ZBrushCore: 3D Modeling Fortnite Fan Art - Pixologic Solomon Blair - Part 1

hello everyone who's joining us from the front page what's up my name is oats I will do play Animal Crossing hey everybody what's up ZBrush friends I'm just giving everybody a second to jump in here any you guys just jumping in give me a shot let me know you just want to do a quick audio check make sure everybody can hear me looks like everybody can see me I'm also gonna give you as a show mode Caleb how's it going thanks for the check-in perfect gonna get my early sips in before I get started what's up pro 42:10 thanks for tuning in man what is the 42 10 now I have to know all right so for anybody who I'll get started here for all you guys who are just jumping in pro I know you've been in a couple of my other streams before thanks for coming back to this one and any newcomers that haven't want to be stirring before I'm a developer a pixel aaj ik normally I do streams in full ZBrush jump it on board with the rest of the crew here you said you just rolled off the tongue for you two ones oh I got it yeah I shortened numbers that once I go past two numbers eyes died I automatically shortened it I'm from Michigan originally I don't know if that's a Midwest thing but uh I don't know the way you say it is better Stephano how you doing so yes so I'm picking up the reins trying to help out the the rest of the development team and do some streaming in ZBrush core those of you guys who have ZBrush core you maybe you guys check out some of the full versions of ZBrush streams this one's gonna be a little different from mine because normally a lot of times I'm sweating more time just building stuff if you go to let me go pull up my CBC page checked me out on ZBrush central.com solemn and underscore Blair you can see it's just one of my more recent projects I did a live stream on I haven't I say this every time but I haven't updated a lot of my zbc content yet I need to get actually some more imagery here but you can find me there you can comunicate also up here in the top left you guys can follow me on instagram hit me up there i would love to follow you guys and build a network of artists and all that so if you guys ever need anything you can always reach me there I'm there all the time so yeah this stream I'm gonna go through this is gonna be another project-based stream for those that have followed my other ones where I want to go through and maybe do two or three streams of completing a character or completing a project and in this case this is just a stylized character I want to put together and kind of breeze through some of those ZBrush core features and really just go through and see what we can get done so it's going to be you know focus from start to finish I'm gonna go through and do the sort of block up phase get the character in pose building the accessories all that good stuff so I guess at this point the only thing I want to reference here is that I am kind of looking at a lot of my reference I'm kind of looking at I like the style like for tonight characters even though it's getting there's so many characters in that universe is a lot of great stuff to pull from but I like the style I want to go with something just in terms of like the kinds of detail for a stylized character I like the amount of detail they have that's not too simplified but it's got enough stuff to play around with you know building inside as a Russian being able to make some good services so if you guys have questions you know feel free to throw them out there I'm happy to roll through it so for me I spend so much time in full ZBrush in ZBrush core there are the core foundations of the sculpting tools a lot of the basic brushes most of the brushes that I use in ZBrush are here in ZBrush core as well in terms of sculpting so we're gonna be able to get a lot of this done now to get started though for this particular figure what I like to do there's a couple ways you can start in ZBrush core and a lot of people depending on the way that you want to work this character is gonna be in Poe's the final sort of output so for me you could of course if you're familiar with ZBrush core features starting with a Z sphere is a pretty great place to go you can start with a Z sphere you know throw on your symmetry we could start by just like blocking out just go ahead and you know or actually let's take a look inside of the projects tab like you can go in here grab a go to the projects I'll just grab the cave troll this is one I made quite a while ago actually I forget which version but just something in post right this is something that we wouldn't necessarily be able to sculpt symmetrically so if we want to start getting in the form and shape like doing anatomy on one side of the body and having it match on the other is not really gonna work for us once you go through so do you things is a great way to get a character in a pose but basically that means that you're gonna be spending all your sculpting time sort of working on the whole figure without symmetry and for some people that's perfectly fine for me I don't want to spend too much time sculpting with you guys just because it can get kind of boring I want to go through all the process and the entirety of it and just so you know that this project here I'm going to be doing a little bit of a tutorial as well so completing a full tutorial that shows all the sculpting and all that stuff if anybody's ever interested in that from here on out so we could start something this is something I would consider is like I thought about this when I started as maybe starting with his Eastern Bloc hanging out in my case I want to take advantage of symmetry so I'm gonna try and use some tricks here to make this work without doing an asymmetrical Z sphere character and putting it into this sort of pose before I go sculpt it so just get back to loading that project there the first thing I'm gonna do is figure out portions I think proportions and getting just the full sort of fleshed out portion of the character in view is the best place to start just to get that there into place and I thought about a couple ways that we could do this there's not in terms of we can you know use image reference on the side but here I'm just gonna pull up a picture here so you see here this is something that I considered to kind of go through and figuring out how to get just the muscle and form with symmetry in place as well as filling out the height and the proportions on all this if you go this the the Marvel sort of Jack Kirby sort of Road you'll see in the middle the image that you see we've got the figures which should be eight heads tall so the superheroes sort of body proportions are roughly seven to eight heads tall depending on the type of character it is so following that sort of mold basically what we can do is create a head and we can use that head in duplicate form to go through you'll see on the right side the image here that's just me sort of going to and so starting with the head getting the the height range of the character and then I can use that sort of correlate different sort of parts of the body and get that stuff flushed out Dougie what's going on man welcome back so yeah so what I want to do is I just want to get going and I want to get this the head sort of figured out so you know this is the character that I kind of whipped up in it like a couple days just trying to concept out what I wanted to do for the string so I might not do exactly the same thing the figure the face and all that might sort of be a little bit different but I want to get this you know sort of like I'll stick to the same probably same pose maybe mess around with some other sort of styles for the face and accessories and things so yeah to get started we want to do just a skull or the face now I'll leave this character leave this project open that's got some of my other stuff so I want to get to like you know even just in core we can get some pretty cool like extra little details like starting to get most of the accessories flushed out so I want to focus on just keeping this project here but I'm gonna go in and let's just grab a sphere so how I would start this entire process here is I probably go into dynamesh I would absolutely go to dynamesh and let's start with dynamesh sphere 32 so I'm gonna actually instead of double-clicking to load that that'll get rid of all my stuff here I'm actually just gonna set this up on my own so I'm gonna go grab a sphere 3d click make polymesh and I'm gonna dynamesh set this to 32 and then let's just turn that on so we get Dinah's for 32 and then go into the floor grid I'm just I always keep my stuff assigned so X symmetry is the way I go oh sorry guys thanks for that call it the reference is over the model you are rate boom yes I'm using OBS to play my graphics here and the full version of ZBrush if you guys watch my other streams I bring images in to spotlight and arrange them on the canvas in core we can't do that we don't have that functionality so uh yeah so I'll pop that thing on I don't know if at times yeah keep me you guys gotta keep me keep me up on that because I might forget can you guys see it now digital plankton daffa bode okay great yeah I turned it off there might be a little bit of a delay okay great let me just get situated here so a skull if you haven't done this before I always like to start with a you know if you're doing a face the skull is the foundation of the of the object if you're if you're into ZBrush most likely you've all gone to school for this or you've learned from some of the pros and getting a good planar skull is a good place to start or at least the planers sort of angles of the face so what I'm gonna do is I have some reference that I'm looking at on the side that I'll kind of be going back and forth to but if you want to just Google you know sculpture human face planar something along those lines the plains of the human face and you'll find tons of great reference so I want to stick to that just to kind of get a quick foundation and easy way that I just start with this as move brush to me as King kind of just going in with the move brush and let's just start hitting the major shape of that skull you guys though just I'm curious how many of you have sculpted a human skull because this is for me it was like one of the first things I ever did in ZBrush and I always end up sculpting these things probably sculpted and hundreds of skulls it's at this point not all of them great of course it's a tough thing to do just curious how many of you guys have actually done the same zou fo definitely how did it go was a rough the shapes that I always end up pulling reference for this but you get that that back sort of cranium space that sort of tapers in it's a little bit bigger on the backside it is very hard isn't it it's so hard to capture all those planes so like as I move around just read ina meshing I like to use dynamite for this because you could use sculptors proudly but what I'm gonna get into using is the polished feature to start hitting these planes and really start to like form and shape all this stuff as we go so once I get like enough of the shape here might bring this up like I like to use a big move brush for this stuff a little bit wider in the back tapers in yeah study in pencil that's good drawing it is a whole nother thing too I haven't drawn anatomy in such a long time I've been spending so much time sculpting over the years now once I got introduced to sculpture especially digital sculpture honestly I didn't go back to 2d that's where I started but I know it's a shame but I have so much respect for people that are able to do you know high-quality 2d art work for me I just like I like the the the functionality and the logic behind sculpting something for some reason to me my brain clicks a little bit better Stephon Eve did tons of real clay tons of ZBrush yet I bet your stuff is super Pro then doing any clay and then digital is like that's really the true the the highest form I think is doing both of those is really important to become a good sculptor Brody Perkins what's up man alright so I got this crappy little shape now I want to start just hitting those planes but before I do I always like to go usually let's start by just I'm gonna punch in the front space here so I'm using aged polish with a pretty big draw stroke here I always like to go and it just kind of when you said you when you're doing a sphere you get a lot of curvature happening there and I always want to get in just the shape of the the eye sockets and if that thing's curved a little bit I mean you wanted to have curvature of course but I'm gonna go through and bump that out later I just like to go through and just kind of flush this in dynamesh this you know the bridge of the nose is going to be kicked in a little bit more Sajid welcome thank you hopefully I can actually show you some good stuff today all right so I'm just gonna I'm kind of going with just a clay brush here I like to use the clay this is a little inside with ZBrush but if you get a heavy hand which I know I do I always reduce the intensity like clay build up if you keep going it keeps building up which is a great way to get form in its natural state you can kind of keep going across and build and build a build but when I'm doing stuff like this I like to use the clay brush this one if you keep going over where your stroke has already touched it doesn't build it so it only builds in new spaces so if I keep going across you see it won't build any higher it just goes around so I like to do this for just so I just click and let go of my cursor I just keep adding slightly I kind of get more control out of that I'm sure that this forehead so something I like to do is I press the V key sometimes to switch colors I set both of these to white so that way if I accidentally press V it doesn't the V is the the alternate button who are swaps between those colors so in the full version the ZBrush you'll see that there it's clay polish good for stylized characters I think so especially there's one thing you'll notice that I'm doing right now is I'm staying I'd like to stay especially when you're sculpting this kind of stuff you don't want the details to start showing out especially with stylized like even doing the planar part portion is going to be it's going to make this a little bit more in terms of like realism you're going to start hitting more of those realistic sort of angles but the planes don't really change whether it's stylized or realistic so you want those to show through a clay to me has a nice soft sort of effect so it's a soft brush stroke that doesn't you're really just trying to capture for not actual you know intense brush details so in my opinion it's absolutely it's a very good one all right so let's see here let's start I'm gonna take this once I get this in place I won't really be able to one thing that I've learned is as soon as you start to noodle with one particular area and you don't kind of get the the large strokes the big breadth of the entire thing going you start to waste time so I'm gonna go up a little bit higher go up to about eighty I'm gonna read dynamesh this and I'm just gonna go in with aged polish now and I'm just looking at some reference over here like you'll have essentially let's see if we can sketch these up you got a nice sort of arc happening here you got some arcs happening here you got some arcs going about so I'm using Damian's standard with the Alt key to kind of go in and just sketch this out there then we get some arcs going up here this is basically gonna keep traveling you back okay so this whole one right here this is one giant sort of plane so we can go in with each polish and we could start to punch this in so this is where you get that like zygomatic arch if you're familiar with the bone structure that cheekbone area it's one thing I like I've learned I've tried to do this stuff without planes before and I find that it's harder to get those shapes I mean eventually you've kind of learned how the stuff works but when you're just learning anatomy - it's really kind of important to understand these kinds of underlying structures otherwise things just don't line up so if you if you stay low pretty low res in this state it's a lot the mesh is more malleable it's easier to work with I love that if you go too high in resolution this stuff starts to get harder to work you know the brushes don't we Russians will be harder this brush strokes will be harder to smooth out bowed saying you're asking what's the biggest difference between the pinch and the damn standard tool that's a good question damn standard okay so pinch really the big difference is when you look at and you look at that polyframe the pinch the the brush is number one the the focal shift and draw size are different so the pinch brush has a focus shift at zero so when I go across the surface it's basically grabbing everything everything within that draw stroke radius and it's just pulling that into a zone so you see like the ones the points that are closer together along the brush path those tighten up but it does slide away some of the ones sort of outside of it so you see this stuff here and this stuff here starts to sort of slide through with it so it's just kind of pulling everything in it's averaging it out so the closer you are to the center the stronger it is and then as it gets further away outside of the brush you pull more of those vertex points so this can be really nice if you do like a big draw stroke you can pull in a lot of vertex points to kind of tighten that stuff up Dameon standard what that's doing is number one that has a focal shift setting and basically if you go any hold alt it's essentially just like if you hold the Alt key it's doing an ad you'll see the brush default Z sub so Z sub when you just draw it by default it cars in so this one affects less of the vertex points around it depending on that draw size and that's really in terms of how the how the thing looks at the end like pinch if you go really really big and you go through and you pinch all this you could pull a lot of those verts and really pinch all that stuff together so if I go like mid range I could start pinching all that stuff I wouldn't be able to do that with Damien standard if I go Damien standard sometimes I'll go big draw size and hold the Alt key that's really only gonna draw a very tightly focused stroke mainly not just because of the focal shift but this alpha this alpha here is really what drives this brush so that's what I would say the difference is like depending on you couldn't when you use them in certain certain ways they're kind of the same if you keep the draw size pretty small they'll be about the same but the I'd say the the pinch has a lot more ability if you change that draw size and really increase how much you're grabbing and thing so hopefully that answers your question I like to experiment with brushes like that all the time just to get like little different techniques like that specific thing like using pinch versus Damien standard with all key to get a little sort of like hardline as to ways that you could do it you know pinch sometimes I think destroys too much of the surface whereas Damien standard I think I can get a more focused line and if I want to grab a lot of these verts I might just use pinch right and then one thing you'll notice too is like I like to use brush hotkeys all the in ZBrush core we got all the the core brushes done here we have h polish we have move sitting here at the bottom I do the hotkeys so H polishing core is BH claybuildup BCB move is BMV i kind of have those keys maps in my brain to to isolate out those hotkeys which are in the palette if you guys don't ever use those you can find those there you just click up in the brush palette click the first letter of the brush that you want so if I want clay I press C that gives me all the C brushes and then once you filter down to this level here you'll see you get numbers or letters so if I want clay I press L oh nice bode you saying that that was helpful okay good if you didn't know much about yeah that's basically what happens when it alters that sort of surface alright so try not to feel too much here so I'm actually gonna go in and just hollow out this space a little bit more I'm gonna dump in some eyes here pretty soon I want to show you guys a little technique to get eyes in because sculpting eyelids is gonna be tough sculpting lips even tougher I might sculpt the lips though just because I think that there's a have a I think a fairly decent approach that I could share with you guys so here I'm just trying to get the sort of eyelid sort of droop happening right here now with dynamesh once I start hitting all these planes as I've sort of laid in some foundations here I've got some hard lines happening if I go into dynamesh turn on polish and then control drag to read dynamesh it's gonna keep a lot of those sharp edges so it just focuses in on essentially what this does when you turn on polish polish is really actually using a mode called Clay polish which is if you click clay polish all it does is it looks at verts that are close together as you've drawn a stroke and what happens when you click clay polish is that depending on the level of sharpness if those verts are closer together when you click it it brings them closer and it brings them tighter and if you keep clicking it it'll keep going now clay polish eventually though what it does if you keep running it is it starts to kind of muck up the surface like it brings those four it's really close together almost in an uneven way so when you go in with a brush stroke sometimes the stroke or the surface underneath can't quite capture it so the benefit here is what we're doing is we're doing clay polish each time we dynamesh so when you turn that on it's running that setting so if you want those lines to be sharper you see right now if I control drag and you get a little sharpness if I want those to be even sharper if I go undo go back to clay polish set the sharpness to say 10 and then go back to dynamesh Andry dynamesh it you see that those edges are gonna get even sharper so pros and cons like I don't I don't prefer to use too much sharpness because then you start to get more angles here that I don't want so less sharpness get it doesn't capture as much of those details and you get a pretty good result that way it captures those facets that I've been sort of putting in by hand and so now I'm just trying to figure out where the chin is let me go ahead and just start moving this out so the lips you know you're gonna get if you think about the the angle of checking your profiles is really important too so one thing that I haven't been doing a very good job of is rotating so rotating to that side view you want to have a nice clean sort of arc happening so what I really need to do is take that sort of shape here and this is one of those reasons I just saw Daffy who I'm not referencing this girl right now all I'm referencing is uh I have a planar sculpt sort of over here on my side screen just uh ortho views yeah sofa at this point you were saying you tend to go too high of dynamesh that's something that a lot of people do myself included I've done it so much in the past and I've learned like I sort of started pretty you know back before we even had dynamesh I was getting into this industry before I was even working for pixologic and back then all the modeling that you did was based on low topology surfaces you didn't have organic shapes like this you didn't have dynamesh to dynamically resurface you basically just had to build a really low poly base mesh and Maya and you bring that thing into ZBrush and you click subdivide and that's your sculpting that's what you would do so I I learned how to sculpt at low resolutions that's kind of how I got started with digital sculpting but then when I got dynamesh it was like oh now I have all these high-resolution surfaces to work with but I've sort of gone back to I like the low surface to start with at the very least because it honestly it makes a difference in it just makes a difference in how how the surface is easy to work with and I find that to be a little bit more manageable and forgiving with the way that I sculpt some people though I've seen like really great sculptors that can just do amazing work at high resolutions and they don't have issues it's actually very remarkable and I I respect those people so much that are able to do that I think to me that's a pretty high-level ability of sculpture for sure so I'm just trying to like to find out where the space between the mouth and the bottom of this jaw line is I'm just kind of drawing a mask gonna create a little bit more space in there Omega you're saying that's useful useful stuff for the clay polish nicer for the dynamesh I'm assuming that's what you mean by clay polish that's awesome man I'm glad to share those kinds of tips for sure all right now let me see check my I'm gonna check my top profile I'm gonna go in with the move brush here and just kind of bring back a little bit of that skull and if you look if you're if you did pull up those planar images I mean you get a pretty nice little plane happening about right here okay no I'm fiddling again so let's go back to this front plane here read ina mesh that with that polish alright not too bad it's at least getting me in the ballpark of a face I think it's going to help me a little bit more and the rest I will kind of go in and check that little side profile you know what guys give me one second I'm going to open up a window because this office is crazy hot I'll be back in two seconds all right sorry about that and I'm not even hitting all of them at this point like I'm probably gonna want to do here is I know we've got space going around the nose using just the clay or clay build-up to kind of just subtract volume so I get enough of the curvature happening here so far you're saying if once I make it can you add it to for tonight that is a really great question well we definitely have a good relationship with the people at fortnight they were going to present for us at the ZBrush summit two years ago but they had some issues some legal issues that they ended up having to back out last-minute but they gave us some really great stuff and they use the brush a ton for their characters I don't know man maybe we could reach out to them and see if they'd ever be interested in letting us put a deep brush character in there the official z-man that would be amazing Matan you're saying why am I using dynamesh on for me because I like to use I like to use dynamesh because the polish feature so the polish feature because I'm trying to do I want this to be stylized I'm trying to do the sort of plains of the face and the polish feature allows me to actually go through and remesh to capture these hard edges so this is a preference you could definitely very easily use sculptors if you guys like to use sculptors for me I'm more of a dynamesh person honestly I don't like dynamically resurfacing personally but it's a very powerful tool in other ways that I found great uses for and of course when we were in development for that feature I mean it's a one of the most widely requested features for sure as so many people love the program sculptures and once it became a part of pixologic it having that functionality in ZBrush is so huge but for me I just like the simplicity of sculpting on a surface and then adding resolution when I need it instead of it changing too frequently mainly because I swap back and forth brushes I think too often I just don't want to have to deal with the the time for me it's a little bit easier to kind of stay in dynamesh all right so I got rough outlines here for the eyes now what I want to do is I want to start getting it at just a quick nose so what I'll do is you could do a couple things let's maybe go and you could cheat right you can go to the brush palette open up the IMM body parts and just grab a nose and I'm just going to go in with symmetry and on click and drag bring this out and we could go like this scale this baby up now while it's in this mode what you can do is it's basically drawing the object on the surface and you're getting the the insert mesh is unmasked so if I go to the move brush I can start like pulling in those back face surfaces to make sure that this stuff is sort of in the right place I could use the rescaling tools which is really nice and since I want this to be stylized maybe I'll kind of go in here and play around with that shape from my character I ended up pulling everything out I pulled out the nose i sculpted it by hand the lips as well which you know is super I feel like it's an important thing to do sometimes to at least at least have the skill to do it but when you need to especially for time sake you know you don't always want to have to go through and sculpt to everything so then control drag and then I get a dynamesh now in this case because I have a new shape when I read rag it kind of loses some of the the defined parts in that insert brush like closing the nostrils and everything for me I want to keep as much of that as I can so in this case what I'm gonna do hired gun says kit bashing yuck I know awful they worked for Star Wars man if it works for them it works for me but yeah it's like it's the old artistic integrity thing Jamie or if you're saying can you show the polished feature one more time yeah sure the silver polish what I'll do here is I'll run it so it polishes on what it's doing is it's looking for any edges so if I go in and I do say add a mean standard stroke I hold alt and I draw a stroke here what it's gonna do is it's gonna see those vertex points are closer together so I want to remesh with polish it's going to sharpen those edges but it also depends on the resolution of the surface to so if it doesn't capture those edges correctly in this case what happens I'll go back and I'll show you this polish in a second but what happens with the nose is it can't quite capture it so if I increase that resolution a little bit higher let's go up to about 200 and that's gonna go through and capture it more you'll see here what polished it is it it's sharpened because these edges are so close together and they're sharp here when you remesh it it's remesh in those edges together as well to make them nice and sharp so the their difference is if I turn polish off in a read dynamesh you'll see that this is what happens between edges you get this you know these soft sort of surface or corners basically so if you can always turn them on and off again so then if I go in like you'll see sometimes what happens in in here is you'll get these little artifacts that happen from the previous polish so if I leave this as is I might turn polish back on control-drag its gonna reassign in those areas so I try to keep minimize the amount of polishing that I get I don't want to like have too many sharp edges but it's a nice trick to have so I'm gonna go back one little step here before I actually dynamesh this nose together and I want to keep the sharp edge in from what I have but in this case I don't want to do any polishing for this part so I'm gonna turn polish off but what I am gonna keep on is project so what project does is it looks at the existing surface when I remesh it it's going to try and keep those edges so with project off just take a look you see you get this so I'll do a snapshot or and I can't do a snapshot in this version old tricks well okay so what I can do is just take a look here the soft edging now if I undo it and I turn project on read ina mesh you'll see projection actually keeps those sharp edges from the previous remesh without needing polish so the only reason what happened here is projection has this little sub projection option which what that does is where it he's those sharp corners of sharp edges he puts more vertex points so this is kind of similar to what you get it's like comparable to sculptures in some ways to decimation mastery or things like that but the projection gives you basically it reproject those little edges and those details from that previous version so I can kind of go in and do it like this just to keep the previous edges but I don't want to do any short but just for this nose here all right and then what I'll do here is let's go yeah render begun you're right kept bashing is a skill I completely agree with you it's a skill like everything else like you know people have issues with sculpting digitally compared to sculpting in clay but it's it's still it's a skill it's a absolutely a skill it's just a different way of working you can do amazing stuff with kit bashing that still requires crazy amounts of time I mean so much time you can't really compare a sculpture that's been done in clay or in clay and bronze that's and it's the same sculpture in digital I mean you look at the the workflow it's absolutely harder to do in clay and or marble if you want to go down that road but I don't think most of us in this industry really we're doing other things with our with our time as well you know it's not just about the assets but you're going into animate stuff and render stuff and there's a lot of other skills you have to have so for me I like doing it this way just because it's a little bit faster and yeah you guys don't have to watch me sculpt the whole freaking nose yeah the hamburger head Fortnight character is awesome I was actually I had that up in my my reference board over here I loved that I loved some of the character designs they're really great comics I act so unfortunately with the whole lockdown and all this contagion stuff I'm gonna go off and reproject got a little bit higher in this one I'm going to turn sub-project off and I'm gonna remesh it so it doesn't I don't sometimes I don't like those triangles that I get at those edges so I'm going to go up a little bit higher now a few hundred-thousand yeah so what happened was the law happened I lost access to that printer in her office so I got about three or four pieces in before the bad news hit so unfortunately I wasn't able to bring the printer or keep it with me so I have to postpone the completion of that one until we can all go back to work or rather go back to work in our offices and places that we normally go yeah render me gone that's a good point you're saying you can't kick bash the face unless you know the proper forms absolutely I mean you could drag and you can mr. Potato Head it and drag and drop stuff in but if it's not right it's still not gonna look good so and even now I'm just noticing that like I have little things here that I probably need to adjust but you know we'll save some time here I'm just gonna kind of leave this as is now one little trick with uh you know you could keep the planes here like I always like to go in with with the mouth here and let's just start by I'm gonna grab the mask pen it's a little thing with in my custom you are the ZBrush core UI doesn't have the mask pen in here I actually go I could select it here go into the brush palette you should find it if you hold ctrl you should find it up here so I turned on and it will customize and I put the mask pen so going to brush if you go enable customize basically the pens not here I keep a couple of materials down here in the left side and I also turn on double side and back face masking back face masking is really important to protect other side to the mesh if the mask is being assigned to it if stuff is really thin so if I go to be something like this and if I do a mask you'll see like I'm a really thin surface like this if I hold ctrl and I paint a mask it's gonna paint it through to that other side it has a tolerance or a distance that it that it has a default setting too so if you hold ctrl you go to brush auto masking and you hit back face mask that's assigning this to the control key which is the mass brush so when I let go of control you see that button turns off because control isolates the mask pen so with control back face masking on if I paint a mask you see you get that protect so for me that setting is buried in a little pallet over here so I go to preferences config and have a customized and go here hold ctrl alt drag this thing into that interface and I dock that there as well as brush palette control alt grab the mask pen put that here and then I even went a little bit further and I opened up material palette and I I like to use the matte cat pearl sometimes I like to use skin shade for color and paint and we'll just do a madcap gray because that one is you know a good default to be on which is what we're using right now bamboo is saying clay is easy but getting yes symmetry it's exactly why I didn't want to go for this character figure over here I didn't want to deal with sculpting it asymmetrically like doing all the muslin forms so I want this to let's get this thing going so we can start getting into the body and shape so the mouth real quick at the mask pan I'm just going to go in here and we could kind of like just grab a little chunk here it's gonna be crash-test-dummy you know at the beginning unless you really want to spend time getting the foundations going so I like to go in and just like mean actually let's do a sharper I'm just gonna create some space I'd like to do this for the eyes let's make that go a little bit further all right now before I dynamesh it I'm gonna go to brush insert you're gonna kit bash I'm gonna bring in I'm creating space to bring in lips let's bring these guys in and then click and drag with symmetry now you can I'm just creating the space so I can kind of get those lips in there bring this out I don't want those to collide I basically want to have a little bit of the the inside of those lips available so what I'm gonna do is a little trick I'm actually not going to dynamesh this together because I want to have the mouth open just in case ever need if you go back and look at the figure you know he's like zoom up on this dude like he's got hit the mouth is the mouth sac is open now this is something it's a lot easier to do in the full version of ZBrush side effects what's up but with we're basically limited to dynamesh in in ZBrush core which is really powerful we just need to make sure that those lips don't weld together with dynamesh and I'd saw a question back before I forgot to answer somebody was asking the main difference between core and ZBrush is really it's just the the more efficient and proficient features like trans postmaster for example when I wanted to do this project for core I was like okay sweet it'll be no problem I'll go into core and I'm just gonna sculpt it up and you can do a lot with ZBrush core the the foundation of ZBrush in ZBrush course there's nothing different the brushes are are mostly the same brushes that I use in full ZBrush I use in core I still have dynamesh which is really powerful but I don't have transpose master which is in full ZBrush so I can pose a figure in T pose or a pose with symmetry do all the stuff build all the accessories then I go to transpose master and I can just pose the thing in position and then reassign it back to the sub tools in ZBrush core we can't do that so there's just a limitation of certain functions and features that just aren't available in core so I'm trying to work around those in this case like I'm doing what I want to do is I don't if I just control drag you clear the mask and do it again get a weld this together and these lips are not going to seal up but let's say I want his expression to be open or I want to give the option to myself to be able to make that happen later so what I'm gonna do is just sculpt these lips but leave a little bit of space and the only way that I can really do that here is if I undo go back to what I have the insert mesh I'm gonna go back to sub tool open I'm split and after you draw this thing because this is unmasked we can do split on mass points so we can grab these lips now what I'm gonna do is I'm pretty sure these insert this insert mesh here let's see if I can go in a little trick so display properties I put the double side option over here which is tool display properties double like that in my custom UI so that way if I have it off you'll see that you don't see some of the faces and I basically want to separate the top lip from the bottom with a mask so what I'm gonna do is let's just go in turn on double side and let's start by I'm just gonna grab a good chunk of the top here press ctrl W to give it a poly group and let's try this so I'm gonna go grab this poly group with those selection rectangle mask it off inverse I'm going to ctrl click a couple time to sharpen and blur so I'm trying to get that line to cut off right here at the base now if I press ctrl W I get a good poly group for this part the bottom lip and then let's ctrl shift click on these two and press ctrl W so I get to poly groups so what this allows me to do is make a mask I'm gonna bring this press ctrl to soften or blur that a little bit now I'm gonna go into the move brush and just kind of bring those lips open yeah control no control shift s sorry the shrink and the visibility controls ctrl shift X and ctrl shift X's grow and shrink those are not available in court so in this case what I have to do is I just I all I can do is basically I can make a poly group from a mask so what I can do is I could press ctrl-a and instead of doing the visibility grow and shrink which is those ctrl shift s in X Keys all I do is shrink the mask which with ctrl click and then ctrl alt click to sharpen you see if you keep shrinking it keeps traveling further up the the model so once you get a good selection I was basically able to do it that way and then I basically once I got it in place press ctrl W to mask the polygroup and then you get that that selection so then all I need to do is cut it in half now I'm just trying to go in here and create some space so that this is really just so dynamesh doesn't weld these things together that's all and again it's gonna look like crash-test-dummy so you see by well actually I didn't really need to hollow out the inside of that face that's so we can this is a little thing that happens with a new history so I split these lips off already these ones if I undo you'll see that it'll go back to the insert mesh state but I'm just gonna go back and clear this mask yeah see you see this is why the need for hollowing out happens so the lips need some space to go so I'm going to do it looks like I just messed it up for myself let's just go back here and do that real quick verse that pull that back great now these are going to be welded together all right so let's take a look here gotta figure out so usually and the ideal proportions those corners of the lips line up with somewhere about the center of the eye roughly I mean that changes with a varied level of degree but for the most part that's good rule of thumb to have so I could kind of keep this as is sigh EMU said you want to learn ZBrush you're just a beginner well thanks for tuning in and this is a good place to be just watching these streams watching other people work is the best way to get started I think of course we have a ton of tutorials in Z classroom comm that's a good place to learn as well alright so I'm gonna probably have to do a little bit of readjusting for this but these lips are separated now so what I'll do is I'm gonna take this head merge this down on top of those guys and then ctrl back to refresh and now I got a good least the position of these things now this is we're getting good lips this is where like kit bashing I still think it's tough to do lips I prefer to sculpt it and mainly because if I just drag and drop something in here I get the the old the old fish lips which is always this is always just like a painstaking process like you can get good at it but in my opinion it's it's painstaking other people might not have that issue but there's a progression in the stepping of the lips as all you're saying clay polish can be use with dynamesh or by itself yeah that you can't clay polish is just a button so you can go to any model and just click clay polish and it'll assign it but what it does do is it creates these really close vertex points that are hard to sculpt over once you clay polish so clay polish this feature is beneficial to do at the very end so sculpt a figure and click clear polish a few times to style it up and you're done if you're gonna sculpt acrost it you'll notice that like some brushes like those edges right there if I try and sculpt across that edge there especially a higher resolutions you that edge becomes problematic to sculpt from clay polish at least in my experience so clay polish is better used with dynamesh polish so a dynamesh does is it does the same thing but it Ramesh's it every time which allows you to continue sculpting on it but you had to your question in short you can do that for sure but anyways back to the Fishlips thing the these things are kind of a pain so like there's a little bit of a progression here the upper lip needs to be used to be a little bit of a stair step so that bottle limp shouldn't go out it should go a little bit underneath so I'm just drawing a mask over this top lip making sure that this is got enough space and this is also I staying in lower resolutions can be beneficial because I could smooth my strokes out a lot easier and it's not that much of a pain to deal with yes the eye sockets that would be that's gonna be my next one so I got the crash-test-dummy thing in here and you know getting the eye sockets is another challenge so I'm gonna go back to dynamesh polish let's just renown image this thing actually what I'm gonna do is I'm gonna turn polish off keep project on let's go back and let's do those eye sockets so similar process trying to get the eyes in there it's a really tough thing to sculpt those eyes what I was recommend first is like the eye sockets themselves are pretty dug in so if you look at don't if you look at any reference you look at the side the the eyeballs are gonna sit somewhere or the eyelids will sit somewhere around here back from the nose so the sockets kind of dip back in if you look at any side profile you'll get you'll see what I mean so basically kind of going in here let's just kind of like draw a mask ctrl-click to blur it a couple times alt click with gizmo and I'm just gonna punch this back in although just notice that I don't want this to be too close I want to have enough space here there we go okay so then even though it's a little messy just going here dynamesh and let's smooth this stuff out so we're gonna do something similar here that might be a little bit too much but if you're gonna kick bash this isn't too much if you're gonna sculpt it this would be a little bit too much sculpting eyelids I would wreck I would say if a shoe shoe bomb I'm sorry if I'm saying that's wrong I'm sorry if that's wrong Pro take it easy man thanks for tuning in to your question if you if you wanted to sculpt it I'm gonna make a tutorial video of this whole series that'll be up on Z classroom in this case what I'm gonna do is kind of keep bash this a little bit so kind of just going in here and laying in some space here for the eye sockets now I'm gonna brush insert go into the menu for this body parts brush and I'm just gonna grab the this eye socket here so this one has a pretty it has the full socket on the inside so what I want to do is I'm just clicking and dragging to draw into the scene and what I'm gonna do is just take this thing and I'm gonna go sub tool split split unmasked so I get the the piece by itself now to see it all I need to go to tool display properties I'm gonna turn on double side so I could see both sides so that's my double button over here and then turn on gizmo and then I'll click here to go to unmask center now the gizmo should be aligned to the object so what I want to do is I'm gonna start rotating kind of getting this into position here and I'm gonna push this back in or push it back in enough so I want that aisaka to be able to live in this space here so you see as I go back the the back part of the skull doesn't quite allow me to see all that so I'm going to go to claybuildup and here I'm just going to kind of keep carving in this shape here so I'm just creating more space so this is one way to do it I mean it's not the only way of course there's just little tricks that I like to do to kind of speed up the process to give you a better start basically a better start for an eyelet set a sculpting anything from scratch if you're having a hard time with that alright so I really got to punch that back in there there we go alright now I'm going to take this thing make sure this thing's at the center because it's a separate sub tool now I'm just gonna kind of go in here use the move brush to kind of reposition these eyelids in here renderman you're saying every youth claybuildup with alpha number six alpha number six ooh that's an interesting one instead of the square using a little circle you get that little yeah which is like the that's an interesting thought as a claybuildup with that is nice I use the clay brush which basically has that same sort of draw stroke without that alpha but it's very similar the only difference is you don't get the build-up effect so anytime I want that look I use clay interesting though I would try that out it's a nice little workflow idea I love changing stuff around like that okay now this is where I'm just trying to be careful here that I don't destroy too much of this shape so I can solo this thing out so that eyelid should be sitting over top so I still have it as its own sub tool and then now let's just figure out like position and all that all right so what will happen here is this is a little thing that I might need to make some adjustments to so the eyelids I might have to move stuff around globally on the mesh if I have to it'd be better to do that when it's all welded together so what's going to happen right now is if I take this thing I'm gonna just duplicate both of these heads both of these objects here move those down and turn those off so here's one thing that happens if you take a look at this these insert mesh piece it's not it's a flat piece of geometry it's not a closed shell so it's on a shell of geometry it just has basically one wall so when you dynamesh this thing if you just go and you click say control drag to dynamesh it number one you're gonna run into issues like this where it's going to give you Swiss cheese and then it's also going to close the part of the eyelid so it's seeing this as a big hole because this isn't closed shell of Geo so that's gonna create a problem if I go take this head now I'm gonna take this do you merge down and then control drag two together what it's gonna do is it's gonna close off that part so a little trick that you can do with this kit bashing process here is I'm gonna delete this let's go back to this head now I would spend a little bit more time like trying to finesse like the shape while this thing is a separate sub tool like try and really get think about what the shape of that eye is gonna be how big do you want the eye to be that kind of stuff is really important so you can keep kind of working this mesh as a separate part I think that's a really powerful thing to do especially if you're trying to get a specific look but just to kind of breeze through this so what I like to do here is I'll rework these eyes once I get them on the final mesh so I'm gonna press ctrl a to mask off the whole section of these eyes and I'm going to go to sub tool extract and if I go to thickness if I click extract it's going to basically make an extracted part of the mask surface so I can basically make a thick sort of eyelid so I don't want it to be too thick let's go point zero one let's see what that does let's go point zero zero nine thickness extracts okay let's go a little bit lower point zero zero eight okay any just any kind of thickness and then click accept now I have a closed piece so this has wall thickness and that'll make this dynamesh process so much easier so now I'm gonna go back to these eyes delete those turn this on and then let's go in here and I could turn on gizmo here's where like you could maybe use gizmo to kind of like reshape the eyelids that kind of stuff move this stuff in yeah I won't know how this is really gonna look but now if I take this head let's go merge down and then let's take this now and die this should give me that nice clean shape there that I can now go in and I can smooth this thing out and I can start to like tidy up those shapes yes so the panel loop extracts that's another one that we don't paint loops is not a feature that's available inside of court so in ZBrush core we can't use a lot of those features so in that case we wouldn't really be able to do much extract is really our only tool that we have available in this version and court does not have zmodeler brush so if you look at the brush palette you click this open this is what we got so I got all the basic sculpting brushes trimmed so we got a trim dynamic the insert brushes we have the chisel 3d brushes we have the chisel 3d creatures IMM body parts and I'm a model kit model kits got some great stuff in here that we could make use of you know this one's got tons of parts that are good for court but yeah it's no zmodeler either so it changes the the approach if you guys watch any of my other streams like doing a lot of these other accessories and extractions and parts and pieces even getting stuff like this it's like you know it's challenging to get like these kinds of details but it can be done as long as you understand the the you know what you get out of dynamesh and things you can do so I want to try and focus on that in this stream as much as can the if not this stream the next couple for this project series so like now this is where like his eyes are just a little too sleepy so this is where now I'd have to go in and start like sculpting the stuff out so maybe like filling in some of this space here and I could this is something that I get stuck on is spending too much time with eyes eyes are of course like such an important part of the character we don't want to overshoot these things but it takes a lot of time to kind of go in so a lot of things I like to do is each polish we can kind of use to like tidy up eyelid shapes something I'll do is I'll use the mask pan to kind of just cut this thing in half so if you want to get that almond shape I just drawing a mask on it because a lot of times with the Dynamite's you'll get rounded out corners all right if you're dealing with low resolutions so cutting this thing in half and kind of just going in and moving this stuff into place so I can get those sharp corners there let's bring this thing down maybe you bring this one up so this is the the draw this is the trick that I like to use all the time to fix eyes in the corners is just draw that mask along the top half of it and you just your inversing back and forth with the control eye so if I want to fix this curve I can kind of go in here with the move brush or let's say make that like a flat sort of plateau all right this is where you're gonna get your eye reference and then each Polish or you could even use daemon standard first to kind of go and get that eyelid lip each polish to kind of polish out that top sort of chunk there and of course I like to use H polish along the edges here to really get the lips of the eyelid so you want that to be a nice flat plateau this just deals with like having a nice clean flat line here if you consider like I know this is more of like a design technique in digital characters but for it to have a three-dimensional object where the light is gonna hit if you want it to look realistic having a flat plateau like that you'll see even here with the material you get a nice clean light bounce so you can actually go and kind of like flesh out those edges there and get those things to look really nice and then this is another one of those techniques where dynamesh and polish because I just H polished all these edges here if I turn polish on and control-drag those shapes a lot better so it's basically just tightening up a lot of that stuff for me let's see sorry I'm looking at questions here vitia Bajoran you're saying it's it's always not easy to make the eyelids the mouth so they don't look in Kenya or puppet-like yet no that's absolutely true shabam you're saying what's the name of the brush and one more question to skip history make any difference in quicksave oh I forget which brush I'm sorry you'll have to remind me I don't even know when you ask that question which brush I was using but the Skip history to skip history make any difference in quicksave no so quick say skip history what that does is if you go to whoops I need to turn off enable customize here skipping history is essentially just dealing with the history of the file which in this case we don't have any preference undo history settings here quick save is always just gonna save the file but you don't get access to undo history in zeiracorp so this isn't something that you would be able to do like in full ZBrush but they're different things so skip history when you have it is if you have a file that's got I don't know say a gigs were it maybe it's a gig file that has all your on your history of the whole project if you have skip history basically what that means is when you load it that next time it doesn't load the file with all the history actions it just loads the file in its current state with quick save quick save is always going to save the file with history if you have file undo history on in the full version of ZBrush so basically it's it's they're two different things skipping is for loading quick save is saving which is a totally different set of settings so as long as you have file under history on and you quick save if it's always gonna save undo history it's awfully that answers in Pajar and you are saying did I have a trick for the mouth angle that is a good question the trick that I like to just like the problem that I'm running into now is like a nice shape but this is where like I want to figure out maybe I don't want those eyes to be so small if it's stylized I want those eyes to be a little bit bigger I might have to go in in mask out a chunk here and I'll get to the mouth here in a second because that's one thing that I like to spend a lot of time on and I'll show you the tricks that I use if it helps you guys so drawing a mask around this with lasso the mask lasso travels through the hint so it goes here to the back so I got to clear that out and then I'm basically just control clicking to blur this thing a lot and then if I turn gizmo on I'll click to reset I'll click to go to Center if you turn on so if you scale this thing right now you see they're gonna scale to the middle or outwards so they're scaling to the world axis when you have two symmetry gizmos so you'll see scaling downwards it's not scaling in place it's going towards the world center so if in this case when you have symmetrical scaling effects that you want when you turn on local symmetry what that's going to do is and this only works when symmetry is on if I turn local on its localizing it to the gizmo so now I can kind of go to and I can scale up those eyelids kind of bring those over bring them back out and I kind of just readjust like this that to me helps a lot just if I didn't do it right and I didn't set it in position I can just go through and you know I get a lot more out of the the piece that I've already built and I just now want to go through and just resize it and then I just kind of smooth around the edges and all that stuff right and then so if achar and your question was - in the mouth I think it was the the mouth angled yeah so the mouth angled number one if you look at this thing from the bottom the mouth always has curvature so you think about the skull it's just only stuff that I've learned from other anatomy instructors and just my own observations but the teeth themselves kind of bow around so the lips have a little bit of curvature and the corners of the lips kind of I mean you have the ability to kind of go further back especially when you smile you're moving back towards the skull those muscles are kind of contracting and pulling up and in so thinking about that the mouth corners number one like these should be kind of in a little bit so this is where you know you want to start to check your angles especially checking just a bottom angle like this make sure that those lips have a good curvature if a lot of times what I see with people that get fish lips is they're just flat straight across in there level so this angle is really important to check make sure you have curvature and then that side angle what you should have is you should have a basically a stair-step of where the lips are supposed to go so the top lip you should basically get this is one thing I've learned from taking clay sculpting classes John Brown at gnomon this is one of his points of his topics that I've always remembered is the the curvature curves that happen in silhouette so with the nose you tend to have a little bit of stair-step here with the nose being the furthest point out the lips being the next for the top lip being the next furthest and then the bottom being the third and then sometimes the chin basically the sort of like stair steps down so fish lips tend to happen where you don't have that proper sort of angle so masking off just like the bottom half of this lip in the jaw here I can control click I like to use control click a lot to soften up the blurs and then just even go to that side profile with a big move brush and you can start to kind of readjust this and of course like try and keep that bottom lip a little bit further back from the top and you'll start to get a little bit of a better shape so you get curvature that happens here and then once I start moving into the lips like this part is crucial to kind of get right so let's turn on double side here I'm gonna mask off this little poly group here all you need to do is assign a mask but I'm gonna go in here turn on gizmo alt click with no local symmetry I'm just gonna take the gizmo just push this back alright so I'm gonna give myself some room to sculpt in there I'm going to control drag and then remesh and actually to undo that I don't want to rematch with polish as you if you keep remesh in with polish it's gonna keep polishing previous edges polish is something I like to do intermittently but right now it's kind of it's making it look a little bit too crash-test-dummy like so no polish I'm kind of kind of going here and smooth some of this stuff out hired guns it looks like Silver Surfer it does I need to get this yeah I know Silver Surfer just it's because it's like that bland expression and it's the madcap pearl material as well so let's get some flesh going in here so here's what I like to do take this mask I'm gonna turn on gizmo just punch this back through and then control-drag I'm turning up Polish I don't have any more polish so I create a little space in there now sculpting lips getting on the insides the top and bottom is really helpful in my opinion because the lip curl is kind of go underneath the corners there so number one is if I want to start to get the right like sort of curvature I want that to go back a little bit further and then number two is I like to be able to grab that just like I do with the eyelids grab the bottom of the lip and the top of the lip separately so what I'll do is hold ctrl let's drag a mask across the bottom half there so I'm just cutting it in half and a pressing ctrl W and then what I'm gonna do is reassign these groups together so grab this one I'll leave the polygroup for the nose just in case I want to keep it the insert brush techniques help because you get a public from those parts that's usually a little beneficial to be able to mask it off and go back to something previous but now what I get is I can grab the bottom of this lip so what I like to do here is now I can go in with a clay build up number one is I can really start to carve away the inside of the mouth so I helps me to go in and define thickness for these lips here so I can really from this angle I can start to if you look at the corners that little curve kind of usually comes out from the inside alright so starting to get the volume here and then I like to be able to see how thick it is on the inside so I can kind of gauge just how thick those lips are so going in from this view is a little bit more helpful to see so I'm just carving away enough to have a good silhouette of those lips that looks pretty good so I get that bottom lip which I can now go in and here's what I'm gonna do is I'm gonna take this I'm kind of filling any with clay build up and now I'm just kind of going in with that move brush here and I'm just trying to get the angle in which those lips are going so this is one you need reference for for sure I know I'm trying to do a stylized sort of look so just I'm keeping an eye on a couple reference images of stylized characters lips that I like but I'm also just trying to get just a general good shape for the lips to happen here so if you look at the plane the planar shapes of the lips there's a lot of stuff going on here so there's like usually you'll get a little bit of dip happening here so if you think about if you look at the muscles in the face there's a lot of muscles traveling across here so you basically get a little plateau that comes from here basically little triangle this is elevated and so is this so these are basically little angles so I'm gonna go in with clay clay build up here kind of fill in this little space you'll see what I'm talking about if you just Google the planes or the human face you'll find it and then this one needs to be a little bit more elevated too so if I go in with Damien standard I'm just kind of all holding alt and just clicking to fill in this space now I'm gonna have to fix this stuff a lot but I'm just gonna go straight with H polish and start trying to polish up this edge here of a jar and you're saying I'm sorry I got to go back even further Shu time you're saying the one from where you draw the eyes and the mouth the only difference I found escape history it saves a file very fast oh yeah you're welcome for the new method the one from when you draw the eyes in the mouth that that brush is the brush I'm pretty sure this is what you're asking brush insert so you click on the brush palette you'll find the IMM body parts brush you click this one it gives you all these body parts here let me know if that's something brush you're talking about the chardon you're saying you made pupils slash eyeballs my lecture said they look like censored did you actually like sculpt it or did you are you saying that you sculpted it because in my opinion like I sculpt eyelids especially for characters I'm gonna do that here in a second drop in some eyeballs to kind of fill this stuff in so you get something like this sort of happening right so this just kind of gives you from that angle you get a little bit more of a dip happening which I find to be pretty just handy to kind of get more of that sort of shape happening in this area down here and then I might just smooth that out okay good coupon that was correct sweet cone doats what's up now you're asking how do you pan and turn the model to zoom in the most close to those beautiful tip on that was to click outside the lines of the canvas oh okay cone so that's a great question this has to do with the primary and secondary navigation is what we call it in ZBrush so primary navigation is left mouse button click and drag to rotate in the canvas right if you want a pan you hold alt and you click and drag left mouse button and drag through you know the screen if you hold alt click and drag and then let go of alt you default to a zoom State resume in and out so that's are sort of like primary navigation so secondary navigation in fact has to do with the right click button so right-click and control so if you want to zoom in if you hold ctrl right click on a part of the model and drag I'm zooming in to the part of where my cursor is actually selected so the difference is when you hold alt and just click and drag and then let go it's zooming to whatever your previously like sometimes it'll lock a previous position but by default it should be just moving to the center of the the world space or the center of the object so if you right-click and drag on the model its right-clicking on a part so for example let's say I want to zoom into the eye if I hold ctrl right click on the eye and drag down I'm zooming it and dragging back out so it's going into the eye so if I want to go from here to the lips control right click on the lips and drag and I can zoom here so the benefit is here with this navigation method you're talking about you can wrote you can click in this little space here and you can rotate you can move but if you use right click it doesn't matter the canvas space isn't needed you can right click on the model and drag and you're just right rotating from that position of the model so control right click to zoom right click and drag to pan around and then you could hold alt and right click and drag to pan as well so that to me is pretty I only use right-click navigation oh ah I can't say only sometimes I'll use other stuff but that to me is the most handy I love right click navigation because it's more especially when you get zoomed up like this and you don't have documents - click I don't need it I can right-click on the model and rotate control right click and drag to zoom so hopefully that let me know if that doesn't answer your question but hopefully that's helpful to you digital plankton you're saying what stage you go from dynamesh to polymesh3d polymesh3d you mean like like a remesh model technically speaking a dynamesh model is a polymesh3d model so what I did was I started off with a sphere 3d which is not if you try and sculpt on it won't let you you got to convert it so I just took this thing converted it to poly mesh and I turned on dynamesh for the sphere so that's one way that you can do it that's what I would recommend if you'd otherwise actually I recommend giving a project start from loading at dynamesh sphere but if you're just asking about when do I leave dynamesh that's gonna be it's a tricky thing because in Z in ZBrush core let's go brush to back to standard brush reset this thing ZBrush core we only have access to dynamesh and sculptors Pro so I'm gonna keep this thing and dynamesh the whole time so it's partially why I'm kind of taking my time I want to keep these surfaces separated I'm starting at low dynamesh and I'm working my way up so now I'm going in with a standard brush and just trying to like define and I'm also like for these lip corners the corners usually have a little bit of a dip in there and so you don't want that to be too elevated and then technically speaking you always have like a little bit of muscle structure or curls here that can happen here towards the outside alright so now I'm just kind of taking my time at the bottom lips here let's go up to reverse this go to the top and do the same thing render begone that was it looks like that's what you want to call yeah you're very welcome I'm glad I could share that one because honestly that's a it's a really it's not I guess not everybody knows that about ZBrush but that navigation to me is so helpful so you in Park oh thank you I appreciate the kind words that's very generous I I'm glad to share this info this is honestly like I'm sorry if it's taking me so long to actually get anywhere but you get me talking about stuff and I love to explain the nitty gritty details so I'm glad that you guys are getting something out of it sculpting like stuff like this it's not the easiest thing to do while talking you know you get into those like focus states where you just need to kind of get in the zone if you will and that's pretty much what this part of the process is is like really trying to get into that zone but these little tricks for me with a little bit of time if you're in the right zone you will be able to get this probably a lot quicker than I am so I'm kind of just going in here and you'll see like leaving the space underneath that little part of the lip I can kind of go from underneath and out so this is something I found the lips don't just go straight to the corners like those little curls they actually go underneath and then now if I wanted to do if I want these lips to be a little bit like thicker or basically basically thicker this is what I like to do is let's take this thing here and let's I take the standard brush and I draw one line to kind of frame the outer portion of the lip in the top and let's remesh yeah thanks digital planks and I appreciate that that that helps me good things do you take time you're right but in this case like I don't know some days you just better some of you know you guys know some days you just on some days you know it really depends on the music that I'm listening to at the time I don't know about you guys but I'm I need to get into like a good little state with music and not think about anything else F key to frame for sure that's huge yeah frame is so big and I'm just noticing like all this stuff is a little bit off so like you see I'm checking my corners and these curves here this one this all needs to be kind of filled in more so this is another reason why going too high in resolution can be problematic because I'm finding that some of these surfaces like even this angle here the side technically speaking the the curve that should happen with the planes here so you should get like let me see if I can sketch this again this should go here and it should go all the way out about right here so you see the distance from where that bone is kind of going and that portion of the eye is a little off so and you actually need to have more of the socket defined in here this is one thing I'll do is like you see I was just working on the lips and as I look to the side I started to see other problems that I hadn't seen before this is something that you just I think is really helpful to do with sculpture has not spent too much time on area for sure and this should be like so you should get like a little hard plane here that cuts through so this is a plane kind of goes a little bit further out and this is a plane should go down and around underneath the eye that eyelid just does not look good to me it might need to push those inwards a little bit more to will see I'll come back to that in a second but the curls here like this is another one that I want to try and get this to work a little bit better too so the planes I might be missing a little bit of these planes here so this piece should go a little bit more should have a little bit more arc happening right there vichara you're saying you have to have difficulties with the space inside the mouth for game models how big should it be here do they even need that need one that is part of the head that's a good question depend it really depends on the game and what the character does if it's a of course if it's a background character like no you don't need to worry about that stuff at all but if it's a primary character yes most of the time what you'll have is a separate rig on the inside which is just separate model parts or something that is teeth if those are something that need to be shown it's always good to leave space you mouth socket eye-sockets it's always good to have space and then not now that way you have something to work with so if you're making models for games I mean they're always going to tell you of course like if you're working in production what they actually need but it's important to be able to anticipate that and you never want to not have it so I get in the habit of sculpting those things on a regular basis I mean I teach the immersion production and ZBrush in industries and it's something that you just kind of do naturally just you always want to have that space then not so leaving you space for the eye socket I don't know if this ZBrush quarter forget if it has this tool the demo head has separate pieces for the teeth sorry I'm hitting my mic pieces for the teeth for the eyes and even the tongue having a separate object for that which I always recommend if you could model things it was where they have separate objects it's just so much better to do that then have it have it all be one solid mesh especially if you don't have that much experience with sculpting it's so much easier to do stuff with a separate objects in my opinion so like let's see yeah let's just get these lips done and we'll move on for now so I can get to the proportions of the body it's already 3:30 so here's where I would just go I might mask off just a top half of the lip here and once this thing goes digital X are you saying do you design or set up your characters differently for game or animation design it depends it really does depend on the characters gonna move in animation so if it's animation for like film visual effects or just animated animated film versus an animated character sometimes objects might collide with others you get more flexibility with visual effects and animation because you get higher resolutions that you can deal with so yeah I do it definitely it just means that if you're doing stuff for games you just have less flexibility although games are getting so much better nowadays that less doesn't mean I don't mean that in a negative way honestly I mean that it used to be a lot harder to do stuff for games because you just simply couldn't have the resolution or the geometry to hold half of the stuff that you made so you'd have to do tricks and cheat it and put it in maps and do all that kind of stuff but now a lot of the triple-a game studios are getting like high-res ZBrush characters that are able to go on it you know a few hundred thousand tries or more I think it goes higher every year so it definitely plays a part in design yes but it's such a hard thing to say it really depends on what it is if it's organics not much of a difference honestly I'd say not much but if it's like mech you're getting into like hard surface armor like mechanical stuff that's moving that is definitely gonna make a difference in how you would model or construct something all right so now I'm just kind of like I don't want to get this stuff too close together and just gonna leave this for now and it's still pretty crash-test-dummy but this would be like the general workflow that I kind of go through and just start to polish this out but now like I don't want this is where it I might not want to I'm gonna turn off project here let's just read dynamesh this thing and just kind of go in I'm gonna hold shift and just reduce the intensity and just kind of go across and just lightly start blending a lot of this stuff and so starting to get away from the planes so I'm reducing the intensity smooth just because I don't want to destroy too much I just want to slightly be able to go in and smooth this stuff out and then now that I have something like at least that resembles a face I can start really working this thing to make it look like the person that I want it to so now I'm starting to check like three-quarter angles I want to start to like figure out like how defined I want these cheeks to be and I might reduce the resolution down a little bit more if I do that be careful like with lips I don't want any of this stuff - well there connect so I want to be able to go in and kind of smooth this stuff out and get rid of some of these like hard edges like that 3/4 it's getting better but now I really have to go and start doing some sculpting but before I get to that part last little detail we want to add here for the character's head is a brush insert body parts I'm just gonna grab a quick ear so ear is usually lines up the average the top of the year lines up with the the eyelid and the bottom usually lines up with somewhere around where the nose is but because it's stylized my going here just make it a little bit smaller so here's what I'm gonna do is I'm going to take this ear I'm gonna do subtotal split on mass so I get that by itself and then I'm gonna take this now and that arch is probably a little bit too deep back there so I'm gonna polish out bit more of this now let's take these guys the minitor on local Timah tree so I can scale these guys in place and then now as a separate sub tool it's just kind of going and start to move this stuff around so I like to take advantage of this power right now instead of just welding it together you know that just creates a lot of cleanup work if it's not in the right place you know so separate sub tools again helped a lot so let's go back a little bit want to turn that more you might not be able all that matters is having all the edges here for this insert mesh to go intersect or cross through this object and that'll help to just weld this stuff together much better so this year I want to give it a little bit more well it's in this state kind of just give it some more definition Digital point you say all your heads look like males kind of hard to scale FEMA hoods oh yes you're you are you're opening up a whole can of worms with that topic it's that is it's one of the hardest things to do is is sculpting the female form the male form but it's partially at least in my experience the differences between the two especially the phases is elegant features as opposed to dominant features so on this is not the case for all people everyone's different but more often than not the female form is a bit more elegant in terms of the curvature of shape and form so like you get down to the anatomy of it really what it means it's like male forms usually have a bit more distinct features you have more muscle definition more hard edges whereas most female forms are softer curves and trying to get those soft curves is hard to do so it's easier to sculpt just like a male figure things tend to just look that way because just because it's you put too much definition in it so the difference is I see between is just where to put in definition and where not to where it's silhouette and curvatures way more important so like what I'm talking about with silhouette is really not anything to do with anything on the model the surface itself but if you go look at like the model in an outline shader so we go into core and you look at this thing and this is the only one we have in core we don't have the the one I love is in the full version of ZBrush but this one will do like just look at a matte cap gray like you look at the the curvature that happens around the model those curves are usually especially with the body are usually a bit more elegant with the female form and it's really hard to do so it really in my experience it has to do with reducing those like brush details and surface details and really focusing just on silhouette is so important and that's like I say it that's about the equivalent let's take these guys and merges them to being a stylized character sculptor too because you're dealing with less surface detail so like it's it can be easier to sculpt monsters and creatures to get something to look like a monster and a creature then it can be to do say the female form or even the male form the male form I think is a little bit harder but compared to creatures but I guess if I'm saying anything is just putting in details and in surface texturing is a easy way to start putting stuff in and get something to a certain place but when you work in say Disney animation or you we've had some really great presentations actually I don't know if you guys are familiar with this I I host the the ZBrush podcast you can go to ZBrush live.com if you go to podcasts we sit with tons of artists from different studios we also have a lot of this content on YouTube there's presentations from Disney if you just look up Disney Animation pixologic YouTube the good people at Disney gave some pretty great presentations for us over the years and how they use ZBrush in their character design workflow and if you listen to these guys I'll post this then chat for you there they are mostly talking a lot about silhouette and like getting the gestural shapes happening in an object not dealing with high resolution surfaces but actually really low ones to manipulate that surface a lot better this is one that they gave back in 2016 there's more you'll be able to find and this is the kind of stuff I think is just as hard to actually do right because it's so focused on curvature and a really great person to watch actually for this style is Danny enough sorry I'm really Danny Williams Shane Olson Xin Olson is a fantastic amazing style ice sculptor because I'm sure you guys have seen some of his streams but he's really good at capturing that stuff and I think that that is a masterful skill that takes a lot of time and patience to to learn how to do correctly so it's a long-winded answer but yeah so I got this thing like shelled out and now I really need to take this thing and like turn it into a face like to get from that to like a figure like this that has all the shape and the style that I want this is pretty much the same thing I just you spent time reduced a lot of the plains so taking this stuff smoothing it out like I just did and then really start just moving stuff around reducing resolution will make this a lot easier so simplifying this process now wouldn't be so bad to step back a little bit yeah thanks hired gun I appreciate that um Josh you're saying how did I do the mouth cavity all I did was I just took like if I do it I just took a a mask inverse that turned on gizmo and I just pushed that through and then re dynamesh it and then I'd sort of shelled that thing out so I just pushed it through first but I if you this stream will be replayed so you can watch me go through it'll be on YouTube forever and I'm gonna do this as a project based series so we got a part of the head done we got the head done but I am not necessarily satisfied with the style so I'll probably in the next stream once we get the body all sort of in position I'll spend some time actually style sculpting this thing trying to get it to look like a face to get more to the final product here right so they get to this the next thing that we need to do yeah you're welcome digital plankton I'm glad that I'm able to give you guys some answers but yarn you're saying most games just seem to use double sides faces double side faces I don't know what you mean by that rendering a render me gone you're saying sometimes with multiple objects using transparency that this transparency button the brush can't reach into the deeper objects passing through this one I see what you're saying so if there's like if it your object is passing through another object and transparency is on yeah you won't so basically this is this is something that the underlying functionality of ZBrush is looking for what it's looking for is it needs to see the actual surface normals so if it's intersected with another object you may not be able to capture it depends on the brush stroke sometimes the brush stroke is able to to capture it but if you're really close up most likely this is just it's not you're not gonna be able to do that what I like to do is I use solo option a lot I know that you want to be able to see the objects with transparency but I'll just quickly solo something out to kind of go through and if I'm close up just hit solo real quick and I can go through but there's not much you can do outside of that if you're using transparency but I will make a note to talk I'll talk with our other developers and we'll see if there's something that we could do to make that function a little bit better if there's a way to do it yeah you're welcome okay so I know that I'm slow moving here today and I haven't really gotten much done outside of this crash test dummy head but I I got at least like we got enough of the form in shape now I probably go in and I'd start to like this is where I like to use like clay brushes I'm gonna start to like like start laying in foundation of like curvature I want to start getting more of the the eyelid shapes to kind of come in here so I start sketching it in and then going in with like a clay brush or like a clay buildup to kind of like feel in the gaps here and then of course start reshaping those eyes but to kind of get through and let's just talk about setting up the body so I'll show you guys this image again this picture getting into proportions so if I want to do the proportions of this figure for me I like to break stuff up into separate pieces so this is talking about Shane Olson I've seen Shane Olson is one of those designers an artist that uses this kind of technique a lot of people have adopted this simply because it's easier to work the shapes especially muscle groups particularly muscle groups I find that this is really helpful as opposed to doing something say with a Z sphere where you build the whole body if you just go into these fears and you load one of these armatures you can turn it into a skin but you basically have a blank canvas of a body that you have to go fill in whereas if you sort of work your way down the body I think you can do a lot more with this so the for me rendering on you say I am so informative I appreciate that anyways yeah so let me get through this part so what I want to do is I want to get the proportions of this body lined up right so to do this I want to do same kind of proportions for that superhero seven eight heads so let's take this head here and I'm gonna just duplicate it and I'm gonna turn on gizmo recenter this thing move it over now this will be the one that I'm going to sculpt on this piece I just want to do the the scale all right so I basically want to go in here I'm gonna take that and if I want to do duplication eight times if I hold control make sure you all click put gizmo at the center and I'll click to reset orientation control click and drag and I'm going to keep holding ctrl and I'm going to position this just below now I'll let go of control and if I keep dragging downwards it's going to duplicate these heads it's basically doing a duplicate special transform so that's one two three four or five six seven eight boom and then clear the mask so essentially what you're doing is I'll show you one more time you hold ctrl drag down to the position that you want to do the the duplication further and then once you get it in place let go of control and keep dragging and then it'll keep going so I got a zoom out here to be able to see this but just keep that control key down 1 2 3 4 5 6 7 8 so this guy will be super superhero proportions so I know it's kind of crazy just looking at the heads but the heads actually indicate and if you look at say the image for example I'll pull these images look at the correlation between the lines happening between just to save the the the guy with the pert the pink pants the stone guy with their little drapery the the torso basically is the second head to the one to second head - like two and a half heads basically and you can draw a lines even just to kind of give you indications of how tall the torso is how long the thighs are where the hands meet the waist things like that so it can be really helpful to kind of use that as in reference so for me this is like just a visual marker to kind of measure this stuff so and I'm just doing the same thing taking an image and copying the head in Photoshop duplicating it down a row and I'm drawing those lines so I get a marker that I use for reference so these heads I can use in ZBrush as just a visual marker to line up with the the reference image so then from here on out what I'm gonna do is let's go back to this guy and let's do insert just insert a cylinder here I'll turn off the proportion heads for now we'll keep those there for later so we just want to get neck and I'm going to start by keep everything at dynamesh 32 low-res and turn on symmetry so press X so I get a it's just a little cylinder for the neck let's go insert so I'm always inserting that puts it down the list so head neck chest this would be torso we can rename this torso and I'm gonna go dynamesh it at 32 res turn on symmetry and then this time to turn on gizmo scale this thing up maybe you stretch it out all right so what we can do is so just in that image the torso was from about two heads baby down to about right here right so basically this had this and this head it's going to about here for that those ideal sort of proportions which I'm looking at in my reference so I can kind of start by filling this space in renomii gone you say you wanna do things the control function you're talking about control zoom oh you talk about this duplicate yeah that's a good one right that's a really good one okay so just from here on out like I'm gonna do this for the rest of the the parts of course but let's just focus on just getting some shapes happening in here so let's go he's got that sort of like I'm gonna use that stone figure sort of concept for reference here so I'm using H polish to kind of flatten about here and let's go and I always like to define for me the torso the biggest thing is that rib cage so claybuildup rib cage essentially travels all the way through alright so you get a little bit of let's go like here all the way to the back you get this sort of like barrel chest kind of thing going on because of the ribs the ribs kind of define that shape and then here let's go kind of sketch in where the ABS will go so the ribs that you see they although they travel all the way through the back of course you don't end up seeing a lot of the back ribcage you usually end up seeing it up to about here that front sort of front half of it that goes up underneath and gets sort of covered up if it's a strong figure it gets covered up by muscle groups so like the lats will travel here in the back so we can go in just kind of start sketching in like lats are gonna go here this will be a center spine area well that's kind of go here alright and then you get the traps they go down and shoot across go up to the neck alright so then I'm going to keep kind of sketching this stuff out now he doesn't have any hips just kind of go in here this is where those ABS are gonna start coming out short cut for gizmo 3d is W or basically any of the any of the move scaler rotate buttons so I was used to use W that's my alt my default but it's basically turning on any one of these so it's W E or R and then q goes back to drama' this looks like somebody was asking about transpose digital you're saying do you still use transpose tool I do actually I always use transpose but in core it's actually really helpful to do stuff like this so say I position gizmo here on the side i refresh it you don't have any clipping brushes in ZBrush core so you can use h polish to kind of go in and flatten out surfaces but this is more organic it kind of travels across the model so I could use it to kind of go and do stuff like this right I can kind of start like styling out that sort of edge there alright like even just dialing out this stuff but if I want to flatten him a model a part of the model if he took align the object with gizmo and turn this off to go to transpose if you realized this way with the move option if you click on the the circle with the x y&z controls and drag towards the you can flatten and do it like a simple gizmo trim or transpose trim so if you guys don't know of this feature this is a it's a secondary feature if you just click once it draws it along a path and then click on this point and drag it towards the model you can go through and you can flatten so to do little flattening techniques like this - like flatten out shapes and stuff like that transpose is a really great feature inside of core that we can do this kind of stuff with so I use that in replacement of other things that I would do with the full version as he rush and it's really powerful and so that's where I tend to use it a lot I also will use it for posing still I like to use it for posing or like bones like arms and fingers that kind of stuff which we'll get to in this series so now let's like I need to start by like filling out where the hips get those bony structures in there so the pony structures I think in the torso that are really important is that just the definition of where the ribcage is going to be of course those hip bones because that kind of gives you the right kind of width fills in that space now let's go back here to those lats and I can start by just like sketching those in it's not gonna look great but what I'll do now is it's carve that out so that's going from underneath that shoulder blade down let's go with the mask lasso now I can draw a mask over this and what you end up seeing is like especially when the arms are out the lat muscles will show in the front view so just masking those things out I can kind of go and you'll start to should start to see those things sort of protruding through and then of course like it will intersect up here with the shoulder once we get that in place so let's kind of tidy up some of this stuff and start reshaping this so I'm not afraid to kind of go through and destroy some of those lines in there really it maybe I could just focus on silhouette which is a good place to start before you get too crazy with the muscles that's another lesson I've learned don't go to have you with that stuff until you get that foundation in there all right so we get tour so now let's go in and just kind of start bringing this neck in and then this piece of course is not going to be this is going to serve as like trap muscles so I can keep editing this part this is what I love about this is I can keep I can go back to this later so that's going from like head down to about here that'll work now let's go in and let's start inserting other parts so I'm going to just drop in this will be go back to gizmo here and it's already four o'clock I'm gonna have to cut this off here in a second so now I'm going to go in this is where I need to start concept about the shoulders let's turn off those proportions for a second take this piece go dynamesh low let's like Dino much 32 all right now this muscle here is going to come to a little bit of a point so you get this piece kind of travels to the back so one kind of sits about here yeah I'm gonna have to probably cut this thing off here since we're getting so close I can probably spend some time to answer some questions with you guys but I'm only scheduled to go from 2:00 to 4:00 today unfortunately I have to get back to work but what I'll say is I'm not gonna stop I'm gonna leave this as is we'll come back to this and I'll do better the next dream to kind of speed through this process but as quicksave this to kind of show you where where I want to take this is following this approach here what we can do is once this let's go load that stage what I like about this technique is it gives me the ability to basically go in here let's turn those babies off is I can take that torso and I can sketch out all these parts right and I get nice shape and form I get separate pieces that I can basically break off I can choose like how I make those adjustments inserting primitives for big muscle groups so I can modify those and make changes to it and the benefit here is what we'll be able to do is since we don't have transpose master what I'll be able to do is essentially take say grab the shoulder for example I'll be able to position this put this roughly into place turn on transpose all and I can grab all these muscle group parts while they're still sort of in their editing phase and I can take this thing and I could start to you like pose stuff out so I got extra little grips here eventually I like to consolidate like big groups so like all the parts of articulation I want to keep the forearm parts as one so the shoulder and all these parts will get merged in dynamesh this piece would be one hand would be one and I could basically start to position this and get this thing into its pose sort of state and then once it's posed then we still have all these extra little sub tools and pieces that we maybe want to go through make changes to so the final pose version with all these parts I'll take a look and show you guys some of these parts will be merged but you basically get this thing into a pretty good state it'll look pretty silly without any clothes but once it's in its pose state once we get all these parts sort of blocked out then you get a lot of good form and she that you can go from there and build those accessories on top so we can shell all this together and then we'll be able to go through and make those accessories so I'll pick it back up from where we left off we'll come back in this next dream and eventually we'll be able to get to that final result and I'll be able to show you guys some cool techniques for building these accessories model ista you're welcome thank you for staying tuned in I appreciate all you guys so much yeah Brendan McGann thanks for the great questions and I'm glad I could show you guys give you some insight on this stuff Rey Libby you're saying usually how much time does it take to model this kind of a character so this kind of a character I mean for me it's usually if you're working in production they're gonna give you a couple weeks to build a character that probably include some topology and UVs and stuff like that but for me I mean this took me to do the full thing it took me a couple days that's a couple days to like block it out and get all the sculpting done it took me another day or so to go through and think about what I wanted to do for paint just getting the color stuff set up adding little details like I'm not done with this by any means so I would probably spend like a week on something like this and be able to get it done to a pretty good place but the foundation of this stuff I mean I talked a lot about it in these streams but once you understand these concepts and you've sculpted enough and you can get it really depends on I think especially if you're doing human characters your understanding of silhouette and Anatomy so I'm trying to break the stuff down in a way that I think that is a little bit more digestible things that I never got as a beginner when I was starting off in sculpting and I'm still by no means one of the best sculptor xand for me it's just I'm more of a technical person so when it comes to the way that I make stuff I think more technically and how I can make myself better it's like some people can just take a body and make this incredible sculpture but doing this approach I think gives you more freedom to kind of like explore these things and get a good result without getting stuck with the the lumpy sculpts and the bad Anatomy and that stuff so hopefully this helps and yet Bootsy you're very welcome thank you for the kind words you guys yeah follow me an Instagram follow me there you can send me messages I'd be happy to follow everyone and check me out on zebra central Solomon underscore Blair I got some great tutorials my last four-part stream doing the Mandalorian helmet that's all there and yeah otherwise I will be back on next week and I will be next week I'll be in ZBrush I'm doing a totally different project to ZBrush mashups alright so you can check out that stream on ZBrush live.com you can check out the schedule and everything so thanks everybody take care and I will see you next week

Channel: Pixologic ZBrush

Views: 7,045

Keywords: zbrush, zbrush tutorial, zbrush speed sculpt, zbrush hard surface, zbrush beginner tutorial, zbrush 2019, zbrush 2020, pixologic, zbrush free, z brush, sculptris, pixelogic, zbrush live, zbrush download, zbrush core, zbrush trial, zbrush brushes, blender, 3d coat, 3d modeling, digital sculpting, adobe live, zbrush student, etsy, fortnite, 3d fortnite, fornite 3d thumbnail, 3d fornite skins, 3d printed fornite guns, fornite skins 3d, fornite 3d print, 3d fornite characters

Id: KD9jaW5u0vk

Length: 121min 21sec (7281 seconds)

Published: Thu Apr 09 2020