Digital Sculpting for Beginners | Ken Brilliant | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Digital Sculpting for Beginners

teacher avatar Ken Brilliant

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

18 Lessons (2h 14m)
    • 1. Indroduction

    • 2. Interface Part1

    • 3. Interface Part2

    • 4. Materials

    • 5. Navigation

    • 6. Brushes

    • 7. Reference Inspriration

    • 8. Blocking the Head

    • 9. Neck Shoulders

    • 10. Eyes

    • 11. Mouth

    • 12. Teeth

    • 13. Ears

    • 14. Details Part1

    • 15. Details Part2

    • 16. Asymmetry

    • 17. Conclusion

    • 18. Photo Credits

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class


Digital Sculpting for Beginners is for those who are new to the world of digital sculpting.

In this class, we will sculpt a head and shoulders bust of a fantasy character using be Zbrush Core Mini, the free and easy to use sculpting program by the makers of the industry standard ZBrush.

After learning the interface and brushes, there will be a real time demo of a character sculpt illustrating what can be done in this program. We will focus on techniques and good work habits to help your sculpting process go smoothly.

If you were hesitant about attempting digital sculpting, this course is for you.

Meet Your Teacher

Hello, I'm Ken.

I am an experienced digital effects artist who specializes in character, hard surface modeling and texture work.

I love digital sculpting and the freedom of creativity it allows the artist. I hope you'll become inspired as you explore this amazing world.

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Indroduction: Have you wanted to explore the world of digital sculpting but hadn't taken the plunge. Or perhaps you've tried your hand at it and found the process fresh trading and the programs confusing or overwhelming. Hello, my name is Ken brilliant and I have over 20 years experience in digital effects for films, television, print, and commercials. My background was as a traditional clay sculptor and the makeup effects industry. So I'm excited to have digital sculpting programs at our disposal. Now sculptors are freed from many of the technicalities inherit in 3D modeling that bog down the creative process. Welcome to digital sculpting for beginners. This class is designed to break the ice and get you up and running with a minimal time investment and 0 cost and software. Using the free and easy-to-use ZBrush core Mini, we will focus on techniques and good work habits that will ensure the sculpting process goes smoothly. We will cover the interface navigation, brushes, and culminate in a real-time demo illustrating what can be accomplished in this program. I hope you'll join me in this class and begin your journey into the rewarding world of digital sculpting. 2. Interface Part1: So the first thing you're gonna wanna do if you haven't already is get a copy of ZBrush core Mini. So to do that, go to ZBrush forward slash Meany. And here you'll find a page where you can download it and watch some videos on it. All you have to do is register with pixel logic. But other than that, it's totally free and install it on your computer and we'll be ready to go. So once you've installed ZBrush core, meaning you should load it up and you'll be presented with this screen right here. As you can see, it's a pretty minimal interface. There's not a lot going on and that's to our advantage. In fact, it's something I really like about it. It's not bogged down with tons of menus and submenus and whatnot. So I'm going to be going over the whole interface screen right now and show you what each o icon means and does. So starting from the top-left, we're going to be going counter clockwise. There is an open project and a safe project. Hopefully those are self-explanatory. So if you just start it out and you do some sculpting, you can save it and then open it later. So right here, there's you have two primitives you can start to work with. There's a sphere and a rectangle. Now one thing to keep in mind for these is if you click on one of the other, it'll erase what you're currently doing. It'll ask if you want to save your current projects. So right now the SIR is on a screen, so I'll select the cube. And you can see the project has changed. Would you like to save the scene? So now and now I have this cube which also has kind of a rough texture onto clinic look like more like rock. So it depends what you want to start with. In this case, I usually start with a sphere. Since that closely resembles ahead, which is what we're going to be doing. Next up on the interface, you'll notice this icon, which if you hover over, it, activates the symmetry. And you also notice letter next to it, which is X, which is the hotkey for turning on an office feature. So symmetry, if you could see on the sphere, you can see the icon, the cursor i is represented on both sides of the models. That means if you would have you do on one side, reflects to the other. So this is obviously a huge time saver when it comes to modeling things like heads. And you'll leave it on for most of the time. However, towards the end of making an organic character, I usually turn it off and make some imperfections that would appear because no human or animal or anything organic is perfectly symmetrical on either side. So for now, just remember that's turning it on and off. And hotkey is x. Next to that will find the draw size. And this is a slider which determines the size of your, your brush stroke. It's pretty self-explanatory. And the hotkey for that if you hover over it is S. So this is a good one to get in a habit of using hotkey cuz you press S and you can just drag the slider right there on over your year sculpture. So you're not going up to here and an adjusting it from there. If you're a Photoshop user, you can also recognize these key for these hotkeys and that's the brackets. And they'll slowly enlarge in, shrink here, Marseilles. Moving along, we'll have the z intensity. And that is how much pressure or flow is coming out of this virtual sculpting brush. So right now it's set at 25. If I were to drag it down to nine or ten or my press eyes, you can see it build up very slowly. And again, going to the hotkey, the hockey is u. So if I hover here and hit you, I can drag it here. I'm now my 91. And it's going to build it up much quicker. So you can play around with that if you're trying to get an effect very quickly or just doing something rather subtle. Moving along from there, we are, we're at this point where we're going to see how many polygons are in, are seen. Now, whatever you're sculpting is comprised the polygon. So I'm just going to jump over here and turn this on. And we'll get to that in a moment. And you can see all the detail is made up of polygons, these little squares. And up here it tells you how many polygons you have in your model. So the more polygons you have, the more detailed it will or can be. Whoever. You just don't want to be going up to high polygons right away. And just for the sake of it, thinking, I can get more detail, I'm going to advocate working in a kind of low to high workflow. Meaning we'll start working with low polygon and then gradually add detail. And as you add detail, it will raise the polygon count. But it's much easier to get your forms right on a low polygon model, then, then on a high one initially. And I'll go over that later when we go over the brushes. In this active polygon count, there's a low, medium and high. And this is Ax. X is to reduce the mesh to a certain threshold. So you can see I hover over to low and it says reduces mesh 250 k polygons, that's a 150 thousand. And you can use that if you find your models getting to a higher resolution, maybe it's fine. It's working a little slower as you're working over. I often try to lower it and see what I can get away with what it does is it reduces the number of polygons in your mesh and it might lose some details. But you can always undo it if you don't like how much it's taken away. So the lower threshold is a 150 k, 300 k, and then at 500 K, it also should be noted that you do have a polygon count limit in ZBrush core many, and I found it to be around 800 thousand. And you may think, wow, that's probably more than an order need, but if you're not careful, you could find it could be hitting that a lot sooner than you imagine. So again, that's why I advocate is working as low as you can until you need the detail. You'd need detail in certain areas and then upping it. And again, we'll go over that a little more detail later. So moving over here, we have export image and it'll just save a screen capture of whatever's on the screen. And the current orientation. This icon says export for 3D printing. And that's absolutely something you can do if you're knowledgeable about that. But it's also, it'll just export it in a file format that you can load into other programs if you just want to render them in other programs or do anything else with it. But for now, in this course we'll not be exporting it. But it's just an option. Unfortunately, they don't have an import feature. So you can't bring in a model you've made somewhere else into ZBrush core many, I wish they had that but they don't. Right here you can visit ZBrush central, that's kind of the mean ZBrush forums. And it's great, lots of inspirational artwork and you can ask questions there. So it's a great resource. And here we have options to upgrade to ZBrush core or ZBrush, that's the full fledged program. G verse core is slightly more stripped-down version of it that you do have to pay for. And ZBrush is the big daddy of them all. So is universe core mania is like the gateway ZBrush designed to get you hooked. And if you, if you really think here, dig into digital sculpting, you can decide to move on up. I think zebras Corps a $179 and this might be 800. I haven't checked the prices recently. Just to give you an idea if it's something you might want to think. But again, this program is designed to get you into the digital sculpting and they make it very easy for you to go further from that. 3. Interface Part2: Moving along to the right side of the screen, up at the top, there's this icon for a perspective distortion. So this represents the camera. And normally we all see in perspective. That's how our eyes work and that's how cameras work. I'm going to jump down here just to turn on the floor grid to illustrate. This is with a perspective on, and I'm going to press the button or you can hit the hotkey P and turn it off. And you can kinda see this shift. This is actually orthographic view and that's how a lot of CAD modeling is done in. And it's, it's good for lining objects up because you don't have a camera distortion. You can see if I go to the side view, I'll turn on perspective again. You could see how it shifts and I could see the grid lines actually seem to converge back to a space, a point in the distance and perspective. But with this on, if you are trying to exactly line object together or see a pure silhouette of your model. You might want to turn perspective off. I work with it on most of the time, especially in, in ZBrush core, meaning I don't see much of a reason to, to turn it off. Right below the perspective button is the rotate on y-axis and then rotate on all axes. And just a quick word about working in 3D space, there are three axes, are planes you could work on X, Y, and Z. That's why we call it 3D. And the y is determined at least in ZBrush his case, to be up and down. So you want to think, if you look at this little green icon there, that's kinda going straight from the top to the bottom. And you want to think of it as a pivot or a pole going directly through the middle of your model. So when you have it on rotate on the y-axis, it's mostly going to adhere as if that model was on that, that pin or that rod. And you can get other axes. It's not totally locked to just rotating straight like that. You can get underneath, but it's going to try to keep it mostly on that y-axis. So you're just rotating like that up and around and you can't get you can't get to the top and bottom and then sides. But if we tell it to rotate on all axes, it'll look pretty similar, but you can, you'll be able to get some angles that you can't get with just the y axis. Like there's a view. We couldn't do that with the y-axis. So mostly I work with it just on the y-axis. It's not it's not really an issue, but there are times when you might want to turn it on all three. Like here's a case where I, it's easier for me to make a brushstroke from right to left. If I rotate my model on the side view, in this case, sometimes when I'm working just with the y on it'll it'll kinda get locked into place and I can't snap it out of it. So I'll turn on the x, y, and z, and then it'll snap out of it like I rotated the axes. Below that is the local transforms. And what that signifies is, as you're working, you're rotating around just the center of the model. And this case, it's like the cameras locked and pointed at the center. Let's say you were working on some detail over here. You put a brushstroke down. If you turn on local and do a crushed WHO gets going to rotate around your last brush stroke. So this makes it easy to zoom in and work around a specific spot. So if I put a spot over there, then it's now going to rotate around that. So that's helpful if you're working on a very specific area and you want to keep zooming in and out to that spot. Otherwise. Just leave that off. Moving on down from there, we've already turned on the floor plane. And this is just a visual guide for if you had some reason you wanted to align your model up on a grid, working organically. I don't find much of a need to, but I'll explain it anyway, just in case you find some uses for it. So the first thing you'll notice is there are three letters in there, the x, y, and z, just like we talked about a little earlier. And those represent the, the, the axis in which the full Ruby drawn on. So right now it's on the why which I said was up and down. So if we go to the top view, we can see we have the grid on the up and the down plane. I could turn on the X and the Y. And now if I rotate to the right or left, you can see the grid is on that axis two. And if I turn on the z, now it's on all planets, it's on the front to back, left to right and top to bottom. So you may want to use this in conjunction with the orthographic. If I turn that off and I have those axes, I can see grid markers. If you're trying to make certain parts your model lineup. You can find this useful. Again, for the most part, for organic modelling. I just leave it off even the floor, the floor plane. I'm going to leave it on, just work this, this next example. So lastly, There's the finish to view. And so what that does in the hotkey is f. If you press F, it'll line up your model into the View, perfectly centered. So sometimes as you're working, you might find your model gets off-center. That's an extreme case. And rather than trying to do a bunch of keystrokes to get it back into place. You just press F and it snaps right back. So very useful. This is one I would get in the habit of using. So just remember if you get a little loss your orientation as weird and find yourself over there, press F. It doesn't rotate the model. It just snaps the model into view. 4. Materials: Moving back around to the left side of the screen, we'll start in this area, which are the materials that can be applied to your model. This is only for visual reference. It doesn't affect anything else other than the look of your model, all that's on the screen. And if you hover over each one of these, you'll get a little preview of what your model may look like in any of those materials. So it starts off at the mad cap gray. And that's probably one of the best ones to work with because it's pretty evenly lit and you get some little highlights so you can see your forms. But obviously you can feel free to try out the different materials, like there's the red wax and it gives it a slightly different look. These are good for just checking, checking the shadows and forms on your model. This one's called toy plastic. And you can see it looks very much like plastic, very hot specular highlight right there. There's gold as a skin shader, which is pretty good, kind of translucent feel to it. Silver foil makes it look metallic. And there's a flat color which you think, well, why would I want that? But this is actually good for checking the silhouette of your model. And we can go over that later. But, so what is basically a pure form or outline of the model? And it helps you just, just see the overall shape rather than get lost in the details. So play around with those here. Which one is easiest on your eye and you makes you want to sculpt on and just pick one. Moving up from there. We have the color. And this again is just purely, purely visual for your model. You can click in there the rectangle in the center and various shades of the current color, which is determined from this larger area around the box. You can slide that and get the different colors in the color spectrum. Again, purely, purely visual, but you can mix these, these two, the colors and the materials. So you can go for a silver foil with a slightly glues Tangier, any other color you want? Again, I tend to just work pretty purely. So again, see this sculpture not get bogged down in colors. Moving up from there. We have all the brushes and I'll be doing a whole lesson on the brushes, but just know these or you are a precious we have to work with and they're just selected by click on them and working on the model. So having said that, let's just move on to the next lesson and see what each one of these precious does and the different effects you can get with them. So that is the ZBrush core mini interface. Hopefully as you found out, it's really pretty minimal and straightforward. Should you have any confusion about what a button does? I would want to mention that if you hover over a button and you hold down the Control key, you'll get a little explanation there as well. So if you feel a little lost, just do that. So before moving on to the next lesson, your homework as it were, I would just like you to become comfortable with navigating the model and zooming, and panning and framing. Once you're comfortable with that, I'll meet you in the next lesson. 5. Navigation: Now I'd like to talk about one of the most important aspects of navigating the ZBrush interface and working with it. And that's actually rotating in orienting your model and the tools we have available for that. So I'm going to start up in the right-hand corner and starting with this little icon that looks like a head. If we click and hold on there, we can rotate the head and it'll rotate our model so you can see the face of the head facing forward is represents the front view. I can click and drag and move it to this side view. And you can see now that is the side view of our model. And I could move it down to the top. And any basically any orientation you want, It does it does snap in-degrees like there's a three-quarter. It goes to the side because the three-quarter back. So that's a quick way of just snapping to an orientation that you want to work on. So practice with that a little bit and see how it feels. And while we're up in this corner, we have other ways of snapping or model to specific orientations. You'll see these three colored icons. They represent the red is the x-axis, the blue is the Z, which is the facing axes, which is what we're on. And the y is the top X. He's looking down on the model. So if I just click on the red axis for example, and first it snaps to decide you. If I click on the blue, it snaps back to the front view. You can see the face orienting. And if I click on the green, it goes to the top view. And the other thing to note about these is if you hold down the Alt or the Option key on the Mac, click on the icons, they'll snap to the opposite side. So normally without the Option or Alt key, it's faces the left on the x-axis, holding down the key, the altar Option key, and it snaps that are right. So it's the same thing with all these. So this is the front view. Hover over the blue to the Z and hold down the altar Option key. And then that's the back of the head. And same thing with the y-axis, that's the top. And if I hold down Alt or option, we're going to the bottom. So play around with that and see how that feels. And moving on down. We're going to discuss these icons, which are the moves zoom and rotate. So they're moving the camera around the scene. Like if I hold and drag on that icon, you can see I'm moving the camera. Now. If you hover over it, it says move edited object. That's sort of a holdover from ZBrush. It's always called a diet for years. But it's a little confusing. But just think of it as moving the camera around your object or objects on the table. Think of the grid as a table. And you're just moving your camera or your viewpoint around. Same thing with zoom, zoom. And the icon it says zoom in. A little hover text says scale. So I'm gonna click and drag on it and you can see I'm moving farther away and closer to the object. So don't get confused by the little pop-up wording that comes over it. Just know you. And moving in and out away from the model. Down here is another important one. It's rotate. Again. The wording is confusing, rotated edited object. You're rotating around the model, looking at it, you're rotating your, your camera or your view. So if you're comfortable working with these on the side, that's great. But I would like to take some time and show you how to work with moving, zooming, and rotating within the interface itself without going over to these hotkeys. So the easiest one to get a handle on is just the rotate. So there's two different ways you can do that. It's just hover anywhere outside the model and click and drag on the screen. And you'll just rotate your model around. And you'll notice that you can see the little head and the icon up in the corner changing. So that gives you a good indication of your orientation. Another way to do it is with the right mouse button, or if you're using a pen, a drawing tablet, which I highly recommend, using whatever button you've assigned to the right-click on that pen. So I can hold down my right-click and not actually touching my pen to the tablet. I'm just holding down the right mouse button and moving around. So you may think, well, why would I want to do that? They have the advantage of the right-click method of rotating as you can be over your model and right-click and rotate. If you don't do that and you just click and drag, you'll get a brush stroke on your model. So if you're hovering over it or if you zoomed in very far, you don't want to have to zoom out to pick a blank area of the canvas and and rotate. So you can, if you're working close, you could just right-click not pressing on the, on the tablet and rotate. So that's the two ways are rotating, or actually three ways. If you count the icon here with the left mouse button or the pen down on the tablet. You can click and drag and rotate. And then using the right mouse button on your pen or mouse. Rotate. Another thing, another aspect about rotating, I'd like to point out is, is as if as you're rotating, let's say we're getting closer to the side view. If you hold down your shift key, it will snap to that view. You could see it snapped to the side view. Same thing with any, any major axes if I'm close to their front view and I hold down shift snap, I can go down to the top you hold down shift snap. So that's a really quick way of getting to that. Perfect side angle or front or any of those angles is hold down, shift and snap. Here's an example where a model got off axes and I can't seem to rotate it back to center. So I'm going to go up here. Remember I talked about the three rotation axes. I'm going to click it to XYZ and then I can get it, get it back and orientation. And I'll click and snap. So kinda glad that happened, that showed you exactly what might happen and how you can fix it. It's an easy fix. So moving along, Let's talk about zooming the model or zooming into the model. So again, couple different ways. The easiest might be holding down the control key on the PC. I'm not sure if the MAC has an equivalent keyboard shortcut and clicking and dragging on the canvas. And you can zoom in and how just moving my mouse or my pen left to right, holding the Control key. Same thing with the right mouse button method. Hold down the Control key and just move my mouse hovering over the tablet. And I can zoom in and out. Another way to zoom in and out as if it's a little trickier. But if I'm rotating it and then I hold down the altar Option key. And then I release the altar Option key while I'm still holding down the pen or mouse. I can then zoom in and out. Walked into a zoom in and out. So that one is the only one that takes a little bit more practice. So I'm rotating just just moving my pen on the tablet, hold down the Alt key. And then I release the ALT key. And I can zoom in and out. Same thing with the right mouse button. So play around with each one. It's sometimes easier to just have a specific hotkey that you associate with it. But once you get into the whole down the altar option, Keith, and release it while you're holding down your pen on the tablet. It does become second nature. So that's zooming in and out. So let's go to the move. How do we pan or camera around? So again, with the, the pen on the tablet, I just hold down the Alt key and just click and drag and not releasing the Alt key or the Option key on the Mac. I'm just holding down the Alt key. Same thing with the right mouse button method. If I click my mouse but our Marae button on the pen, I can click and drag with the ALT key held down. If I release the Alt key, homes still holding the right mouse button, I can do this in. If I put press down on the Alt key or Option key again, I can go back to panning. So you can see it can get very, you can get very quick. Once you, once you figure out just kind of the best combination of keys that works for you. And I highly encourage you to practice with this a bit because this'll be integral to just working or quickly. And once it becomes second nature, it will really speed up your workflow as opposed to having to go up here and snapping and then go back here. You really want them to always be working in rotating your model and, and not thinking about it too much. 6. Brushes: In this lesson, we're gonna be going over the eight brushes that come with ZBrush core Meany, how to work with them and how they will affect your polygon count. But for now, let's just show the specifics of what each brush does. And one that's selected by default as the standard brush. And I'm going to turn off symmetry for this demo. So when I draw, press down on the stylist to get some buildup on the model. You can see it gives kind of a soft buildup. And it kinda, kinda comes to a little bit of a, a pinched area up top. And it's a good general brush for that kind of those kinda strokes. And you'll be using it a lot. That's, it's why it's called standard. It's pretty standard and pretty generic and just good for all around US. Moving to its right and there's the clay buildup brush. And this one is another one. You'll be using a lot of these. I use that a lot. And it gives a much rougher buildup. As you can see, there's it looks like like clay piling on top of itself. But this is great for roughing out a model and building up areas. And I'll show you how to smooth this LL later. So that's the clay, clay buildup brush. Moving down over to the left-hand, that's the inflate brush. And it's very similar to the standard brush, but it's sorta puffs and swells out the mesh, the polygons on the mesh. Rather than build them up and pinch them a bit like the standard brush. And this brush is good. It has its uses which we'll go over. And kind of the contrast to the inflamed pressures, the pinch brush. So it's as if you're taking your your fingers and pinch hitting them on along some clay. And I identical on the model you can see it creates a nice creased feeling too. The area are sculpting onsets good for getting sharp, sharp corners or sharpening up some details on aspects of your model. And next down to the left is the move brush. This is another one that's very useful, especially in the beginning stages or even later. As you can see, it's just like you're grabbing whole hung severe model and pulling or pushing them. So you can make really broad changes depending on the size of the here, your brush. And it has a nice fall off, so it's a very elastic feeling to it. So another, another very useful brush and probably be using a lot. To the right of that is someone called the snake hook brush, which is probably the most fun brush at least for playing around with and you click and drag, you actually get a technical or a tail like feeling. So this is great for all kinds of things. Aspects like tentacles or horns or even teeth. Down into the left from there is the slash three brush. So if you're wondering war where the other slash 12 are there in the full version of ZBrush. But don't worry, this is a very useful brush and it's kinda gives a very hard pinched crease to cut to your work, to the area you're sculpting on. And lastly, there's the H polish brush, which stands for the hard polish. So this works with brush pressure, especially well, they all do. But if you just rub lightly on your model, it's like you're doing a little bit of polishing, kind of smoothing a bit. But as you press harder, you'll notice it flattens out areas. So this is a very good for doing getting planes on your model as you're, as you're working or doing hard surfaces as especially what it's, it's used for. So you can get some pretty nice effects with it. It can use it in conjunction with the pinch brush to tighten up those creases if that's what you're going for. So those are the eight brushes. Now, you notice that everything I did excited from the slash press has been pushing out on the mode are pulling clay out, the digital clay. I'll go back to my standard brush. And if I want to create an indentation, I just hold down the Alt key as I'm working. So basically, the Alt key does the inverse of whatever the brush is set for. Here's the clay buildup brush holding down the Alt key so you can carve into your model. Now. A move brush. If it does do something, if you hold down the Alt key, I hold down the Alt key. It just sort of pushes and pulls out in a straight line is a straight line along the normals of the angle that you were on your model. So it'll do it the angle of whatever plane it's determining your models facing. Without it, you're just pulling along in screen direction so it's left to right or up and down. So just remember that you can use the alt key with the move brush, with the slash brush by default, like I download, it, cuts in, but if we hold down the Alt key, it gives the opposite effect. So that's good for getting nice sharp ridges like that, a little bit like the pinch, but it really pulls out the clay. These are the basics of working with these brushes in this program before moving on, play around with them on a defaults here and just get a feel for how they work. And I'll see you in the next lesson. 7. Reference Inspriration: In this lesson, I wanted to talk briefly about assembling, reference and inspirational material. Perhaps you have a good idea of what kind of sculpture you'd like to do, what kind of character. Or maybe you're, you're not so sure you have some vague notion of the style of character you want to do. In any case, it's really helpful to assemble reference images and place them in a folder on your computer. Inspirational images can be gleaned from any source. That could be movies, it could be Comics. And it may our sculpture. It really doesn't matter and it doesn't have to be exactly what you have in mind. It could be some feeling you get from a specific image that you want to somehow try to capture and to your artwork. For this class, I'm going to be sculpting a demon as a demonstration character. So I've assembled some images that helped me get into my inner Dean and, and get inspired. So these can be drawn from any source that could be masks. It could also be things like garb oils that you might find on the corners of churches and whatnot. So these were the artist's interpretation type photos I looked for. However, I also feel it's really important to find real-world examples of whatever might be closest to the type of character you're, you're about to create. For example, if your character is humanoid, I do recommend studying a little bit of anatomy. I know it might seem daunting, but a little will go a long way. So a good place to start is with a human skeleton, specifically the skull in this case, since we're just sculpting a Head and Shoulders. But look for references of real faces. They have great expressions and wrinkles and other details you can draw from. Also important is the animal kingdom. There's wonderful reference out there and can serve as inspiration as well. For example, gorillas are, are great inspiration. They can be turned into monsters pretty easily since they look pretty Ken look pretty ferocious. So do a little, do a little hallmark. Just go on the Internet and, and grab whatever, whatever inspires you, doesn't matter how close it is going to be to your final sculpture. And just assemble them in a folder and look them over. And when you're ready, I meet me in the next lesson. 8. Blocking the Head: Okay, so hopefully you've practiced your navigation. You have your reference or inspirational material or design kind of stepped you'd like to do. And we're finally going to dive into actually producing this idea, this concept, this sculpture. So start with a clean scene and we have our friendly sphere here. And let's start shaping it into something. Now you'll notice on the left-hand side of my screen, I do have some reference up. And I do think at this stage it is important to be thinking about the underlying structure of your characters anatomy. And even though I'm going to be doing a more, a more fantasy, fantasy type of character. I'm still going to base it on a human. So I have these reference images up and these are great because they obviously show a skull, but it's, they're not showing all the detail. There's showing the major major forms. I'm not going to be literally sculpting a skull, but I'll be taking cues for where to place certain landmarks, eye sockets, cheekbones on my model. So let's get going. So we're going to start, like I mentioned earlier, it with broad strokes. We're not going to start sculpting and eyeball immediately wouldn't make sense at this stage or any detail. So the best tool for getting the broad changes is the Move tool. So I'm going to select the Move Tool. And I'm going to enlarge my brush size. And let's just start from the front view. You can tell we're in front of you. And just start bringing in the sides of the head. As you can see, it really makes quick work of it of the form. So now I'm going to go to the side view and indicate a back of the skull and the jaw line. And get those gelling. We bring in the front of the head a little bit. Again, I'm just thinking skull at this point. Using my smooth too a little bit. Go to the back of the head. Again, it's looking a little square back there, so I'm gonna smooth it out, create it round or so the head is usually wider at the back than it is at the front. So let's bring in what is going to be the forehead area. That's going to be around, right? Well, your temples are, you can see in the skeleton indication there that out a little more. Most heads, the jaw and the face area take them up up the majority of the skull shape. So be careful of not having too much back of the skull unless that's what you're going for in your design. But again, I'm just starting humanoid, very human at this point. And then I'll morph it into something more monstrous. So let's indicate where the jaw line, the Joe. And I'm going to pull out where a cheekbone would be. I'll bring in the chin area in front of the face. So I'm just using Move and, and the smooth brush at this stage, I'm gonna start to indicate a little bit where the forehead is and a tiny dip for where the bridge of the nose is. And you also want to reiterate really be rotating or model from all angles. Don't get caught up on one view. And you can see a moving all around, always moving your camera. And that's why it's important to be comfortable with the camera controls, navigation. So now I'm going to start to indicate some eye sockets. So I'm going to lower my draw size. Actually going to hold down the Alt key and just pulley. And this is again using the Move tool. There's drag. So now I can continue to shape them. Again, thinking about that forehead and a star to indicate the cheekbone. The zygomatic arch. For those of you brushing up on your anatomy and pull back the eye socket a little bit from the, from the side view it kinda curves back. It's not like a perfect disc cut out of the front of your face. Again, going in the top view or Cheek areas that kinda puff out and then they dip into where the ear would be. So now I'm gonna just gonna grab my clay build up rush and holding down all. I'm going to really dig into those eye sockets. We will be putting eyeballs in there. But this date, I just want to have a sense of the eye socket. Even if you're making a very fleshy character. I do think it's important to start with a basic skull shape. Again, you don't want to add all the details of a skull, but it's really little serve you in the long run to really think about these shapes. A little bulge on the forehead. You could think of your forehead as having kind of three separate planes. I'm just going to use the H polish brush to indicate that. So on the sides they kinda taper off a little bit like that. And then there's the front plane. All right, you can do this just to really get a feel for it. You don't have to leave at this angular and then just lightly tap it with a smooth brush. I may get the Move tool again. Start to bring this in. Now I'm going to start thinking about the mouth area. You want to make sure you keep it almost like there is a cylinder in there. You want to keep it having a round quality. You want to make it to flat. I think more starting out we do and make them L is very, very flat and then give it a little slightly stronger jaw line there. And I can already start to indicate it is going to be an evil looking character. So I'm bringing the browse down, which isn't a realistic scale, but this is fantasy. I'm going to grab the clay build up brush, start to indicate where the mouth a muzzle would be. Again, thinking about that cheekbone. Also thinking about the jaw muscles now. Build them up a little. Just look at it from the side view, too. Little hollow there. Dig out the jaw. I mean, to check my profile again. Maybe I'll make some changes since I was being inspired by apes. They have much lower, far, much flatter in human, humans, the periods much more. It's higher. Apes tend to have much more of a slope going backwards. So I'm going to start to indicate it. At there. I'm going to pull out is mostly a little bit again, being inspired by apes. Bring in at Temple line again. And as you can see, a checking all angles all the time. And I'm like in the back of the head was looking a little little lumpy. So again, that's why it's good to be working low poly at this point, because it's very easy to smooth and make these big broad changes without ending up with a lumpy mess. It's harder to smooth down dense areas. 9. Neck Shoulders: So before we begin fleshing out this head even more, adding details, I'd like to encourage you to get into a practice of not sculpting a severed head as I like to call it. Because right now we can add all the details in fleshy bits. But if we leave it like this to me, it still looks like let's just severed skull or it'll be severed head no matter what. So I like to take inspiration from portrait sculptures. And over on the side of the screen here, I do have examples of portrait sculptures from ancient Greece. And as you can see, they, they indicate more of the person there, rather than just cut-off at the neck or under the under the head. And I think it helps us envision more of a being there at this was a whole person. Here's, this one has some indication of some clothing and it's a good practice to get into. So, so let's do that. We're going to start building up a neck. So I'm going to use the clay build up pressure. I'm just going to just going to dig in a little bit of a jaw line there. Something to work with. Okay, so I'm just going to start pressing heavy and dragging. And it's actually adding polygon to get seed the polygon count go up. And this date, I'm not really trying to get any detail yet. Just want to have a basis to work from. I really think it'll help, help your models look alive. Having more of a, a body attached to it drags some under there. Again, I just I'm just acting like I'm piling on clay. Like I've reached my hand into the bin of clay and under slapping it on. Okay. So maybe I can smooth it out a little bit. But this stage, I'm also going to go to the Move tool. And now doing the broader strokes. Right now we just want the general shape. I'm going to be talking about a few, about a little bit about the muscles that will be indicating. I'm kinda take my cues from his Greek bus over there. So remember the move tool is just, it's just stretching what's already there. It's not adding polygons. That's plenty of time for that. At the side view, I'm actually going to make it less straight up and down. And just wanted to look like it has some almost like some movement to it. It's being thrust forward a little bit. Kind of build up this area as a creature. So it's kinda have some thicker neck muscles. Maybe it's almost like a humpback, hunchback. Give it a little thrust forward. Smoothing it out a little bit, giving an indication where the collarbone IB. So now again, we do want to think a little bit about some anatomy. Again, it's not about memorizing every muscle in the body, but the two main muscle groups I want to call your attention to. The top one is the sternocleidomastoid muscle, which is going to be the main muscle we see in most people's necks, especially when they're turned their heads. And the other is the trapezius that's going to be along the back. Here's an example of unlike people, it gets, you really see the sternocleidomastoid muscle there and some of the trapezius. And saying here, initially want to think of your neck as a, as a cylinder. And then we'll layer these muscles on top. So I'm using the clay buildup push now just to carve away a little bit, give the sense that it more, that cylindrical neck. You can see it's pretty messy at the moment, but it's very easy to fix. So the sternocleidomastoid touches behind the ear and it goes down to collarbone. And the trapezius back here. As you can see, it'll, it'll be seen from the front even though it's muscle on the back. You could start to indicate a collarbone, if you like. And maybe even an Adam's apple. That's I'm really a muscle, but I'll flesh it out. So the clay build up pressure is great for this type of work. A bit. Every zebra sculptor uses this brush as is. So I've enlarged my brush and now I'm doing smooth. It's getting rid of some of that, some of the roughness, lowering my polygon count a little bit. And again, it's an iterative process so you can add and smooth and erase if you're not happy. So don't feel what brush strokes you put down there are exactly what has to be. And go back to my move, brash. Thank his shoulders even wider. Indicate maybe even more, more shoulder area like a MOOC, Powerful. And as you can see, it's already starting to feel like a character even though there's no features. And just I can't I don't know if you can't again, I'm just there already managing the rest of them. Even though I won't will not be sculpting him. Again, thinking back to those Greek bus, don't worry about the underside of the head, but if you want to make it neat, you can maybe at the last stage. So I've lost a little bit of detail. I'm going to form, I'm going to go back and indicate moves, sternocleidomastoid muscles again. Alright. The last thing I wanted to add to the head at this stage are some horns. Because I want my character have horns who doesn't want their diem into have horns. So let's go to our fund snake hook, brush. And I'm going to do it from the front view, but I'm going to try to get towards the back of the head. That's where the horns will be coming out of. This might take a few tries, so don't be afraid to undo, undo as control Z in case you weren't aware that. I'm going to click and drag. And I don't like that. And maybe that's more like it. Now. You don't have to get it perfect. The first time with this makeup brush, we can always go to the Move tool and make really broad changes. Again, look at it from all angles. I want these horns or feel fairly substantial. They're looking a bit like cow horns. Now, better like that. Here's an example of where you might want to use the flat color and material just to get your silhouette. So I'm going to even turn off the perspective button. So now I can just focus on the silhouette, which is the outline. And to see how I like that, I'm not being distracted by anything that the face. And here we are on the side view and indicate more back there. Bring up his muzzle like that. So that's our very important. Sometimes people just start by drawing silhouettes of character designs. Alright, I think I'm happy with that. Let's turn it back on. Shared nothing. I think got messed up in that stage. Okay. Now I think I'm ready to move on to fleshing this character out a little more. So when you're ready, take your time, and when you're ready to move on, I'll meet you at the next lesson. 10. Eyes: In this lesson, we're gonna be going over how to create iss in your character. So normally, or ideally, we would be able to load in her creates some spheres that represent the eyes and then build up the eyelids around them. And but ZBrush mini does not allow us to add other primitives to the scene like that. So we'll just have to do it manually with sculpting them, which is fine. It's another good way of learning as well. So let's zoom into our eye area. And I have the clay buildup brush. And I'm gonna just start filling in the eye socket a bit. Filling it in somewhat evenly. Priam thinking this will be an eyeball eventually. So at this stage I'm not wearing again, not worrying about details. Weren't thinking more the form as opposed to the details. So again, I'm going from a side view and I want to be able to start to see the eye from this field. I'm going to pull that back the corner of my eye there and maybe bring it out a little bit like that. So another thing to keep in mind, your eyeball doesn't take up your whole socket. So if it did, it would look quite huge eyeball. When takes a part of the socket. Get a feeling for that. Or the side view again. You smooth it a little. Alright, so once it's feeling generally smooth and has the right form, we're never gonna be able to sculpt a perfect sphere in this method. And you shouldn't worry about it. Don't worry about making this eyeball perfect eyeball. This is actually going to be probably one of the more time-consuming parts I think, to get right, because it is the model's eyes. Some pushing it in a little bit in the corners because we want to have that little divot where a corner of our eye goes in. Alright. So right now, currently, okay with that, I'm going to bring back in the cheekbone at that a little bit there too. So now I'm going to start building up what is going to be the eyelids. So I'm gonna go to the clay buildup fresh. And let's start with a lower lid. So you want to keep a certain thickness to the lids. I think a common mistake is a lot of us do is we make the eyelids to thin. I think it just reads better. If the islands have a thickness that catches light better. So now I'm starting to flesh out the underside of the eyelid. Can have a corner of the eye go up around the skull and a little indentation there where her tear duct is going to be. And go to aside you and make sure my lower lid it's coming out a little farther than the lower half of the bag. So there's gonna be a lot of smoothing and sharpening and smoothing in this process. And really find any other way to do it. Just in one shot. You're going to be smoothing and then you'll lose a little detail and you'll add more. Bring it back. Again, keeping that thickness. Now I'm starting to think a little bit about the fleshy parts. Again, just using the clay buildup rush. Ok, so now I'm going to start adding the upper lid app is kind of fill in a little bit of that indentation there. And I'm also starting to think about expression. This character is going to be grimacing, so it's always going to be slightly squinted. So the upper lid overlaps the lower lid. Again thinking that that NIH corner little smoothing, Let me go to this side so the upper lid should be a little farther out than the lower lid. And again, even if you're doing a creature, I think, I think it's important to keep these things in mind. Just make everything that much more believable. Back to the buildup. So now I'm going to get go to the slash brush and I'm just going to indicate that tear duct area also indicate that deepening around the tear Doug for the I, you could do it on the outer corner as well. And though it's less so, less pronounced. Now I just got the in-flight brush, just puffing out front of the eye where the cornea would be. Zoom out. I'm going to go to the move brush. If I get straightened up some of these line. So I'm going to bring the corner of the lives a little higher than the lower lid. And I'm going to bring up the upper lid, make it look a little more closed. I'm also going to start adding a little bit more flesh around the upper of the upper part of the eye socket. And the Brough. You can see it's kind of low polygon right there. So I'm just adding a few strokes to add some more polygons to it and then smoothing it out. I'm going to widen my personalized MN, smooth, smooth it out. Go back to the Move tool. Again, look at it from all angles. Like I said, we won't be able to create a perfect sphere, but you want to have the feeling as best you can. It is a, it is a sphere and there, go back to my buildup, Just going to carve out a little more. And the inner eye. Here's another use for the slash brush button, holding down the Alt or Option key. And it'll do the inverse. And it can give us a little bit more of a lid. And now I'm just using the regular slash brush to create that upper eyelid overhang. And a little more definition around the island. So this is a good time to point out that it's your polygon count is at 259 thousand. I'm just going to test it out and click on the low, which will bring it down to a 150 k. Now I'm gonna see if anything changes, then I notice. And if not, so it didn't seem like it I'd lost anything and I'm at a much lower polygon count. So again, keep checking that. As you go along. Back to my clay buildup fresh. Adding a little bit more flesh and that area. And you may or may not want to do that. You may want to have a character at the very hollow sockets. Zoom out and see how it's looking. Not crazy about the corners. They're actually going to move my eyes out like that. Make him a little farther apart, a little smaller. Again, we'll be going back to this area later just in, in that the detailing stage. But you want to get the forums just write. Another useful tool for this area is the pinch brush. So you can get even more of a crease around the eyelid, make it look a little sharper. Come back to the slash brush, kind of reintroduce some separation there between the I and the eyelid. Smooth out some of that in there. And it's going to add a little bit of fleshing us around that tear duct and a little bit definition around that upper lid. So that's looking a little better to me. And we can even go in and indicate a tear duct or give that little bit of a little bump at appears in the eyelid and a little bit of adjustment. And I think I'll call this bit done for now. In a little bit of a squint here expression. Nice smooth out that appellate area. Alright, so for this lesson, I think that's as far as I am going to take the eyeball, let you go and work on your eyeball in your character. And we'll meet in the next lesson, we will go over the mouth and the teeth area and then those See you then. 11. Mouth: In this lesson, I'm going to be going over creating the mouth, nose, and surrounding areas around them. So as you can see to the left of my screen here, I have another reference image up. And this was my inspiration for NAICS, basic expression of this character. So this fellow looks like he has plenty of inner demons and him, so he's a, he sees serving as a good reference. But for now I'm going to be focusing on his mouth and that expression. So for the mouth, I'm going to take this slash brush and I'm going to outline just like I'm sketching in the edge of the mouth in that expression that I want. So just remember if you don't like what you initially draw in, you can change it. So again, going down to the side of the face, you want to pay a little bit of a down turn like it's being pulled back. I'll just bring this around. This I'm going to use my move brush. And because this isn't a carrot, a fantasy characters, so I'm gonna make it fairly extreme. Get that outline looking the way I want. Really pulling down the corners of the mouth there. Alright, so at this stage, I'm going to be carving into the sculpture to create the teeth and much like with the eyes, I'm not going to be at first thinking of integer Ville individual teeth will be thinking of the teeth as mass of the both upper and lower teeth area. So again, grabbing our trusty clay buildup brush, just gonna hold down Alter option and start carving into the model and get a little smaller for the corners. That pig. And again, I'm just thinking of the teeth as one whole unit. So you'll notice the teeth or teeth don't go all the way to the edge of our corner of our mouth when we smile or make this expression, if you look at this example here, you can see the dark areas surrounding it. So the teeth are, are narrower than the corners of the mouth. So that's what I'm going to be focusing on here. Creating that bad gap in that area. And I'm also wanting to create enough thickness for the ellipse. Much like with the eyelids, you don't want to have them too thin or that's going to be pretty thick. So you want to really feel like the teeth are recessed in there and smooth it out a little bit. Again, don't worry if it's not perfectly smooth just yet. We're just roughing it out. And turn to keep that, keep a good thickness for the lips. Keep it deep space and the corners. Right now I'm treating clay buildup pressure almost like a I'm sketching with him to sliding it over a model. Creating these, these brushstrokes of sorts. So again, I'm going to pay attention to my polygon count. It's again around to 256256 thousand. Let me lower autonomy, go back down to a 150 k and c have echoes. The second I think. And there we are. Back down. I don't really know so much of a difference. It's pretty good at keeping detail around areas you've already have detail in. So it's not completely losing everything. So again, just to drive the point home, keep, keep an eye on your polygon count. It just makes life easier when you're working. They have to deal with too many polygons and you're seeing at once. So we compare it to our source material. You can kind of, we can see we're ending the same feeling of these teeth are going to be clinched closed. So I'm not creating an open mouth. And again, it's a process where you're smoothing and maybe sharpening and smoothing. So don't worry if you lose a little bit here and there. You can always go back in and just bring up my slash brush to define it a little better or the teeth are. So another thing to keep in mind about the teeth is London to bulge out a little bit and not completely flat from the profile. I'm gonna go to my standard crash. Poke in that corner a little bit more. Back to my clay, build up fresh. Please remember to zoom out. Sometimes I think we get, we get lost in the details. And it's always good to zoom out, even make the character small. And when things are small, sometimes you can see certain issues that jump out at you. And going back to my move brush, I mean indicate even more of a snarl fantasy characters and I can, I can really exaggerated. So now that I have the basic mouth blocked in, I'm going to move out to other areas surrounding the muzzle on the mouth because they're all connected and they're all affecting each other. As you make this expression, it will affect the areas around, around the mouth. So I'm going to put in a nose, and in this case, it's going to be sort of an ape-like knows, flat, sightly animalistic. Use the slash premise to create and indentation where the nostril is. And you can make a hybrid a human nose or dog or wolf or whatever you have in mind. I'm just keeping it generally animalistic at this point. So once I have that in place, I'm going to carve in was called the nasal labial fold. And that's as deep groove you see here when, whenever we smile or do these expressions. So that's important to establish at this age. It hooks up around the nostril. And we'll just have it around like that. So it's not just a card in line. And then keep in mind because as your muscles are contracting, your skin is going to compress and, and push out. So let's start to indicate the skin puffing out around that area. Kinda come up around around the nostril as well. And they're going to be most intense around the cheeks. And then taper off as it gets lower down, is going to indicate even more of a corner. My smooth brush to smooth out some of the roughness. Go back in, build it up again a little bit, come up into the cheekbone. So again, as I sculpt and smooth or lose some of the definition that I want. So I just go back in and carve it back. You could even use the move to indicate more of an expression. You'd use the inflate brush to puff it out. You really feel like there's flesh moving on this character. Again, bring out a little more definition around that nostril. Using the inverse. I'll sharpen up that and nose area. Try to bring those snarl ring goes all the way up until the nose. I'm going to use my mood for us and when the reexamined my character and my liking its proportions because as you can see, we can still make major changes. We're not locked into the proportions that you started with. We're not losing any detail and doing this thing. I'm happy with that. And let's start adding some detail to the teeth. 12. Teeth: So now we are ready to start adding the individual teeth. So much like with the mouth, I'm going to select the slash brush. And I'm going to begin by sketching in the division between the upper and lower teeth. And you can keep this faint because we're gonna be actually going over this line with the actual teeth themselves. So that looks good. So I have my reference here and I'm going to be taken my cues from human teeth to a point. But then, for instance, with the canines, I'm going to make them much bare ground thinking. Using that as a reference, the wolf or animal-like mouth. So I like mixing, mixing anatomy like that. It's fun. So right now I'm going to be sketching the top, top two teeth. So I'm just going to draw a straight line and then veer off. Create the shape of the tooth like that. And then I'm gonna make the teeth next to it. I don't know the name of these individual teeth, so don't feel like you have to either. I just know canines. That's good enough for now. Okay. So now I'm getting ready to do the big upper canine on the upper upper teeth. So I'm going to leave a little bit of space because I want my lower K9 to come up in-between it. So I'm going to give it some space and bring it up like that. And I'll go over the over the two fine, the upper and lower line. I could use my smooth brush to get rid of some of that. And while I'm here, I will add the lower canine and a light that stroke. Bring it up. We will be building these teeth out. So again, we're just sketching these in like you would Lucy sketch in anything as you're designing it. Now I'll, I'll add the, the lower teeth. And for, for these three teeth, there'll be four smaller lower teeth. Okay. Alright, so moving along, I'll leave a little bit of space and I'll start to put in some molars and put it in a low-earth Maybelle offset it a little bit and hint at then other one back there. Okay, so I'm liking that. You could also use your move brush to change the shape of it even a little, maybe. Bring some edges down. Alright, so let's start building out the teeth themselves. So for this, I'm going to use the clay buildup. And our front teeth are pretty flat, so I don't wanna make them to ground. So these canines are gonna be rounder and bigger. Build out the molars a little bit. And right now, of course, because I'm using symmetry, the teeth are very, very even. And we will be going in later over the whole model with symmetry off and, and making everything uneven. So it's not the perfect smile. I have the slash pressure again, I'll go in and define some of the some of the separation there a little better that I lost. When you work on the canines are a little more. So what you can do in this case, if you want to give it even more definition, let's play with a snake hook brush a little. If we can bring something out. Remember the size of the brush effects, how pointy polygons will become. Let me use my move brush. I'm gonna make this bigger, a little more intimidating. So sometimes as I'm working, I used the hotkey S. Two, change the draw size, but I also use the bracket keys. So if you see the cursor size changing the brush size, then just know that's what's that's what's going on. Back to the slash brush. I'm gonna start defining. The gum line again. Goes like I've been saying, this is a very iterative, iterative process. Is sculpting, smoothing, losing some definition. I, once we have the landmarks in place, we can really go in and sharpen things up. So another thing you want to be doing is also indicating giving a little more definition to the gum line. So I'm going to use inflate brush. So it's going to puff out the area around the gums and the teeth and really give it even more depth. Go back to the slash brush and then back to the inflamed brush. So as you can see, it really does give it that added dimension. And again, you could see working from all angles and a side view of a canine and a little more of a curve to it. A little more. I wish there were some hot keys for the T, D for the brushes, but that would be very handy. But it's okay. Back to the slash brush, maybe give that a little more definition where space between there. And you zoom out and it's looking pretty good. And lastly, I think I'll go in with the slash bus, really define where the teeth enter the mouth. And the corners are where you can really dig in deep, Kim it that extra depth. Again, we introducing some more definition around the teeth. Back time I move Resh. And much like with the eyes, if this, if we were using had to be able to use other bits of geometry to create parts. It would be recommended to to create the teeth separately. But we don't, and this is still good practice into the FDI. Absolutely perfect. We just want to make something that looks pretty cool. As we're getting into digital sculpting. If you want to create a kind of a more polished surface to the front teeth, you could use the H polish brush. Up on some of the surfaces. Go back to my pinch brush and I'll call this done for the moment. I'll probably come back to it. So there we have some teeth in our character. 13. Ears: In this lesson, we're gonna be giving our character ears. So once again, I have some reference up on my screen here. And this is obviously a human ear. And I'm gonna make it human ish, again, sticking to the theme of having human elements, but I'll make it more pointed and evil looking. So like with everything on the human body. There's a name for every little part of it. And you'll notice the ear has the anti helix, the lobule, and don't worry about that. It just, it's amusing to me that every part of us is mapped out and in that way. So get some Goodyear reference. Here's one I found I liked. And let's start adding those years. So in this case, I'm actually going to start with this nay, cook brush to get the basic shape. So let me just pull it out and that's going to be the top part of the year. And I think I'll even use it to the lower part. It's like OK is pretty good for that. And get it in place. I'm kinda using right now the snake hook hasn't moved fresh. Just just being very subtle with it. Very soft touch. Okay, now I will go to the movies brush and start defining the basic shape. Again, going from all angles. May bring down that year lobe on this guy. Start to hollowed out a little bit. Looking okay from the back. And a little more definition between the ear and the horn there. And I want to be so attached. So let's go add some definition to the ear. So I'll go back to my flash three brush. And I'm just going to indicate this line here that kinda travels up and around the ear. So once again, just sketching it in. I'll just bring it up and maybe down. Also going to use the standard brush here. Use the, I mean, all key. And I'm carving in that little dip it there. And I'll start to indicate the main ear hole. And we'll call it giving a little definition to that ram that travels along the outer edge. Back to my move, fresh. Again, back to the standard pressure. I'm going to really cut in that ear canal part and dig in. And now I'm going to indicate that little divot pair. Go back to my slash brush, give some more definition. Ram, I inflate brush, build out a Dear load a little more. And I want to carve in that area here to give a little more of an indentation. Smoothing it out. If you want to make the air even point here, grab your pinch brush. Now it's a matter of going in and defining even more any areas that got, got lost in detail. I'll go to my move brush and pull that over like that. Move brush is great because you don't lose any detail. Work. You can make big changes even on detail areas. Alright? I think we'll call this ear done onto the detailing. 14. Details Part1: Okay, so now we're finally ready to get into some real detailing. Perhaps this is the part that some of you like the most or the least. But it is a lot of phone. It will really bring a face to life. Before I start, I want to call your attention to my polygon count up here. I'm at 500 thousand. So you can really see how, how quickly you can your polygon counts shoots up. So I'm just gonna do a little test. I'm going to set it back down to low, back down to 150 k and see what I get. First, I'll just look at my, my wireframe and see what that looks like. And now let's just see what kind of magic this could perform as it goes through a process. Alright, so a little bit of a shift lead me. But I'll leave it at that. And if we want to sharpen up some little bits that were lost, we can or it was really in the teeth and it's not that big a deal. So now we're at a 150 thousand polygons instead of 500 thousand. So again, keep that in mind as we work. So I have my angry MAN reference up. And I'm going to focus right now on the area around the eyes and really get some of that tension. And they are. So I think I'll use the clay build up pressure to a little more depth and puffiness to this lower area. Area. We can bring our slash brush. Start to indicate the indentation. Also, you can see what's happening around the eyes. We get these things called crows. He, you're just there, wrinkles radiating out. So using the slash brush, I'm gonna draw us a few crows feet. Turn out they make them too, even in terms of spacing. And definitely at the corner of the eye and to get some maybe even one coming down like that. And maybe even a little I'm extending onto the cheek. So you can see he's getting much angrier. As we work. Ok, turning my attention to the bridge of the nose, we really got to get something going on there since there's a lot of flesh scrunching up. And again, I'm working with symmetry, but I will be turning this off scene to really make both sides different than will really make it look organic. Put that little furrow right there. We could even indicate some deeper grooves here, like everything is converging towards the bridge of the nose. All these wrinkles. And you could make that a little deeper. Moving up to the forehead and got that little groove going there. If you like, you could even add some horizontal wrinkles. But keep in mind is face is making a frown. So these Something like that. Yeah. So one thing to keep in mind as we're doing wrinkles is let's say just very fine wrinkles. You want to indicate that the flesh is actually puffing out as it's contracting. So for that, we could use the standard brush or or the move brush, I mean over the inflate brush. So I'll show you what I mean. Use the inflate brush. Helps make it look a lot flesh year. Less. Just lists carved in. Really feel likes flesh as being displaced as the characters making this expression. Let me really bringing it out there. Puff out these here too. So it really feels like hopefully you can see how that's making it look a lot flesh year. Let me bring that up too. So now I'm going to turn my attention to refining the horns and adding some details to them. So as you can see, even in this shaded view, they look pretty low poly. If I turn on my eye polylines, we can see that they are. So what I'm gonna do just to give myself a little smoother base to work on. I'm gonna do that trick where I bring up my standard pressure. I'll turn the z intensity down to 0. And I'll just do a stroke over and the surrounding areas. A little better base to work on. And then I could hit it with a smooth brush. Okay, so to the left hand side of the screen you can see I do have some reference. Always, always good to have reference. To see, use it as a starting point or as an inspiration. So I'm gonna, I'm gonna create these lines going through it. I'm gonna make as many are on a real horn button. I'm just gonna indicate those lines. And again, don't make them so regular in terms of how close they are together. Meaning don't make even strokes all the way across. It's very hard to do since I think that's seems to be our natural inclination. Students same sort of stroke over and over again. But mainly due to say you're not seeing me do the same boring lines all over the whole model. And we'll take it all the way up to the tip. You can make a burst smaller, start to carve in some sharper areas. And also what I'd like to think, I'd like to do is get these little knobs, lobules, sad even word. So I think I'm gonna go back to my standard brush up the z intensity. Again, the key is you bring that up. I'm going to carry this down into the head a little more. Maybe we can make these their own little sharp bits that merge into his forehead. Carry some of that to the horn. Painting it with a smooth brush right now. So as you can see now, I'm in the 600 thousand in terms of the level of detail. In a moment, I'll reduce it. I won't be producing a back down to a 150 k. Maybe I'll do with the medium, which is 300 K. Using the inverse L sharpens Some of the little bumps and some definition between them. Again, the inflate brush will bulge out areas, but it's not adding polygons to it, so it's a good thing to keep in mind. All right, so let's see what happens if I reduce it to three hundred and ten hundred polygons? I'm paying attention to areas that I've already added detail to see if it's going to be any noticeable difference in no. Still looking pretty good. Alright, so smooth out some of that horn again. And like I said, I'm not going to be doing the back the back half. You get the idea. I'll do that offscreen. And with that, I think I will call the horn detailing done for now. 15. Details Part2: So now I'm going to turn my attention to adding some detail around the mouth area and those. So as you can see, I have some reference up on the left side of my screen taking some cues for some nice wrinkling that happens around the muzzle of an ape. So once again, going back to our slash three brush, I mean define and nostril area a little more. And then we'll create some vertical wrinkles going, going down. And again, remember not to keep them to even a few. I don't let me get that heavy. And it will do some cross wrinkles cutting into those radiating down a bit. And then I'm going to go the inflate precious a little bit. Okay. Looks pretty cool. You know, do a little more on the lower lip here. Let me just make it a little round, has a harder edge to get a feeling like that skins being pulled back, puff out that area a little more. If you're so inclined, you can try to add some few wrinkles around the lips. And these all slips also have horizontal and vertical lines cutting across them. Ok. That's the mouth area. The last area I wanted to address before moving on is the neck area. So I'm just going to add a little more definition in some tension. Really tie the whole character together. So right now this is my clay build up a little bit and indicate a little divot there. As you can see, the shoulders a little bit low poly. So I'll do that trick again. Just paint on some more polygons. And then I'll smooth it out off of his shoulders a little bit more. Here we'll send some keys really leaning forward. I haven't addressed the back of the head too much. I'm just going to take the clay buildup. Notice, throw down some strokes indicating like some neck wrinkles. You want to think like a thick skin there. And it's maybe bunching up around the back of his neck and head. Taken onto the neck muscles there. Go in with a slash brush. Define it a little bit more. So another thing I wanted to illustrate and helps create tension is if you see the left side of the screen, we have this thin sheet of a muscle going over all these muscles. And when you do create an expression like this, you'll sometimes see these tendon like areas pop out. So let's give him a little tension like that. Something I wanted to illustrate. If I turn off the y-axis and go the XYZ, I can rotate the model to an angle like this and snap to it. Which enables me to, to draw at angles that might be more comfortable with how your hand moves across the stylus or across the drawing tablet. Smoothies add a little bit. Is using the Move breast to straighten that out a little bit. And let's add another one. For here. You can even use the slash brush in the inverse manner to really sharpen up the peaks of those tension lines. And a few more wrinkles. And I think we'll call it done. And that's stage. Now let's move onto making him asymmetrical. 16. Asymmetry: Okay, the final step to really bringing your character life and making it feel organic is to take off the symmetry training wheels and just add variations on from side to side. So it doesn't seem so perfectly even everywhere. So what I do, what I recommend is saving out a version of your model in this nice symmetrical state in case you want to go back to it. And then turning off the symmetry and saving the new model out and a different filename. So let's go. The hotkey is x, so we can just press it and you can see this symmetry button is off. So the first and easiest way to, to do this is you can just use them, move fresh and change one side to the other. Give me somewhat subtle. He's they're just little changes for now. This wrinkle on the forehead and a center line, you can make it slightly skew, slightly off-center. Make little changes to the nose. Maybes snarling more on one side than the other. So I can push this one up even more. In this one down a bit. You can play with the ears a little too. Again, all this helps. In a moment, we're gonna do some sculptural changes to a meeting with some of the other brushes, not just sliding things around to make the wrinkles a little different. Let's go in and just make his teeth a little more uneven. There's a little more jagged feel to it. Okay, another thing I'm gonna do is I'm just gonna lift up one shoulder and the lower the other almost like he's got one arm raised, you know, trying to create the illusion that there's something more going beyond, beyond just the austere c. Okay, so far, so good. Hopefully you can already feel the change and how it's already feeling a little more alive. Another thing we can do, if you so desire, let's, let's alter one of his horn sound, not just by moving a little, but let's make it, make it look a little broken. So for remember, if we have this smooth Prussia had a higher setting, we can kinda melt away some of the polygons. And maybe you can make it look like it was a little broken. Something like that. So it was horns are asymmetrical. Alright, now let's go in and address some of this detail. So what I'm going to be doing as maybe you're racing or filling in a little bit some of these areas. And be careful not to lose too much of the polygon count there. But what I want to be doing is just not having same wrinkles on either side. Take my slash brush, maybe have this wrinkle across like that. Go back to our inflate, puff out a little bit. Let's do something a little bit different there. So that's not the same on both sides. I could smooth out one side a little more than the other. So let me address these forehead wrinkles there. I'm going to smooth out one side. Can carry this one to pass the midline loops. And then I'll add another one sort of overlapping and like that. And back to my inflate brush. A little bit of a skin puffiness. Pinch those together. So lastly, let's address BI's. I'm gonna do the same, same thing I did before. Just erase some of these wrinkles so they're not exactly the same. Go back and my slash pressure maybe just have that. Anyone could go like that. And another one there. And so on. So hopefully you get the idea. And not just the idea, but can also see how this really helps. Just make a model feel more alive by adding asymmetry. So one last thing I'd like to show you, if you want to add this to your model is I'm just going to add some pupils. I saved this to last because we don't want to have the pupils perfectly symmetrical. It'll just have like a dead stare into space. And that's why it turned off symmetry so we can have him looking in a direction. So i mean does use my clay buildup. And then this side will be more towards the corner of the eye there. That may even bring them more to life. Don't quite have a soul, he's a demon. But again, you don't have to add the pupils, it's up to you, but I think it does bring something to it. 17. Conclusion: This brings us to the conclusion of digital sculpting with ZBrush core many, I hope you've enjoyed the experience and more importantly, I hope you've been inspired to try this on your own. I'd love to see what kinda cool sculptures you come up with. So make sure to explore your image and post them on the forums here. Thank you so much for watching.