ZBrush Masters Encore: 3D Character Sculpting - Paul Deasy - ZBrush 2021.5

welcome to the stream hope everyone's keeping well oh you know what i need to do let's pull this over here make sure to say hi in the chat so uh today i was supposed to do two weeks ago on the last stream i was supposed to do a valentine's scoop for the ended up continuing with the hellboy but i said i'd do it so um i decided i'd start one today at least um as you can see the the 2d i did here just a quick face so this is what we're going to do today i'm going to make a face from scratch what i'm going to do is i'm actually going to show you how i block it out and then pause it during the blackout stage um when you're doing like sculpts just for render that can be really helpful um if i'm doing a production character of course i wouldn't do that but uh yeah so i'm going to show you like in the blockout stage how i pause it and then down to my shoe and get everything together at least hopefully we can get that fire into it then yeah after the idea is that this will be cupid but instead of with a bow and arrow he'll be a sniper that's my silly idea but it could be kind of cool i'm debating on whether i want to do like a a full um like model full sniper rifle myself because i'm working on other things at the moment um but we'll see i still may or may just i might actually even have a gun there that i made a while back i could reuse and i have a i decided recently too recently that i would um i'd put night mode on and set it for eight o'clock so that when i'm working as soon as night mode comes on like i can't texture or anything because the screen's all dim so that'll stop me from working late and that way i go to bed and i work early in the morning before work uh which is great and i would highly recommend it making sure that you don't work late because i don't think it's actually i think it's kind of anti-productive in a way yeah personally but of course now i only did this recently there you go i couldn't find the button to turn light mode off it feels really bright now but anyway problem solved and hey alex hey matt the purple names i've got like a chat and it's got like a blue background so i can see everyone's chat and it's blue so anyone whose name comes up from like twitch and it's purple it's always like it's really jarring to the eye so your art is out here there you go how's it going buddy and skull knight good luck thanks doesn't dare hi julia how are you nice to see you back so um again i i said this last time i'm trying to remember to say it to people because i always think like um i don't put like music on because obviously i can't i have to like through the stream i have to i can only play copyright or copyright free music um which people may or may not really want to hear and i always kind of think you know probably barrier for you guys if you just open another tab and play whatever music if you like or not and that way i'll leave it in your hands so feel free if you want to listen to some of your own music while i tip away then uh please do i do that's why i have the headphones on um i'm d uh i'm dividing with my in my head whether to watch or stream or study math i had planned to study math during this hour ah that is tricky maybe you could meet it in the middle just mute it mute my stream and you can still kind of watch it on the side if you like although i could be still distracting i'm gonna leave that with you i shouldn't weigh in on that because if you need to study you should study and crazy ideas so simple new tab your music there you go hey it's boy hog just look up at the stream every once in a while while you study yeah you could do that it could be distracting though because you could end up like you look up for a minute then before you realize it you've been looking up for like half an hour it can't happen i don't know it depends on the person so um hey david uh yeah so let's get start with the block outfit it's going to switch material i tend to use the zebra clay set these are nice uh sometimes i switch them up just to kind of it's like kind of like flipping the canvas just changes your perspective a little bit a little bit um so first thing start zero mesh and get these things a little bit lower because there's no need there's no lead for loads of pulleys at this stage so i'm gonna do the usual so our forced sphere uh is gonna be the cranium and by the way i know i go over my process and any streams i always try to like say what i'm doing um but this year and i think i mentioned it before i want to do a tutorial because i've never done a tutorial so i'd like to do one this year and it's basically the plan thus far will be to um just have a tutorial where it's just one place you can grab it and it'll be the whole process in one place step by step no mess and no no you don't have to listen to me uh well you'll have to listen to me but not just talking pony amidst the the walk it'll just be straight to the point so um i'll you know if you're interested in that when i get around to it i'm working on a project at the moment a personal project that i want to get through first um but once i do that i'll i'm gonna hopefully start then on the on the uh tutorial so if you're interested in that i'll like i'll post about it on my instagram or stuff like that so you can catch it all there so right now i'm just trying to get like the gist of this guy's noggin and just uh like i always say just blast it in as quick as you can don't be uh paying too much attention and don't be trying to make it okay even though i would say i even suffer a little bit from that like i tried to i i wanted to look good almost straight away and um it's not really i wouldn't say it's necessarily conducive to you know sticking to the point and getting the right just getting the the right marks in not necessarily the pretty ones at the early stages so i'm going with essentially the left hand side of the face is where i'm referencing from right now and uh i just so i'll do it in symmetry based on the left hand side like as in screen left hand side of his face um and once i'm happy more or less with the shapes which you'll see and i will break the symmetry while still at the blocking stage which um not a lot of people seem to do or i don't see a lot of people do that at least and i and i think for the most part it's like a a fear of that being so much work like you have to know work in asymmetry but it's not really it's not really a lot more work because um you're getting you're getting you're not breaking this imagery on absolutely everything of course but it uh once the things are in the right place like the main forms you have to do the whole lot base asymmetrically then obviously that's a fair amount more work than doing it doing the whole thing symmetrically but if you've got the main shapes in there then it's i find it quicker to do to break the symmetry at the blocking stage then dynamesh everything and walk asymmetrically from there then dynamesh and everything and then trying to push and pull to get an entire expression and move things around when everything in it when everything is now welded together i think this way tends to be actually uh yeah so i i'd say this is actually this is slightly quicker to do it this way around the jaw the jaw is going to go open meet the ear and his head at the back we kind of need to be shallow i'm kind of thinking you know like almost like squinting your eyes and thinking about where the forms flow like that jaw flows up into the back of the head obviously it goes up this way but you know you're getting something rather than this which it depends it's just looking for flow where you can find it and trying to be conscious of it not like trying to line up every single line but you know finding the the big lines and trying to let them flow for me is really important especially i was about to say actually i was about to say especially with stylized sculpting but even even with realistic sculpting like if you're designing a character you know even if you're designing like a realistic dragon or something you want to get the base forms underneath it's still all the same rules still apply you know what i mean you're you're applying the same fundamentals which um i think a lot of people don't really understand generally professionals will understand that but beginners and and people who aren't necessarily artists you know just you know maybe i don't know some people who might just follow you on instagram or something just because they think it looks you know this stuff looks cool or whatever which is great uh not to complain about those people but they just may not understand the subtleties of it because they haven't been trained or they you know they don't look it up or whatever which is completely understandable obviously and um that's something actually you know sometimes like feedback is really important when you're working on something you know shout out to somebody um see what their first impressions are see how they read what you've done um but something i find quite valuable even is asking people who aren't artists who don't study any of this or anything you know just see what they think see how how they read it you might approach it slightly different like you might instead of saying just what do you think of this you're like what's the first thing you look at if i show you this what's the first thing you look at you know see are they looking where you intended them to look first uh it can be really useful rather than you know showing to an artist who might just give you like technical feedback or you know say on edge could be you know it can be kind of clouded by that stuff sometimes like i think both you should do both but i think people neglect to just show people you know whoever show your mom show your girlfriend or boyfriend or mate or whatever their opinions matter too because like if you're going to do this in the industry it's not just artists who are going to watch the films or to play the games or whatever it is you're doing so don't forget those people hey guts uh joss uh do i always start so low poly i do yeah every time it's a lot easier to control there's just no reason to start high poly it doesn't doesn't doesn't benefit you in any way when you're trying to get um the primary forms uh high poly is just means it's gonna be [Music] you'll be able to smooth it as easily you won't be able to move things as you move things around in the low poly you know when you smooth it then it's going to be nice and clean and you don't have to worry about uh trying to go in and smooth and smooth and smooth on on top of stuff like that so yeah there's no reason to to have to be high poly at this stage so again i'm trying to see maybe the jar goes up like that and then comes out into the back of the head get some flow off that ear so you know i'm just paying attention to i'm not being controlled by by the flow of the shapes you know if i feel like something doesn't look right in that position then i'll move it but uh you know it's still don't be don't be like oh i have to have flow here so i'm going to make this go like that to meet this kind of thing you know i'm not going to because it seems like there's flow here and therefore i must do it uh you gotta think too like does it look good like do i do i think this looks good uh don't forget that side because this is another reason you know i think sometimes artists including myself absolutely get caught up in design rules and stuff like that and sometimes just forget to to just look at it as a person and think like do i like how this looks they get caught up in there following these design rules or theories of shape language and stuff that they learned from a tutorial or in class or whatever case maybe and they forget to just look at it and think does this look good this is why i also tend to draw things first i know and and i have done it too uh try to do design in 3d which you can totally do um but for me what i find helps me is when i'm trying to design when i can just kind of move my hand around real quick and make forms and like draw true forms and another uh i can make real quick marks and there's a gesture to that that i can't that i personally can't quite get as well when i do it straight in scoped and you'll need a struggle israel i should be working right now yeah that happens sometimes you need a break too take the pressure off a little bit alex is going to join us in the next hour awesome best about world sounds good um okay yeah sir hi paul i have to study anatomy to sculpt characters or should i sculpt what i see well uh yeah so i see um artist idiot the same boat you can sculpt what you see but it's really good to know anatomy it helps which is true um i would agree with that sentiment um i think yeah well yeah the short answer is yes you should study anatomy it's very important uh for sculpting characters it's gonna inform almost everything in a character when you're sculpting the body of a character in the face and everything it's going to inform design everything even if you're working from a pre-existing design it's going to inform a lot so yes you most certainly should study anatomy um because even when you sculpt what you see usually what you're looking at is 2d you know even if you're sculpting from a picture or whatever it's 2d and 2d doesn't answer all the questions for you so you're going to need to know how that anatomy works because um you can't you can't just copy i know i've seen 3d artists who basically just copy they still know anatomy but they basically just copy and in my experience are 3d artists character modelers that really understand their anatomy but also know about design and understand 2d design and so on tend to not always um but generally speaking they tend to make for better 3d modelers better character modelers so um basically yes i would say absolutely i mean sculpt regardless always sculpt you can study anatomy by sculpting it you know use your work to study a little bit bigger so i always go too big forced on the eyeballs what i want to make sure is that i can still you see the way you see this a lot in 2d and i do it too you can still see the side of the face on the left-hand side there even though you're at a three-quarter angle like you're at like to my face there you're at a three-quarter angle ah you can it's not just eyeball here you can still see the side of the face and you can still see that there so i want to make sure that i don't do that kind of thing you know even if it's further back on you see are and that can be a problem with i've seen in plenty of scopes where they make the side of the head stops in here like that there's no there's nothing on the side of his head and your eye socket wraps around your eye so essentially what your sculpting has no ice socket and even if you're doing like this is the thing with stylized regardless the fact that it's stylized it still has to be informed by anatomy um especially when you're in production and things need to be animated even when you're doing super like the head is essentially like a sphere or whatever seems to think all right well sometimes you're gonna have the head is actually just a sphere and there's like a 2d rig put on top of that and then you know whatever but oftentimes the head is still is is like basically just a pure primitive we still have to think about okay how's where's the mouth going to open from so where is the jaw where's the brow like when when they get worried what moves where is the braille so where's the eye socket um you're obviously not sculpting a deep eye socket or anything like that but you're just thinking about those things you know i i i enjoy anatomy especially in the face so it always that's why i always kind of sculpt this kind of style you know what i mean it's it's like uh it's definitely like an animation kind of style i guess but it's oftentimes i lean towards like comicy stylized rather than just cartoon but it depends too sometimes i get part of that like i want to do like really i tend to like sculpting kind of that 90s cartoon vibe goofy kind of proportions like the reverence that i did if i needed seeing that i did a stream i had i did most of that on on stream let's get the nose in start speeding up a little bit really long face zero mesh so i have the remesh keyed to a key to the shock okay because i use it constantly and let me see and now facts so i know how to model and animate and even create an animated cartoon series about 2d on 3d how can i get the funding or get paid at least something for my work well i might not be the best person to ask how to get funding for if you're making your own film or whatever and you want to get funding yeah because it's not something that like i've never tried to make my own pro my own animation from start to finish it's not something that kind of for me it's just not something that i really want to do i prefer to i just want to make characters but um like it sounds like if you're able to do that then you've obviously got a good skill set there and and skills are worth money someone always i always remember is uh in in batman in the batman movie uh dark knight returns right the heat ledger there's a part in it where they ask he goes into all the mob bosses and stuff and he's he's saying that he'll kill batman for him and he's like they call him out on it they're like if you were if you could kill batman you'd have done it already and he says if you're good at something never do it for free i'm a i i would uh second that notion do it for yourself that's not for free if you're doing it for yourself you're not doing it for free you're doing it for the pleasure of doing it but don't don't do work for anyone else for free because then you're you're giving them their enjoyment or their whatever and for nothing if they wanted if they really wanted they should either pay for it or do it themselves i don't condone to me i do not condone doing any work for people for free and but yeah anyway well girl i don't want to go on a tangent there um so yeah you've got you've obviously you know how to do these things so uh studios and are doing it in freelance you can absolutely make money but i'm sure you know that already um so in terms of getting funding for film to make your own thing i don't know and there's there's like you know a lot of people like i don't know a studio i used to work for did like every year they did like a thing where people come with their pitches for for short films they want to make or whatever and if you kind of did like an interview type thing all right well you did a pitch i'm talking about an interview get a pitch and if they liked it there was like rounds you go further and further and if yours got chosen the studio would help you build it it helped you make your your short film and of course they owned the short film then so that was the trade-off i guess if you consider a trade-off yeah but it meant you know studio resources would be used you wouldn't get money yourself the studio will just take it on and spend money essentially on it oh yeah sorry manic don't know i can't necessarily really help you with that one unfortunately i don't know enough about that kind of thing it's just not something i've ever tried to do myself unless it's for your mom unless for your mom that's tom tom very yeah very true in which case yeah your grandmother and ramy hello paulie love you i love you tigorami um tyler matthew harris how do you check which version of zbrush you have installed about a plugin that requires a specific version it says it up here in the top left oh i don't know if you can actually see that yeah you can't see it because it's like cropped out so that everything fits on the on the screen but the very top left it has what version of zebras you're using so the light is being 20 21.5.1 and where's that oh yeah there you go yeah darling penman has got your back version yeah um it's easy to miss if you don't know it's there it's not it's all good uh when you're breaking down shapes do you like to draw rather than sculpt and do you do anything like figure drawing to improve uh so yeah when i start i always like to start by drawing and i like i i always drew i was a 2d artist before i ever even used zbrush and that's where uh you know like a lot of my anatomy knowledge and all that kind of stuff i learned through 2d and and then i picked up zbrush and you know obviously i i loved using zebras so i kept at that but uh i still as you can see there like i drew this one um like i still draw forced i just find the looseness of drawing and you can do lots of iterations really quickly i know you can work really quickly with like zbrush that was the beauty of when zbrush became a thing uh it changed 3d modelling where you could be faster and make iterations really quick and uh like that's hugely hugely important not just for artists but for the entire industry and and so once that even though that is absolutely possible with zbrush like i think because i came from a 2d background um and because there's a cert like it's a different process you know like for the same reason i work in chunks like this when i do like i i uh work in multiple pieces and i keep things low poly and that's part of my process while making something and the reason it's part of my process is because due to that process it gives a certain output it results in a certain look at the end if i wanted a different look maybe i'd just use a dynamesh sphere and just keep going that way because i want to say a different way a different look and so i go about it a different way and the same like i want a certain feel to my characters and i get that true drawing better than i do when i just do it in zbrush i get more flow to the lines and stuff and quicker so uh yeah i always i always will draw to start with when i'm doing my own designs like you see this like just c chord here like i wouldn't have necessarily done that if i was working in 3d where because i did that in 2d it forces me to to think that way then when i'm walking and treating because i have them because now i'm like i want to match that now you know but like even then i will i'll always just really lose really simple drawings and then i'll figure out the rest in zbrush that's how i like to work but you can see it in so many other artists there's so many great examples of um great uh 3d artists who started and still are started as and still are great 2d artists you know dylan ekren uh gabriel suarez um brandon lawless i'm even pretty sure does a lot of 2d himself um and matt tarp is another example uh does there's a razor because the two things do feed into each other directly i would say in terms of like you know they share the same fundamentals and the same principles and the better i get at 3d the better i get a 2d and the better i get a 2d that improves my 3d so yeah all right let's get this going this is our only trick i've shot this before and so i'm going to do two open eyes i'll close one again keep it low poly bring the drawer size down to zero now using z modeler mask edge loop complete so now i've got this whole loop this whole edge masked so just control tap there and flip that so it's actually this outer edge here it was all masked off put this where i need it control click and flip it super easy and i can control it super easy because it's only a couple of points and i mean i don't have a bunch of points or i don't have to use a lattice or anything like that and then i can just subdivide it so just flip it again and do you recommend getting an anatomy book to use as reference i was looking at an enemy for sculpting sculptors is that what you mean but it's crazy expensive here like 300 euros um yeah that's actually what i have it's around here somewhere but yeah that's the same book i have uh i think it is a good investment if i know it might be expensive but that seems modern but anyway um whether you get that one or not uh a good anatomy book is great to have around for reference um it's super helpful to be like every level there's no i don't even mean for beginners i do it and i don't know anyone who doesn't always reference anatomy even like people who like artists that like sculptors that are you know i would consider much more knowledgeable on anatomy than me and uh they still you know anatomy is like their thing and of all the people they're the ones that would um check reference like that the most so yeah um it's well worth having a good anatomy book at hand um sorry i'm missing a bunch of stuff uh mike may art uh so glad i just scored you with pixellogic really being amazing blah blah thank you very much mike that's very nice and i'm very glad you've enjoyed it and when i started sculpture my drawings became so much better i could envision things better depth of the eyes angle of the neck from back to front yeah exactly i had the exact same experience when i started sculpting um they really do fit into each other and that's great asian parts and i find that when i sculpt the stylus character from a sketch you need to trace it how do you get good at sculpting while simply looking at your reference or is it just lots of practice it is lots of practice and it's not it is lots of practice um tracing i i never really traced uh because i felt like if i keep just looking at it and working from that then i'll get better you know you get better at whatever you do so i always try to keep that in mind and not say there's anything wrong with tracing i know lots of people who do it um but i wanted to get i wanted to get good at just being able to do it by and i also i didn't want to get kind of for me it was afraid that i'd get bogged down in getting exactly what was in the 2d where i want to be able to flesh things out in 3d and add my own you know sensibilities to it so um i don't like to to trace personally no you know that's not always some sometimes in a studio they might well you didn't copy it exactly and they won't be happy with that personally i just wouldn't i i i would generally try to stay away from those kind of studios because i just don't like to work that way uh obviously depends sometimes you just need a job but you know um like i'm generally at a point in my career i think where i don't have to be that you know i can be a little bit pickier now which is you know it's kind of like that's your reward i guess you if you if you keep at it and work hard enough you get to start being a little bit pickier yeah so yeah i i tried to stay clear that um the other thing that helped me a lot was the fact that i did a lot of life drawing i don't nowadays but uh i did a lot of life drawing and lifestrawn really teaches you to do that to to focus on um seeing farms and stuff and putting down what's really there not what you think is there but yeah that took a lot of time like that wasn't an overnight thing and i think actually these are a little bit too this way i need to pull this back a little bit more speaking of idept mike mate there you go anatomy for sculptors.com that's the very one um so where was i um hi from moscow cool thanks for joining um okay so whoa this is is it just jumped ahead oh no okay sorry so okay i definitely miss the question there oh network with people is that like for funding i mean yeah um so amish hey paul i'm a student and i've been following your work do you review on student work if so is there any platform to reach out to you to get reviews um will be really great for our portfolios i do i tried to uh i i was able to do it more at one point but i've been i have taken on kind of a bunch of stuff but i put my link tree i just posted my link tree there and you'll find a link to my uh discord and when i get some time i will try to get in there and give reviews people will post in the whips and stuff you can see the character lounge people post in like whips and um even finished work and stuff and the whips tends to be quite busy like lots of people in there there's other great artists in there that will also do it someone i worked with for the last couple of years uh darko mattev is in there he's he's brilliant and he he gives really good feedback uh like really in-depth feedback and he's a really good character so uh and yeah i always i try to get in and and do that as much as i can at the moment i'm literally working morning noon and night so i haven't been active on it for a while unfortunately um but that's as um but that that that's somewhere where i'll give some feedback on work for sure i think the oys are bothering me i think i need to add in some more things here you see the eyes are your placement is bothering me and let's just do this i want to get that nice curve which i'm going to get that edge there but i'll fix that when i do eventually dynamesh everything tommy okay um i'm not sure if i'm gonna get all the way through just because we heard the answer questions in the chat and stuff as well as get as much work done as i'd like but um yeah i'm hoping what i wanted to do at some stage was like when i start making more youtube content what i'd like to do and i haven't like planned out how or when i'm gonna do that but it's something i've wanted to do for ages um i'd like to do some like portfolio reviews or you know review some people's work and stuff like that because it can be good it can be really helpful for everybody uh you know even though it might not be your work particularly a lot of people have the same issues so that can be really helpful so that was something i was thinking would be a good thing to uh to do on the youtubes people will find some value in it right i need to stop messing with this thing i need to move away from it getting obsessed with this eyelid um can't um let's do another eyelid there she is right down to zero so we don't get any thickness because we don't need thickness right now we can add that in after the fact we're staying loosey-goosey um do i do you work in dynamic perspective i i don't know what you mean by dynamic perspective i work in perspective so there's autographic there's perspective on i wonder do i have i don't think i said this i keep forgetting to set this uh i always i generally set it to 84 like i go into draw and down to 85 because i'll usually uh render in maya so um and i'll usually render at that i'll usually render with that millimeter camera uh so just to match that a little bit better i don't like a 50 millimeter so much because it tends to get really warped when you get kind of close as you can see here like i'm just making the oil with just a normal open eye because it'll be easier later when i break the symmetry i'll be able to lift this oil it up like so like the cheek will push the eyelid up and the idea here i never really explained it is if i make it going and stuff is him like looking down the barrel because he's cute with the sniper and rather than with a bow and arrow i was thinking like having like a pink suit and stuff and putting some like i don't know making some of his things out of like candy and all that type of stuff um it's funny i use like american phrases sometimes i notice on the streams i think it's just because i want to like make sure everyone can understand me even though i know y'all know everyone here knows what's sweet did i say y'all there uh that you all know what um sweets are but i don't know it's like candy for some reason but anyway it's weird because i don't like i went from down the kitchen talking to other irish people it's not how i talk at all it's bizarre not that i mind it's just a an interesting observation i guess and let's see here faffin about is still my favorite term nice learning from your channel well i'm glad i could be useful to you er that's marital martial toulouse why do you have to have such complicated names just like there's david just good man david uh also which corv tool do you use to create the eyelid and so it's the topology brush so just bt and there it is there so bto for your topology brush and then you can just draw a draw and then drop like literally draw quads and then when you tap depending on the thick how your draw so is if you if you have a big draw size you'll get thickness you get a lot of thickness and then if you go bring the draw size all the way down to one you get a plane you get no thickness at all that's the idea so we're faffing now marth's okay okay yeah yeah nice you've broken it down for me maritzello maritza louise is that right that's a hard thing this that's like a hard thing to just say well for me it is my irish barbarian we used to name it like ted well no actually that's a lie where user names are like fiercely and col and siobhan which is always great crack to see uh in studios and stuff and you've like a siobhan or uh or doneca is a great one it's an irish name and those uh and i'm watching like someone coming from like you know spain germany france india or ever uh anywhere and and seeing these names for the first time and you know like own which here is spelled e o i n so like they they only see the name written and then the first time they meet them you know in an email or whatever and the first time they meet them they're like i own now that sounded right ian eon eon or something i think a guy in work called a a guy called on one day eon or siobhan is s i o b h right i feel like yeah b-h-a-n uh it was confusing myself there uh so even though it's shivan it's bh and irish is a sound it's like a v sound so uh it's always funny seeing someone go hois like see a band so i i i say i use simple names we don't allow um hey channel i've never seen with a h you're wasting time talking please concentrate on work my apologies i like to chat with everyone it's part of the fun of the stream i have to enjoy it too you know and i understand that correctly of z remesh on okay if i understand crack you have zero mesh on shortcut and you keep re-toppling every sphere you bring in as you are moving it around instead of dynamic subdiv or dimension exactly yeah so yeah i just always allowed it make sure the poly count is low just keep the poly count low makes life easier now i may even actually do something silly do i have i do so i haven't uh done it with this yet what i'm going to do is just tighten that up and then z remesh it and then obviously z remesh is going to find that that edge that i've created and adds and make sure that the loops are there so it'll give me the loops where i want them let's use this again get a bit mocky with it now all you need to do is dessert so my anatomy knowledge now was telling me the lower lip needs to be this character further back than the upper lip see how that looks funny just before her back in so what we can actually do is bring this out now i'm adding some subdivisions because i want to add like a muzzle there i could also do this with another piece which i might actually do because it might be a bit easier than doing it this way this area to come out nice and gradually i don't want just a bump now doing the lips separately is something that i don't generally i do it sometimes i don't generally do it because it's hard to visualize it visualize the lips blended into the head properly tends to look weird and you need you really need to dynamesh that in to to really work them out properly then and sometimes if it doesn't work you end up just having to sculpt them in any way so don't always do it that way it feels a little bit more applicable this time based on the shape and sharpness of his lips hey alex f1 how's it going buddy how are you keeping thanks for joining oh yeah what about the new tagline yeah yeah yeah yeah i put that on instagram the last time sculpting easy peasy with pauldeezy i must actually say it at the coil and see can we change that on on pixellogix thing because i would genuinely love that i'm gonna see can i do it i don't even know i remember oh wasn't it a it was a lord of the rings character it was a frodo frodo baggins what was it i i know i have it written down somewhere anyway but credit to that genius so and now here we just want to pull this slip out so yeah that feels kind of awkward it's just always i find it always awkward to again it's about the process it's kind of always feels a little bit awkward to make the lips this way but we'll work with it for now when join in my hopefully we'll get time to get that fire into it now to me this is why you'd like to do a tutorial because like at the moment you can get my process online it's kind of fragmented it's across multiple videos and you know for people like uh who would start earlier oh yeah i'll hate our ali uh doesn't necessarily like to talk and the chit chat just wants to see the process which is fine um that way i can you know it'll be one place where you can just get the information and not be that so if you are looking to learn my process and all that stuff it would be a nice easy way to to get it now what way do i want to like all right we're going gonna use this now or will we no we won't i'm just gonna use two spheres and julia can't wait for a tutorial there's me i'm sure most of us enjoy the chat also that's good i'm glad yeah because i enjoy the chat i'm a chatty type person i think but i understand some people do just want to you know they're here just to learn and i just want to see the process that's that's fine i'm not giving you slack a little bit so the idea here will be his moustache will kind of be like kind of look like a heart i just want to give it a little edge almost because like hairs come down and then they have like an edge generally so it's like a it's kind of a little a mark to suggest that essentially and then down here i'm going to duplicate the head delete lower i can actually just do that go back to my mask pen so you see now i've got the two heads see well two jaws and straight now we can delete that all right down um let's get the poly count down a little bit and thanks thanks janan janan i'll said thank you um i'm done studying math alex is back everyone say hi to alex i'm telling welcome back to the stream time we missed them we missed alex thanks for coming back i hope your study went well tell us why you're studying uh math specifically in school or do you have a specific matt math ma see this is what i mean not to go on a tangent but really quick when i say like i go ma mata like how do i even say that math class math class like i don't say math in my accent it comes out like ma this is my i'm studying maths when when you add the s at the end it's then you can you add the t but like other than that uh it's like what are you what are you studying ma but yeah i guess no you would say maths but yeah sometimes i just find myself like overpronouncing things trying to make sure that you guys can understand me okay um yeah what has you studying maths two tails we're all we're all going to know it's a thing now here's alex and his mats again um hey martin uh how many times do you need to sculpt a character like that without me topo uv et cetera on you to sculpt how many times do you need to sculpt a character like that like how much time is that maybe i think is what you mean um like to just to do like just to get this done uh just a couple of hours uh we'll do um yeah generally a couple of hours will do the job don't need too long uh obviously well again it changes when you if you're like streaming or need longer because um you know chatting everyone and stuff at the same time it's kind of slowed you down but uh yeah generally like if i was doing this for work just take a few hours i think it's not even just the talking like i don't i don't know like it sounds like i'm blaming you guys uh it's not even just talking it's just like uh the fact that you're you're also trying to explain what you're doing and trying to be conscious of like do i need to is that obvious or do i need to say something do i need to tell people like will people understand what i just did there you know you're constantly thinking of that stuff so just that that's taken away from the process and power uh so it tends to slow you down tighten up this edge and hey john john garrett yeah how much yeah i heard you so rich volume you need to add as a separate sub tool and so how we decide is so for example i want to control say the nose and i want to shape the nose uh so instead of the reason i make it separate is because instead of pulling your nose out with this and then as i shape the nose i'm messing up this all over the place like i'm shoving this around and i'm drawing daimy and standard down it and all this type of stuff and it's very hard to get like a nice clean edge where you know where this surface comes along here and then just stops and turns into this surface if i'm using damien standard and all that stuff i tend to get like bumps and wrap the way it transitions to the different angles isn't very clean so when i can so for that reason i want the nose to be a separate piece because then i can control all that and so it's just out and it's out of necessity to have that control and so it's not like the nose has to be and the cranium has to be separate to this like i could have done this whole shape probably like these two probably could have done these as one piece um but i find like the more you break it up the easier it is um but at the same time you have to remember like at a certain point i'll need to dynamesh these two together in order to continue to to make the shape work uh like the the lips there the lips are separate pieces i don't generally do that because i don't think it's it's not always the best looking thing while it's before it's dynameshed um yeah that's really bothering me now um so that's why i generally don't with these in in this case i did it just because the sharp nature of those lips and even if i duplicate these i can use this topology to mask it let's see can i fix this problem i'm having with this and then i can do that see that's the episode talents here um yeah so it's just to control the forms easier and control forms easier to control the edges and where the forms meet meet each other and makes makes it a lot easier so again once i dynamesh that i can like blend out here and keep in here maybe a little bit sharper i think i need all right i'm gonna blend sorry i'm gonna die in a mesh let's just bring it up so two up the top i'm going to combine these because i want to work on them at the same time so there you are the dynamesh the one piece now just hide everything unhide that duplicate it z remesh it that's here we mesh i have been calling for quite a while now so alex i've been quite oh here we go the mats thing i've been uh coding for quite a while now such that i hardly get 20 scoped i spend more time watching sculpting streams than doing the actual sculpting um well i mean it's if your priority is in the is doing the coding for for now there's nothing wrong with that you know hey it's funny it didn't siri mesh wasn't symmetrical even though i have symmetry on and where are we there okay yeah so yeah if that's your priority at the moment then for sure you know what i mean there's nothing wrong with that you can always come back to sculpting when you want to come back to sculpting it's important to you know sometimes like at the moment i'm doing a lot more kind of like look dev i'm trying to do some more look dev stuff so you know i'm doing more of that than sculpting at the moment uh you know if coding is something that you want to get into or that you're you're studying at the moment then you know so you can't scope for a while you're doing something productive you're doing you know don't know that thumb r it's easier to keep separation tools and using polygroup is it easier to keep separate subtools than using polygroups well for this purpose a polygroup wouldn't really do it because like i said it's not helping me to keep to control separate shapes and because the polygroups are still part of one mesh and it also doesn't help me to control the edges between like the plane changes uh so uh polygroups are helpful for sure but not necessarily for that um i don't use polygroups too much although i wouldn't want to go without them because they can be really helpful you know like there's a certain point that i keep needing to come back to and mask i'll always poly group it um so yeah i mean i think i i see what you're asking but just having them as separate pieces is still um better yeah um sorry i had to fix my music it was annoying me there still some weird stuff and where was i ah okay so okay i'm gonna take a shot at this and i i i i already know your work i already know who you are you've been on the discord you do beautiful scopes but i don't know how to say that name because it's obviously not a name i'd be used to is it like oh how would that be no if not because i don't know what the accent thing over the a even means i'm going to butcher it if i say it this is embarrassing ah have to figure this out now i refuse to say it out loud because i know i know i can't say it right it's not that simple there's actually a youtube video there's a youtube video on how this is a hard name to say so at least i'm not alone why this is taking so long no i mean everyone's saying it wrong it reads like zhao zhuao maybe pedro camaro but anyway i took way too long on that i apologize um who did that concept i did misha misha is irish for me by the way uh do you ever use mesh but union yeah sometimes the problem with mesh by union for me sometimes is um if you've got like an intricate piece like an ear and there's loads of different meshes in it and they all intersect um mesh boy union can be sometimes too accurate and it you get like all this exploding geometry uh where dynamesh is nice it's just a brute force just everything is one now you know what i mean there's no there's no messing no faffing um all right so i've got this as one piece now so happy this so let's let's move on boop because this is so this is what i mean sometimes having it as separate a separate mesh at a certain point is that you're at a disadvantage you need to you need to work into the mesh itself so at this point i needed to get in here and actually start walking this face because i think this is why the so this is a common thing uh that will catch everyone up is it's like you're you're sitting there for ages trying to get something like the eyelids correct like i did earlier and um you can't get them working and you spend ages trying to fix them this is why you shouldn't uh because then after a while you realize okay the problem wasn't the oil it's the problem was the ice socket or it could be anything you know it could be anything like that so you got to be careful of that stuff not get caught up in it get all your shapes in so that way you can see what's relative to what that's that kind of thing will trip you up you end up spending ages on something that later you find out was not the problem at all or was a problem but it was being caused by something else get this so really this needs to come right out how do you get your final results so smooth well it's by working this way keeping everything separate and keeping your low subdivisions is the most important part of that you can keep things low when you work with if you work with the higher subdivision levels you can't use alt smooth to like get your um surface back so like if i do if i do this now if i just up the brush a bit press down press shift so i'm smoothing that will do that but i'm i'm i'm like polishing the mesh you can see it there it's losing volume where if i do it now and same thing like i'm gonna smooth but even i can start smoothing but if i let go it will swap to the alternate version of that brush which instead of polishing down will average the surface so see the difference so watch bring it up a little bit so you can see the surface is getting polished off now i lift i press and lift it you see back to a nice clean surface nice rounded keep the volume nice and even and clean you can't do that if you're up at high polis it's there's too many pollies or you can try but you only be sitting there for hours you end up with carpal tunnel before you get the surface looking the way you want looking even again right this needs to drop all right breaking symmetry we're in there boys and girls see i only have to break the symmetry here like i can still go back to symmetry and still play around here oh sorry sorry cena i did i missed you earlier um happy to see you again also thanks for joining um so you have a question okay how uh how can study about cinematic poly paint effect texture huh how can how can i study about cinematic poly paint effect texture okay yeah um well okay so texturing and poly painting uh are so like there's a lot texturing there's a lot in texturing um so zbrush like i use poly paintings like okay so for example i used i use zbrush to poly paint and i'll tell you what i can show you an example of a sculpt this is the sculpt that i'm working on right now this is a much bigger this is a proper full project that i'm doing not well you know a full finished character is that one yeah so like this started in poly paint and then i can and and poly paint is great because it has lovely gradients and stuff so you can start a really nice base in poly paint and some people will do like a really high detail painting even in poly paint uh you will need to as far as i know there's no way around having to sub the void a lot to get like uh enough because it's it's painting directly onto the surface as opposed to on a map uh it's painting onto the the polygons um so what what it allows for is it you can you can extract that as a texture map like you can extract you can extract maps from zbrush and that's fine and you can like you can any there's plenty of youtube videos on exactly that and you can find out what the workflow is there it's very straightforward and uh zbrush is great for that and i i do that as a base and then i'll bring it into substance painter to start working further into it like that's where i i made like roughness maps and um uh even then i'll add like subsurface scattering and i'll do maps for that even uh to like say where to have the intensity on the maps with maps using black and white uh on the subsurface scattering and and then you can also even take like your sculpt details so say you have like a lower poly mesh and then you can subdivide it a couple of times and sculpt into that and then you can bake a normal map or a displacement map straight or zbrush which is great too and so you can use all those tools and there's loads of videos on on youtube and so on um on how to do that and it's quite straightforward and i mean sculpting and getting that really nice detail is not straightforward the artistic side of it is not straightforward but the the workflow and zbrush to to just technically do those steps is very straightforward and so yeah um you can see like so like the the base there was done in zbrush and then like this kind of detail the surface detail or like the letter uh detail there like that's all then done in substance and making materials and stuff and substance um the the kind of skin part texture there that was done in zbrush um i'd recommend i have a pablo muniz's uh skin pack um you can see there it even says it on the brushes so just go to zbrushcoies.com and i use like you know bumpy noise that'll give you like a nice base of like just poor kind of detail and then you can go in on top of that if you want and all that good stuff um so yeah that's kind of how i go about that so i i kind of use bald z russian and substance as well as from that but honestly you can actually poly paint is really really good like that's i always at least start with poly paint and i've gone further with it and i've seen people do like really high detail stuff just with poly paint and then just you know you can extract the map from a texture map from that um or you know unless you want to you know you can also just render and zbrush and uh get your different layer passes and bring that into photoshop and stuff so yeah there's there's a um so many different ways to do it and the only way to find out the best way for you is for you to do i can't tell you that because it really comes down to what you enjoy doing you know so you got to try it there's no there's no shortcut there's not no one can tell you oh this is the way this is the best way to do it uh i know a lot of people don't want to hear that they want to hear just just tell me how to do the thing well you can like all of those ways there's people there's examples of every single way to do it and there's examples of uh people doing it like extremely extremely well so unfortunately there's just no um there's no one perfect answer i say unfortunately i think that's a good thing i hope these are all enjoying it as well as much as i am whoa okay as you press alt and smooth so that the surface won't get polished yeah instead of the surface being polished it gets evened out so instead of pushing the surface in and polishing it down like you would if you were literally polishing a surface and it will it will it will like even the surface out so if it's around if it's a ball with a bump in it it will even it back into a ball it will take like from the surface around it and even the whole surface out so that's how you keep it clean but you need it to be low poly to do that because there's too many polys to even out if you're using like dynamesh or whatever that is the key that's the big secret no problem seeing it happy to help just do it exactly uh affect the textures that they're in movies wait really effects and textures that they're in movies are very amazing and realistic yet for sure well the other thing is uh in like vfx movies and stuff a lot of that stuff here are scans so you have to remember that too and they're not generally they're not hand sculpted because that takes time and time costs money and there's no reason to do it because they just put a person in a room scan their head someone cleans that up takes fraction of the time it's way cheaper i'm more accurate really don't want to not have round eyes but it's starting to look like i'm gonna need to do some oval eyes and it's like a little pepe i don't like to do overloads unless whoa go even bigger there's no point in even keeping these under the same sub tool at this point because these two eyelids need to be completely different because it's going to be i may even just rebuild this toilet there's no point in really bash it down well maybe you can like grab all these flip it and reverse it there you go and just flatten them up oh okay so just on the same plane foreign so we're going to use these slices curve tool like so hope this kind of appears and what's up marty hey there and if you intend to 3d print this model would it be more efficient to pose the low poly sub tool shapes first and then scope details or would you sculpt everything in neutral pose and transfer and transpose it'd be more efficient to the low poly sub tool shapes first like if if you find it which i do find it faster and then there's no reason to stay neutral stay with the neutral or symmetrical pose um it's not it's not helping you to like if for printing um does not need to be symmetrical so for production you're better off staying that didn't work out very nice you can go down here to deformation so see now if i okay so i do that actually that's pretty much it's pretty much fine to be honest what you can do is if you're zero mesh if you've got like those of these things and it's messing with your zero mesh and doing this type of thing uh you can go in and just polish by groups so yeah and it polishes the edge for you and then when you see reminisce a lot easier no i don't want to do that in this particular case but it's really handy it really helps a lot actually uh paul gabriel did that on there i think the la in the last um zebra central on one of the tips was that when you mentioned it i can't remember but it's super helpful see this is where topology matters for those who don't know see this so this is a pole right so you've got one two three four five edges meeting in one area so the reason that matters is one because it can cause problems with texturing uh but two because you'll always get like a lump where you get a pull and especially if you have like a lump on the cheek i mean you've got a pole on the cheek and then you need to like do like the mouth blow or whatever and that will you'll see it you'll see it especially when you've only specular you'll see that and uh you want to try to avoid that that's when you get into your topology for any of you who haven't experienced that it's like working on the apology of the face this is where topology can be really really intricate part of the character modeler's job is a very intricate part or should be um getting a character's face to deform well and not have problems with like poles and not have problems with rigging all those different things ah shane how are you brother thanks for joining shane olsen's in i'm sure most he is if not all he is already know shane because he's probably taught most is because he is the man um single-handedly keeping or teaching the next generation of of artistes of fellow sculptors and if you haven't heard of him though go into google and type shane olsen he's in the chat there you have no excuse type it in series update he's doing all sorts he's got that 3d character workshop that's where he that's where he trains the next wave of sculptors to take over the world [Music] um what was the tip you missed what was it oh the yeah you probably know it and stay so you know like you've got a mesh or whatever uh if you see are you trying to z-remesh it you don't you want you've got all those jaggies along the edge or like you know if you cut it with the slice you end up with like bits sticking out and stuff uh use the polish boy groups and it will like polish off all those jagged edges and that way when you're z remesh you get a clean zero mesh that was a yeah it was one paul gabriel you said it i wanted the arcadesy as i call him and he said i i can't remember like whether it was i don't know it's a summit or i can't remember he said in one of the videos anyway i was like that is that has just solved a major problem with just casually solved a problem that was bugging me for years yeah we're in the autoimmune this is this is that who was it i can't remember who it was to tell me basically show up and get to work no i'm only joking but like that that was it was kind of funny though uh who was it i can't remember i don't know i don't want to give you a hard time around uh you're right because i've definitely been indulging in chat too much for this stream i just like i genuinely just enjoy the company especially nowadays it's nice because i'm always sitting up here walking away so it's nice to have you know enjoying our chitchat wag um i feel i don't know it feels like i don't want to be ignoring this is sitting here just walking like i'm on my own defeats the prophets of streaming well you know yeah see this is what i was saying earlier that i'd be as well just remaking rather than taking this and turning it into this would be as well as just remaking this on it yeah i didn't get nearly enough dawn on this quiz but i i got to show you the point anyway of taking the sculpt and doing the pausing while you're still in the blocking stage so you can still easily move everything around then you can dynamesh it and then you can go in and do whatever detail you want on your um or remesh but union whichever you prefer um whichever is more applicable and get your your finer details and you know like smooth out your edges and so on where need be get this sort of braille on this guy all right so this is really trying to say the gabesy technique again see i don't know if it's even gonna be a problem this time but only one way to find out um polish boy feature is great yeah yeah i don't know how i missed that one well paul hope you so just so see there it's giving me thickness so i'll just but it's giving me thickness with polygroups so i just want one side i don't need all of it so i'll just delete hidden now it's starting around so just flip it i now need zero mesh let me put this one up so much so just right like this part wouldn't really be wrapped to it it's more like you know like bits of his brow like that are growing up and off the surface so i can stick up so if i just mask this here flip the mask and then i have this seriously on there i have this keyboard i have a keyboard shortcut for this but i'm just using project just here project under the subtools down here projectile and that's just snapping it back to the surface again so we can like clean it up or whatever even like what i'll often do is and i don't want to sit here doing this because you know don't have too much time left now but you see like i'll go in and delete a bunch of the edges manually even if siri mesh doesn't quite get me where i need it just to get it nice and long so you see i have less to worry about literally less points to worry about getting and then the smooth will do the work for me then keep things nice and even so i can get those nice lines and curves so i'll just smooth i'll just uh mask this off because i don't want this snap to surface it's fire nothing white nope so i'll do this real quick so again all i've changed is the brow it's the only part i've broken the symmetry on so i can still we have higher subdivisions so let's use them just go straight across here for now hello of course this should go down the neck but the neck isn't attached yet so no biggie i need to walk on here get this like cleaned up uh extrude our polygons so write the symmetry there so at this point i can take the rest of the like i can extrude these eyelids inwards and now really the only place that i have to walk outside of symmetry is around the oils now and i'll change the mouth i would want to you know just tilt them out or whatever um go symmetry there i can start sculpting into this a little bit so i'm just going i'm just burying in a little bit here burying in a little bit just over here i'm just gonna i'm just adding volume there because you've got convex sorry concave on the inside of the eye and the outside of the eye it's like a fleshy bit and it tends to get a bit of roundness there so again just using that all smooth not smooth because i don't lose that volume so i'm just pulling it out and then just all smooth and you just get used to like every time i go to smooth i lift my fingers straight back off it i have to concentrate more if i actually just want to smell and usually when i use just straight up smooth it's too uh it's actually too polished something not to so i really want this and now see like if i now watch if i start trying to go in here and start shoving things around without dropping the subdivision levels i'm gonna have to start really going in and trying to fight it to clean the surface back up so why would i do that when i've got subdivision else there's no reason now i want with the breaking symmetry a bit far there so i can't work on those two parts simultaneously so i'm just going to go into a deformation and mask everything but where i want to match the other side so see see what it did there let's try to match the other end so i think in order to get this soy like i was saying earlier i really do need to like stretch the ice there's not really any other way around it at this point yeah i can go in and the t-pose mesh start refining that pose pushing it a little bit better well something i want to do is have this curve nicely into this to not be masked and get a nice flow in that brow just yeah we'll fix it better so see i broke that here because it was i hadn't got symmetry but ta-da it's two shortcut keys that is mirror which is here and then mirror and weld which is geometry modified topology mirror and weld so i have those shortcut keys those as shortcut keys and they're right next to each other yeah so i can just swap it because it wants to copy from the from the screen left hand side so i know we're late now yeah my ten minutes over so let's wrap let's wrap this up so i always do this awful man doesn't mean i'd say your cupid is literally sidewalled yup you weren't expecting it though that's what we're going for here we want to we want to mess with your expectations don't just do cupid a little bit just i'm not feeling that very interesting i'm going to do my own spin on it you know let's say cupid isn't interested just don't really think you know what it's a new and that's what's super handy about t-pose mesh come here and make a big move there you go so the point the point being at this point now and again so that's in practical terms if i was doing this as a print or if i just wanted to do a render you know render up a nice image and i can do the posing this way and i can pose with freedom because i'm not stuck to controlling multiple different surfaces at the same time because they're all welded together and i can control the different sources at the same separately and have more control and as much as i was yapping away which is for ages today i'm not moving quite as fast it is um absolutely easier to keep things asymmetrical you know what before we go um or to to keep things separate even when you go asymmetrical is what i mean to say um because it just means that you're you're able to control those shapes better turn on symmetry to get smaller with these others again i always think of like t-pose mesh and sub tools is like separate rooms so i always say i'll fix that back over here back out in there it's like back out in the workshop um mask this flip and that include today's list so like i always said blocking is the key part because that's where you find out your major forms so this is how i would get this into the major forms pose and now at this point i can take the head the nose the eye the eyelids the ears the neck subdivide them merge them together dynamesh them and then i can sculpt into them all in one piece at that point so but even breaking breaking the symmetry at this stage made it a lot easier to get that braille into place like if i had the remember before how i started and the brailles were brought up or even if i made them neutral and then had to get this shape without affecting the euler's and sculpting into it and stuff i'd have a lot less control because i'd have to get in under and i'd have to bury in with like damien standard and stuff like that probably inflate it to be able to actually get some ambient occlusion there and not just have like a round instead of like where there's a fold of skin like you get two contacting surfaces like it's very hard to do that with a damien standard without just having where you can see the crease you want the actual two false meats you have to get in bury in there and then use the inflate it's not very clean if you use the smooth or the alt smooth they're going to smooth away from each other you're going to get weird angles doing it this way is going to allow you to do all that and a lot with a lot less hassle and once you've done a measure then you can start then so at this point now i could start i could dynamesh this and then then i can go in and like add the little wrinkles i can even after i dynamesh this i can even still go in with the enemy standard and redefine where that surface of that eyelid meets you know so i'm not still just tied to this necessarily either like i can still sculpt into it and it just gets me there quicker with less hassle and turn off this so deliberate some here so yeah today's stream was a lot more about the process of uh sculpting a character like this can't i see here um and to stop people from being afraid to sculpt to sculpt asymmetrically because that's generally genuinely generally a big problem i i did a mentorship on stage uh probably like a year or two ago now and this student that i was teaching you know i had no problem listening to what like listen to everything i was saying to to do and i was doing a great job and i showed a sculpt that i had done uh i think called larry it's still in my air station and there's a video there in my air station where you can see this in speed sculpt you can see it all the way through um and i i broke this imagery early on and went into it then uh and then sculpted into it after um i'll see i'll just grab it throw it into the chat so you can find it and youtube videos in is in there there you go so that's the particular piece in my air station so you can see it there you can see me go through this process and all the way to poly paint and then the renders and stuff are there as well obviously so this is how i always approach this the same if i was printing a character from as opposed to just doing renders but uh this is generally how i always approach it rather than going sculpting all the way through and neutral and so don't be afraid to sculpt asymmetrically it's not the end of the world it's not it's not more work depends um see shane i call it going up and down it's going down into pause mode and back up into high res mode yeah yeah exactly yeah yeah yeah i always i don't know i always imagine it like this is my workshop and then we go into the parts department or something yeah so i always think like i would start it out over there yeah okay so we'll wrap it up there because i'm i'm running over time now but anyway i hope that helped and it was always always a pleasure chatting to you i love the last two streams are great these are all very chat you love it i always enjoy those uh maybe the next one i'll you know focus a bit more on the sculpting for those of you who enjoy

Channel: Pixologic ZBrush

Views: 9,653

Keywords: zbrush, zbrush tutorial, zbrush beginner tutorial, zbrush 2019, zbrush 2020, pixologic, zbrush free, z brush, sculptris, zbrush live, zbrush download, zbrush core, zbrush trial, zbrush brushes, blender, 3d coat, 3d modeling, digital sculpting, zbrush student, etsy, zbrush character modeling, zbrush character, zbrush sculpting, zbrush realistic face, 3d printing software, 3d modeling software, zbrushcoremini, zbrushcore mini, zbrush mini, figurine, zbrush 2021

Id: jq2znCXoQoc

Length: 141min 30sec (8490 seconds)

Published: Wed Feb 17 2021