ZBrush Guides: Mask Detailing - Pablo Muñoz Gómez - Episode 16

hello hello good morning or I think we're live can you guys see me can you hear me everything's working all right you all right I think I'm seen I'm seeing the chat but not sure if there's anyone yeah it appears that just a few people online alright hey Winston take a little to see you again man Anil how's it going can hear me right awesome perfect alright so I'm just going to jump straight into it today because we've been just fluffing around too much for too long in this character hopefully today I reckon between today in the next stream next week we can call this guy finished so today we're going to move a little bit faster with I will explain things if you need to if you want me to show you what I'm doing but I'm going to try to do it a little bit faster so we can get more things covered so today the idea is to work on the mask let me just bring it here right so yeah like I said today the idea is to work on all of these patterns and they kind of like imagine this this area of the mass to go on top of what we already did and it's going to be kind of like little pieces of chipped wood or you know little sticks not entirely sure what exactly this material is going to be but I think it's going to be made out of wood and just talk on top of this area so that's one of the things that I'm going to be showing you today and I'm going to hopefully get it done nice and easy with the polygroups so I'm going to show you a cool technique that is really really easy and it gives a very very cool effect then we're going to move on into a bit of fibermesh to do this part which I was hoping to do that last week but we didn't get to it other than that once we get this done and this I think we can do a quick pose for the character and then start working on the clothes and the piece either I mean to show you different techniques maybe we'll just do this that the beer as fibermesh this is getting a little hand right so this will be definitely fibermesh but then we can take a look at these and you know different technique and we can use nanomesh just because I can show you something different and yeah well done that we can get started with the face or with a mask ready cool hey DLC how's it going so if you remember we had a few duplicates of this mask everything is let's go although and there we go we have a few duplicates we have a folder that have the originals with a few more of those just in case and as I mentioned last week I like to duplicate the meshes at different stages so that I can go back to a specific point I can do that with individual sub tools or I can just save incrementally and I usually tend to do both so let's go ahead and start with the second part of the second piece which is exactly the same right so this is the one that doesn't have any thickness but it has the nice topology and all that so I'm going to go ahead and subdivide this a few times about 200,000 I think that should be alright let's go ahead and test that out yeah so that's that's plenty of of geometry for what I want to do now with this one I don't want to keep any of the lowest subdivision level because this is just going to be a sound like a platform to build the next the next step so one thing we can do is delete lower and now we don't have any subdivisions but we still have all the resolution that we need the next thing I will do let's go ahead and go to the lightbox go to brushes and I'm going to bring in let's see if I can find it under the pen there's a really cool one called the pen sketch or pencil pen sketch should be fine right so this one is just a modified kind of like a standard brush that automatically turns on RGB so it's just a painting brush so you just select a color and it gives you a very control type of ya type of stroke it also has trails so it also it also helps you weed basically you don't have to put as much pressure and the pressure just determines the thickness of it so it is a it's a very good brush for painting and designing which is what we're going to do with the mask right now now this brush comes with an alpha so you can see it here so when I paint this you have like this main stroke or this main painted area but I don't know if you can see it in the in the video but there is like a secondary set of strokes here that I'd want to keep on a very clean sort of sharp line and that is because this brush let me just don't do that this brush comes with an with an alpha so we can just go to the Alpha and then you go this is the alpha that is currently selected so I'm just going to select no alpha and now it's a slightly different but you can still you know have a lot of control over it at the only reason I don't like to use the Alpha is because again it creates an extra an extra set of lines and I just want to clean sharp line and okay so just soon decrease the size of my brush okay so this one seems to work all right I'm going to go ahead and turn symmetry on and what I want to do now is start creating kind of like the outline of the different details that I want to create and that is all there is to it I have a white color or the the entire object is filled with white and then just with a black color I'm going to start adding those lines alright either pixel if a pixel I doing I thought oh how are you doing how you doing that drawing thing this one this is like the most asked question from all the strings this is called epic pin and it's just a very cool application that lets you paint on top of the screen and it's not it's not part of series it's just a little thing that sits on top of anything just put it there for explaining things hey this way how's it going alright let's move on so what I'll do is like I said I'm going to start painting the kind of like the outline of this I think I wanna just like a piece of wood that goes from here from the top this doesn't have to be like extremely accurate it can be a little bit loose about it because we're going to refine it later on this is just kind of setting up the basis right and let's go ahead and start with these kind of like surrounding area again I'm designing as I go but not sure I'm not sure if I like that let me reduce the size of my brush a little bit so it's not a stick all right and maybe like an outline here just creating like a border edge so again just to reiterate I'm not doing anything else other than just painting with poly paint and their paint brush and this is kind of like they creating their design oops alright so those are my main lines but now that I have these I can just go ahead and maybe with a smaller size again not too much I can go ahead and keep refining the details of this because remember we we still have this other piece which you know has all the details and the wood carving usual and whereas this one is just going to be like little pieces on like kind of like stock on top of it of the other one if that makes any sense alright so I'm going to start with adding like secondary type of ring off like a ring or discolor all around by the way if you want to have more control like this again it's not super clean it's not very straight or anything but again we're going to fix it later on and I want it to be not as perfect I want it to be quite rough but if you want how to have more control and make like perfect lines you can very easily in turn on lazy Mouse right and that will give you these very you know very control line so it's up to you lazy Mouse is on the distraught palate this one right here and the lacy once you enable the lazy Mouse you can play with the lazy radius and that's how long that string the red string is really all right so I think we want to do another one here but this time am I connected there and there all right and just do more here we're going to have some smaller pieces that we have to figure out how to deal with them in terms of the design again but for now just want a rough pass so like these corners here I might not want them so yeah we'll see about that this is kind of like a first pass again we'll refine the design itself once we tweak the actual geometry right now this is just painting and but I think I like this as it is what I'll do is get out of symmetry and I'm going to do some cuts so like the pieces are not I mean this is not gonna be like a continuous piece of wood or whatever he says just little pieces connected so I'm gonna cut through there and this also will help me with the asymmetrical pattern as well because it doesn't look you know perfect it doesn't look like much right now I mean it's not a sculpting really is just painting using poly paint but once we create the meshes out of these lines and you'll see how how powerful this technique is and you're probably familiar with it we're going to be using the one of the latest plugins from 2018 I believe it is called poly groupid and it's just fantastic all right I think I'm for the outer one for this one that is closer to the edge I'm not going to have any cuts and that could be a slightly different material from the rest including this kind of like the nose bit and so I'm gonna leave it like that and it's go ahead and sorry let's go ahead and do the the inside here so when I turn on symmetry again and this is going to be something like that I'm not sure if I should go for this type of look for the inner side and it's just roll with it and see if it doesn't work we can go back you know what I'm gonna start gonna undo that I'm going to start from the from the center or from the VI the only thing with this technique that you have to you know keep in mind don't worry about the thickness of the you know how blobby these look so the thickness of it the only thing to keep in mind is basically that there shouldn't be any gaps so it should be a pretty strong line so if I if I go around like these let's go ahead and do one like that right and I just sort of leave it like this these could you know create some problems this area right here this is not entirely it's not very well defined so make sure that there's no gaps so again this could be just like smaller pieces of wood like a concentric pattern here I think that looks alright we might you know cut these as well into smaller pieces but I think we're going to have a few around that we can you know maybe we can even believe some and the idea is to create kind of like a gap in between them so we'll do all that later but that is essentially it and let me see if you guys have any question and we move on to the next step which is creating the geometry out of this design till it says I'm wondering how much time you spend on project like this if you weren't on life um I would say considerably less because it's just the fact that I'm like explaining things as I'm going and try to show you something that looks interesting and you know the different techniques something that you can take something out of value really that it is that's the thing that makes it a bit slower if I were to work on these just on my own at my own like realistic pace I would probably get these done in a couple of days like from from the concept to to finish depending on the level of the details as well let's say three days I'm not that fast really but but it's gonna be much faster because I would know already what I'm trying to do or what the techniques are and if there is something that I want to try then or something new that I want to try if I want to incorporate a new tool into the workflow that's gonna you know extend the timeframe really but yeah it's definitely these moments these moments right that I'm explaining something or talking about something that's that's when I slow down but it's all part of the process really and so hopefully again I'm doing something that it's interesting for you guys and giving you some some tips that you could use in your own projects alright so sky Falcon hi you just selected the brush and paint stop painting get correct so I use a pen pen sketch brush so if you go into the light box and go into the end brushes you should be able to get it from there I just disabled the Alpha that is attached to this brush by default and start painting this is black and white um you know poly paint you can paint with any color really but black and white is the ideal process for this for this technique and side effects then I guess you will mask by poly paint um that yeah that could work that probably would have been my my process previous to polygroup it but now I'm going to show you what I do now and what I think this is so powerful and this is even how you can manually draw loops of topology creating different polygroups and then reach apologize by keeping groups and it's fantastic so what I'll do is bring in my plugin see plug-in put it next to to me on the right Oh something that I forgot to mention last stream as some of you guys one of you guys asked something about having the to sort of like trace that I have to trace on the side this is actually not a trade it's just part of the interface what I did was I brought in one of these large white buttons here and that kind of like increased my my size of this area or like the width of this area so I can just put more buttons but this is permanently here if I close this this is still gonna be here so just so you know something that I forgot to mention last string and it was as in the in the comments alright so then if this is a an official plugin so if you go to sleep plug-in and open polygroup it this is this is the plugin that we're gonna use there are two ways to do it I mean there's three ways to do it the polygroup it interface will just bring a separate interface where you can assign poly groups based on the seeds I mean that's out of the scope of this stream but that's a really really good tool to assign polygroups to hard surface models without having to do like any complex stuff it's really really really good because it recognizes different planes and changes in the geometry or or angles in the geometry so it's super powerful stuff then we have the polygroup from polygroup it polygroup it from paint and then we have the border so basically the difference between these two is between these two buttons this one is just going to try to do an average so it's going to analyze the thickness of this of this line for example and do an average and just put a line right in the middle so it's going to cut through every single line right in the middle and it's going to create basically a poly group for each one of these pieces and that's really the one we're going to use if you want to keep the border as well you can use this one the border one and the border one is just going to do the same thing but the difference is that is going to create a poly group for each one of these pieces individually plus a poly group for the entire set of lines so depending on the you know on the one what you're trying to do you can try both and it's just an undeveloped undoable operation so you can click one and if it doesn't work come back and that's it so I'm going to because I want to have control over the gap itself I want to have everything close together but then I want to use the Move tool probably and just push things apart to manually create that gap I'm going to go for the first one for polygroup it from paint so let me just show you what's going to happen I'm going to turn on poly frame I'm going to turn off the lines and actually I'm going to hold ctrl W and ctrl W just assign an entire polygroup to the to the mask and I'm going to click on polygroup it foam paint so it shouldn't take too long there we go so that's it that's the whole that's the whole process all I mean you can do math why polygroups must buy Polly pain and then it's plead I mean that's three or four different ways to do all these in Zee Bridge but like just polygroup it does it that's a really really really good job magic in a single click that's right comics legend do you recommend to model with dynamic or just using sculptors pro only or a combination of both what would be the recommended workflow for best practices either/or but whatever works for you so dynamization sculpt this process initially the same thing the sculpture is pro you can think about it as a localized dynamic that you don't have to read an image the entire model so you can just add specific details in areas so what I would do is I start with dynamics because it's faster like I can do you know push things really fast and and then it gets to a point that I want to add a bit more detail or define things a little bit better with the still the sketch of the model then I would use the sculptor's Pro to just add more details in just the areas that I want and once I have this sketch complete then I can do a writ apology or do a serie measure and then project the details and continue like cleaning it up that is that would be kind of like that process but it's it's up to you really just keep in mind that let's say if you have something like this and you just want to do a tiny little detail here around the eye with dynamesh so you'll have to increase the entire like the resolution of the image and read einem is the entire model whereas if you already have a good base that you did with dynamesh and you just want to add some details you can enable sculptors Pro and work with dynamic localized that's that's kind of like the power of that what is the defense case that you're using it's called not a sketch paint I think if a pixel is asking about the actual painting to this copán sketch which is on the lightbox go to brushes and there's an entire folder called pen this one here so I'm just using I think the offence sketch here just double click that and you will load it and that's it if you're referring to these little things again this is epic pen that's just to draw on the screen alright let's go ahead and move on so now that I have these what I can do is a couple things let's say that I want to have keep this design this is what I've been doing for profit like a few times I'm going to duplicate it so this is the one that has the poly paint and they've under groups and I'm just going to drag this into the o.r which are original files and then with this one I'm just going to select a white color and I'm going to fill the object right a few times cool so now I don't have the lines I just lost all the poly paint that I did but I'd been on those they're just like paint over with white color so I don't see the lines right you can also just turn this off but you know I want to start with this clean so now I have a better idea of how these poly groups are looking be pretty rough and but that's again something that we can fix relatively quickly and just you know smooth this out so before I do that I'm gonna see if I can show you something cool and if I remember it is I think it's on the draw yeah he also if you go to preferences and go to draw and there is this slider here but you can change how the polygroups look like so I can just take this poly poly fill color opacity and just crank it up to 100 C so this is just changing the the feel of the poly group which is pretty cool so let's say by default is 50 but if you want to be able to see them really really easily you know I can change to a skin material and have like these very bright colors so you can do that from from the Preferences all right so now I can see how pixelated and you know crappy this looks AB that's fine everything looks good I have different polygroups in different areas let me just double check a few ones like this yep this is its own I'm just holding ctrl and shift and clicking to make sure yeah because this one looked like you know is the same but it's not so I'm gonna just give it a different color and just so that visually I have a better idea maybe this yellow one perfect so I think we we are in a good shape to move on so the way that you can clean this up is you can do it in a few different ways you can use the deformation palette which probably I'm going to use you can also use a brush I think I showed it to you guys in a couple of screens ago it's called these smooth groups and it's basically a smooth brush that will only smooth the lines of the groups it's not going to affect the volume really so it's just going to smooth this area so I'm going to get close so that you can see what I'm going to do I have it in a custom palette here so it's called polish by groups but for you guys should be on the deformation palette I use this a lot so it's here polish by groups so pay attention to what's going to happen to the to the lines pull these by groups so it gets softer softer and softer so I'm going to do this a couple times it gets to a point that I mean no matter how hard you do it or how much do you do it is not going to do much so I'm just going to do it a few times I think that's probably enough do a quick check yep so everything looks good and there are some of these poly groups that might need a bit more refinement like see this one here it's a bit too wobbly but again once we do the rete apology of each one of these bits we're going to use serum Asia and that should clean up the edges even more we just need something to get started like a good base and this is all we doing we're just creating the base and just want to check yeah that's a different one gonna do that give it a different color just to make sure that everything this one as well I'm going to give it a different color but for example this is a good example of something that and needs quite a bit of refinement but you'll see how we get there it's everything step by step alright I'm changing the hue really helps a lot yep it's a it's a really simple but useful technique and you can also I'm right now I have the line off but you know you can turn it on and off if you want it to this model have mapping now I'm not working with the UVs how did Pablo change the hue I miss that I just go to preferences and under the draw palette this is how you can control how things looking in ZBrush and so the poly filled color opacity just the opacity of the polygroup by default is 50 so it's a bitte fainted so sometimes I'd like to turn it on like that there is this one which is give you a black and white like you know this one could be cool if you're working on a black and white if you're just working with values and you can take the polygroups and do a poly paint by poly paint by poly group and create this color out of this and this just changed the saturation so anyway it's a it's a cool thing it's not not going to change the model anything's just visually easier to see cool so now that I have polygroups let's go ahead and move one so I'm going to go to the geometry and on the DTO McCree palette I have edge loops or we have edge loops or the edge loop tab and this is the one that we're going to use to actually create geometry out of this so remember this is just a flat polygon or like a flat like single sided mesh so it has no thickness so what I'll do with this is create let's just do one panel loops and then we can fine tune it but the default should give us something good to to see what this is going to look like so want to click panel oops that's it we now have geometry thickness every border see all of these has thick nice so let me just turn off poly paint no sorry polyframe right so that is pretty much it we can go ahead and maybe inflate everything a little bit polish skew it a second actually let's undo that we can polish first polish by features so you see we we have this gap and if we go ahead and bring in the move topological brush I can just take this and it has their individual pieces basically which is what I want right so I'm going to undo all these because I want to play with these edge loop settings a little bit more to to get something better than this because this looks a bit - a bit too smooth for my taste so I'm going to undo everything up to this point where I have the polygroups and I'm going to show you I'm just going to do a quick rundown of what this is and so that we can move a little bit faster again because we're stocking flea mask so the thickness will determine how thick the each piece is going to be so I think let's go for 0.02 which is double what we just did I'm going to the point zero two there we go these polishes lida determines how much polish is applied so if we leave this to zero let's do a kind of the panel oops you'll see it's gonna be super super sharp and there's some weird things happening here so we have to take a look at that so let's just undo that increase the polish quite a bit do another panel oops so you'll see as it creates this and I don't know why this is happening here I think there might be something to that let's change this thickness back to one and try that again okay so when I have to again this is something that we're going to fix once we do the serum measure but I just want to show you that these two are quite important to determine the look of it so again if you don't do any polishing this is going to be very hard the the borders so let's just leave that as maybe 10 that's the default is 5 but just leave it at 10 then the other important thing is these beveling up first sorry the looks this is the amount of edge loops that would have the wood that series will add around each polygroup so if I set this to 5 then do another panel panel oops they're basically 5 a 5 poly loops so in this border they're like 5 5 I think it's five yeah 5 loops over edge loops so you can remove that so let's go ahead and undo that I'm going to set it to 1 so you'll see it has less of that babbling effect because there's no loops in between so this is closer to what I want I want to have a little bit of that see see everything together out of the of the mask behind it so let me don't do that again and the other thing that you could play around with is the D bevel and the elevation so right now the elevation what is doing is it's quite simple really so elevation what it does is analyze ZBrush analyzes the surface so they say that this line is the surface of this mask and its name is taking that as a base point so it's taking the thickness and going all right we need to push we need to create thickness from this point onwards like so so then the thickness is going to be like that right so this is from the side if you set these to minus hundred it's just going to be the opposite right it's going to be from this point inwards so it's going to create a thick thickness this way and if you leave it at zero it's just going to be right in the middle that's going to be the thickness at zero so hopefully that makes sense so what I'll do is take the elevation to not zero because I do want to have a bit of you know what let's leave it a little bit 100 because we're gonna push things manually anyway and everything else seems to be fine at the beveling effect is let's say if you have five loops or whatever it was five loops here and let's do another panel oops really quickly so that babbling this is lighter is what's creating this type of bevel and this babbling profile is what it's creating that the Excite same shape of that bevel if that makes any sense basically yeah that's basically this bevel and this bevel profile are determined the shape of this babbling or the border so if you look at this border from a side on um it will look kind of like this right um and this shape is given by the profile and how much of this is given by the battle so if you reduce the bevel which is not going to be any bevel so it's just basically overriding this profile so let's just do that and on do change bevel to 0 and when loops to one final look now you see there is no babbling at all but we actually have we actually have polygroups sorry different pieces so you can hold shift and start smoothing and you see everything is separated which is kind of interesting effect right let's undo that one more time and this is going to be the final time that we do this probably so I'm going to do a little bit of babbling I think it was fifty was it ah I don't remember what they I think it was fifty and let's go ahead and do panel loops and maybe a one last gap so let's just add three two poly loops triple loop alright so that seems to be okay and another thing I want to do with the babbling is I'm going to change see the profile this is what I meant we can reset this and just make it softer if you wanted to so you can do something like that there curve now it's going to be very soft um but because we don't have enough poly loops it's not going to be easy for ZBrush to determine this so what I'll do to make it sharper just take this point take it out and bring it back in and then do another one I'm just going to do the same type of profile that we had before just going to be these points are going to be closer to the edge brilliant all right I think that's that's it we just leave it like that and it's a quick save so if you guys have any questions about this process which is taking a while but um yes um it's preference I have a question about texture if you have mapping on model just paint on the model to paint the texture and yeah that's pretty much it you can paint the model you've compared the texture without having maps or UV maps sorry just paint it with a high resolution or a lot of subdivisions so you essentially painting the vertex color like polypainting and that you can convert any poly paint to a texture and you can project images and you don't have to have movies to create a really detailed texture in ZBrush that is that is what I'm trying to say what don't forget to click Save to the city didn't see a scratch all right yeah so a quick sighs thanks for that by the way there I know that they would like some like little box with with the latest update of 0 mm 19.1 but there is a new one mm nineteen point one point two and that fixes I haven't had any other problem since I updated that you just need to go to the updater to the updater this like updater dot exe in the cigarette folder and you will just run it and it will update and that will fix probably those does those box this thing is using is amazing cut off a lot of time of modeling yeah this is this is really cool but at this point this is just like in sketch we haven't actually got started get started with the kind of like the clean part so we're going to clean that first and then we're going to sculpt or or move things apart so let's do that really really quick because it's been a who's perhaps of time this much a lot at this this stream on the pattern code so now that we have these one thing that we can do is do a Serie measure and we're going to rematch every single piece and we're going to simplify the geometry quite a bit but we also going to keep the polygroup so we're going to keep some sharp from some sharp areas here so this is going to take maybe longer than I mean it's a complex set of objects and series gonna try to rematch it so this we already did a quick save so that's good I'm going to go to the Syria Misha there we go and I'm going to make sure that I have the half selected I'm going to use the zero measure point 3.0 so let's leave legal legacy off another thing is probably adapt is not going to be as important in this case because adapt is really to change the size of the polygons depending on the on the details so if you have an area that is quite flat like these the polygons if you live adapt on the polygons should be like larger or proportionally larger compared to areas with details but in this case is not it's not useful and the adapt density is going to make it slower all the thing we can do is keep we can do two things we can keep groups because we have a lot of different groups even in the borders or we can just reverse to try to detect the edges and that's just going to keep us keep some sharp edges all around so let's try these two as it is and another thing is we already did this mood grouping so this slider is not going to do much so we can just leave it at zero and that also hopefully will keep things you know moving faster what does mood groups does is essentially when it's doing the serum meshing is applying the dis mood by groups or similar a similar process to the smooth break groups that we already did so with these settings as such let's just go and click submission hope for the best I'm going to turn on the line so that we can see the result zero measure and it's just going to take a few minutes well not ready it's actually really fast it's a complex object there we go so now we have cleaner topology at least apology that is conforming to each one of these pieces so that is that is actually pretty good there's some additional polygroups which is annoying but that's fine this first pass is cool so what I'd like to do now and let me just double check this they're not too bad this won't do that yeah so that didn't work as I was expecting so I'm just going to increase this mood back to one say what that gives us leaving both of these switches on let's just try that out because I want to get something cleaner okay so this is still trying to maintain these polygroups up on some for some reason but that's fine the next thing that I want to try is I'm going to polygroup every single piece on its own so in other words every single piece is going to have its own polygroup so we're gonna we don't need to keep the groups anymore and they detect edges and we can remove it and we're going to get a smoother surface to what we have right here so let's go ahead and for you guys should be under the poly grouping or polygroups subtype and then is going to Creek Auto Group and see we're just going to assign a poly group to anything that is not connected by the topology so so that's pretty good that's exactly what I wanted and now we can run another super measure make sure that is half so we can really keep reducing the amount of polygons so let's go for submission in theory now that we have a cleaner version it should be faster so every time that you reduce the amount of topology and it should be faster let's do another one and get another one all right so we keep reducing these so we have some nice set of polygons here and we're getting closer to what I wanted which are like creating these you know pieces of of geometry I'm just thinking if at this point if you wanted to keep like reducing the poly count you can what I like to do now is refine some of these shapes and then run the serial measure again because this is not working for me so I can go ahead and use the small brushes and just the smooth areas like so so the next time that I run the serial measure process series going to trying to clean these areas a little bit more and I'm trying to keep the the smooth this moving very subtle just because just because some remember we have thickness so if you use the smooth brush too much you actually kind of like overriding that thickness that we created this is um this is what I was going for so not not to fasten I'm happy with this result I'm just cleaning up some lines to make them a bit more straight that's what I'm doing here and I have the move topological brush so I can just push and move these these points quite easily all right so this is kind of like the process just fine-tuning the shapes so look at this one here in the middle all right so I think that's just looking a little bit better let's go ahead and do another zero measure all right have no idea what why this happened but you know let's go ahead and go to the polygroups order the other group sorry and now we have a poly group for each one of these parts which is what I wanted so the next thing is to start pushing and moving things and maybe we can delete some of the the different pieces that we have here again I want to make this to make it make it look so that is very rough like they the character himself put it all together so I wanna and he's not very good so I want to do that type of thing so before I get started with them you know pushing and moving things around what I like to do is inflate everything and I want a sharper set of polygons so I'm going to inflate things maybe subdivide one so we have more resolution so I don't do that so we just have a 20 bit more resolution and I'm just going to have a look at this border here so that is easy to see the border and let's go ahead and inflate things a bit so that they're closer together and I'm going to exaggerate it so that things are kind of like touching in the India borders but because we're gonna subdivide it a bit more and also use a clay polish to sharpen everything then that to those two process are going to ideally will shrink everything but at the same time is polishing it so when I subdivide is once more so now we have three subdivision levels 300 thousand almost 400,000 polygons and let's go ahead and do a clay polish so clay polish should give us a sharper loop I'm going to clear the mask because that's something important if you used the clay polish brush clay polish process which for you guys should be here on the D geometry soft palate clay polish and once you do this see which actually creates and you cannot see it very very well but it creates masks around the edges so if you do that again it's kind of like doing the same process but it's keeping some edges so just be careful just clear the mask and run that clay polish again again again so just sharpening things a bit you'll see just polishing everything and you know get us to a good point with this guy all right so right now we have a bunch of different polygroups the only thing is that if you want to move things symmetrically and you use the move topological brush because we have different polygroups you won't be able to move them together because they're different polygroups and this brush respects the polygroup so in other words let me just show you if I just want to move these two together and I use this brush you should it is working hmm don't think it should but it is so great all right so yeah what I'll do what I'll doing before sorry yeah before I start moving things around is I'm gonna I'm going to go ahead and get out of solar mode right and I'm going to hold shift and click on this view icon or I icon and that it's kind of like isolating similar to to solo mode the difference is that you can turn on other sub tools right and you should be able to see them see both so now I have the to mask the the original one right that has all day just increase this a little bit has all these details of a of the wood carving and I have this one so as I told you in the previous lesson all the work that we did in this is kind of like being covered by this but that's it doesn't matter because now we're gonna go ahead and delete some parts and make it make this look a little bit more interesting and less manufactured alright so I'm going to start by deleting or removing some areas in this this set of pieces right so I'm gonna hold ctrl and shift wanna select these two invert so these ones are gone I don't want those maybe one here at the top maybe one here as well and maybe another one here just trying to remove 7 7 bits that maybe the smaller ones like this one here this one is fine you can just plain where they would be sign and see what works at these two here I think they work we just leave them there see right so I think that one works that kind of helps with the expression these two bits they look kind of like the the eyebrows of these masks so that helps with expression as well cool so now that I hidden these these ones by the way let's just do it again so duplicate this whole thing put it into the originals just in case because I'm going to delete geometry now this is something that I found out just as a as I was playing around with ZBrush and I don't know if it is one of the updates of the latest version but it's quite useful for example right now that I have some some pieces hidden so if I invert my selection oops there we go if I in very much selection you see these are the pieces that I hit by hit if I want to delete those I can simply go to geometry modify topology and if I click delete hidden because I have subdivision levels it shouldn't let me do it so beforehand and this is what I found out so before before that I had to go to free subdivision level delete and then on free subdivision level but I think that's something that's been updated so even if I have subdivision level now I can just click delete hidden now so I don't know what I did then ok so let's go ahead and play subdivision level oh come on I'm gonna do it again so I'm gonna you know what sorry about that I'm going to hold ctrl W to assign a poly group they're inverse selection assigned polygroup so now I have these two polygroups now let's do it again I'm going to go to the lowest subdivision level see if I can no sorry start over again so I have these two polygroups forget about what I jump out they what I found out I don't know how I found it out I found that out maybe it was maybe it wasn't for this anyway so I have to set of polygroups I want to get rid of these ones but I have subdivision level right so one thing we can do is free subdivision level at this point before we we hide anything right and series going to freeze that amount of subdivision levels and send it back to the original subdivision level to level one so now I can hold ctrl and shift and select this invert and that's the reason I gave these two polygroup so I don't have to manually select them again and just to save some time and now I can go to delete hidden and now we we don't have if I hope ctrl + Shift there's no hidden geometry and now if we want to recover those details from the third subdivision level although we don't have any details we just click on this free subdivision level and see which is going to send us back to the third level after I finish after Siri finish this process is going to create a mess so make sure that you control and now we have the this piece the way that we want it to cook so the other thing I want to do is go to poly groups and sign an order group just so we can play around with these individually and that's pretty much it let's go ahead and maybe reduce the subdivision level and I'm going to make sure that with these move brush with with the move topological we're going to enable a key curve and that's going to give us a more pointy type of look and maybe increase the subdivision just because we can do this type of more like sharper sharper lines and all I'm doing really here is just sharpening some of the details like the corners so that they don't look us as rounded I would say this process is part of the sculpting and you can totally sculpting this if you want alright so I'm going to reduce it back again to this first of division-level and I'm going to hold ctrl and shift and select this area by itself I'm going to hold ctrl and click in the canvas and now bring everything back so now this is the mask area I'm going to invert that masking ctrl click in the canvas and now I can work on these on its own thing so one thing I want to do is inflate it so it's going to be larger than the rest kind of so antica and now I can go to the highest of division level and I'm going to hide everything and I'm going to go into solo mode and I'm going to bring in the H polish or you know what they trimmed I nag make my work better just to make it more irregular and this is a great brush so what I'll do is just polish these these edges so this is why the trim dynamic I think will work better in this case because it makes like chips and cuts on the surface that a little bit more irregular and like I said I want to keep this and I like you know more organic than hard surface thing so like a piece of wood it's kind of like the process that we did with the heart with the surface noise last stream but a bit more manual it's creating those that wood pattern all right I'm going to get rid of or turn off symmetry I'm just going to do a bit more obese so that it doesn't look symmetrical all right so get out of solar mode sorry yeah solo mode bring back everything so that looks all right I just need to push things a little bit more so it's just a little bit strong like with a stronger effect or stronger pressure putting more pressure really and I just I just want to try to create a bit like a larger gap between this piece and the rest and how are we with time I think we're pretty good I'll have a look at the chat in just a second if you guys have any any questions feel free to put them in there and maybe we can go with the H polish and this is going to respect the borders a little bit more and that's just a quick polish to to refine some of these edges so let's bring back everything solo and I'm going to do a quick save and you can also go back to the lowest subdivision level and bring in your move topological brush and actually for this one we can enable symmetry and just push this thing you know refine the placement of this bit more manually so again because this is kind of like the nose of the mask we're just going to make it so that is more like a nose really as in from the profile you can definitely see that this is higher alright so I think that looks good let's just do another quick pass with the H polish without symmetry to clean those those movements of the brush that we just did cool so I'm going to clear the mask so that's looking I was looking pretty decent let's go ahead and do the same thing with this one I'm probably not going to go through all of those details like I just did because I would like to do them manually but it's just going to take a while and it's just a repetitive action so we can just do this one leave it there and move on to the next Niek and then I'll do that afterwards so I'm going to mask this bring everything on masks another mask invert the mask and I'm going to do a similar process so just inflate this one not to the same level and this is something that I could do for each one of these pieces and have them at different heights and that is going to create a lot of contrast and make it definitely more interesting maybe a little bit more okay we can even bring in the gizmo at this point and then just push this back a bit manually so that it covers that border or the other mask and it helps us with this with this cap perfect alright so now we can go with the symmetry on and I'm going to bring in the trim dynamic again this is the same process as we just did with your with the nose of the mask kind of like manually chipping away some bits let's go into solar mode as well and hide the rest and you could use the same technique we use last stream as well for this one if you'd like to again I just want to show you different different things that you can try and see what works what works for you let's go ahead and refine these bits here with the edge polish I think this looks looks cool all right and maybe just a bit more just to flatten this area all right so let's get out of solar mode bring back everything click my mask so you see the process it started to look a little bit more interesting like I said I'm gonna do the same thing that I just show you with the nose and this outer area for every single piece in here but again this is going to be quite repetitive so I'm not going to do it and I'm also going to change the elevation of it so one thing just to show you with the move tool in a lower subdivision level I can take for example this one turn off symmetry and just push this one here like so inflate it and you know it's going to have a different elevation this bit than this bit so that's something that I will do later just because it's exactly what I exactly the same thing as I show you and it's a repetitive action so we can just move on and work on something else I might need to actually remove some other bits and pieces because maybe I want to see more of details from the front the mask underneath but we'll start with this as it is alright so let's move on let's do a quick save we just check the chat Rosario Tina get admitted in espanol tambien this there are some people that do serious life in Spanish and they're awesome so Oscar Trejo and Jose Rosales they're fantastic and they they do Spanish one I might if I have the time I might do that as well like I might do a Spanish one um so we'll see Khalil is asking why you didn't use HB geometry on the mask the mask you did a week ago because no need to HD geometry is just to really get into the super high you know high frequency details really but at the moment I don't think I need to if I wanted to do more of those details I can just definitely do it but depending on the project I don't I don't think we need it at this point we have a fair bit of resolution still to go with the the other mask so this mask is about 500 or like 1 million 2 million so we can subdivide it again no need to use HD geometry just know Nick is here had can you ever truly die sad what I don't know that's not that's not related um what I'm confused alright I think that doesn't have anything to do with situation I was trying to relate it to what I'm doing but it's not um also you your art it looks sick thank you so much alright let's go ahead and move on I'm going to show you the a fiber image thing so let's do that first we have plenty of time cool so we just think let's go ahead and turn everything back on now we can go to although just to keep everything easy easy to move around and so that's looking kind of like what I was planning to do but now we can do a bit of fiber mesh to fill in these areas and create kind of like the beard of the mask so it's going to be a stylized fibermesh is not like a hyper-realistic hair or anything just to show you that you can also do that with fiber mesh I'm just thinking what would be the best way to approach it and I think I think I think we can do is let me think you know what I'm just going to show you a different technique again so I'm going to select the body I'm going to hide the two masks or the two pieces of the mask and over this body what I'll do is I'm going to select and actually I'm going to go into highest subdivision level going to solo mode and I'm going to create some geometry really quickly and from that geometry is the one the base that we're going to use to create the leaf fibers so this one is really cool and it's called the topology brush this one right here and it's really good because it allows us to just paint over a mesh like so let's do it in the lowest subdivision level then come on you know what let's do it let's do it a bit simply um I don't want to delete this so I'm just going to duplicate my my mesh so this is just a dummy file and I'm going to maybe divide it one more time and delete lower let's try that again alright so we have the first curve now let's go ahead and do another one like so and then we can just start crossing these like so and that will create some polygons right and that's it once you click somewhere outside so you're going to look at these and it's going to create a geometry and the thickness of these geometry I think is determined by the size of your brush so let's just click outside and now we have this piece of geometry so it's super simple and let's go ahead and now that we have this remember this is just a copy I'm going to hold ctrl W to sign a poly group just in case now I have I can hold ctrl and shift just to hide everything except this bit and we can delete hidden that's it alright so a very clean piece of geometry let me just go back to a lighter version of poly groups so a very clean piece of geometry that we can use as a base to grow the fiber image I mean this doesn't have to be as you know as perfect but you know it works just want to make sure that this is one polygon yep cool I just want to do something before we move on on the decrease palette I'm going to increase all so increase all and then I'm going to crease back again by polygroup just to get rid of that one in the middle very quickly now so if we divide this is going to keep those sharp edges I know that I need that more anything but you know what let's just remove them so increase all right so now we can go back with the move brush make sure that we have a Q curve symmetry on let's bring back our masks and let's go ahead and move these and just put it in place basically that's all we're going to do I'm only concerned about these edge whatever goes inside the mask is not going to be clearly visible so doesn't really matter and we have some thickness so that's great so this is kind of like another part of the mask where they the 5mh is going to grow from all right so we have there that one thing with fibermesh is that it's better to actually it's better to actually stylize the fibermesh once we have the pose of the character so this was going to be this is going to be a very simple one so I'm going to show you how you can grow it from there but then I'm going to use a different one once I post the character so I think we have time today to do a quick pose and start blocking out they they did the rest of the clothes and anything that is like a repetitive you know sculpting action I might do it after I mean off-camera but yet so that is that is kind of what I wanted for this very simple um Eva pixels from Australia side effects is there any way to make the mask brush stronger as strong as press the pen and remain it remains weak yeah just remove pressure you can if you go to the brush palette here on the tablet pressure you can use global and that mean that means it uses the same global settings for every brush but if you hold like for example I'm pressing shift to access the shape brush you can see how these changes as well so you can do a specific tablet pressure for every brush same thing for control some holding ctrl to you know access the pen brush so all you have to do is go into the size sorry no the size this intensity and just change that you know you can play around with these probably the intensity as well of the RGB just make get rid of the of the curvature here on the profiles and that should make it very strong and also you want a very sharp edge you can also reduce the focal shift so just reduce this to almost zero sorry to minus 99 is something and that will give you a very sharp brush all right so let me show you what I would do with the fiber mesh and then we we can pose the character so quicksave haven't done that and it's getting to solar mode and now the idea with fiber mesh is very simple if you have something that is very complex and the best approach would be to work on polygroups before you do the fire minish because once you grow the fibers they will have the polygroup from the surface of the underlying piece of geometry that you use to grow them from so in this case it's rather simple there's not much not much to do we can just actually hold ctrl and shift to isolate this hang on a second okay so I just want to create a poly group for this to show you what I mean so again because this one is a very simple one we don't have to we don't have to create polygroups but if you want to create something more complex I would always start with poly group so let me just show you how that works would look like so I'm going to show you the more complex one but because if you want to have if you want to do something simpler you don't have to do it but it's better to know the more complex one so I'm going to select my similar brush and I'm going to hover over any face right click on it and I'm going to click poly group and a single polygon right so that's going to create a different polygroup for each brush for each polygon that I touch so when I click whoops when I click this one then this one and hold alt click alt click alt click old click old click old click alt and for this one's I'm going to get rid of symmetry just do one more so this is a very simple way to do that you can do any type of poly grouping this is just a quick way to to go about it alright so now that I have this line with polygroups the rest doesn't really matter and what I can do is hold ctrl and shift to isolate this bit invert that selection mask everything and now we have just this set of different polygroups masks and that's where we're going to create the deepali group the solid a fiber mesh from right so let's get out of solo mode so we can have a better view and let's go to fiber mission let's create some fibers so fiber meshes I'm sure you know what this is but it's a it's a really powerful stuff within ZBrush it's just a little bit um I don't know I think some people find it a little bit complex or I don't know if it's scared is the word but it's a it's such a simple thing that once you get the hang of it it's like it's like a needle tool in ZBrush just need to get the basics right kill alright so what I'll do is go to modifiers and obviously we don't have any right now and remember we have this area mask right so we're going to grow fibers only from the mask areas now the most important thing at this point is to make sure that whatever measure you using to grow the fibers from is not set to double unless that's what you want and that for you guys should be I have it here my UI for you guys should be here on the display display properties and basically this is the one that allows you to see inside the model so it's just displaying the two sided polygons and so you have this enable what series is going to do is is going to create fibers from both sides of the normal we just show you this quickly so let's say that this is just a single just a single polygon right a single square single sided um and let's say that this is the normal right so the normal is pointing outwards right once you have this double enable when you create fiber mesh so we're just going to take is going to look at the base geometry or the surface and it's going to create the fibers like that you know pointing towards the normal and also from this other side okay so this is this is very important because otherwise it will be really annoying it's very important because you're going to create essentially double the amount of fibers and not only that but the cone because when you start like grooming them you might also grab some of these ones inside the polygon so let's say you start grooming grooming the brushes this ones like that and then you might grab with the brush size these ones and there is going to start like pointing in so it's going to create a mess unless you actually need that to be the case just make sure that whatever measure you use to create the fibers is set to like a double set to OFF so that's that's hugely significant for for fiber machine cool so now that we have that there let's create click preview and now we have a nice beer brilliant so that's that's really what we want we just need to tweak it and again I'm going to do this step after when I post the character but it's going to be exactly the same thing I'm going to show you today so once we post the character I'll do all this process and we continue from that in next next stream but yeah so let's go ahead and tweak them the fibers we can go into solo mode now just to have a closer look at this and one thing that I missed is equal to the amount of geometry that we have they the mask is actually spreading out so let me just turn this off go into so this is something that I should have done beforehand yeah so let's go ahead and subdivide this let's clear the mask subdivide this and I think we can actually simplify this a little bit so let me just go to simulator and I'm going to hover over any edge a click bevel and I'm just going to bevel this like so and maybe another one here and the only reason I'm doing this is because otherwise the mask itself is going to fade and spread a bit and so you're gonna create fibers for that from that point so soon I have a clean mask here so I'm gonna do one more bevel here keep in mind that this geometry doesn't really matter we might keep it we might not but it's not it's not going to make a huge difference in terms of topology or the mesh itself it's gonna be hidden we just need this to grow the fibers we can actually just mask the body itself and create them from there but you know just to show you more show you more techniques cool so let's go ahead and hide everything went on double just for now so I can make sure I hide the right parts I'm ask this area bring back everything make sure double is off and here we go again let's do it again so preview so you see now we don't have those ones that were like shooting from the from the edges alright so now we can start tweaking the fiber mesh and the fiber mesh are going to add the gravity of the fiber mesh they're going to grow based on the camera angle so here we have gravity so if I push this all the way to one you see the gravity obviously is pulling these down but if I let's say if I move the camera to there and I click preview and do it again you see now the fibers are still pointing downwards because that's how series interprets the gravity but if you turn around they like point in that way so when you're growing the fibers and tweaking these things just be aware of you know which angle you're doing it this might be very powerful if you're actually doing bits and pieces of fiber mesh one at a time and you want them to shoot in different directions but we don't want that right now so let's go ahead and click on this base set it to white and the tip as well to white I just like to have a you know a cleaner look without any color information just concentrate on the fibers itself or the fibers themselves the next thing is I'm going to reduce this fiber count quite a bit and remember this is going to or what I'm trying to do something a bit more stylized so let's go ahead and increase the length a bit and I'm going to increase the coverage so the length is obviously how long they are the coverage is how thick they are so now we can create like thick planes like this and I don't want them to be a stick but for now let's just leave it as 5,000 you want this to be even larger or wider if you want to create kind of like a set of hair cards right for you know game character or something like that one thing you can do to increase that is going to the width profile and you can just push this up and now these ones optica I don't want to do that so want to keep it simple and the other thing I want to do is actually have some I'm just thinking because it's going to be a stylized we can go ahead and actually have some volume right now these are just planes so if I get closer you see this just you know single sided set of fibers and if I turn on polyframe you won't see it until I convert them because this is just a preview and anyway so let's go ahead and change this a bit so the twist is how much they're actually twisting over on itself like each each is one of these strands of polygons so if I set this to zero you'll you'll have them a bit more straight which is kind of like you know it's kind of like a cool thing I'm thinking of creating these when I increase the length I'm gonna create this kind of like a curly type of effect so I'm going to decrease the number of fibers again don't need as many you see that the length as well is kind of like uneven you can also change these on the next to the length you can change the randomness or the variation to zero and that will try to make them more consistent but I kind of like you know the messiness of these as well what else we can change the profile and the profile is what I was trying to say this is currently a single sided polygon so the profile we can increase that to the say five maybe five is too much but it doesn't matter so five is going to give us you know thicker version of these polygons which is it's kind of like how I would stylize this and now that we have thickness then we probably need less actually place less of this let's just set it to two and this number is in the thousands so if we set this to two it's going to be two thousand right so two thousand fibers here then we have the segments and the segments are so profile is you go from a flat of polygons to a rounded type of mesh right that's second profile segments is how many of these actual segments or cuts you're going to have so at the moment we have three that means we have let's take this one as an example we have this point this is the tip this is the root and then we have two cuts and that creates you know one this is a horrible thing right so here is the root here's the tip and we have one two and three and that's determined by the segments so if you increase the segments that's going to do it for all of them so you're going to end up with a lot of geometry but having more segments allows you to have more control over the shape of it right so I'm going to increase this to six it's not too bad let's go eight for eight right so now you have a lot of different segments and that allows you to have more control over the shape right and so with that in mind let's go ahead and tweak the shape because now it looks weird so we can go to the scale root and scale tip so the scale tip you can play around with this and just change this immediately but I'm going to leave it as minus one so it's pointing and the scale root I'm going to leave it as it is but now we can go to the width profile right and in sivash anything that you'll see as a curve like this or a profile anything that is on the left side is going to be the root or whatever it is or the base and anything that's on the right side is going to be the tip or the top part or or the right-hand side doesn't matter so in this case a one the base which is on the left to be thicker you see it and the one here at the tip to be thinner so that's a really ugly version of it but just demonstrate what this profile is doing so let's go ahead and tweak that I'm going to set the size of the base to be notice not a stick and then I'm going to push the tips as well okay so we add a new new point in here and we're actually going to change the thickness along the way so if I click another one here you see it's getting thicker almost closer to the to the tip so this is how you can create a whole bunch of different effects just by playing with the case it's really really powerful one thing you can do if this is too thin for your taste you can set the scale of the tip back to zero or two one two one is just the default one you see just it's more obvious what we have here I think it was it was fine see this alright so that is kind of like you would go about it and I don't want them to be as heavy these are like hair really so it's not going to be as as heavy stylize hair but it's not going to be as heavy we can probably take the coverage the overall coverage and reduce that so this they're going to be a bit thinner and something like that and then we can increase this to maybe 3 3,000 maybe 4,000 all right so there's going to be quite a bit of geometry here and like I said I don't want them to be as heavy so what we can do is take the jet the gravity and I've suresh not to affect these fibers suite as much gravity so we can turn this to zero and that they will just shoot like this so let's just play around with the geometry a bit something like that and if we want to make them a little bit more messy which I want in this case I don't want them to be like as perfect so these ones won't have as much grooming because I wanna I want to get the effect right from the settings um yeah so I want to get the this egg right before we press and safe I'll give before we actually create them so let's let's go ahead and mmm let me think what will be the next step to make it easier because I generally play with these because I kind of like know what I'm going for but I'm trying to show you kind of like a step by step process so that you can follow it I reckon at this point what you can do is play with the revolve and the twist again so revolt is just going to make the kind of like curly effect so let's go ahead and yeah let's play with that so the revolve radius is just going to give you this type of effect which is pretty cool and if you don't see this effect as obvious remember that this is doing it is actually taking the the tube of the geometry and is twisting it so if you don't have enough segments you won't be able to see it so if I change this to one you won't see any revolve happening right so the more segments that you have the more obvious this effect is going to be and they the sharper the tubes are going to look like I want to set the segments back to what I have I think it was eight yeah I think 80 side would compromise you can actually reduce the number of polygons since this is kind of like an stylized thing to the profile of being three so it's going to be like triangles like pyramids whose only going to have three sides now that doesn't work let's keep it at four maybe four it's just again good compromise all right and again these revolve radius all right you can also tweak the the curve itself so if you don't want them to have the same another work curliness it all around you can just do something with this so I push the route to a value of one that's going to make it very curly or do the opposite just set it to zero so the curliness is happening towards the end which is kind of like what I want and you can exaggerate to really see the effect something like that just play with the curve so this is something that I generally like a set of steps that I generally follow I try to get as much as the look as I want from the settings before I groom anything the grooming just happens to give direction and flow but I try to get as many settings right from the beginning so because as you see it's just a matter of changing curves that's really really easy okay so we get in there um let's have a look at it with everything so that's looking cool one thing I want to do is probably make them a bit longer not everything just want to make it something like that right and another thing you can do is we're gonna leave it as these lengths and then later on we can use one of the grooming brushes they groom lengthen to push things down a little bit long a little bit more here just to make it longer so that's gonna be fun and alright so now that we tweak these uh the other thing is if I want to make it more messy which I want in this case more like messy you know this is just uh it's not like this guy spends some time grooming this mask beard or anything so it's going to be messy so we can take the gravity profile and the gravity has like I said the gravity determines the direction of the fibers how where they're pointing so right now we have only 0.3 of the gravity and so that helps us visualize these fibers as not being as heavy as not yeah they're not as influenced by the gravity as something else so another thing we can do is change the variation so if I push these you'll see the effect straightaway so I just remember 0.05 is their default so I push this to one you see just messes everything around this is kind of like very aiding the direction of each single fiber so you can play with these two one or zero zero it's very very straight so it wasn't 0.05 so I'm gonna just add a bit more 0.09 3.07 mmm that's a good one so your point that's actually not too bad let's just go 0.8.1 point one now that's too much 0.08 cool that's it that's the one that I like and yeah for the most part everything looks pretty good so you can see it's just a matter of playing around with these profiles the twist is just going to add a twist over itself and might not want to do it let's let's have a look I'm going to try to show you something just in case you you find it useful so pay attention to this specific strand of hair right so this the revolve radius the one that we just play around with that one that basically takes again right so the revolve radius basically takes a set of polygons right or a strand of hair and it's going to go ahead and start from there from the base let's say that this is the the curve the other way around No yeah so this is the root so in this case this one is going to be straight and this is the tip so it's going to take this and is going to tail series to try to take this like so like just moving things around depending on this on this curve so that's the revolve radius the twist is different so what the twist is going to do is what the name suggests it's going to take the same strand of hair or the strand of fibers and it's actually going to twist from the root to the tip so with not too much twist what you end up with is something like this right so it looks it could still be straight just with teeth do it twist so if you combine twist and revolve radius what you end up is with a very complex polygon or set of polygons that is revolving but it's also twisting over itself so this is this is a multiplication so these two together twist and revolt create a very complex thing hopefully that makes sense go so so with a twist let's go ahead and push that a little bit so that the twist actually helps quite a bit to create let me just do it again I'm gonna select a more shinier maybe this one basic material so now the material is a bit china so what we can do is see a bit more of that kind of like an isotropic look of the fibers where is it I lost it here we go twist so as I start twisting this thing may be from a from a distant it will be better you see a little bit more of that and it's a tropic effect of the side of the fibers of the mesh so I'm going to set it to I think that default is 18 but I might want a little bit more than that let's set it to 35 all right so that's a good compromise and you also have the twist variation so you can vary it not adding all the twists to everything uniformly you can just add more twists randomly to different parts but I think I'm happy with this I think it looks quite good so now let's go ahead and save this we can save the preset so I'm gonna save it one second I'm gonna have a have a look at the chat so I'm going to call these fibers cope so I save this as a preset and now we can go ahead and click accept actually just get out of solo mode click accept and zeros is going to ask us if we want to set up preview because there's a quite a bit of fibers I'm going to click yes just so that is easy cool and that's it now we have a new subtool let's go to the original base mesh and I'm going to clear that mask I don't need it anymore and I'm have I'm having this virus now I think so and that is working quite nice so we can go ahead and do some some grooming and and the reason by the way the reason I save this preset is like I said I'm not gonna so this is not the final set of fibers I'm going to pose the character and once I did once it casts like what the character is pose I can again select an area that I want to grow the fibers from load my preset of diesel specific settings and I can grow the fibers in the right post so that is the workflow that's what I would do I'll probably play around with the settings at this stage but I will only grow the fibers when I can groom them basically because if I groom things like let's say yeah if I start grooming things and create a nice set of you know direction for these for this mesh when I post the character then there might be some intersection and you know the DL the shoulder might push things around the chin and I will have to do it anyway so it's better to do it straight from from the post I think all right let me just check the chat and I'm going to take a quick break just to bring some water we have up about 5 15 minutes left is it recommended to sculpt the figure in a tee pose and once this figure is completed then the posts then pause the model or you begin with the model the character is that pose from the beginning it depends on the project for this character I would do the pose so it's better to have a tee pose if you want to work with symmetry if you wanna like literally sculpt symmetrically then you don't need to and working with symmetry is faster working with a symmetry creates a more more lively and I think realistic and dynamic sculpture really because you have to it's impossible to make it exactly the same on both sides and that that is kind of like it's right away makes it more realistic and more interesting but it depends it depends on the project it's only scary to handle and like it WC I'm Kelly I'm not sure what you're referring to I cook so let's just look at that leave it there for a second when I grab some water and I'll be back in just two seconds and we'll finish this up right now so be back in two seconds you all right so we're back and we have about 10 minutes left but I think Oscar is next and he's starting way way later so we can go over a few more minutes I think hey more RAM thank you so much I'm glad that you're enjoying the sessions I do certainly enjoy this this part of the week is very very chill and we get to do stuff so so win-win all right so the other thing I wanted to do in this stream to hopefully get it ready I want to just show you a quick technique or something that I mentioned earlier about the polygroups for the fibers and then just do a quick pulse of the character just because the post of this character is going to be very easy and shouldn't take too long so I want to get that done so that the next stream we can wrap it up cool so what I was going to show you is if I go to the fibers and get closer and just want to check it says it's getting close so if I turn on polyframe with the fiber mesh selected you see that we have poly groups for each one of those polygons that we grew the fibers from so this is super useful because we can now take something like for example let's try the hair toss so this is going to break a little bit the illusion of the curliness but you know that's Amara and we can go ahead right now this is the this is the effect of this brush and just take anything and do this type of top of stuff which is not is not ideal this is not what I want so instead what I do is all go to the brush palette and in the brush palette there is actually a dedicated sub palette for fiber mesh so it's here fiber mesh right and also I'm going to span this autumn mask in sub palette so the first thing I want to do is increase these masks by polygroups to a hundred so now whatever whichever polygroup I touch first is the only one that is going to be affected so if I only want to change this one right here I want to click so see I'm not affecting any other fibers just this one so I can do these type of things just in one polygroup and break that but break those two apart if I wanted to and that is all because you can do that with any brush I just increase this mass by polygroups so the only thing to remember that is that this mass by polygroups is a global setting so I can change to any other brush and it will still be a hundred so just remember that you have it on because sometimes it is going to give you a very frustrating effect if you don't remember that you have it on but it's not not not all the brushes are going to behave the way that you expect it so this is the first thing the second thing is you can play around with all these settings I'm not going to get into it because that might take a a bit of the time that we have for the after the posting but the probably the most important one is these front collision tolerance you can reduce that and the front collision tolerance is how much how much bending of each one of these fibers is happening this one is how to explain it's not how to explain it's just actually adjusted quickly let's say that this is the surface and this is one strand of hair just pointing outwards right so if you start grooming and pushing things around let's say this is the grooming right these front collision tolerance is set to 50 that is basically creating like a cap or or a limit how much it can actually bend the surface they the fiber in relation to the surface so let's say 50 is up to here all right so this is a this is the amount of Tolerance this is the collision tolerance between and when it this collision refers to the collision between the actual fiber and the surface right so right now it's at 50 so no matter how hard you press this thing is never going to go below you know these 50 percent so this is as flat as you can get it to this surface so this is a really powerful one so if you reduce these to let's say let's do it on this side if you reduce this to 5 or something like that then you can take these fibers and then just push them really really close to the surface because that tolerance is lower hopefully that makes sense so if I take it's not going to be very obvious here because mm-hmm let's try to make it obvious actually so it's an important concept that I'm sure you're gonna find helpful so I'm just going to turn just these two on and I'm going to hold control and shift to isolate this is another reason why poly grouping is so powerful so that I can isolate pieces of hair right so this one should give you a better idea of the coalition tolerance so right now it's at 50 and I can take this and push it like so you see no matter how hard I press these are not going to be very close to the surface so here is the collision tolerance that I was talking about so this collision is kind of like 50 it's kind of like this no matter how hard I press I'm gonna not going to be able to make them closer to the surface in this case alright so let's go ahead and undo all that right but this time I'm going to change the collision the front collision tolerance to 1010 let's go full time now maybe maybe less five actually I'm going to change these to the groom long hair so that it's easier because this the hair toes also has the stiffness which is actually I'm going to show you so with the stiffness I can set that to zero and they're not going to try to maintain the stiffness of the polygons so now I can get really really close to the surface because I have the collision the front collision distance to five right let's undo that again and all I did before was just reduce the stiffness so the stiffness is just that serious cannot is going to try to maintain the stiffness of these fibers so if I leave this at zero and push this but I don't remember what it was I think it was 50 yep so that you see there's no there's no stiffness in the fibers so hopefully that makes sense it's just playing around with these settings and figure out which one works for you or for what you're trying to do so um I like to set the collision distance maybe it's something like 10 and I want to have a little bit of this stiffness sled up to 20 and then we can go ahead and actually another really cool thing is that any any grooming brush actually has you can tweak things of the brush itself that is not within the file image so for example if you go to modifiers something that the damn standard brush uses is it's pinching at the same time that you draw the line right so that is within the modifiers of the brush so right now this is the effect of the hurtled hair toothbrush so I have a series of custom brushes one of them a bit more refined than what I'm showing you but essentially you can push the modifier to a hundred this is going to be very strong and then is going to toss the hair around but it's also going to pinch it to create some clumps of hair right so that is just with this modifier and all the settings are between here so with this in mind we can just do something like this really quickly right and stylize it quite a bit and that is just tweaking some of the things in the brush and making sure that masked by polygroups is enabled again this is very rough because it's not going to be the final one and in fact another thing you can do is go to the fiber mesh and this is probably the last tip I'm going to give you on that before we move on where are we fiber mesh and here at the bottom of fiber mesh you have the preview settings and that's if you remember if you remember when we created the fibers series access to preview the fibers in a simpler way just with these little lines so we turn off fast preview then we can see the real result of the fibers so a really cool thing you can do is let these fast preview on but reduce the amount of fibers so this is kind of like grooming individual or changing its changing fewer strands of hair so if you ever use something like X gene or ornatrix or something like that um you have a small L fewer strands of hair really part of me and then you move one and it's actually moving a bunch of them sorry sort of some I'm just going to set this to one and then I can just you know manipulate is more like a fewer of these just to make it easier and be able to control this a little bit more and that also allows you to see where the clumps of hair are happening which is pretty good all right so something like that right and then you can simply turn off fast preview and see how everything is looking now if you want to go back to what you had with a little bit more of randomness you can use another brush like half whittany one second I think is turbulence yeah here we go so groom turbulence that needs to be very very subtle but you can with a larger brush you can create a bit of that you know randomness on the fibers just to make it more realistic at least in this case that is quite messy cool so that's one of the workflows that I would use for fiber image to create this type of messy beard that I want for the mask perfect so let's go ahead and to wrap up today's session this is what we have so far I think it's looking pretty good let's just compare it to the to the sketch so we've done quite a few things in three sessions so what I want to do now is I want to we still haven't done these kind of like fur coat on top and this piece of clothes that I might just cut into a few pieces this other I don't know what these are I will figure out later and the the rest of the the accessories so what I want to do now before we wrap up and move on I think I want to just do a quick post to get it's going to be a very simple post and then once we have the post in the next next stream we can probably finish up with a with the rest of the the accessories on the clothes just to wrap it up okay so let's go ahead and do that and like I said these fibers aren't going to be the the final ones and so I'm just going to delete them that's it and remember I also have the setting save so I can just recreate them at any point and we have the the base mesh here so for the for the pose what I'll do is I'm just going to go to my move brush I'm going to select these cities um yeah and it's actually really easy that's why I left it to the end it's not going to be very complex so all we have to do let's do a quick save let's go to plug-in or the C plug-in have it here at the top it's going to get rid of that so in the C plugin we have the transpose master this one right here and all we have to do is create a tipple and series you're going to combine all the lowest subdivision level of all the tools into a single one so now we have a single mesh but we still have all the poly groups and everything like that so all we have to do now is mask the areas they want that we want to move around and create a post so I'm going to start weed I'm going to start with the torso and on the lower part area so I'm going to click on these mass mass classes so it's going to be easier to mask and symmetry I'm going to start with symmetry so I'm going to mask this area holding ctrl and click in the mask is just going to blur that mask right bring in the gizmo and I'm just going to rotate the character from this angle oops we just don't do that I'm going to turn off symmetry the symmetry was only to mask symmetrically but not for the rest the same thing here for the for the leg and things are going to break anyway so don't worry too much about it things are going to break when you're doing posing and that's part of the process just need to delete too concerned about it we need to just get the pose right get whatever you want to showcase with the character and and then just take the time and refine the post plus in this case this character you won't see much of it anyway actually because I'm trying to have everything covered by the by the clothes all right so this is going to be the arm that has the stick ah I'm going to hold ctrl and shift and click on that to isolate it so I don't mask that so you see this is very simple it's just masking the area that you want to move use the gizmo 3d to to rotate it in place and that is pretty much it like I said there are some areas that are gonna break and just need to be just need to be conscious about it that it's not a lot of there's not a way a way around it but again that's part of the process and you will fix them CC to fix anyway so I'm just holding alt to reposition the gizmo so without affecting the model holding hold you can just reposition in the gizmo and rotate it and once it's in place we can just move things around there we go this one actually we can blur this mask quite a bit so that we have a nice rotation of the arm all right so something like that I think it's kind of like what I'm what I'm going for and we can tweak this a bit more this guy has an awkward an awkward hand anyway I'm not going to deform these too much and again things are going to break so don't don't worry too much about the about breaking stuff in this posting because it is it is going to happen and unless you do a proper rigging and skin and white painting in a different software and it's going to be very hard to get a perfect deformation but again once you have the post and that's why that's why I do it at this point before I do any more complex stuff kill and so clearly here in the in the arm who can just actually go to smooth brush really softly press here to smooth things out of it and we'll do that after let's go ahead and actually it looks a bit awful all right so something like that I think that looks alright let's leave the hand there and this arm is just going to be like down really so something like that right and let's just spend that a little bit so it looks a bit more natural and the Hanabi screw the mask just going to mask from the elbow to the wrist engine just like in the middle and then just blow that mask in wear that and we can just do a quick rotation here right so that is kind of what I'm going for let's bring it this this guy master out center-pivot what I want to do here is hold the Alt key and just Center these pivot around the top area so that is easier to manipulate just put that one in there now we can actually squish this in I mean you can move the the arm but and we'll tweak this later with a with a move brush this is kind of like the blocking of the shape of the post and then we do some refinements okay so I think that is getting there let's go ahead and work on the face on the on the head actually I'm gonna hold ctrl we can drag we add a little bit more here on the neck perfect make sure everything is mask invert that selection bring in the gizmo Center the gizmo reset the rotation and I'm going to try to position these closer to the neck and we can rotate as well all right so I want this guy to be kind of like looking this way I'm just trying to think about this silhouette so that you can read it a bit better maybe push it forward a bit so something like that think I'm happy with this I'm I just need to click the this stick it's because if I rotate it if I take this shot of this character from this angle you won't be able to read this much so this part of the the posting process is also thinking about the silhouette and how they the character is being portrayed so now we can take this whole thing another thing that you can do is go to the masking palette and we can grow the mask from this point so that we don't mess around with this area that it looks a little bit more complex to mask we can throw the mask and sharpen it grow and sharpen grow and sharpen and maybe grow not maybe let's leave it like that okay and then I'm going to point the reset the people to be closer to the arm up to the shoulder really and I'm going to find that pose that I'm interested in also in at this point I like to pose the character without perspective but once I turn perspective I can have a better a better rate of this pose so I can just push things around let's try to make it feel more natural again and create some some empty space here some something so that the character looks or reads a little bit better all right that's it so just final final trick wait that mask now that we are working without symmetry we can actually take these one of these horns for example and use the move brush with a larger brush and then just the little twigs just to make it more a symmetric so it's not perfect and let's do some quick refinements very very quick refinements of all these pose so I'm going to take this move brush point that out just to create that sharp line of the elbow and this this arm is kind of like contracted so the device it is a little bit more it should be in theory bigger bulging out a little bit more than the other arm so those are the type of refinement that I would do at this stage very very subtle stuff I'm making sure that the post is working and remember this character is not going to I mean you won't see much of the body so I didn't put too much time on f4 on on the anatomy of the body just the proportions really because the rest is going to be covered by the by the the claws so just making sure that the distribution of polygons looks all right from every angle let's just do quick smoothing here to refine this area of the neck is stretching too much and this is a pretty rough pose but they're just showing what what I need to show with this character it's kind of like a curious curious guy but I don't know might be quite old don't know cool so I think we'll leave it there this post and so let me show you how you go back to the previous one and then we do a safe and another thing you can do actually is if I hold shift right you can rotate the camera around and snap it to the different position so if you want you can actually take the entire mesh and then rotate it so that when you snap to a to an angle it gives you a closer look to or a closer shot to the to the final one so I would anything I mean without anything mask can reset the point at the pivot point and hold shift so I snap to this view we're going to rotate this around like so so now if I rotate around I can just snap to these different views and this is close to the final look of the character right so all right now let's go ahead and send this back with these posts to all the subdivision levels and everything because right now we work in just a single sub tool so here in the transform master all we have to do is just click on these T posts to sub to tipples mesh - sup - and that is going to take everything and send it to the other one up to the original one but before we do that I'm just going to create click on this layer and click on these teapots - sub tool and series gonna do its thing the layer what the layer does is that it's going to create this post into its own layer and that's super powerful because we can keep working on on T posts but when once we want to finish and then we have all the details ready we can go back to the post that we have so let's do a quick save here and I'm going to show you what I mean in just a second so what I mean is that lets say this mask I want to work keep working on symmetry right so I can select the mask right and go into solo mode if I want to just to make sure it is the right one and if I go down here to layers I have these I have the post mapped or within this layer so I can just reduce that to zero right now this mask is set to symmetric so now I can keep working with symmetry essentially the only thing is that because I have this layer if I want to keep working on symmetry I have to I have to basically create a new layer new layer and and keep working and then anything that I do from this point onwards has to be within layers but that's it once I finish with the rest I just push this back to one and now we have the post of the character ready so now that we have this ready we can go ahead and create the fiber mesh and the clothes and all that so I'm going to leave that one for the next the next stream so hopefully today you'll learn a couple of things so at least enjoy this process and so what I'll do again is I mean off camera and before we get to the next session I'm going to create the fiber mesh that I show you how to do anyway and refine the mask a little bit and you know reposition this which is just move brush and other than that I'm going to leave it pretty much like this I'm just going to do some minor refinements to to finish up with the with this blocking and the next stream we're going to work on the rest of the cool stuff hopefully they're going to be at least cool to show so we're going to work on like they're the clothes which at this point I'm not sure what exactly are going to be we can we can figure that out later and then do the like the third coat of this guy wearing it here with the with the fiber mesh and I think I had some you know I don't know what this is going to be kind of like a very badly created scarf with things and also the necklace so they colored whatever these guys wearing and we can do some extra things if we have time but at this point I think we did a good progress and and the rest I'm sure we can finish it in the next stream if you want to have more tips about the about the clothes I'll show you next stream actually don't worry about it I'll give you some extra tips in the close when we do the close in the next stream all right so I'm going to leave it here I'm going to show you what we had and again this one should give you an idea of the the process of working as a teapot or in a tea post and then do a quick pose like we did with this guy all right so I'm going to leave it here guys and I'll see you in the next stream let me just check the chat actually if you have any questions I can do that really quickly and had a question had a question on necessarily relevant to this one but how do you do eyelids in a way that can be animated yeah so nowadays like I haven't done this for a long time I seen I haven't done these animation ready for facial stuff that's usually someone else deals with that I do the concepts codes but back in the day when I was when when I was animating I don't I'm not sure if this is still relevant I would animate sorry I would model to blend shapes with the eyes closed and without the eyes closed just to see the deformation of it so the model for the eyelids I will just create a lot of geometry around the eyelids the and it's called the character or the face with the eyes open kind of like with the expression that you want but making sure that in the RET apology you have enough loops around the eye so that when the animator or the rigger animates the character and breaks it actually the rigger will have enough geometry to create kind of like the deformation and the curvature of the eyelids so from the from a sculpting point of view I would just make sure that I is called the the expression that I want or the kind of like the standard default pose and then when I do the reat apology I will have enough loops around so that you can animate it and rig it properly hopefully that answers your question this is absolutely what I needed Pablo - no thanks I'm glad I'm glad that you find something value here is the fiber brush the fiber brush paintable as a 3d model you mean the fiber mesh is the or the fiber brush if you mean the fiber mesh yes you can just it's just fiber mesh is just optimized polygons for deformation as grooming but it's normal polygons so you can paint it with poly poly paint you can add texture so yeah so the mesh definitely you can you can paint it but created the T pose using the ZBrush button does that mean you still retain the original symmetric T pose uh yeah so hopefully I answered that question comic legend so yes I'm using transpose master at the plug-in what you're doing the refinements to the pose you only use the Move tool as to not mess with the sculpt topology and I use a I borrow a variety of brushes at this point it's again like a sculpting so you can you can potentially just clean everything and smooth everything go to the highest subdivision level and go with a clay brush and sculpting the refinements is it's just sculpting no I don't I don't treat the that process as a different thing to me it's just like if you were working on something and you missed or you do makes like something wrong and you go back and fix it it is the same thing just knowing that when you get to the posting stage and you post the character things are going to break I mean this is a very simple post in a very simple character so it's not you know over complicating it the post but if you have something very extreme and very dynamic pose you know I would treat it as a as another base mesh that you have to go back and tweak with any sculpting brush you can use the move brush in fact there is a really cool brush just so that you don't mess with a topology if you have a clean topology and I use this quite a bit but I just don't remember this again and he will the notch brush so the not brush is kind of like a move brush but it doesn't maintain the strength of the move brush and it kind of like does it along the already defined geometric so with the notch brush all you do is not point or narcotics which you know so let me just give you a quick example of this because it this is actually really powerful stuff let me just to clone do it in this one and I'm going to delete the layers or bake it right so with polyframe so with the move brush I'm gonna try to show you from this angle maybe and this is just to wrap up so have a look at this profile right and if I go to the move brush and I start like pushing things you know to fix the the geometry a bit eventually I can just change the actual profile or the volumes of this mesh whereas if I use the nut brush it is going to nudge the polygons around the surface so I can do it very strongly so I can quite literally change that the topology flow but it's going to be very very subtle I'm just putting a lot of pressure here and it's not doing it as as strong as they move brush so this is a really powerful brush the notch brush just to notch things in place maybe I screwed up this but hopefully you get the idea all right so let's just do a quick quick render of this guy and we'll live it there all right guys so it's been a pleasure and I'll see you next week hopefully we'll finish this character by then it's been it's been a while but it's certainly fun to to do and interact with you guys I'm gonna be showing you I'm gonna be sharing with you guys some some really cool stuff very soon and I've been sharing some tips and some stuff through my newsletter and if you already got the the compositing guide or the the PDF to compositing which is the cheat sheet for compositing you can you can get that into I'll share the link or you can go to the ZBrush guides website and it's it should be one of the latest guides so if you're in there I'm going to be sharing some tips that have been something that I've been sort of preparing for a long time and recently I've been just like fine-tuning it and I'm just sharing it through there if you're interested but yeah other than that we'll see you guys I'll see you guys next week and happy zbrushing

Channel: Pixologic ZBrush

Views: 2,901

Rating: 5 out of 5

Keywords: pixologic, zbrush live, digital sculpting, 3d modeling, art, design, tutorial, how to, making of, twitch, character creation, live boolean, vdm, sculptris pro, deformers, project primitive, illustration, mudbox, 3d coat, autodesk maya, adobe, photoshop, cinema 4d, 3d printing, concept art, games, reel, mask, horns, costume

Id: srJAxLduJV0

Length: 144min 30sec (8670 seconds)

Published: Thu Jun 06 2019