than what we have here let's uh let's just change that the haircut and we won't push it back it's not changing my haircut changing the exact shape we'll just push it down over the ear kind of like what we have over on the other side okay so we got some overlapping stuff here I'm just going to combine all of that and dynamesh it together because that's the quickest and easiest way to do something like that you can see that I got some holes in my geometry normally I'd undo this and give it some quick extra thickness but because it is a common problem and a lot of times I know you guys can't do that I'll show you another way to fix it if you don't have your undo history you can use the move brush with back face masking and just push around a little bit very quickly just maybe something like that maybe push it down and in dynamesh again and voila look at that all your holes are gone for the most part maybe there's like a couple extra but filling them back in and dynamesh again we'll get rid of all that so pretty easy to fix if you know what to expect from your results of dynamesh now i'm just gonna blend between these all very rough right we're still in that early blackout stage where it's okay for things to be rough giving her a crown would also help quite a bit in can this feel a lot closer to the exact hairstyle but I don't think we're gonna have enough time for our demo and I'd rather focus more so on just getting the hair done here so I'm just adding in a little bit of extra information here on top of the head just some extra geo things are very messy I just need some extra thickness up top I was kind of blocking out with a quick damn standard esque or it's kind of like it's my sharp soft brush I would say it's like if the damn standard brush and the standard brush had a baby it's not quite as a sharp as the damn standard and it's not quite as soft as the standard brush a little bit in between all right and then from the back I'm just going to give that with my move brush a little bit of extra volume very careful to look at our silhouette here see what's going on there there's some unevenness which a little bit is fine but for the most part I want that to be pretty close to what I'm seeing over there which if we go back to photoshop you can see how nice and clean that rounded shape is so that's definitely something that we want to correct here yes Danny you are most likely the only person who uses the form soft brush form soft brush I have no idea what the form soft brush is I would guess that maybe it's up here somewhere if it's still even default I hate that they got rid of a lot of the old slash brushes I think the slash to brush is still up there somewhere I'm not positive but the slash to brush oh if you guys haven't played around with it I recommend highly recommend especially for working on hair I think it's great for working on hair all right so we have a very simplistic kind of shape here but what's wrong well it's just a little bit too high poly it's a little bit too dense for what we're attempting to do we've started to clean it up and play with the geometry a little bit well let's go ahead and lower the poly count I like to use polygroups if I can so I'll be using keep groups over here and zerah meshing that in the temperature just make it a little bit easier to manipulate as well as split up a little bit later have you seen the new tools coming on the ZBrush 2020 version I have I was actually one of the beta testers and you can check out my images over on the official website I'm the one who created the the little dragon I might actually have it here close by this guy this is what I created for the for the beta there are a bunch of new tools and if you guys are interested in learning more about ZBrush 2020 and the new tools coming to it there is a over so this is my guy that's what I created Wow so fancy so nice ZBrush central ZBrush 2020 click on up here and you'll find out about all the new cool tools coming in the new release which is on but the Baba November 12 Wow that's coming up soon ZBrush 2020 will be a free upgrade for all registered ZBrush users yet again yay as it always has been but yes this is my guy that I created for the beta he's a he's a lot of fun I liked working on him a lot oh look at that RZ mesh is all done Wow beautiful look at that perfect perfect retopo of hair with the magic of zremesher no it is not it is not perfect but it will do the job for what we need right now and what do we need what do we need right now well let's continue manipulating a little bit more and then we can start to break our hair excuse me break break our hair up a little bit more I feel like I just had a mini stroke and my throat is very dry so I need another drink here but I want to fix this first you guys never get like into a sculpting mode where either you're like starving or you have to go to the bathroom or you need to drink a water but you're like yeah just one more thing and you do that one more thing and then there's like another one more thing and then that two more things turns into ten more things and then you're like just dying for a drink of water like I am right now that happens to me a lot actually it was good getting that flow alright I'm just trying to give this a little bit more extra volume here I'm just using a few clay tube strokes and hoping that and that doesn't let's turn on transparent get too crazy they're in volume I think that's okay I think that's fitting the silhouette fairly nicely all right mmm when the hair was penetrating the skull let's see ah I see yeah not my style not my style of brush I actually don't even use the standard brush really to sculpt all too often I'm not a huge fan of the standard brush for sculpting but I will use it on occasion alright so I say we start going into secondary forms which if you guys were around at the beginning is our medium shapes our green lines here we'll go ahead and turn that up which start to break up our major shapes into our secondary shapes our medium medium details so to speak so let's go ahead and start doing that and looking at how we can do that there are a couple different ways one way that I like to do this is by using the curved tube snap brush yet again good old friend curved tube snap and we'll start to work on creating some of those so let's duplicate our original larger chunk of hair and I'm just going to draw how to stroke to show you what I have right now so I have this turned on with sines modifier and let's stroke menu stroke curve modifier sighs so if I turn that off it'll be even throughout I'm actually going to keep that on but I am going to pull that up a little bit and add in an extra point and try to get something a little bit nicer here there we go I'm starting to like that another thing here we can undo back another thing that we want to try is to make this more thin so if we come up here and lower our Z intensity we can make that a bit more thin which is nice and one last thing here is underbrush depth I'm going to embed that just a little bit to maybe a little bit more there we go alright so now we can start making some of these secondary shapes so let's see so if you're having trouble you can just come back to your guide where you started to highlight some of those additional forms so we have one kind of chunk here splitting up another one flowing down here and another one and that all creates this first chunk here so there are about three pieces that make up this whole piece but it's nice to think of that as one chunk mentally at least so kind of three pieces that we can start to work on here so we'll do one and we'll just tap to delete our curve maybe use our move brush and manipulate that a little bit and we could have pulled that up maybe a little bit higher up here but I think we're fine we can just manipulate this with our move brush a little bit of masking as well I like to turn on and off dynamic while I'm working so that I can just get an idea of what that will look like once I start to smooth out the geometry I'm noticing that that's a little bit flatter down there at the bottom what I think I'll end up doing is combining these two major pieces and probably just make that separation between them a bit more distinct so to do that we'll probably just push this side in a little bit more then essentially they're gonna be creating an M shape if we were to look at it from this angle all right let's just grab our curved tube snap brush again and do the exact same thing I'm gonna make this one a little bit flatter than beautiful alright let's accept that and we have a nice end of clear distinction between those two shapes but we can spend a decent amount of time beginning to clean this make it a bit nicer and let's just merge these together so we can look at them we can even turn off our larger hair shape so we can maybe play with manipulating these to make them flow a bit better all right and then we have kind of that third smaller piece that's kind of just barely poking out there so what I'm going to do for that one is just modify my size whoops here and starting from about the eye down to there just one of those increase our is the intensity lower our draw size till we get something a bit closer to what's in the reference I'm going to make it a little bit smaller than what is in the reference so that I can inflate everything so the tips of that stroke were a little bit too small in my opinion put that back where I have it all right now it's just a matter of cleaning that up you can see that it's a little bit dense in terms of topology polycount right typically what I'll do in this kind of instance if I want something to be hyper clean I'll come through with a zmodeler brush choosing to delete edge loop complete and I'll just go through and delete a bunch of the edge loops and it makes the geometry just that much easier to manipulate so what I'm doing right now is deleting maybe about 75% of the geometry or so remember that the less polygons that you have the easier it is to manipulate to the form now it's pretty quick on some stuff it can be a little bit more time-consuming if you're working with your topology to make sure it's hyper hyper clean right but in this case you know that was that was a pretty quick and simple one all right so I'm gonna blend those together I'm gonna start to feed that in there as well as down here and there we go we're starting to get somewhere so with our larger chunk of hair eventually we will just delete our larger chunk altogether and continue to work on our new pieces that's why it's okay to keep this messy we might want to keep some of this in there depending on the hairstyle and what we're trying to create sometimes I will sometimes I'll also use it in a way where I would maybe just make a selection like this and then I would turn this section here into one strand of hair I would just split it off or extract it right either way so that's another way to work but we've been having a lot of fun I think with the curved brush and the curved tube snap brush I think this is working pretty well here so we'll probably continue with that for a little bit longer make sure we don't have any more questions before we start working on the next section yes I am just using the hairstyle from this character on on a different character that I just recently created for those that are just joining us you know what maybe something that I can do is take this character with this hairstyle her original hair and put her up in the corner so I don't I don't have to keep turning this on so that is her original hair that I created using the exact same technique that we're looking at right now so pretty simple stuff so far we've really only used a handful of brushes mainly being the move brush and the curved tube snap brush that's about it nothing too complicated so before I go on to making a few more of these hair segments which we will do let me just manipulate what I have so far I really want that tuck in there to be nice and clean if things are a little bit too thick here all we have to do is grab our Transpo's line and shrink that down or our 3d gizmo whichever you prefer and I'm actually going to inflate back strand like so and I'll show you guys another technique so I'm going to subdivide these pieces of geometry that we have so far just so I can show this off I'm going to be using the sharp soft brush that I have here this is one of my custom brushes it's available over on my Gumroad it's a very simple brush but and show you how I like to use it here with hair so I'm going to increase my draw size quite a bit and very lightly oops make sure I have the right brush selected and very gently here just start to pull a stroke down here alright that looks a bit too large for what we're trying but let's keep it for now noise soften that later alright I think that works pretty well for starting to get some additional secondary form for these strands that we've created so that works really nicely there and I'll do another one right here obviously smaller on this strand so we're starting to get some of those kind of soft sharp edges that we really like to see in hair another cool way to intensify maybe some of those sharp edges is with a pinch brush you can kind of carry that down and really get a nice sharp Ridge on that but from what I can tell most of these shapes are pretty rounded pretty soft so this is a bit too exaggerated so we'll just gonna smooth that out a little bit not enough to completely destroy everything that we just did but just enough to kind of soften that and if you guys remember me pointing out the M shape that we're looking for before for what would be in between those two hair strands you can now start to see that M shape that was in a very good mask but you can now start to see that M shape forming there so that's starting to work out pretty well so that's what we're looking for in that section and from here it's pretty much just repeating that process repeating that process until we get the the rest of this but we have about an hour left so I don't think I'm going to have enough time to hyper detail any of this so I'm trying to think what we have enough time for I think I'm just going to continue on with the secondary shapes we'll talk more about details and flyaway strands probably when we have about 30 minutes or so left why don't you just copy the hair from that model this model oh man how do you make the hair curved tube snap flat again you just for any curve brush it on not just that one but for any curve brush at all if you lower the Z intensity think of that as a percentage of how thick or thin that is so if you make it 50 it'll be half of its original thickness the intensity how was your sculpt ogre I'm still working on it well awesome man every day is sculpt over I agree hopefully the frame skipping on the stream isn't too bad here hopefully it stopped or stopped soon but sculpt over was awesome thank you so much for asking me for those that are unaware last month was sculpt over October sculpting all right kind of like inktober or sketched over or any of those toe burrs there's a writing one as well I don't remember what it's called I did not get to do every single day I think I during the last week I did not end up being able to do pretty much any of those I got slammed with just like a ton of work and travel that I had to do but yeah here's um here's a few of my dailies from that here's this little what are these things called I cannot remember isopods yeah he's cute right so all these were just done in about an average of an hour or so I had a lot of fun working on all these blasts this guy was one of my favorite little quick dues from the time you can see that a lot of this stuff is like really simple and quick like his feet they're just like squash spheres pants are you know quick cylinders same thing with the sleeves and shirt I mean it's all like super quick but a lot of fun I had fun working on this little robot too I had fun on all these but yeah if you guys are still interested this was also from my last day of sculpt over which was the the character that we're looking at right now but yeah if you guys are still interested in participating in sculpt over you don't have to do it in October it's more of just a month long challenge and the objective is to get people sculpting sculpt over just happens to be conveniently a way to get everybody to do it at the same time there's all sorts of other sculpting challenges well though I am not the creator of sculpt aware I merely helped to facilitate it this year and I had a lot of fun getting to participate as well if you didn't get to participate them hey there's always next year every day is sculpt over though I agree and this for me it is when it's your job all right so we want a few more strands here I'll continue working on these and just answering questions and maybe like I said we'll be able to get some more form down probably uh get to some details here soon some flyaways flyaways are the most fun part in my opinion because that's when I start to breathe the life thank you oh ha it was really start to come together at that point so if we look at that hair no she's pretty much looking at us straight on I'm making sure that I'm reading this correctly this comes pretty far forward more so forward than the these two strands this inner part so we definitely want that to come out further up and over what we have there and then it hangs below and wraps down and in to that area as well so there's quite a bit actually going on there the whole objective here though when you are working on your hair is to just kind of do it one at a time when you're starting to get into this secondary form stage because you're not going to be able to really do more than that if you do you're gonna start to cause more trouble for yourself because the whole objective here is that we're starting to figure out the proportions more and more and what proportions are are being able to reference what you see against other parts you can't really figure out proportions unless you have some of it already in there kind of defeats the purpose right so it's very important that we get as much in as quick as possible exact same thing I do when I'm sculpting anything it's all the exact same strategy that is having a lot of trouble they're kind of twisted it and then that's fine we don't worry about it too much all right so within this piece I think I will do the exact same thing with my sharp soft brush pull that down it's an extra form looks like it's a little bit more so on the back side so if we can get that and maybe push that in I'm just using a trim brush here to push that in a little bit so I can move that edge and it's totally okay if it starts to get messy it is not the end of the world at this stage I'll show you how you can clean up your strands make them nice and simple again so one cool thing that we want to pay attention to here is how how the taper of the hair works so for instance it starts to give a bit thinner there and then it like thickens a little bit at this one segment right here there's a bit of a hit there so these are little things that I really try to look for that help to break up the monotony of a strand of hair just tapering all the way down and getting smaller it just kind of makes it a bit more visually interesting so you know it's not super messy but it's too messy for me so we could go back lower our subdiv back down to subdivision level one where we started but then we start to lose some of the form that we created here and we don't really want to all right we want to keep that way to keep the work that we did so what I would do is just dynamesh it and then from there zremesh it I will probably just do like 500 or so Polly's for something like this I'm actually fine with doing this as low as possible after seeing what that looks like just because I think we'll be able to retain pretty much all the form that we created there another really cool thing that you can do once you have some low poly strands of hair as you can start to manipulate the geometry with your zmodeler brush by using the crease and bevel functions so for instance a crease of an edge loop complete as long as your geometry isn't too screwy here which mine seems to be it'll just fix it real fast so I can show you guys and add in a couple creases and maybe delete an edge loop here and there all right so now we got this nice clean strand with these really tight crisp creases that are very very nice to have another way that I mentioned is that you can just bevel the edge which is kind of like a manual way of doing a crease if you make it small or thin enough but it's a bit softer so I think you guys can see the difference super hard edge over on this side a little bit softer there I tend to go for the little bit softer I'm not a huge fan of super tight creases unless the concept specifically calls for something like that then we can blend these into the top later much like what we did with our hair that we extracted from the head so pretty much exact same process also run a close hold operation on those because we have the open face geometry nobody wants that right let's go ahead and talk about more processes here that we can do for secondary shapes so for instance on that strand here we have some additional splitting of the form going on so it starts to get a little bit more complex you could do that by inserting another strand of hair on top and kind of combining those and kind of working with that more but another way is that we can just kind of sculpt that additional form I like to use lazy mouse when I'm sculpting on hair because it's going to keep things a lot more clean if we turn off lazy Mouse whoops wait really yes I think I want that on zero so to make sure that we're getting some nice clean strokes you might have a super steady hand you might not lazy mouse is your friend so we're just going to pull all the way down here and if you're having trouble you can increase your lazy radius even more I typically keep mine below 100 because anything higher than that ends up getting kind of tough to control I find between 50 and 100 to be a pretty pretty good safe place to work another thing that's really important while working with creating additional form like this is that you want to focus on not having your brush be the exact same or stroke be exactly the same all the way through the length so if you look down here you can see that I didn't just kind of carve in and then stop and lift my pen up like this so it's just got this awkward cutoff there where the stroke obviously stops as it kind of fades out here I slowly faded that brushstroke out and that's what's really important about having a pressure-sensitive pen when sculpting not just the fact that you have a lot more control with your hand but also the fact that you can do some really nice stuff with pressure sensitivity so for instance if I did a positive stroke here we can see the difference so soft strong soft strong right but obviously you don't want to do it like that you want to kind of fade into it a little bit more you can kind of fade that out whereas if I did that with my mouse oops I mean I can't even hear like that oh wow that looks it looks great right now no we want something more like this in this instance though we don't really call for that I just wanted to kind of break up that form a little bit more typically if I don't get it you know absolutely perfect in the first stroke I'll go back over it with a pinch or maybe a mech brush and start to clean that up a little bit more maybe soften the transitional ends with a quick smooth and that really helps to make that transition even a little bit better there but you can start to see how that starts to come together and feel a bit closer to some of the splitting complexity that we have there it looks like there's a bit more going on it's definitely something that we'd want to do with these strands as they are looking quite a bit flat so maybe we can just come through with a quick whoops quick pinch or so and you know what that one's fine all right let's go ahead and do some stray strands of hair over on this side so we can start to work on that um but I think I'll clean this up just a little bit before we do that to make sure that this segment or section here is a kind of going through the whole process beam great name in sculpting everyday but the problem is like three or so weeks straight of sculpting the same thing well hmm like you're working on the same project for three weeks I don't think that's necessarily a problem I work on projects longer than that a lot of the time you know what if you're pretty new to sculpting you know just kind of understand that it takes time it takes a lot of mileage to get up to that kind of level where you're going to be happy with maybe are more happy with the amount of time it takes to create a certain result I pretty much always say that the only difference between you know someone that has never painted in their entire life and someone that painted the Mona Lisa or you know sculpted the David or you know any famous work right it's time and not just um you know the number of hours that you put in beforehand but also the number of hours that it will take to do that piece like that one time and the more hours that you put in beforehand the less time it'll take when you go to do the new project right it's all about mileage so it looks like this is a secondary piece coming down and wrapping around down to here and I really like that so I would like to copy that I think that's a really cool cool way to break up the hair I'm just kind of cleaning this up down down yonder move brush plus a cue Curt if you've never used it before great tool it twists a little bit more but I think we're fine with what we got let me create that next little piece and then we'll do the smaller thing part of why I'm spending so long on each thing is because I'm looking for the most effective way to do something as well as well as what looks the best hmm yeah maybe maybe I recommend just having a very clear goal of what you're trying to accomplish or why you're sculpting something and the more clear your goal is the well don't want that the less time you have to spend kind of second-guessing what you're doing the more time you can spend just working and getting to that finished result all right that is basically what I'm looking for it's not quite going in the right direction again I'm going to make this one a little smaller and then I'll scale it up with an inflate just a little all good things with time though all just takes time it's the only difference between rookie and a master just do it a lot it's how you get good hair just do it a lot no secrets but people don't want to hear that like people never want to hear that you just have to do something a lot that's why yesterday what amazing diet always sells so well right nobody wants the hard way the right way alright that's basically correct but it's a little too rounded a little too thick so I'm gonna do the same trick that I did before deleting my end caps so that's the end caps on this that's the end caps on this brush the curves too curved tube snap brush are actually why I created my own curved brush I have the fawley cube tube it's my favorite curved brush the reason I'm not using it is because you guys have this brush and I don't want to use something that you guys don't have I'll show it off very quickly but those end caps are why I created that brush because the end caps on this one are not super great alright this edge needs to come up and like I said with hair really it just takes a long time to do so I recommend grabbing some music I typically listen to podcasts and just try to get into a little bit of a flow with it and over time the hours will melt away and you'll find yourself almost done with your hair but we only have a couple hours for our stream tonight so we're just trying to show off the whole process here so much as we can so that's a bit closer so I think I'm happy enough to just leave that as is it's kind of like a secondary piece there it comes down a bit further and this starts to thin out a bit early and do a couple different things but it kind of gets the point across for what we what we need here alright so let's do some straight strands of hair straight strands of hair are often I like to put them you know if I don't have a great reference for how they work I like to put them around the face to help create more detail and draw the attention to the face you can see that the artist has done that up around here a little bit here with the secondary piece there's a little bit too much complexity in my opinion happening down here in both of these images and it tends to draw your eye a little bit too much to that area so I don't think this is a great example of the best way to do straight strands of hair but I think they still look really nice I think the hair is done beautifully on both of these illustrations so we'll still keep them in the same place but that's something that I want to mention that you guys can keep in the back of your head for when you go to work on your hair so how do we create stray strands of hair wow the curved tube snap brush again yes again it's our best friend for hair welcome back we're going to do the exact same thing that we have been doing just on a smaller scale and I'll show you a technique that I like to do to make these even easier to manipulate so we have one coming down this Ridge here and we have one coming down here we have one over here it looks like that splits so let's say four four and then you know there's another one over here so maybe like five on this side of her head and what's important with these kind of simplistic stylized characters oftentimes is that you don't want to overdo this stylist hair it's kind of I read these straight strands of hair it's kind of like um if you're typing out a message and you make everything bold or everything italic if everything's bold then nothing ends up being bold so you kind of just want to have pockets of detail to help draw the attention which is why it's nice to put them around the face draw the attention to the face right so let's just draw one out here boo boo boo boo real small real thin beautiful grab that so the problem is with something like this is that it is nice and thin it's simple you know it gets the job done the geometry is just so dense there are a hundred Poly's in this thin piece of hair and that is just way too many like there's just way too many edge loops in this and as you notice as I start to move that around with my move brush it starts kind of warp and get all crazy so how do we make this easier to manipulate well step one is to try to use zremesher to lower the poly count so I just crank it down to point one and you can see that that has done a pretty good job we've gone to about a quarter of the amount of Polly's that we had previously and another technique is to use the Z modeler and just manually like I showed you guys before go in and start to delete some of the edge loops and this is only something that I recommend doing if you are having a lot of trouble manipulating your hair here or if it's something that has an extremely distinct curve or hit and you want to make sure that that matches the shape that you're trying to create perfectly I will often times go through the process of doing this because it's never bad to do this it takes time to do but hair takes time to do no matter what but this is just so much easier to to manipulate now I can grab a nice big move brush and start to tweak and pull this around to create whatever shape that I need so there is our first stray strand of hair and we can maybe kind of blend that in up there so it starts to kind of come out of that shape and it looks like kind of connects down here so something like that right but the more we add of these the more complex we'll get let's duplicate that mask rotate and scale and get that little secondary offshoot and that one even looks more thin so I will use deflate I'm doing this with the transpose line but the inflate operation is a deformer it's in your tool menu deformation and down here at the bottom inflate so you can just crank on that whichever way you need I'm just using a little bit of a hotkey so there we go we got a little bit of a thinner strand there and we've started to create some of our secondary or not secondary button tertiary details our high resolution final coup de Grasse so to speak and of course we can start to create more of these and continue to complicated and work on the hair even more what I would like to do at this stage I would not I'm kind of fast-forwarding a little bit because we're running out of time with our stream and I want to make sure that we can show off a little bit more of the process but I would not actually at this stage start to work on the details I would still be in that kind of secondary stage working on creating the rest of the hair but like I said because of time we want to show off as much as we can so I would still be working wrapping slowly around the head starting to create more of these pieces and then after I was done creating all of those individual segments and different block out pieces then I would probably remove the larger original kind of hair block out or maybe pick and choose sections to keep and sections to remove and then I continue to work on the hair bit more but it's important that we show off the whole thing so that's basically the process I can continue working on this for the rest of the stream and I probably will unless we have any specific questions related to anything else for those that are just joining us this is a character by the name of diabolo so we just got through doing a bit of a hair demo we're gonna continue working now because we have about 30 or so minutes left I am going to just create a quick extra folder to throw this Altana so that I can show you guys the original The OC the original character without the new hair that we're working on from for the demo so this is the original character same hair same exact process I think you guys now that we've kind of gone through a bit more of the process you can probably see a lot of this was created we were just we just got done looking at some of those stray strands of hair those individual segments are here are a few of them so you can kind of see how that works out with this character as you can see with this one a lot more of them are up and around the the face it is a little bit shorter right than the last year that we were looking at but with the intention of trying to draw detail and draw the eye up to that area so same exact technique her ears are turned off that looks a bit awkward but that is it that is the whole thing we can continue working on it though so let's go back all right make sure you didn't miss any questions here maybe you're not using perspective or you're using perspective too much so with perspective while I'm sculpting I will intermittently flip on and off between it a lot of the time I actually keep it off while I'm sculpting especially if I'm sculpting on something very close up just because I find that perspective tenants that caused quite a bit of issues with rotating your camera around from really really close to your model another reason I turned that off is for the orthographic view if you're trying to just snap to the side make some large scale changes I find that to be very helpful what do you do when you start feeling tired and sleepy but not want to feel that way yeah coffee I guess I think you've answered the question yourself I'm actually a big big tea drinker myself I love I love just coffee in general like the flavor coffee like al coffee flavored anything is like my go-to but I'm also a big tea drinker I don't drink coffee very often but I do love it favorite tea probably black chai or earl grey is pretty pretty high up there man actually that green tea is really good I got hooked on green tea when I was in Japan and yeah I've loved green tea ever since so good alright I want to create a few more of these larger segments but feel free to ask questions as we go if there's anything that's like completely off topic feel free to ask as well because really for the rest of this time we're just gonna be kind of noodling I meant to show you guys my cube tube brush as well so I'll go ahead and show that to you now the cube tube brush is a curved brush much like the the curved tube snap that we were using that whole time but it is a tube you can actually do this with the curved tube snap brush you can change it into a cube through a modifier or brush modifier but it doesn't have the same geometry it doesn't have the same exact clean kapala G that something like this would have but for that reason that is why I made this brush and I love this brush I use it all the time we're gonna lower our depth it's a great brush one of my one of my few favorites yes black tea is so good and specifically black chai the only tea that I had that I didn't like was a expired some expired matcha and that was it tasted good actually but what it did to my body wasn't that was not okay was much easier learning about using image planes to sculpt rather than using the spotlight tool so you're dying about four references yeah this is the spotlight tool what's great about sculpting the way that I am doing it now is instead of just overlaying an image and trying to match things perfectly which I do do on occasion especially if I'm you know really trying to hone in on accuracy what's great about sculpting with just a reference image whether you have it here or off screen or in your hand on your phone doesn't matter is that you're working on your eye working on your artistic eye your ability to recognize when things look wrong or right and that is half of the work right I in my opinion it's more than half I think your ability to see and understand what you're looking at is more important than your actual abilities as a sculptor so obviously you have to be able to sculpt and have the knowledge of the software the actual dexterity and know-how for working with that medium but you also have to be able to see what you're doing and that sounds like a weird thing when you say it especially if you're not extremely familiar with you know right any artistic medium but just being able to recognize what you're looking at is extremely important which is why I did this demo of a draw over to help understand the large medium and small shapes that we were looking at in this hair because that's just so incredibly important in terms of pre-planning in terms of what you're going to be doing later and everything else but yes your ability to see this is a good way to practice that ability I would if you're just doing a personal project and you're using some references I would encourage you to try to only line it up and check like proportions and stuff like that when you're feeling hopelessly lost which I know might be quite often I've been there myself how can you control Polly edges there are many ways I do have a specific you're blind I've been there too you don't worry it gets it gets easier I swear polygon edges you can use the zmodeler brush that's a great way to do it you can use masking move brush anyways many ways and control edges I am noticing that we need quite a bit more volume on this chunk this trunk you don't make things chunky you can chunky it's important that you use the correct vernacular when sculpting so so sculptors can understand each other that's how you know if somebody's like a real sculptor they're like yeah you need to make that more chunky or like mm-hmm nah dude can't follow that person's advice ain't using the right terms all right and we got this little kind of cut going down the middle through there very hard to see but the light yeah see that highlight and how it kind of creates that shadow they're definitely splitting the shape so look how messy that is it's nice and messy right but that's not important not in the beginning each time you're creating something new a new strand of hair and ear nose you know whatever whatever you're sculpting you have to think of it in those stages that we looked at before large medium and small for everything that you do and it's something that yeah just kind of get used to think of it always in the back of your head now for this piece I think what I'll do is just create a little poly group separation here just like that so that when I zremesh this with keep groups turned on it will create a nice clean edge loop between those two - poly groups and then I can use that to my advantage someone was just asking about edge control in ZBrush I'll show you guys something with that here in just a moment am I using ZBrush 2020 no no I don't think you can see because I'm not using it right now at least I'm not allowed to stream the the beta where it's a title bar there you go ZBrush 2019 right up here at the top left corner I am actually a beta tester but I'm not not really allowed to talk about my experience with it but if you guys are interested in learning more about the beta there's uh there's my internets if you guys go go on over to ZBrush central check out this very first link ZBrush 2020 coming soon scroll on through here and there's all sorts of information video demonstrations on the new tools I have gotten to play with all of these I think you are gonna enjoy the new version of ZBrush a lot when it comes out on November 12th or yes November 12th and that is of course a free upgrade for all registered ZBrush users look forward to it that's coming up really soon that's in a week right just a week from today get to play with all those fun tools alright so we just zremesh this I did create a bit of a star in the topology down here I'm going to try to fix it but I think that just crash no that is not exactly what I was looking for and I know this bevel will freak out so I'm actually not going to do what I wanted to show you not on this piece at least I will show you on another one very quickly because then you know what we got time so how do we fix something like this we might as well right I'll just split it off split it off and make it its own piece so that it's easier to manipulate and we can recombine these later if we would like but I would not like not right now at least boom there we go and that actually in my opinion kind of works a little bit better in this case this is actually another technique that we can use with our original hair block out to cut some pieces from so for instance this is our original hair block out right but if there is a specific shape that we're trying to create we can just use a selection tool like a mask or a selection brush and start to cut that out and separate it much like what I just did with this piece here so we took this we cut it in half and we just split it up into two separate pieces of geometry very easy to do yes November 12 one week from today how do you call it um I've just been saying ZBrush 20/20 in my head because ZBrush 2020 is a bit of a mouthful ZBrush 20/20 and you know what you know what I'm going to call it in the future probably just ZBrush but you know for the initial height we're gonna have to refer to it it's the new version so might as well let me show you guys what I was talking about with splitting office segments from the original block out so that's what we have here this original piece with the color on it the poly frame so how can we use this well let's go ahead and grab a section here if you hold ctrl and shift you will activate your selection slice trim and all the other brushes up here I like to use the selection Lasser brush I find that to be very nice selection tool and I'm just going to select this back segment and I'm actually going to duplicate it because I don't want to completely delete the original that I worked on and there we go that's what we got so what do we want to do with that we want to get rid of the X access geometry with a delete hidden operation and start to manipulate that into our new segment and this is on the back of the head so I'm actually probably not going to detail this one or spend as much time on it like I did for the others we can just start to split this up into even more complexity we would start to expect maybe a little bit more of a break up of form I really like to try to keep the the kind of flow of my hair between segments really nice so even though between this segment here in this segment over here even though this kind of splits and breaks up you can still see the original larger silhouette of that shape that we started with so that's why we work from that's another reason why we work from large medium to to small so if I turn all that off here is the original silhouette that we looked at for the large shape so as we move into secondary that still kind of reigns true there's still that nice flow between those segments so what I just did back here with this piece for the hair is because it's kind of starting to break up and lose some of that I kind of just scooted it down here and kind of realign that edge so we're starting to get this really nice flow through here so this is another thing that I'm really looking at not just with hair but with you know all form that I'm creating and like all things it becomes kind of second nature after you do it for a while and it's also extremely messy so what do we do with extremely messy geometry we see we measure really well when am I going to start using 2020 when it is officially released so after the 12th once it gets officially released all people on the ZBrush stream team will be able to use the newest version of ZBrush in public eye so to speak are there any major differences between versions yes there are many many new tools and things to check out again you guys can check out all the new tools over on the wherever I put it the zero central very first and we'll just get back right here very first post I am as I said not allowed to talk about the the beta or the tools specifically so you'll have to so read up on them yourselves in particular I recommend checking out the history recall brush in the extractor brush I think those are going to be a lot of people's favorite new tools I think they're really cool and I myself had a lot of fun getting to use them I had a lot of fun getting to use all those new tools yeah I can't wait to have it officially released as well it's gonna be a lot of fun to see what everybody creates with all these new awesome tools can be gonna be a good time I love when a new version of ZBrush comes out it's like like Christmas all right so there is one additional segment but it feels really bland really boring right so what do we like to do with these and because this is behind the head we have a little bit more freedom here to kind of craft and control or working on so let's grab our sharp soft brush and start to just create some additional form here so when I don't know what I'm trying to create I'm just trying to come up with a few ideas I like to just start with maybe a simple stroke down the middle maybe kind of a little bit of a contrast to that give a concavity kind of play with that I'm kind of liking the direction here so I think I'll kind of build up the form a little bit more on one side I'm liking that let's maybe depress it on the other and we're getting something pretty cool here so let's refine it we like the direction the block out the large shape right how do we refine it let's use maybe some pinch or some neck brushes to kind of split that up a bit more and that that step there might be a bit too steep I'm just kind of looking at looking at that in the silhouette I think that's maybe a bit too strong so I think what I'll do is soften this side here just very gently start to push that in a little bit shrim awesome nice and clean the gallery models look awesome yeah yeah mine should be on there I don't have it pulled up I think I have the link here somewhere one second yes I couldn't find the link for this on the website to the gallery so I'm gonna share this in chat with you guys so you guys can go check out all the models as well but yes so this is what I this was my piece this is what I got to work on and create for the beta just kind of a dragon I got to play around with a lot of the new tools use for the new new version of ZBrush on this this cool guy he was a lot of fun to work on there's a bunch of different color variations that I created using some of the new tools as well but I'll be posting the rest of those on art station tomorrow after my brain has a second cooldown I've I just got back in yesterday from Boston and I'm going on another trip this weekend just all sorts of all sorts of crazy work lately and moving around but yes back to streaming this month so that's nice again if you guys are new around here this is a pixologic zbrush channel my name is Ben or polygon around these parts and I will be streaming next Tuesday same time same place 6 p.m. Eastern the u.s. time or 3 p.m. on the west coast which is I think what they have it listed is beautiful beautiful hair slowly right like I said hair takes a long time it's something that I typically get into a really nice flow with as I continue to build up more and more of the shapes obviously quite a bit more complex over on the left side of her face but with time it'll start to come together a lot more and I think stray strands go a couple stray strands right there stray strands we don't really get to do too much with those but that is maybe something that we can look at a little bit more in a future stream but I think that is where we are going to end it for tonight so thank you so much for coming and hanging out everybody again if you guys want to check out any of my stuff my youtube channel is the folly gun you can just google it it's great there's good stuff on there I'm really really selling it my art station it's all the same if you guys are interested in checking out any of my brushes materials courses yada yada yada that is my Gumroad eMERCOM slash polygon I'll pop a link in chat for you cool kids and make sure you check out the new features for the ZBrush beta again that is coming out one week from today for the official release November 12 let me make sure that is correct yes November 12 get ready that's gonna be lots of fun but until then you guys have a fantastic rest of your night I hope to maybe see you over on my youtube channel or on the pixologic channel for my next stream next Tuesday alright until then I'll see you guys around

Channel: Follygon

Views: 46,768

Keywords: art, zbrush, digital sculpting, 2d to 3d, sculpting, sculptober, hair, hair sculpting, live sculpting, hair demo, how to sculpt hair, sculpting hair in zbrush, zbrush hair

Id: OpACgFtiYIQ

Length: 114min 49sec (6889 seconds)

Published: Thu Nov 07 2019