Digital sculpting for beginners. | David Jaasma | Skillshare
Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
22 Lessons (4h 7m)
    • 1. Digital sculpting introduction video

      0:37
    • 2. 1.1 history

      3:11
    • 3. 1.2 programs+tablets

      5:03
    • 4. 1.3 zbrush UI

      7:52
    • 5. 1.4 Sculpting pipeline

      29:48
    • 6. 1.5 zbrush brushes

      15:22
    • 7. 2.1 Tree stump blockout

      10:21
    • 8. 2.2 Tree stump Secondary shapes

      6:50
    • 9. 2.3 Tree stump details

      9:07
    • 10. 3.1 Stylised sculpt base mesh

      11:37
    • 11. 3.2 Stylised sculpt wood

      12:10
    • 12. 3.3 Stylised sculpt metal

      9:09
    • 13. 3.4 Stylised sculpt rock

      13:16
    • 14. 4.1 Skull introduction

      8:40
    • 15. 4.2 Skull preparation

      16:45
    • 16. 4.3 Skull creation part 1

      19:01
    • 17. 4.4 Skull creation part 2

      23:09
    • 18. 4.5 Skull creation part 3

      13:31
    • 19. Extras: Blender introduction

      9:21
    • 20. Extras: Blender measuring + multiple objects

      6:00
    • 21. Extras: blender brushes

      8:34
    • 22. Extras: Materialise (Create alphas from an image)

      7:14
  • --
  • 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.

191

Students

1

Project

About This Class

This course will teach you everything that is important to start your journey as a 3D Digital sculptor. All the crucial fundamental principles, tools, settings, and workflows are explained and you will learn the Sculpting pipeline.

Suitable for beginners.

With basic knowledge about 3D, You can follow this course. This course will take you by the hand right from the start and will guide you through.

High quality.

All videos are in Full HD 1080p / MP4 format with English audio.

Get help along the way.

I do my best to make each lesson as clear and understandable as possible. If it still happens, that you got stuck at any point, you can ask for help or share your work in progress.

Chapters:

Chapter 1: Introduction

Chapter 2: Exercise 1: Organic sculpt. (Tree stump)

5327ca59.jpg

Chapter 3: Exercise 2: Stylised sculpt. 

ebe7ec7b.jpg

Chapter 4: Exercise 3: Realistic sculpt. (human skull)

9d67985a.png

Chapter 5: Extras (Look at these extras first if you want to use blender as your main program.)

Meet Your Teacher

Teacher Profile Image

David Jaasma

3D enthousiast and ofcourse teacher.

Teacher

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
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.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

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.

Transcripts

1. Digital sculpting introduction video: Thank you for taking a look at this class. In this class you are going to learn how to sculpt digitally. We're going to use mainly ZBrush, but I assume extra lessons. So you can also follow along. If you are a blender user, I would highly advise you use a graphic tablet. They are also called Ben doublets or drawing tablets. But that is very important because otherwise this course is not going to be very fun for you. There are multiple exercise for you backed with information. I hope you guys are as excited as I am and I see you guys in the next video. 2. 1.1 history: Before we're going to start with the lessons, I kinda wanted to give you a little bit of a history behind sculpting. Why would you want to learn some of the history? Well, a lot is still the same, but digital sculpting era as Skylab, exactly the same, but we do have some advantages and disadvantages. The oldest depiction of a human being and sculpture is dated between forty thousand and thirty five thousand years ago. This sculpture is called The Venus of hurl if-else. And it's made out of mammoth ivory. In history, many sculptures have been made for religious or political reasons. Largest sculptures were way too expensive for private individuals. Sculpture processes originally used coughing, which essentially is the removal of material and modelling, which is the addition of material. Maybe you can look at clay, you add extra clay on top, but if Garvin, you carve away rock, let's set the materials that they used were mostly clay, stone, metal, ceramics, and wood. There were some other materials, and most of the time, the only ones that we can see right now are the ones that are being preserved, right? If they made something out of, let's say, a material which doesn't hold on for so many years. We cannot see the sculpture. So those are kind of the things that we can see. And nowadays we use way more materials. You might even think about welding that, that is kind of an addition of material, right? So that would also already be a sculpture if you Welt materials together. So yeah, there are a lot of more materials that we can use nowadays. So how does all this translate to digital sculpting? Well, in digital sculpting, our material is geometry, right? Instead of rocks, we use geometry. We can carve. We can add extra geometry at anytime. And we can even use the Control Z to remove our mistakes, right? And you can see that these are a major like pros, do what we are doing, and this will speed up your learning process a lot. The cones might be that you cannot feel the sculpture itself, right? When you are really sculpting with clay, let's say you can really feel what you're doing. And we have to look away more rounds. And we should try to change the math gaps or change the material from our sculpt or Ethan, move the light around to see all of the, like the volumes that we have been creating, right? And this is why we should really sometimes look back at the history of sculpting and how they get so good with it to also implement some of those bots into our digital sculpting. But digital sculpting is really important in a lot of areas. And this is also by, I'm very excited to go on and really teach you this stuff. So let's jump into the next part and I'm going to explain you a little bit about the UIs in ZBrush and also of course, also blender. So let's just jump into there. So you guys there. 3. 1.2 programs+tablets: Let's talk a little bit about the programs that I'm going to use. So ZBrush is the industry standard for sculpting. And in my honest opinion, it's also the best at digital sculpting. It has so many tools. There's one caveat. It is quite expensive. This is why even for Beginners, they created a new tool which is called ZBrush core Mini. And I've included the link as well. You can just download it. It has the main features. So if you really are interested in, in sculpting, which you probably are, I would highly, highly recommend that. And in this course, I am going to work with ZBrush. And that is just the main program that I'm going to use. But I know that a lot of people just like me are very, very into blender, right? So blender is getting better and better at sculpting as well. I don't think it will reach zebras potential in a long time. But the nice thing about sculpting is if you know a certain few things, you can essentially create masterpieces. This is also the reason why I created the blender section. So if you go to extras, you will see that you have multiple videos for blended users. And these videos are designed so you can use blender while looking at ZBrush tutorials. So I will go through many of the UI differences, but I've even made a cheat sheet. So you can see which part you should be using when I am using a certain brush inside C brush. So if you have C brush or blender, it doesn't matter. You can just follow along. One more thing that I also want to talk to you about is a tablet. There are a lot of tablets out there. And yeah, you can choose for yourself, of course, which one is better for you. So please go look on YouTube. I can only say that I am using a Wacom. So let's go to the website a little bit and I will just show you what they have to offer. I am not sponsor anything. I wish I was. But yeah, that's like it's only thing that I've used so I can only recommend this one. So let's go to the website and I'll explain some more. Okay, so a little bit more about the tablet. If you go to Wacom here. So if you look at the products, you can see that they have a lot of different products here. And we're going to look at the pen tablets. If you look at the pen tablets, you have three options here. We have one by welcome, welcome into us and the vacuum interests broke. So I personally have to welcome interests Pro. And this is, this one. It is quite expensive. And if you're a beginner, I yet you don't really have to get that much of an expensive tablet. Okay? You can see that we have expressed keys on hair and all of that good stuff. But if you are a beginner, I highly recommend one by welcome. Okay, if look actually at shop, and then we have the scroll of course, all the way down because now we get that discovery like you have all the different ones, but if you look all the way down here, we have one by welcome. And warm gum. Actually, you can see that it is way, way cheaper and it has a decent amount of pen pressure levels here. If we look at the specifications, temperature levels at 2048. And yeah, if you are a beginner, I would highly recommend this one. And that's kinda it. So can I just do this all with a mouse? You might ask. It is technically possible, but I do not really recommended. It's probably going to take you way longer. It's going to have a lot of fun out of the, out of the sculpting itself because, yeah, a mouse, you gotta just all this movement. You might even hear it like now. You have to move, click, Move, click, Move, click. And it's just not very good for your arms as well. And you need to do so many strokes, like it's different. It's even different than from games. You know, it's even more, I guess intense. It's really bad for your for your hands and your arms. But if you really want to try the first two things out, you of course can do it like I will never stop you. But I'm just saying my like my honest opinion. And literally the only pro of having a mouse is that you do not have to buy a tablet, but like really has no other like plus side to it. Even if tablets, because the pressure levels that are in there, you can press harder or software on your tablet and this actually changes your brushstroke inside C brush. So yeah, it makes it way more realistic and yeah, that's the only thing that I can say. And I hope I informed you enough if this awesome. So I'm going to jump into history, brush right now and start explaining everything to you. So I see guys in the next part. 4. 1.3 zbrush UI: So this is what you see FT startup see brush. There are a lot of tools, as you can see, they're all buttons and not a lot makes sense, at least when I started modelled made sense. But it is not as hard as you think. So let's just first look at what we have here. We have a lot of very interesting stuff here. But those are essentially already like files, right? We can start them up, we can use them. We can edit them. But let's just start with a clean sheet for right now. So I'm going to hide this. I'm just gonna click on hide here. And now we have what are the, you know, C, which is all about this is just the whole UI when you start. And the UI, like you can change a lot here. Like let's say now we have tools here. You can move it, you can grab any other option just in here if you would like to write, but that is not really necessary. But those option is always there for you. And what I want to focus on right now is just this middle black gradient to gray tap, right? And we can sculpt in here. But if we now want to sculpt, let's say I'm just gonna click and drag. You can see that we have something happening but it's not sculpting. It's kind of yeah, in between 2D and 3D, which it also is it is 2.5. The server starts with that, but we do not want that. We want to sculpt this. Got me. I was very confused and I just didn't know what to do. So this is just a canvas right now. And you can clean your canvas ok, so you can clear, and so Control N to just clear everything. Now, instead of this dragon on here, which creates this 2.5, the effect, we want to have a 3D mesh. Tools are essentially your 3D meshes. So if you go to tool, click here on this tool and you can import or append like one of these 3D meshes, right? So we have quick pick, we have 3D mesh at 2.5 to have the we're not gonna use at all. So we're just going to focus on here. So let's do a sphere. Click it. And now we have that selected. So now you can just click and drag a sphere out. And you can click and drag multiple them out if you would like to. But it doesn't really make sense. Why doesn't it make sense? Because only one of them will be active. Okay, so then you can go into edit mode and sometimes it's added, little section is still grayed out. You can still click on it. Okay, so you can just click on edit. And now I am able to edit. You can see that my standard brush here is now active, let's say, and I can drag on here, right? The only problem is to enable sculpting. You have to convert this 3D primitive, right? So we imported as this tool it 3D primitive, which is this sphere. But now we also need to make it a polygon mesh 3D, which is just up here. And now we can sculpt them here. But as I said before, only one of these spheres will actually be active. So the next time when you are going to start this, you, you're not going to drag the multiple of them. You can just gonna drag out one, ok. And if you by accident drag odd multiple of them, you'd just clear your canvas. So Control N and only the ones that you cannot use will be deleted. Ok, so let's do this over because it seems like a quite of a long explanation for a very small task. But I remember I got very stuck here in the beginning and that's why I want to just explain this fairly well. Ok, so we started the whole new zippers file and we can just hide this. You guys already know we don't want to click on here. And now just going to grab a tool through a sphere 3D. Drag one out, click on edit. And then if you want to actually edit this, you'll make this appalling mesh 2D, right? So it is that easy. So how do we actually move around in this 3D space? It's fairly easy, okay? So I'm going to use my tablet for right now. And what you can do is you can just click next to your sphere. So just in this area around it, click on here. And you can see that now I can just rotate around this, right? Very, very handy. If I want to pan around this, I hold Alt. So I'm holding Alt null. Then I'm gonna put my pen down. And you can see that now I will just bend around, right? So you can combine these Farewell to just move your sphere around. The only thing that we need now is for you to zoom in or out. So this is a little bit more difficult or difference, I guess more different because you get used to it fairly quickly. But the same is going to be with alt. We're going to hold all, then put our pen down. And now we have the pending right? But now we're going to release without releasing the band from the tablets. So we just hold, keep the Bem on a tablet, but I'm gonna release alt. And now you can see that if I move my pen around, that we can zoom in and out, right? So if you ever get confused, you could also do it here. So you can literally just click on this and you can move around, click on here, zoom in or out. And of course a real data as well, but it is fairly easy. It's the only thing you need is off. And I really advise you to just look around your model a little bit and make it kind of second nature. It's quite easy once you get the hang of it. And yeah, it's, gets quite intuitive, let's say. So sometimes we get like our model gets lost. You can click here on frame or you can click on f. They both work, right? So if you get lost, just click on f And it's nice in the middle. So what else do we have to look out for? Well, if you have a sphere, it's quite hard to see if you are in the right XS. Do RB in the front view back few, What are we? Because if you're going to export this in our other program, we're going to see that it might be, you might have been sculpting the whole time in the zed axis or whatever. This little guy actually helps us. A lot of these x's that we can see here. And you can see that now we are at the front. And you can literally also click at these, so I'm just selecting them. And that will change their perspective. So now we are on the front few. Even if you are like a little bit off, let's say you can click on this guy to really go to the few that he is looking at. Or you can use shift. So if you shift bam, you can see it snaps to wants it, right. So shift is like snapping towards an access. And I think that's quite handy, especially sometimes you're a little bit crooked. You can just click on shift. And then yet that is dealt with. This is kind of the fundamental of going around inside shoe brush. And now you know how you actually add to edit one. And in the next part, we're going to actually talk about how to sculpt, as you can see. And I'm going to talk about some of the brushes that we have. So I see you guys there. 5. 1.4 Sculpting pipeline: So what is my approach to create a sculpt, right? So I have, first of all, we look for reference images, right? That's the best thing that we can do because we need a lot of reference image to look back and see what we're actually gonna do. Because sometimes in the human's mind, we think something looks a certain way. And then we tried to build it, but it just doesn't really connect because our brain is not that good, right? And even the pros like you always have to do this, okay, so just get used to it. Search up other reference images you need and make the best from it. So after this, we are going to start to block out our model, right? So that will be the first step inside sculpting. And with the blackout, I mean, we have to get the main shapes down. So for this tree trunk for instance, this is by the way, a photograph like this is a 3D scanned model. Nice thing about this is they just created all of these images around a real tree like this one. And then a program just made a 3D imagery 3D model out of it, right? So a lot of images can create a 3D model like oh, programs right now. And yeah, as realistic as you can get, right? So the awesome thing about this is that we can learn a lot from just looking at the model and that is them. Like also the thing that guy is as hard, the hardest for beginner. And that really separates the pros from beginners, or maybe even the pros from intermediate, is that they know what to look for. They know if they look at something, also what they see, right? Sometimes you look at a certain model or whatever, but you like your brain just doesn't connect anything with a certain thing yet. Like the shapes don't make sense to you yet. And the longer you look like, the longer you sculpt, the longer you look at reference images and really start to notice those things, the better your sculpts are gonna be. So the main thing will be here. It is a kind of a cylindrical shape right on top. But if we look at the silhouette, you can see that at the bottom we already have those roots coming off. Those will also still be the blackout. Okay. It's not just a cylindrical shape. It actually has some yeah. So part's coming off. And you can see that some parts here have a thicker roots than other parts, right? So that is all still a blackout. So let's, let's think about someone else. Let's think about a person. Let's think about ahead of someone. If you look at a head, what does that make? What is the blackout? What what creates the shape of a head? It will be the skull. So in a human or animals, it will most of the time be the skull, the skeleton, and then the muscles, right? The dose really make the shapes. And of course you have FET, which also creates certain shapes. But most of the time you build up from the beginning. So first we kind of the skull, then you block out the, the muscles. And after that you go to the Fed. Okay? And with humans and animals is kind of different than other objects. But most of the time you just sculpt the main shape. So that is number one. Okay, so let's go to number two. What are those? I define them as the secondary shapes. Those are just a little bit more detailed. And what are those? When you look at this image, you can see that we have a big shape. But this big shape, if we zoom a little bit in, you can see here that this big shape actually has some small ships going on here. Here. This little part lays over here. And I think it's also important to look at the mid-cap instead of the color map. Because sometimes the colors just, you know, kind of a mess of our heads, right? If you don't really know what to look for. But you can see that there are a lot of shapes that you might not have thought about, right? This little route goes over here. It's almost seems like this goes underneath. And you have multiples of these, right? So it is still a main big shape, but then you see that the secondary shapes break those apart almost like they still flow with it, but it's just extra detail. And then the third Sherry shapes, what would those be? Debt is the last part actually. And those will be this surface on top, right? So it could be on a human, it could be a scar, It could be skin pores, even maybe scales on a lizard. And those things are actually at the end. Fatal Roman NCO. And flip normals are two channels on YouTube. Flip normals has amaze visitors on ZBrush, so you should for sure subscribe to them and fatal it has some speed sculpt, so it's also good to check him out. And the reason that I want to show this is because I have a set amount of things that I do, right? I first do for reference images, then I do a block out, then I go for the secondary details and then a tertiary, right? And I want to show you that this is quite universal, like it's not just meet as doing it. Everyone is doing it. And as you can see in these videos, I just kinda picked some random, I know Flip normals. I did not, I didn't know fader, but I kind of want to show you that even the brushes that we use are a lot of times the same. And I will show you a little bit of the big moves that they do in the beginning if the blackout, and after that, we go into the next byte. So let's just go on and we are going to look at Flip normals for right now. We're going to look at the block out. The first few brushes that you are going to see. This is flip norms by the way, but they are going to be the move brush. You have some masking and the clay buildup. So you can see that he just really, they are just making big, big shapes, right? So the move to get c now FMLA build up again at it just gets so big shapes in there. Moved two again. And to grab the neck out, they used the mask tool, right? It's a very quick way to actually do that. Now let's look what failure does. So this is the blackout fader. So fader, as you can see, uses the move through a lot, right? And yeah, that's kind of what he uses. He likes to use the standard brush. And now we uses a standard brush to actually carve in those eye sockets. Okay, so now I am inside C brush and the first thing that we would normally do is grab maybe a dynamo mesh. Then am I shall explain a little bit later. I'll do the next part. But yeah, let's just jump into hair, going to use this one. What you can see though is that the geometry here is quite no low density. We don't really have a lot of polygons and that is very good for the beginning sculpting k. If your beginning of the sculpt, it's very good to make big broad moves with not a lot of geometry. Because let me show you what happens if you use a lot of geometry or not. So here we have a, Russia's going to be the Move tool as we saw, everyone uses the move was first I can the beginning because you can make broad big moves, right? So broad big moves. So let's say, I'm grabbing this bot out of hair like this. What can we make out of this? Well, we have a big shape that we've just created and it still quite smooth, right? If we are going to use the geometry, actually going to defy this few times, you can see it's nice and smooth. So let's go back. And I'm actually going to define it before. I'm gonna move it, right? So if I will divide it before I'm going to move it, first of all, it's gets very slow. It's still quite smooth. Just the problem appears when you want to move multiple times. If I've gotta move hair, hair here, it starts to get quite bumpy. If you go into lower geometry, this bumpiness appears less, so you have more control about your smooth for shapes, let's say. Which also don't want to do is go too low in your brush, especially in the move brush. I mean, with this not out of artists, but in the move brush, you don't wanna go too low because you can see that this also creates a very bumpy area. So this is why we keep it quite low in the beginning, the geometry and we use the move tool to move big shapes, right? The big shapes, bam and you can't move like a lot of it, right? Sort hair BAM. Let's do kind of a, It's going to be very bad. And I'm also doing this with a mouse because I want to click on the YouTube again and my tablet is stolen, is set to ZBrush load will jump back and forth. So that's why those are going to look very bad, but that's totally fine. The next part would be maybe masking the neck off. You saw it with the flip normals. And masking is a great tool. I already showed you a little bit about the masking, but here you can just mask this off, let's say. And then if you want to invert it, you can control and click on the side, or you just go to the masking options here and then click on inverse, right. And we can move this selection with our Move tool, or you can even do with, with these move those here. Let me explain them first before we're going to do it. If you click on any of these options or on any of the short guards which are shown underneath like movies w and you have ER, they are like they are just next to each other. You will open up this gizmo. This is a 3D gizmo and this is, it's not new anymore, but it used to be quite new. And that is because now if this gizmo, you can do everything at once. So you do not really have to select skill or rotation, like or move. If you select one of these moved rules that say, you can't do everything because the arrows here, as you can see, will move your tool around. So you can select these arrows on the sides. You can just move freely or they go around the axes. You can see you have the z axis, we have the y-axis and the x-axis. They are in colors. And then we can of course, scale as well. Those artists little cubes inside and scaling the whole object will be this yellow cube inside here. And we have rotations. So you can see again, you have the rotation around all of the x's and then this white circle around, we'll just rotated from where you are viewing, right? We use have another gizmo, which is this one. And if you want to use this, sometimes it's more handy, that's one. Sometimes it's just worse. But I personally like it at like at measuring things. But we will go into that. I don't know, maybe in another course. But now if you want to move, rotate or skill, you have to actually apply these because if I select this with move selected, you can see that I can move my thing around. If I do scale, you can see here that gets skill it. And if I rotate, I can rotate this, right. This little intersection just happens because I have symmetry on. So it does not have to do with how this particular tool works. So back to the mask. Let's say the neck here. Bam. We can use actually these gizmos for that as well, right? So I can use that one. Order more newer one here, bam and bound. Very, very cool. So after this, they a lot of times use clay buildup. You can see that the other guy use the standard to, standard to. You could do both sample is more round. So for the ISOC is I get it. But you can still do it with the label of AI person like clay build up a lot. So that's why I use it a lot. The problem though is we have not a lot of geometry, as we could see before. And it's great to keep the geometry low, but sometimes you can even edit your model anymore. Look what happens here. If I want to get a little bit of a broader neck, let's say, or if I want to sculpt in some of my eyes. So what you can do here is you can or higher the subdivision. So geometry divided or use the dynamo cash, I'm going to dynamize right now and I'll I'll explain that later on that I already told you guys that. But then you can carve in this like these eyes, whatever with the clay buildup. So another good thing, you can also use your masking tool here, maybe the crates from heirs. And by the way, this is going to be very bad guys already know. But this is just to showcase a little bit of what they are doing. And you can see the amazing results that they are doing. And then see kinda what I am doing with it. And so this is still the block outright. So you will probably also block out a little bit more of the, of the shapes that we have here. Like you want to block out the muscles, the bony structures, and all of that good stuff. So yes, that is one of the important stuff that you want to do. Maybe the nose. You can go and hair. Yes. So the blackout also has a lot to do with the silhouette and you can see, so the silhouette is a totally off right now. You can also see the tale about here. And the silhouette is actually quite important because silhouette has to work on multiple fields. So if you're painting or using 2D art, you fake a lot of your shadows and depth fifth shadows, right? Because she just use a darker color. And here we have to really sculpt those in. And it is very important to actually look at multiple feels like you do not want to get stuck through just one field because let's say it looks good from the front. Then here it might look totally bad, right? So you have to keep looking around. Also different math caps work. So if you just change your mid-cap sometimes you can see some different lighting and different ways that you are model might not be up to par with what you want, right? So I really advise you to just sometimes change your math gap a little bit, even if it's for a few seconds just to check it up. So those are the main tools that you're going to use in the beginning. So those would be the move brush, the masking brush, and the clay build-up, or even the standard brush in some cases. And now let's look at what they are going to do next. Okay, so now you're going to start to see a small transition from the block out over to the more secondary shapes. You can see that the trenches in isn't like instance because he's still moving a lot. Also with the silhouette and stuff. But you could see that he also tries to get some smaller details in. So those are kind of dead Skylab, I guess a transition between the blackout and getting more of the secondary shapes in here. And if we skip a little bit further, you can see that he is now actually starting to define those shapes. So which tools is using here? Well, you have the dam standard and you could probably also used this, this the normal standard brush, the damn standards and maybe even pinch brush. Let's look at fader. So fader is defining a lot of the shapes. He uses, the clay tubes a lot instead of the clay buildup. That's a preference, but I also like to use the clay tube's a little bit later on the muscles because it's a bit smoother. You can use the normal clay brush and of course, some standard or even dam standards to make some areas for about even more. So let's go over the brushes that they have used in this stage. So this is going to be more of the secondary shapes. As already told. You know, it's a gradual process. It's not, it doesn't. Flip from form to the secondary shapes. But it is nice to keep kind of a separation in-between them just so it makes it a little bit more sense, right? And you don't really have to think about it that much. Like, Oh, now I'm going to the secondary stage. That is not really what has to go through your mind, but what does two go through your mind is first I need to have the main shape done. I need to have the, the, the silhouette. I need to have the underlying structure done. And only then I can start building up some of the extra details that I want. And bundles that runs those details are like done. Then I can start with the fairy nitty gritty details which will be corrects maybe, or pores or scales on something you don't want to go in, like over those already in the beginning. You don't want to create pores and then start creating a nose or whatever, right? So first thing that we see here, and we also saw in the fetus that I have created is that this geometry doesn't really work anymore. We need a little bit more of a dense geometry. So we have diamond mesh on, outputted through like maybe a 150 and it will change to what it needs to be with 50. And then I just click on Mask and then do it next to my model and then just drag it out. And then it will activate the dynam mesh, data mesh, as I said before, is going to be talked about in a next part. So what they have used is the clay buildup. Still. The only problem with the clay buildup is that it lift those nasty lines. One simple little thing is that there is not too big of a problem. And we can also try to use the clay tubes. Here. Ketchups works differently and doesn't leave a lot of those lines. To be honest, those, those lines are not that big of a deal yet. In this case, the secondary shapes, because I guess the beginning of the secondary shapes because they also give you a lot of free yes. Shapes. And what do I mean with that? Well, this comes also a little bit to my next point, and that is the smooth brush. You could see that they actually did not use the smooth brush a lot. Why is this? Well, the smooth Bush actually gets rid of a lot of free details. And let me show you a little bit. Wherever we are gonna go. Let's go here to the back. So let's look here at the back here. So I'm just gonna create a little bit of extra shapes. I got over it and then a draw like this. And the fun thing about just drawing with brushes like these is that you get sometimes free shapes. And what do I mean if this? Well, some parts will be laying higher than other parts and you can accentuate them later on. So maybe you wanted this little, this little hole as you can see here. Maybe you want it to be a little bit more defined here. And actually like lay over here a bit. So of course as really makes sense in a skulls right now. But if you smooth everything out, every small little detail that you can give, this is gone right there. I'm like Nothing looks interesting anymore. And of course you want to use the smooth brush if you are going to more stylized or if you want a very pretty human face like a female, but that will probably be at the end. And you use it. Like not too extreme. You don't hold the Shift and just fucking go at it? No, it's just going gradually. And what I also want to show is that of course, all of these stripes and all that stuff doesn't really look that nice. So what can we do about this? Well, what's what to do with the same brush that you are just using. You want to switch between the z, z and the z sub, so adding and subtracting geometry. So if I went this way more smooth, I'm just using both of these tools. So add and subtract, maybe with my intensity a bit down. But you will see that now it will get slowly morph shape and form. Plus we still keep a lot of the free shapes that we've talked about there without smoothing everything out til you can't see any extra shapes anymore, right? So just switched between those two tools. And sometimes you can also try to use a different tool. So let's say I have a lot of this like this nested pattern. If we go for this refer clay brush, which is also used a lot, and I think, I think they also used it, but it's used a lot also in the secondary shapes because it's a bit more smooth and you can see that the volume that it gives us also very nice c. So this will also get rid of those more nasty shapes. And maybe you can even just start sculpting with this, right? So if you don't have this and just start with the clay, it would take maybe a little bit longer. And you have a different kind of techniques that you need to use, but you can still use them, right? And then the next thing that they used was the damn standard. That's going to be a bit more pronoun here because you can really pop out shapes here. So let's say they had those, I don't know those skills in the neck of that animal right at the Dragon. You can see that it was something like this. And those will be just carved in with the DEM standards just so we know where they are. Then. Probably they used a clay build-up or clicks tubes and just drag this a little bit out. So you can do this in multiple ways. You can do this like I am doing now with the clay build-up or clay tubes? No, you can go in here, make it a bit more defined. And then after the fact, you can go in there and again with the dam standard and really make those details bulb which you can see. So that's very cool. And also I'm just doing the adding the dumpster. That's done that. So I'm just holding Alt and making this side's like go really high. And this will be also good if you want to create a more of a hot surface, the model, right, those very sharp edges. But you could also create a mask inherent, right? Mask. Go in here and you should hold gizmo and then bam was moved a bit up. So that's also a possibility and then of course go over it again with whatever, maybe the Plato or whatever tools you have. And I just play around with it. So this is kind of getting some of the extra details in here. And these are ways to define your model may be and create some extra shapes. As you can see here, it looks bad, but later on when we're really going to sculpt, I will tell you again at which point I probably m. And then you can see some, some, some nicer models that, that we are actually going to create because this looks like a pure shit. But you can also see from the guys that I've shown and that all of these brushes, how they use it, when they use it. And then of course, you can also look at their videos, when and how. So, let's go on to the next part, which will be the more tertiary shapes. Ok? So what you can see is they instantly grabbed some of those alphas, right? So the grate, some extra, extra vigilant hair, but you don't want to stop there. And what you can see now is what I do is that they're actually going to accentuate some of the shapes or even take just some of the shapes because and even take just other brushes and then draw on top of the alphas rights because the alphas actually might create some extra things that you, the alphas might create some shapes that you haven't seen before. And then you just accentuate them. And you do this with you can do the clay buildup. You can do this with the clay tubes. Clay build up if you go very low. Clay brushes also very good at this. And of course a damn standards to really make them pop out, right? You have some extra crevices in there. If we go further, you can see that they do with very good. So let me skip a little bit. Now you can see that in the end, they really maybe even more. And you can see that now that I really like accentuated some of the shapes made even different shapes. And now they go over it with even more all of us to really finish it off. Like these are more the pores, right? And now they probably will not go into it anymore with other brushes because this is really the, you know, those force. You don't want to change anything anymore. You don't wanna smooth it, you run it, keep it rough. F this. So yes. Let's look at our other guy. Ok. So you can see what he is doing. Standard brush small and create those exact corrects in there. Instead of also alphas, he uses the noise modifier inside C brush. And yet that's totally fine. There are multiple ways to create some extra noise detail right on top of a open top tier model. Okay, so that's going to see brush and we're going to look how to create some extra detail. Okay, so here we are back at our Army duckling. And what they want to do here is we want to talk a little bit about the brushes that they've used. And the most important one was the alpha, in my opinion, in the skull actually they used the another technique which is called the noise modifier. So here in surface. You can actually add some noise to your whole model. You can play around with the scale you can see here. And then also you have a lot of these options, like you can play around with the curve of this noise. And then if you click on OK, we haven't here, right? So that is also an option to get some randomness in here. But I personally do like, I do like it in some cases. When another case is I like to just get your standard brush. And then a normal standard brush would have no alpha and we'll have dots, right? So what, I'd like to change this, I like to get an alpha. And in this case we do not really have our own Alpha yet. I will explain to you later how to actually create all files with a program called materialize. And we have created the alpha, you can import it. So let's say we are importing this one, writes the skills we've done this before. You don't want to do with, with the dots, right? So we have now this stroke mode is dots and it's not really optimal. So I like to use rectangular. And now you can just drag out your, yeah, your details right here, right? So very, very cool. And what you can do with this is now you can refine it. So you do it with a DEM standard that we have seen that. So make it a bit smaller. And you can under the strength as well. And then just, you know, carve in here to make them look a little bit more feasible. Maybe you want some of these skills actually to be more swollen. So like a more rounded off, you can always add some extra, you know, volume with the clay buildup and then use a smooth brush. If is this small by the way, you can easily use a smooth brush. Me had are so many ways to actually create some extra detail in here and some extra depth so it looks more realistic or just goal. And then, yes, so these are kinds of techniques that they used. And of course you can also, you know, maybe create some wrinkles. You can do that with Leno at them, standards them if a normal stem that, by the way, I have it my mouse again. So this is probably not really going to work very well. So the normal standard would be this, you know, great, some of these wrinkles in here. Yeah, that is of course also an option, right? That there's so many ways to create some extra detail. And I think it's time to talk a little bit about the dynam mesh and maybe some of the tools that we can add. But otherwise, we can go on for less sculpting, right? We can finally sculpt. You guys know what to do, you know what kind of steps I normally. And you can see that multiple people do this. This is not only what I am thinking might be good, but you can see that they are actually using these tools and which brushes they're using. So having the understanding of all of these brushes techniques waste that you have to use them or ways that you can use them, right? I would never want to put a limit on top of any of what I teach. I want you to figure it out for yourself, but some of the limits I found and so I want to explain why and how I do it. So yeah, I'm very looking yeah, I'm looking forward to actually go sculpt, but let's first go through some of the data mesh and I'll talk to you in the next video. 6. 1.5 zbrush brushes: Okay, so let's start see brush. And I am going to tell you a little bit about some of the brushes that we have and how we can actually sculpt. So here we have a dynam mesh and I'm just going to use a dynamic sphere. I will explain that later on. But first we're just going to focus on top for sculpting. So right now if I want to sculpt on hair, you can see that the geometry is quite, not really dense enough. Let's say it's quite blocky. So if you go the geometry, you can actually subdivide your model one or two times if you want to see the sculpts a little bit better, right? And you can see that now I have also mirror. Mirrors active. If you want to activate or deactivate your mirror, you can go into your transform here and actually act active geometry. You can change the x's or just turn it on or off. So now I do not have any mirror hair. I have enough of geometry. And now we can talk about our brushes and how to scope. So how do we actually sculpt? It's very easy. You just literally just drag on the ViewModel. That's it. So if you select next year model, you rotate. But if you go onto a pusher model and drag, you can see that just sculpt, right? And right now we are using the standard brush. So the standard brush is this shape. And we can change this as well. So we have a lot of options here. And let's just start with the z and set subtract. So right now we have the z add on, which is just we are adding geometry. Ok? So you can see if this will be clay, you will be adding extra clay on top, right. The zed substract will be carving clay away, right? They will be Garvin inside of the material. But because she using these so much and you don't really wants to keep clicking, add, subtract at x0. And the nice thing that I have thought about is that you actually just have a short key for it. So you have your drag here, which is just the set add. We're adding extra geometry. And if you hold out, you will actually use the opposite, right? So you carve inside. And I cannot say that you always carve inside of alta because with some brushes, if we look at our DEM standards, you can see that the normal mode will be already subtract because the dam standard is made to create some of these creases. And if you want to use the opposite, so in this case it will be the Z F, Then you just hold Alt and it will do the opposite, right? So the only thing you have to think about is just holding out and that will do the opposite. Then we also have a 0 intensity. So right now, if I just drag here, we have an intensity of 25. If I put it higher, you can see that it has way more intense and lower, of course, less intense. This amount of a density also has to do with the amount of pressure you put on top of your tablet. So now if I go from a quite of a soft pressure to a harsher one, you can see that it acts differently, right? So that is the power of a, yeah, a drawing tablet. And after this we have to draw size. So the droughts, as you probably already know, it's just You know, a smaller file size is a smaller brush stroke, and then beta-1 is a big one, right? So it's even hard to see now, but yet it's just the difference between those. So let's look at the focus shift for right now. So in this brush, the focus shifts will be 0. And if it just drag, you can see that it just works how it does now, if we put the folk shift higher, you can see that this circle inside actually we'll go smaller and this creates a more of a sharper, sharper Luke, I can put it even higher to even exaggerated, but you can see that it's, yeah, it gets a bit of a sharper fall off. And then we also can do the opposite, of course. And you can see that it gets more broad. That is really what the folks shift does. Normally you don't really chains it. And the other brushes already have like different focus shifts ready for you. So let's talk a little bit about all of this stuff underneath here. We have dots here, which is different. It's just your stroke. So you have dots. We have drag wrecked, freehand, color spray spray and drag dot. So they all act a bit different. You can see that the dots does this drag, we actually drag these out here. Free hand is kind of the same as the dots. It's just, I feel like it's a little bit more smooth, but it also takes a little bit more computing for your computer. Call spray and spray or kinda the same. It's just that color spray also has some RGB into it, which I do not normally use. So the spray will be literary, just sprayed on top like spray paint. Very cool. And then we have a drag dot. I feel like it's kinda the same as the direct rectangular. It's just that the drag dot has next Sicer ready set, right? So you have to change the size of the drag rectangular. You can move the size like this, right? So yes, that is kind of, those are kind of the way that you can use your strokes. You normally the wreck rectangular and the drag dot you use with an alpha. So what does an alpha? Well, you can put multiple things in his alpha. And let's just boot. Let's do like a scaly something. So alpha's 62 here, but it's already included. And if we drag this out, you can see that we actually create the scales, right? So I'm gonna put my Zed and density a little bit down. And let's drag subscales out. So you can see that we get some very cool effects here with a minimal amount of leisure, I guess. So you can see that it's a little bit bumpy. If you put our self deficient a little bit higher, you can see that we can create some more realistic looking yes skills, let's say awesome. And you can also put some text in here. But the, I normally don't really do this. And as you can see, we have a med cap here, and you can see that there are a lot of different math caps. Normally I use I think the mid-cap Gray, Yes. I also like the skin shade. Maybe not this one with amorphic ray one, but you really just got to play a little bit around of these. And you can see that your sculpt looks way different with a different math gap. Right, so choose one that is pleasing to your eyes. But I also want you to change it sometimes during your sculpt, because once you change some of these math caps, you can see some imperfections that you can't see with an unmet gap, let's say. So you really want to move and sometimes change your math gap a little bit just so you have a better result. So actually, let's go a little bit back. If we do Control Z, we can see that this thing moves here. Plus the contraceptive works as we all know, right? It just refers as what you just did. But you could also do with here, which is very cool, right? And then we can just continue from there. So let's start with some of the branches that we have. So the first brush hair that I want to show you is just a standard brush, right? It's the brush that we already know already showed you around. And this brush is fairly simple. It's not really special, let's say, but I use it a lot of like later on in my models there's two have some, some of these shapes here that you can see. But in the beginning, I like to use big, like to move big shapes around by that about the block of my model. And this I most of the time do with just the Move tool, right? So the move a brush works a bit different than any other brushes. And that is that you can move big shapes around. So normally, I like to do my SAP deficient quite low, especially in the beginning, but also with the move to itself. Anyways. And I like to use a big draw size. So why do I like to use the process so big is because when you are moving big shapes, you want to make it, you know, still clean. If I do this with a very small drop size here, you can see that the shape, like it's just very hard to get a nice smooth shape as we have here, right? So yeah, big shapes. I move around with the move brush. Then I normally go towards my clay build-up or you can also use the clay tubes. So let's do clay build up right now and I'll show you what that looks like. So the clay buildup has already an alpha attached to it. It uses free hand so it will probably be a little bit smoother. Just in the stroke itself. Like it doesn't mean that the, the, the alpha itself as smooth but just the rush itself, how it, how it works is like smoothing neck. And you can see that it uses free head. So what does this look like? Well, like this. And you might think like, oh, that looks weird. It doesn't look smooth or anything. No, that's also why it's called the clay buildup. You want to build up extra shape, extra geometry. I like to use it in combination with the move tool like big shapes and also this, you just drag big shapes and yet it's very handy for that. I also like to use the dam standard, as I said before, to make creases. You can see here. And sometimes even I on the other edge, let's say like a nice sharp edge, right? If you hold your alt, of course. And I of course also liked to use the clay tool here. And this is more towards the end, but as you can see, it creates a nice and smooth, like a smooth shapes. Alright? And these are counter brushes that are fairly. I guess more basic, but they're very important. And with those, you can already do so much. And a lot of these brushes like is you can see so many B2B, but loads of them, you don't have views. I don't even know these like this one. Let's say it's just some are so specific. These, these will smooth the beaks that say they are so specific that you probably won't even use them, but it's always good to check them out. So if you want to check something out, just do it and have fun with it, you know. And then, yeah, we can go a little bit into more specific stuff. So let's say we want to go more of a hard surface area. We want some more of the planar stuff, right? So we have h Polish, planar trim, dynamic, trim, adaptive, and we have another Polish somewhere. Those are very good for, you know, creating more hard surface models. And let's just just let's select the trim dynamic. They all work differently, but yeah, you just gotta play around with them a bit. You can see here the trivial endemic grades and nice and sharp edge here. Very cool. So the last few things that I want to talk about are the smooth brush and a mask brush. So with the smooth brush, we can actually smooth out our sharp edges. So you can select it here, but it will kind of give you, not read an error, but it will show you that it is somewhere else. So if I select this, you can see brushed Shift key and click to use it. So shift essentially is just how to use a smooth brush, right? So it doesn't matter which brush we have selected. I have the standard brush if cyclic shifts, you can see that now the smooth brush is selected sea and yet house all these options. So if you want to change these options, you have to hold the Shift, just hold Shift and then you can change this options. So you can also see that our brush, of course, gets blue and gets a different color. So that is also nice to keep in mind so that you know that you are using the smooth brush. And if you just drag, you can see that we are smoothing out our shapes. Our models are strokes. So this is very handy to smooth things out. And I want to talk about the masking brush as well. So if we held control, you can see that instead of blue it becomes yellow and it says plus mask. So also here we get the mask Ben Ratliff hold control. And you can change this as well. If you drag on hair and you can see that now we get a mask, so it's a darker color. And it literally just masks of whatever we want. If you hold all by the way as well, you can see that the plus mask goes, it goes to minus mask, and now we will just take away the mass, right? So you can paint both the plus and the minus. So there are more ways to actually edit your mask. You can also go down here into your masking options. Again, inverse, clear, mask, all blur, sharpen, grow. You know, all of those things you can do. And yes, very handy in this section, you will probably use it more often, you think, especially later on if you have a little bit more knowledge about ZBrush. Because you can also grab some nice big shapes out of here. And even for just concepting or it doesn't matter, you have like this, this very handy. Also if you want to, let's say preserve something. So let's say in here we have very nice detail, right? So we have all of these skills which we had here, is going to put some skills in here. All these nice scales, a dont really wants to damage them. So what you can do is we can just mask them off. And now if you sculpt here again, we cannot damage those because I cannot draw on them, right? So that is a very handy plus I like to use them also with maybe the move to like literally just moving it with gizmo. But let's say here the move to BAM, and you can move stuff around. Very, very cool. So in the next part, we are going through a little bit of a modeling process that I'd like to use. I have a few steps on how to really create a nice art. And it starts all with reference images. I really want to hammer that down. And yes, so I hope to see you guys in the next part. And if there are any questions or if you like at even just comment down below, like I really like to see if I help you or maybe if there are stuff that you want to know better, you know, maybe you want more videos about a certain aspect or maybe you want that, you want to, if you give me some feedback, you know, maybe I don't like that way to teach. And I can always choose if I agree with you and want to change that part or if I think it is necessary to do it that way. So I'll see you guys next block and let's go. 7. 2.1 Tree stump blockout: Before we can start with a blackout, we first need to get a reference images together. I already talked about that before. So now just your time to do this. And as you can see, I have a lot of images here. Then I compile them together into Photoshop. And that's it, right? So then you have one sheets of all your reference images altogether. I have a second screen and I put it on the second screen just so I can look at it all the time. Now I also want to show you a very handy way to look at models in a bit of a different way, I guess, and that is photogrammetry. So what is that? These links will be down below. And then we'll open a website friend Sketchfab here. And what is this? Is Sketchfab, I guess cells, 3D models, all that stuff. But it also has some models from photogrammetry. What is photogrammetry? It essentially is a 3D model which is created just from images. So if we look at this model here, someone just made pictures all around here, like hundreds of images. Then you put it into a program. And the program will just compile everything together and create a 3D model out of it. Now, we can actually look around our model. And there is, of course not a photogrammetry model out of everything. But for certain models we do have some photogrammetry from it. And it will help a lot with looking around the shapes, right? So when you're sculpting the kind of the gum inside digital sculpting is that we often just use 2D images as reference. But if you look at sculpting classes where they may be sculpt humans like figure sculpting, then you will see that there will be a live human modelling for them, right? So nine then you can see more shapes. And that is kinda what we're doing here. This is our life model. And you can change here. If you click on this model inspector, you can change some of the settings. So instead of it being rendered with the final render, we can also go to a met gap. And then you can see some shapes just I guess with unmet gap on it, just like you would see it in ZBrush are met caplets surface then we have some extra surface detail. But that's kind of it. So now that they have all of this, we can go into ZBrush and start to block out our model. Okay, so we're going to start just with a cylinder. And another line to do here is also just get a cube in there, make it way bigger and then skilled around the y-axis just so we have kind of a floor underneath. Then I like to select with the masking tool the bottom or the top of the cylinder, and then just scaled up a little bit. And then we have more of a conical shape, I would say. Okay, so now I look at this image. This was kind of my top few image. And I really liked the way that those roots we're just laid out. So I went in there also in the top view of C brush and went with the move tool. You can also do it if the snake HUC, brush. But I just like to move them and make them follow a little bit the lines that we can see in the reference image. So what is happening now is from a top view it looks good. But if you look at the side, you can see that it just looks like a, I guess a mangled octopus or whatever it should be. And this is because you're just looking from one particular fuel, right? We're looking from the top view. And this will happen a lot, but there's also happens if you do the side few, if she's made it perfect on the side view and alumina frond, you will just see like a person which you would not want to see in the dark, let's say. So. You want to look at the more reference images, maybe even some of the photographic images that the models that I have shown just before here. And then build up the shapes like they are supposed to be built up. So I'll just do this with clay build-up or clay tubes. And yeah, that's kinda so around this phase I'm starting to get kind of in the zone. And that is literally just keep creating, keep building a little bit. I guess this is more, I wouldn't really say secondary details yet. It's still building and blocking some of these routes out, right? Yeah, slowly getting to more secondary shapes. As you can see me here trying to define the trying to define them with the dam standard brush and then build on top of it again with just a clay brush. What is also very handy, which I am actually not doing here. But you see all those lines 50 damn standard. What you will actually see me do a lot with building shapes is that instead of going with the shapes, so let's say this is a, it's going to be a route, right? And doing with this my mouse, that's going to be a little bit messy. But a lot of times people do it like this. They just built up from the shape right there, wanted to go up and down with the whole shape. But what I like to do is maybe just create a shape a little bit, but then go perpendicular to the shape and build up like this. And I think it's way more effective and it creates, Yeah, you have way more control about the shape that you are creating. You will see in the video that I'm really always doing it from side to side. Sometimes she would see me do some straight edges. And that is just because I want to get the main shape there, but then I go perpendicular to the shape. What I also highly advice, which I actually did not do in this video, but what I do hide advises that you use a different alpha for this brush. So I now have the clay buildup. It works great, but it has some really sharp edges which you don't really always want. And if you want to get rid of the sharp edges and just want to create a nice and smooth edges. You can just get rid of the alpha or select one of these rounder alphas. But then they have to be a little bit more of a gradient on the outside, right? They have to be soft. But let's do it without. You will see that now I have a way smoother shape and this already looks way better, especially for more organic stuff. You can see that, yeah, you can see the difference, right? So if you want a more smooth shapes, just get rid of the alpha or throw in a round alpha with some gradient to it. Okay? Let's go further. There will not be a lot that I can explain further. It's just, I'm building up more shapes. We are kinda going towards the secondary shapes, but you can see the top is still kinda messy, right? So I'm just building up, building up, creating some extra of those root endings in the bottom. It's just what I see in the images as I told you before. It's really just recreating from death. And yet don't be afraid to try some stuff out, of course, just tries to stuff out and we'll see where it actually ends up. And then the next part, I will explain further what is going to happen. So see you guys there. There is one more thing that I can show you and that is that I use the trim dynamic tool to trim down that weird shape and really make its in-order tree trunk as high as it should be. And now you can see that the tree drunk is not just a circle anymore, but it actually has those root shapes and yet now starts to look very realistic. Oh. 8. 2.2 Tree stump Secondary shapes: So right now we are ending up at the secondary shapes. And yeah, you just gotta define them at this point. So grab your build-up brush. It could be the clay clay tubes or clay buildup. And I personally like the damn standards. I put the alpha of the DEM standards a little bit smaller, so it will probably be the alpha 47. That's the one that I like a lot. And I had just defined some shapes here. That's kind of what we all need to do. And there's not a lot to explain. You just gotta do look at your reference images. And in the next part we go to creating alphas and all that good stuff. So yeah, I will, of course, lead at play because I want you guys to see just every step what I do, but there's not a lot more to explain. So I will see you in the next part. Right? Bop, bop, bop, bop, bop, bop. How is he? 9. 2.3 Tree stump details: Here I am masking off where the tree bark and the inside of the tree will be, right. And I liked also that it has a little bit of a height difference. So I'm just inverting it and then putting it a little bit up. After I put this a little bit higher, I went into my alphas which had just created. And if you want to know how to create an alpha, just go to that section, how to create an alpha. And you will learn about the program which is called materialize. And you can create your own office just from an image. Then you put it into a brush. And I will also show that in the materialize section how to create actually a brush from it. So what I did here, I just inverted the mask. And this way you cannot really destroy all the detail that you've just created with the alpha. And I wanted to play a little bit around with the bark that we have on the side. So just go in there if you clay buildup and just create some extra more interesting shapes. The next thing that I want to do is I want to create some extra masks. And those masks are essentially going to be where the tree bark has been maybe bitten off or this broken off by nature, let's say. And there will be some interesting points just to our whole mesh. So you have to keep in mind that the bark on the inside will be different than on the I'ts outside, right. Because it's been broken off. You essentially don't see the bark anymore, you see the voodoo underneath. So we're first going to create the boot on top. And because we create those masks, the three bark alpha will not be shown up in the mask. And we can then start to create some nice tree barks. Also this I've created just from an image. And yeah, you already know that you've got to look at the materialized section. I create John alpha section, the greatest alphas yourself. And. Once you have finished the bark on top, now you can infringe a mask and actually focus on the parts that have been broken off or cut out. Let's look at the reference image to actually determine what four shapes we need to create. If we actually look at the image of a bark and part of that is broken off. You can see that the bark has a very fine details which we just created. If the alpha, but the vote underneath is still fairly smooth, right? That might have some details, may be some, some lines from top to bottom, but it's way smoother. So you want to also do that inside you are sculpt. Okay. And as last, I'm just finishing some details. I wanted this book to look different from the top because you might already know that the bark also look different on a document on the sides. Yes. So just create some actually the sun there. And that's kinda it. So I hope you guys learned from this first exercise. And don't be afraid to send your images. You can even send them to Facebook or just honest websites. You can put them down in the comments below. I can give you some feedback. Yeah, that's it. So I'll biggest learned from this and I will see you guys in the next part. Right? Okay. 10. 3.1 Stylised sculpt base mesh: Welcome to exercise two. We are going to do more of a stylized sculpt. And you can see here what we are going to create. We aren't going to focus on this booth arrow with these metal parts and the rocks. We are not going to do this part here. You can always do it, of course, in your free time and I would love to give some feedback, but I think these parts are going to be enough just so we have three different materials which we work on. We are going to do a different style, so it's going to be more stylized, which is very cool. And what is also going to be important is that we are going to build it up from Blender, OK, so you should never feel pressure to only use one program like C brush because sometimes people feel very, I guess proud of, yeah, I made all of this and ZBrush, but then that they'd like six hours more to create actually the base mesh or whatever. So use the best tools to also save some time and saving diamonds. Never bet. We're going to jump inside blender and we're going to make our base mesh. And then we're gonna just import that base mesh into ZBrush. So what you want to do here is you want to go to the front view. And I want to pop in this image. So you can just slide it in here and you can see that it ends up in blender. So next step, we're going to select this image here. And if you go click on this little arrow on top here, you can see the location of it. We want to put the x, y, and z axes at 0. So now we can start creating the base model. And you want to grab this cube megabit smaller, and then just make sure that it fits in this era, right in the image that we can see underneath. So now we're going to just have edit mode, create a loop in the middle and then red this edge goes onto the side view again and move this edge outwards. Nice. So from the side view or the front few, which we put it as, it looks good, right? But if we look at the bit around, you can see that it is quite thick. So I'm going to scale this around the Y axis a little bit. And not alright, looks better. I might want to make it even a bit smaller. It doesn't matter, just make what looks good to you. And that's the thing that you will see a bit more often also in sculpt. But you will see that eventually if you're going to create more of your own sculpts from other people's designs is that if you look at a, to the created the image, like a concept art, a lot of things seem to work very well. But if you're going to translate them in 3D, you will see that some things just don't add up. So yellow later show you another example of this. Now, we are going to create another cube. Makes sure your 3D curses in the middle. You can do that with shift C. Let's scale this down here. And this ready. Around here seems to be okay. And I'm gonna duplicate it and write this bot here. So now I'll show you another reason why through the 3D don't always translate together. And that is that this Barth kinda looks weird, right? We want to see only the, the error. So we want to move this backwards, right? And maybe even scale the bid down around the y axis. So it is fine if it's a little bit thinner. If it's not the square, I like it. But what is weird is that now this does not really match up anymore, right? This is at o part in between there. And that's supposed to keep the weight and keep them a bit more together. So this part seems to be okay. You can cut that out and then put the other Booth part in here, and then you can put those and then you can put these two bolts or whatever they are together. So that's totally fine. So we just need to scale this one down around the y axis and move the bit inwards. So now this would work in 2D and 3D, right? So it still looks the same. And, but we changed a little bit. So an artifice that also works. Great. Next, Barth, let's look at our image. We can see that we have loads of rocks here. And I want to do with most of the rocks actually inside C brush. But let's create just some cubes that are roughly the same size. So around hair. Cyclical shift D, I'm going to create the smaller one, shift D, this one will be wrong hair hair. The scope very rough. If this keep them cubicle, you don't have to change too much. Because these are essentially just going to be guides for our rocks that we're gonna create inside C brush here and a smaller one, I guess. And then we have two huge ones in the bottom right to keep all the way down. Awesome. So that seems quite okay. Okay, so just keep these as guides. And then when we're going to create the real rocks, we're going to figure out how we actually put them and where to place them. Okay, last part that we need to do is sum of these metal bots. So we're just going to create two cylinders. And of course, some of these cubes here. So let's start with the cylinders. I'm just going to go and hair Kirsten selected to show it. I am in the middle of this middle yep. Wooden bowl, let's say. And then I'm just going to create a cylinder, scale down. Don't have to worry about the size and the geometry. We just scale it down here and then it should be around the same size. How do we see the size? Just get the empty up here and then make sure you are in wireframe mode. Perfect. I'm going to keep them in the middle. So I'm just gonna do it like this. Perfect. Now we have a coupon for, you could just create like selected this dope phase duplicated BY selection to separate it. And then just scaled a bit up and go into your wireframe mode while you have your image active. And then just create this little part here. Alright, so now the shape is at least the same as that this bowl. Okay, awesome. So this is going to be kind of the base of our model. And what you want to do when you export something you want to export may be separate parts. Because inside ZBrush is, we will see that everything is ends up in the same subtotal, right? It's just gonna be 12. You can still split everything also in ZBrush. So what you could do is if you look at the boli groups here, drop body frame. You can go into your body groups, do outgroup which just makes a separate Spotify group for every separate mesh that you have, and then you can select certain parts. So let's say I am going to select this arrow here. You can click on Split and you can go split hidden, or you can spit, mask, spit, unmask that those are all options you can do. So split hidden. Now you can see that all of this hidden parts will be split. So that is also an option, or you just export them in separate parts. So you may be exported the wooden parts as one than the metal parts as one, and then the rocks File Export OBJ. What you wanted to make sure you do is do only selection only if you're going to only do the like by separation, make sure your selection only. And then I'm going to select wooed. I've created my own folder, which is going to be exercised through and then stylize sculpting exports. And you want to do this as well for the metal export over j metal and then the rocks. So one shot inside C brush, you can go here into you see plug-in going through your subdue master. And here we have multi insert, because if you just click on insert, it can only insert one part at a time. Okay, so if you go to multi insert, we can actually select them more at the same time. Now I got a little error, and this mesh contains that non-standard polygons. I already know what it is. You're gonna click on quads and triangles compatible. But what does essentially is, is these cylinders here actually have n guns, and n guns are very bad. So what are angles? Let me explain. If you zoom in on our cylinder, you can see that it has vertices, right? Those are these dots in between. A further c will be an edge. And if three or more vertices will be combined together, you will have a face. The problem is that more than four vertices will be seen as n guns. And most programs don't really work well with n guns. If you look at this face, you can see that it has 32 vertices attached to it. So that is an end goal. We don't want that. So what you can do is you can click on IE to extrude, then click on M, and then at center, right? E, m at center. Now it doesn't have those weird yeah. And guns anymore. Now you just export the metal again and yeah, you won't have that problem anymore. So once more. Let's do it for the other one, e, then our right-click just so it snaps back to the middle and click on em. And then at center E, snapback, M sender. Okay, so let's try it again. So we're going to select off our metal parts here, File Export, OBJ, and we're just going to import everything. So C plug-in, subdue, master, multi, insert, insert them all. And you will see that if an open-end, we do not get that problem anymore. Okay, so if we now look at a model, we have our rocks, our mood, and our metal. Awesome. So in the next part, we're just going to start with our booth. And then we'll see what we are going to do if the rocks later on, I see you guys there. 11. 3.2 Stylised sculpt wood: Okay, so we're going to start with some food, right? And what we can see from my image is that it has a particular shape, right? We have some darker parts here which are called in. And then we have the lighter parts of the world which are little bit higher, but assume also to have a bit of height difference between itself. So how are we going to create this? Well, you can do it multiple ways. Let's go to our booth and I'm going to hide off the metal and the rocks. And I might even want to separate the boots. So as I told you guys before, what you can do is you can go into your party groups and click on out-groups. So now these groups are yet, it's still in the same sub2, but you can hide them off very easily. With control shift, you can just click on that and the other stuff, height, so I really like that. And that's the way that we're going to do it right now. So I'm gonna click on this line filled balloon frame again, this was just to see that you have different product groups. And we can give this addItem mesh, right? So if the dynasty mash this, you can see that and trusting mesh it together, right? And that's what we did was we want, we want separate objects. So what you should do before he died a mesh it is you click on groups and now it will diner mesh each group separately from each other. Right? Now for height, as you can see that this is separate also. So let's focus on this part here. You can do it in multiple ways. I'm going to show you two ways. And the first thing that I would do is I will probably do it with a mask. So if you select your mask, you can just create these lines in here, make sure your resolution is high enough. The base shapes already done, right? So you just want to make the resolution a little bit higher. So maybe 300s. Sometimes you have to move it a little bit. Sometimes I even do like with the move tool. Here. I move it, then put it back and then diametric with, I don't know why it's sometimes bugs like that, but that's what you could do. But let's go into our mask. So when unmask something, I'm going to look at these darker lines here. And I'm going to mask them off. So let's say we have one of those dark lines goes around here. So the first thing that we want to do is we want to create a like this edge. We want to make it a little bit more beveled that say, so you can do it with the trim, dynamic, Polish, flatten. There are a lot of tools which actually do this. Just make sure you play a little bit around with the intensity and you don't want it to be too big or too small, right? So just play a little bit around is that you can also do the first dynamic then go with the planar over it. Yeah, there are so many ways that you can do this, but I just wanted to create a little bit of a bevel. And by the way, we'll do this and blender, I like the way that you create a buffer when you do it, like sculpt wise, let's say. I like that kind of rough look. Plus it looks also fun, stylized, Right? So right now of course, because I've done it with my mouse, it just goes way too deep. But we're sure tablets, you can make this look very nicely. And now I will show you, of course later on when I'm really going to create all the booth, right? So yeah, we'll be solving like that. What I do then to create these Yeah, I guess the separate parts, I will just do it with a mask, right? So if I'm masking tool, so you can do it, just follow with FGC in the image and then just go over it with the masking tool that you have. So let's say we have some hair and then we have another one here. And then yeah, just make sure you then you continue it like hair, you know, and then do the same here. You might, might even want to mirror this. You could do that and you could try that. But that's totally up to you, right? So then what you do is you are going to infer this. And you can move with inverts, right? So you can just go here with a clay tubes or you can, if it's scaled inverse like this, or you're going to move this outwards when you really have everything ready, that is a possibility. But you could also do it with this sculpting brushes. You can just push it inverts right? Then alive to switch the sides, let's say. And then an item just Folsom put some more effort into this design that is kinda like the graded. I'll explain more later. I'm just showing you that probably with the masking tool, you will get the best effect in this case. So that is probably how I would create this. And I'm just going to start creating a now and then I'll show you some pointers. But it's kind of the small explanation of how I do it, right. I first go on the corners and then make them create a small little bevel in there just so it looks a little bit more woud like so yeah, that's kind of how I will do it. First create the bevels on the side and then just use your mosque tool to create those yeah, deeper wooden features. So let us go into debt and now I'll show you how I do it. Ok, so the first thing that I am doing is of course just creating the bevel as we talked about before. Okay, so now it's time to create a mask. Yeah, so just look at your reference image or the concept art and look where those lines are going. It doesn't have to be perfect, of course, just get the general shape there. And also you need to kind of make up the other ends, right? We cannot see everything. So this is kind of the fun part, I guess for some people, it's the scary part because through now, do everything on their own. But just keep this general shapes from the other side into mind and just recreate them with a few, recreate them a little bit different, let's say on the other side. And I add this way, you can't go wrong. When I'm happy with my general shape of the masks, then I will just invert it and grab the clay buildup. And then these shapes inside. What I like to do next to get some extra shapes is actually infer the mask again and then go inside with the smooth Polish and the clay buildup to again. Yeah, and this really does give it some actual digital. It doesn't look as flat as it used to be. And I think if you look at the reference image or the concept art, that this is kind of the feeling that they went for as well. So I am happy with the result of the booth and I'm just going to continue this to the pole in the back and the little, I guess that gives them together. It's a lot better. Bam. Amazing. Okay. 12. 3.3 Stylised sculpt metal: Let's talk a little bit about the metal. So stylizing metal is a bit different. I feel like metal has a lot of flat surfaces instead of the more smooth surfaces that would, would have and maybe get some scratches in there. And sharper edges that say, so, how would we, how would I approach this? First of all, I think this is a bit too boring if it's just flat, right? So I'm going to put Medina mesh on the, I'm also gonna put Medina mesh on groups. They are not different groups yet, so you can just go to photo groups and then do out-groups. What I also would like to do is data measured on a higher subdivisions, like a higher resolution. And then only start to dynam mesh. Because with metal, I would like to keep this quiet like a corner quite tight, let's say. So if you are going into your trim dynamic brush, I would not make it too big. Ok, keep it quiet. Small. Metal is not really, of course depends a little bit and at the stylized, but I like to create these edges nice and they don't have to be too sharp. But I personally wouldn't make it too big, let's say. So let's say we are doing these two corners here. What I also like when you make it a bit more stylized is to go over a few more times. And I really like the effect that, that gives. So what would I do for this here? I will grab first just standard brush. And what I would like to do with the standard brush is Rabbit. And then just draw on here. I'm again do it with the mouse so it's not gonna be perfect. But yeah, just drawn here, makes subscribes and then hold Alt to subtract some shapes. And just to make this a bit messy, let's say. So why would I do that? Why would that make this nice form messy? Well, if you now go into this with one of the planar brushes, so you can go planar. I like as polished as well. You can start to create some different shapes. So let's actually do the trim dynamic. In this case, I put intensity bit lower, but you will see that now I can create different heights and different planes. And you can see that these different heights are starting to create yeah, cool effects, let's say. And later on, when I'm really going to sculpt with my doublet, you will see some major differences of course. But that's kind of how I like to just not make it just flat. You see this, it's more of a nice stylized Yeah. Metal shape. And then as nth so as third Sherry, I would say I would like to clay like grab the clay buildup brush and put an alpha ONE there. So alpha 14 maybe like to maybe bit software, lets go of S6. Yes. And then just create some of these details, right? You can do like a big src or smaller one. You see it a lot in gas, more of World of Warcraft style shapes. But I like to create some of these shapes in there. They look foreign, nella cool. And which also could do is you could grab the rake, brush and then change the alpha. I have this author right now it is alpha 14 I think. And then change the alpha. Let's do alpha and alpha 41. Let's look at this thus. Not maybe we go bit sharper, 47 maybe. And then you can create like a nice action here, just like it's got little bit c. So that's how you can get some cuts and some different shapes in there. Firstly, I would not mirror this because it just looks too similar. I would make them each separate from each other. Yes. So I'm just gonna go and jump into ZBrush and you will hear me talk, but those are kind of techniques that I use. So to recap, I like to create a bevel. Again, this bevel is going to be a little bit smaller than we had before. Then I like to create some randomness with my stem, a brush on just the metal like Planum and metal plane. And after that, I grab the trim dynamic. But you can also try to planar term adaptive between those kind of flattened brushes that say, and draw out some of these flat shapes. And because you've created the bumpy surface, you will have different kinds of planes. And that is what we want if the metal right? And then at the end I create some scratches, maybe some weird marks in there, right? So that's kind of how to do it. And let's just get into this. Let's start sculpting. First. We gotta do is just create these nice bevels. 13. 3.4 Stylised sculpt rock: So how do I create the rocks? Well, they're actually quite similar to the metal, but you just want to get some reference images of real rocks. Or you even look at the concept art that we have gotten. I just want some shapes in there. So first I grab them, move brush, right? Move your cube around. Then yeah, you don't really have to create a baffle. And if you are going to great, like I do create the bevel here. But if you are going to create a buffer, you want to make it a bit more broad, let's say. Depending on what that is, right? If it is a brick, then you probably do create some battles if you have multiple bricks laying next to each other. But if there are more like Boulder kind of rocks, then it will be overall more of a smooth shapes with sharp faces, right? So the shape will be more rounded, bottom will be sharp faced because it is a rock. And the next thing that I want to think about is that rock chips. So you have very sharp edges. And then as you can see here in some of these reference images that I have a display around if the clay buildup to, just to create some height difference, which we did before with the standards, the brush. And what I'll do then is I go in there if the trim dynamic and some of the dam standards as well to create some extra deep edges, like some, some sharp lines. But there's the term dynamic. You'll be able to see that now we can get like a nice smooth, I guess shape. But there were still it's almost like it's chipped off a little bit like you can see in a reference images, right? So that is kind of the loop that I am going for. And don't be too afraid to carve in there a little bit. It has to look like a rock, right? So just carved out a little bit. Don't make it too smooth and play a little bit around these tools because as you can see now I went in with them standards just to create some more depth for my damn standard tool or even for myself to see where I want this line to go. Right? And yeah, that's kind of it. And I also play a little bit around some of the like fled and tools and the masks to create those shift edges. But I think it's just time to go into our whole model because this is kind of how are created, right? It's fairly simple. We've used a lot of these tools before, so just play around with them. And yeah. So let's create some rocks and yeah, I'm just building some rocks up. The first two are a little bit of getting used to, I guess sometimes you just gotta get used to how to sculpt and then you kinda clicks. And that was for shared a case with me. I knew the main things that I wanted to use. So I use the clay buildup to get different kinds of shapes in there. Of course, the trim dynamic to create some flats, faces. But yeah, I gotta be honest, this one was the first to work like a little bit of getting used to. After that, it went easier and easier and you kind of see the rocks getting together with. Then what I did is I just did the main shapes of rocks and I went back into them later on. So I just wanted the first main shapes done. So they all fit nice together and then go to the details, okay? Uh, you don't see me do this in the beginning to because ours is figuring out how to do this. So after that, you will see me yet, as I already told you, I'll just jump back and forth into rocks and just changing the main shape. And after that I will just go into the more detailed, you know, the secondary, tertiary shapes. So that's kinda how I do this. And if something comes up out, of course that you know, but this is kinda the main thing that I'm doing. They all look the same. It just takes some time and I want to show you the whole shebang. Okay? So now we come back to the whole talk about 2D and 3D. And sometimes it doesn't translate perfectly together. As you will see me do here and in the future is that some of the rocks I just make a bit broader. Because if you look at the side view, it looks good, right? The whole starting to get together. But if you look at the other side, it's empty. If you look at the front or the back edge, it looks weird because one side is full of stones, had other side not. So he can just duplicate other sounds over. But you can also change some stones and just make them a little bit broader, Just so there is a little bit of randomness, but at least duplicating them. So we have two rows of stones and then it looks better from all sides instead of only from the side view. So here will be the part that I duplicate some of the rocks. I wanted to get some randomness in there. So the bottom rocks are actually the same. They are bigger brother. And this is why I'll just duplicate the top. And then I merged some of them together as sum naught. So it's just, I'm just playing a little bit around with whatever we have. Right. Don't be feel like you have to be through specific and this just make, yeah, make what looks good, but makes sure it makes sense also in the 3D world space, right? Because otherwise we just have an MD, MD back or whatever. So keep that in mind. Mm-hm. Okay, so this is the final model that I made. And there you can see that I actually organize these rocks so they fit a bit together, right? I mean, it now makes more sense from the sides. What I personally would do is spend a little bit more time into making also these sides, a bit more random digits look a little bit to conform. So maybe you have a smaller stone hair or whatever, or it is broken here just to make it look like it's not just piled upon each other, but that's kind of how about I meant with duplicating them over and making it. So it works also in 3D, right? Instead of only from a side view, let's say goal. 14. 4.1 Skull introduction: Welcome to the last exercise that we have is going to be a little bit harder. Maybe it won't be. The last exercise may be I will actually update this because I really liked the scores and the if enough people actually enroll into this, then I might create some cool extra updates for this because yeah, I think it's cool and we should do some more, right? But let's just jump into here and we have a skull as you can see. So if we go all the way back to the beginning, you heard me talk a lot about building up shapes and starting from, you know, the skull or skeleton. So if you actually look at the human, let's say human face, you will see a lot of shapes, right? And a lot of the shapes are actually from the bone itself, right? So if we know how to create the bone, then we can put everything on top so you can see that the nose is obviously not hair. The lips are not here, no, ears are not here. It doesn't look like a human, but the, all the underlying shapes, our hair. And we also know how to put in the eyes now how very Putin knows, right? So if we have all of these proportions writes, we can create a realistic face. So why is it so hard to create a realistic phase in, yeah, as painting or drawing or even sculpting. That's mostly because we look a lot at humans, right? We are already programmed to look at humans and look at certain things. And if something is off, it looks really off. That's why for a lot of people, clowns are very scary because they look human, but something is just off and we can't really read their expressions. Not only death, but we also look at a lot of humans. Everyday you will see humans. Maybe you watch a video, maybe you just talk to someone. You will look at the phase if rides. So we have a lot of reference experience, let's say, or reference images that we saved in our heads. How a human can or should look like, and it's solving is off. We can just see it because if something is off in your scope, let's say in the in the tree stump scope that we've made, we will not really see it, right. We know some stuff about it. But yeah, it's not really noticeable. And a new interface that's a bit different. So this is also why I like to look a little bit at the anatomy. Does this mean you need to know everything about anatomy? No, not necessarily. I do highly recommend though you really look into anatomy. I even have and very nice book next to me here, human anatomy for artists by Elliot Goldfinger. It's a really great book. There are more books like this. It's quite expensive and it's really just an enemy. Okay? It also shows, of course, the shape. So I have very nice images like the front view, side view, the backfill with some proportions on them. I gotta be honest, the proportions that I'm showing here on screen Honan, these are kinda more at fans and I have next to me my book. But they both show the shapes that we can create and kind of how we should build it up and which, yeah, what the anatomy is. Right. So I also have a very cool website for you guys, and I will just put it down in this video. But what we're gonna do with these is let's just look at them first. So here we have this website, which is the open text VCA. And it's this website. And it will just, yeah, it's kind of like a book, so it's very, very interesting. And all of these images here, you can just click on or maybe safe, and you can see what parts the scholars made out of home. So very, very handy. And yet this is all free. So just take advantage of that, as well as if you click on Luke. Here, I think you can go to a video and it's this video. And it just shows you the skull in 3D so we can just really look around every single part of it. And yeah, I have a little bit more of an in-depth view of how the skull is actually created, right? And you even have a little explosion few. So you can look more into detail in certain parts. So very, very nice. It will also be labeled every one of them. So if you want to learn a little bit more about them, you of course can. And furthermore, I like to use a lot of reference images like these, which I just like or look cool. And then I combine everything together and create our skull. So if, and if we look at our proportions, which is one of the most important things I think, then we have to see certain things here, right? So what do we see here? What is happening? What are these numbers? And what are all these lines? Okay? It's quite simple. The head. So this one from here till here, as shown in this one, the one is just one. Okay? So this is the length, the length of the head is one. If we do this 1.5, so a half of this, we get to this line here, bam. And you will see that it ends up in the middle of the orbit, right? So this is very handy because if we actually have this shape in the middle, we know where to put our orbits. Then we also can see thirds, right? So this line goes from hair. 15. 4.2 Skull preparation: Let's jump into ZBrush and I'm just going to show you very quickly of how we're going to start. And what I'm going to do is I'm going to do this just first with a mouse, just very roughly and very simple. And after this, like this beginning explanation, I will just go over again. I'll just do it with my tablet and then I will narrate whatever I'm doing. Okay. Why is this handy? I think it's very handy for you to see that the beginning process maybe two times, but also just so I can explain the basic shapes that I want to put down first. Plus how are we going to use multiple views? And also some of the proportions that we have to work with, right? Because we have this image in Photoshop and we have some proportions already down. So let's just start first with the first shape that we need. And that will be our circle, right? Our sphere. So we're just going to start with a dynamic sphere. If you don't have a done unless fair, just like append a sphere, it doesn't really matter. And now, first thing I must do as I want to put off the perspective. So I'm going to turn that off and I'm going to add, so append a cylinder. I'm going to move the cylinder down here. And why do I do this? Why do I add a cylinder? Well, let's look at this shape here. This shape hair underneath, whereas my mouse hair, it might not be as cylinder, but we can cut the cylinder in a few ways. Ok? So thats shape we need to create right now. And you need to look at two sides of the few to actually know what's going on. And we read it even have more fuse, but this is just whatever we have right now. So we are going to cut this. How do we do this? Well, first, make sure your perspective is off. Then I'm going through the side view to actually create these cuts here. So I'll go over here and over here. And how are we going to do this? Well, it's fairly simple. If you hold, if you go to draw and hold Ctrl Shift Alt, we can see that we have a specific is like a different brush. Then even if you hold the smooth brush or the control to have the mask brush going to shift out. It's actually a selection brush, I guess. And you can also pick multiple ones. We are going to use the clip curve for this one right now. And what is does is if I just go hold Ctrl, Shift Alt and drag, you can see that this comes up if I release them. And now it will delete whatever is on side of that. Darker, I guess gradient. If I now select Alt, now everything will be deleted on the other side of this gradient. It's, you gotta cut up. You've got to play around with this a little bit. It's just hard to explain as well. But now if I release my mouse button, you can see that it just cuts off that piece, right? So it doesn't really cut it off. It's like kinda makes sure all the geometry goes towards the flat part. So sometimes you get like weird, weird stuff like this. But we can always. You know, go into dynam mesh and fixed it. So I'm just like do it like this. So the first thing that we need to do is we kinda need to create just a normal shape like this Baum and then around. So now we've created this shape here. And now we need to create this shape. So it's kind of a yeah, it's from the middle of the skull, as we could see here around the middle of the skull, this amendable starts to be created in the middle of the skull. We have this mandible. So at the middle of the sphere, you can go a little bit more to the left. And that's just because we know that the sphere is not the right size yet. It needs to be elongated a little bit after this. So that is why I am just doing it like that. So yeah, just create something like this. And you can see that IF this mistake as well, it's totally fine. Let's go to the front few now though. And in the front f2, you will see that we have a little bit of a different shape, but don't really worry about this Chin part here. Just focus on the fact that we have a sphere here. Very bad. And then it just dips down a little bit. Okay, so just creates that shape a little bit. How are we going to do that? It's just with the same tool, but make sure you actually have your mirror or your symmetry also selected. And you can just do it very easily with x k. You can see now I have two of these dots. And we can create like this, like this Baum. And here we have kind of the shape that we want. So it's still fairly rough, that's totally fine. But it's better than than we had before. So now he can already mercies or you're gonna change your sphere a little bit. So this would be more the cranium part. And what we can see from all the images that we have, that is that it's not really round, right? So if we have a circle here, you will see that we actually create a circle. You can see that it's not really a circle, right? So we need to elongate it a little bit. So go into your sea routes file, crepe, moved through and then just move this big backwards. So what you could do here, just put your reference images students like the other side of you. And then you start to create this. One thing though, is that our top, it's actually not at all what should be. And I just noticed from experience. But if you look at actually a skull, you can see that this will be the BEC, by the way, this is the front, this is the back. You can see that in front it is smaller than in a Beckett actually starts to get a more rounded off here. So we should also do that in our little model. Of course. So more thick in the back. Here. And a bit more, you know, the true like smaller in front. So yeah, keep those things in mind. Those are quite important. And then when you're happy with this, you kinda want to merge these together. So in your suppose you have a merge to merge down, click on OK, and now there are merged together. And if you already had, like if this fair that you had was already a dynamite, you can just Data mesh it. Otherwise you go down here to geometry and click on dynam mesh and just selected like this, right? So 30 to maybe put it a little bit higher. Don't put too high though, because you don't want to focus on any of the details yet. So this is the beginning of the scope. Very, very nice. A lot still needs to change, but it's a good start, right? We have a decent shape here. We also have something here which is the temporal fossa. And that is kind of the Temple. That is this part here. This is way more, I guess flat and also like dips in a bit. So you can also create a yet at flat bars. You could do it with just a trim dynamic. I'm an actually create this a little bit. Don't overdo it though. But yeah, if you just want a little bit of this in here, that is totally fine. Yeah. And then you have a little bit of a temporal fossa and you can start to move the front part as well. So we know that there's inwards. But let's start now with some of our dimensions that we have, right? So we can kind of get rid of this basic shapes and we can focus more of D on these hair. So what do we have? Well, we already talked about it. But we have these, yet, these thirds halfs, and we're going to start with just the half. So if we look at the front, we can see that we have this one here. And if we look at half, we can see that it is half the orbit, right? So what you're going to do is you are going to create, go into clay buildup brush and create this orbit. And it will be at half. So where do we create this? Well, you can eyeball it, but you could also go into your moved through hair chains to the other gizmo and then drag it from the top of your head to the bottom with shifts selected with shift like hold in. Why do we hold them shift? Look at my line now and look If I don't hold shift. Now, you can see that if I do not hold shift, it will actually snap on top of the surface. If I do hold shift, it will just go down to the surface. And now we can actually measure what we want to measure. So this is 2.46 units. I'm actually going to go to my preferences. And through the transpose units. Here we have the calibration distance. So if you change this from 2.46 or whatever it is for you to just one. Now, this unit measurement will be one, right? So this circle here in the middle. Will be 0.5, but we could also just look at the circle itself. So if you just draw from vertice circle B, so you can kind of switch between the move and the drawl. Around here will be the half of our orbit, right? So crazy orbit here. I am doing this with a Moussa. Kind of sucks right now. Now we can look more at the thirds, right? So if we look, if we go from the bottom up, we will see that the first third that we have, so from here to here, will be at the nasal spine, right? So at the bottom often that knows hold it you can see. So we are going to just do that with the clay build-up or the standards would also be good. So that will be at points three rights because if you 0.33, let's say 0.33 would be around hair. So around here I'm going to create this hole. So most of you guys probably already know, but if you need to know any of these measurements, remember we made this whole length. Who made it one, like it is shown here. And if you need a third, the only thing you have to do issued has to divide one by three, right? Then you get a third. So easy. So one divided by three is 0.3333. So just give them 0.332 minds. And that is what I'm doing every time. That's it. And then where does this top end up? Well, you just go back into your reference image and you can see that the top of this nodes Hall or like the bottom of the nasal bone. Here it will be at mia. It's kind of in the middle of the orbit, right? A little bit lower, but kind of like there. So you can just look back and forth in these two models. And then you can see wherever he wants to put your brushstrokes that say, very, very nice. So this is kind of a beginning, right? So we have these, yeah, first bits down. And now the last 0.3, the last measurement would have been this third. So there'll be around the brow ridge, right? So if you just I inherited I built up and then 0.3. I will do everything from the bottom. By the way, if you're going to measure from something, just keep measuring from that point. So 0.666 hair, we would have this brow ridge, right? So it's not perfect now, but you can kinda look in your other reference images how it should look like, right? But it's still like this brow ridge here. Okay. So now for the sides, that doesn't look good at all yet, right? So we need to look at our side as well. And you can look at this length. Hair. And this would also be a round one. So let's also create just one. Yeah. And then just match up everything so it fits the way it should fit. Ok. So let's say this is kinda for the ones at half of this, we start with our mandible, right? And the first thing that I personally want to focus on is the zygomatic arch here, this thing. And then I create the bone and the effect amendable, right? So the zygomatic arch, where does it come from? You can see that here we have our orbit. And then round here from the zygomatic arch we have AR cheekbone ride. So to psychometric articles that decide here. So it will be maybe smaller round here, right? And then our mandible will be this spot. Cool. So now I am not very happy with our bottom jaw or mandible. So what do I like to change? Well, I first wanted to know kind of the bottom few of it. Bottom few of a human. So you can see I just go into Google. If I do not have the few yet in my little folder that I've created. And can we see any of these images here which we need here? So here you can see that it is way smaller, right? And it also is kind of flattened front. But it can catalyze more arrow like him instead of this round like. So. You can do this with clay buildup. You can also get the H Polish allow so like that one, and then just break this a bit up, make it more flat. Here. Without you can also like 0 mesh and little bit. If it doesn't do what you wanted to do. Hair shape with all this volume back though. Don't go overboard IN now I'm doing this with my mouse, of course, that is why it also guy Mack creates the bid rough, let's say. But we're slowly getting there. And then we have here more of a rounded shape because the teeth are gonna be there, right? So here you can see that we already are starting to get the skull. And you just keep going back and forth between these images. So in the next part, I'm just going to start all the way over again. And I will explain step-by-step what I'm doing and what I'm thinking. 16. 4.3 Skull creation part 1: So the first thing that you can see is I'm going to do exactly the same as it did before. And yet just cutting the piece of the, we do not want recreating the main shapes here. And that's it. I am taking the whole measurement again, which is going to be one and then add half, I'm going to put the orbits in. Now. I'm also going to change to the back of the skull a little bit and are going to measure again to get to the nasal spine, anterior nasal spine. And of course we need to put the whole nasal aperture in there. So that's like the nose hole, let's say. Here are lined out a little bit of the superior temporal line. And then I'm sculpting basic shape of the zygomatic arch. And now of course, the mandible. So as you can see, I'm just trying to get some shapes into hair, make them a little bit more planar. I'm just doing this with the clay buildup brush. It's very simple and the move brush, of course, to move big shapes around. Because at this point you just want to move big ships. Where you can see here I put kind of a bowl shape where the mouth is. And I think it's a very handy way to actually, later on put your your teeth there because it seems to be a little bit more browns, right? So I'd like to do that. So here I'm going to sculpt in the temporal fossa even more. Normally there is a big muscle there, but with a skull, you can see that it actually goes quite deep. So now you will see me turn a lot. You can see that I'm moving to the side view if and you can see that yeah, that knows that just wasn't working at all from the side view, but you could hardly see it from the front view. And now I'm going to talk to you. So you can see that switching around is very, very important. And later on in this tutorial or this exercise, you will also see that I am even changing the math cap. So when I feel like I have all the main landmarks in there, I want to remeasure everything again. Okay. And you can see that my skull actually is way too wide. And this is why I am putting it closer. You can see it looks a little bit weird now. That is mostly because I also because I actually put it close together, then I have to rearrange a lot of stuff again. And the more often you do this, the easier it will get, you know, you will not do with everytime so big as IGES did, or maybe it would weigh smaller, right? But you gotta remember the whole time, especially in the beginning, I think it's very important. I do remember in the stator, I also did the top part of the teeth. I did a little bit too wide and it ended just looked a little bit off. That is why I changed the teeth at the end and then had to move around everything again. And at the end, at the end, I'll also explain a few ways on how to actually move big parts of rounds after you've had like without. And I will of course also explain some easy ways to move big shapes around without hurting existing geometry, let's say. So here I masked my whole mandible off. Then I went into split, and I actually split this part of right. And now what you can do is you can just dynam mesh both of these parts and now they must be split off. You just have to fix them a little bit. But you can see that now I have a separate mandible and the like, the top will also be separate. So it's a way to work on and it's actually how it is in real life, right? These parts are separate from each other. So as you can see here, I'm just refining some shapes. Just changing. Yes. It's hard to explain all these parts, right? I'm just looking at the reference images that we have and then changing everything accordingly. So refining at this stage is getting more and more prominent. We'll just keep moving forward and what we have. I also want to put some teeth in in later, otherwise it just doesn't really look completed. So let's go over to the teeth. Okay. So here we are at our teeth and I'm just in Google right now. And I want to show you kind of the anatomy of the teeth. I did not put a lot of time into this. I want to explain you a little bit of how this works, right? Of how you want to approach this. So we have different kinds of teeth, right? We have central ancestor, lateral incisor, canine, and then first free molar, second premolar, first molar, second molar, and the wisdom tooth or the third molar. So as you can see, you have 12345678 teeth and you want to just mirror them over. We can also kind of Morne them over to the bottom. So you just have to make one row. The only change you have to make is with the first few, like t. If they are a little bit different, there just a bit smaller, I guess. So. What, how are we going to approach this? Well, it's quite simple. Okay. We're going to start with one tooth. We're just gonna start with an incisor, right? The central incisor and what you can do, you can just go into Google, look at the central incisor. And you can see here, I like these images and now you have different fuels or you can just build it up like that, right? So just build something like this bottle. But you do have to know is that if you look at the skull. A lot of time. A little bit of the root of the tooth is actually shown, right? So if exon, good skulls here, yeah, like the root is a little bit shown, right? So keeping in mind that you want to also create this shape and hair. And the top just has to be a bit more elongated. That will be the first tooth that you're going to create. But you can duplicate it over to the lateral incisor. And for a canine You can also kinda duplicated over. But you will see that if we go to the canine, you'll see it's just a bit sharper, right? So we have a little bit more, it's a little bit more elongated in the middle and that's kind of it. It is not weigh different. So that's when you do your duplicated over and then just change that shape. And then you go to the molar. Ok? So the premolars have a little bit of a kind of a mix between the molar and the canine. It seems like there are two edges to it and they are assumed to be a bit more sharp here. And then the molar has really more of a molar kind of shape, hair C, U, the difference. So you can just duplicate this over, creates the first premolar, then duplicate that over and create one molar and just keep duplicating it. So that is how I did it. And one thing that I also want to update you about is that and this shape that we have this more of a horseshoe shape like, it's more kind of this shape instead of a very rounded off shape. That is quite important. I actually did it a bit too broad. So at the end I still had to change it and it looked fine after, but it looked a little bit weird the whole time and just the jaw Luther bits to wide, let's say. So keep in mind that this shapes also quite important. And then you just duplicated over and duplicate it. Also here, because here we have a central lateral with a canine first premolar, second, premolar first, molar second, and then a third, right? It's the same. Just these are a little bit smaller. So if we look at R2, so let's just look at teeth that the central incisor and the lateral incisor are a bit bigger on the top row of the thief, then the bottom row, you can see that the central incisor actually almost thus like 1.5 truth, right? And the bottom. So yeah, that's the only difference that you have to make make these have a bigger or make these on the bottom a little bit smaller. But let's jump into C brush and go further. So here you can see that I'm just creating a new sub2 like just a cube. Diana mash it a bit and just change the shape of it a little bit, and then move this root out. Yet. So now just look at your reference images and just keep creating whatever you can see. One over R1, one over two. And then I want to talk about conditional. So as I already said, you just put them into that place and, and keep duplicate an over and changing them a little bit. I will go into ZBrush and show you a little bit on how to change these piece-by-piece without them interfering with each other because I want to keep them in, I guess the whole top row and a whole bottom row in their own sub2. But I don't want every tooth itself in its own subdue. So let's jump into brush and I will show you some way. Okay. So I just made a very bad tooth, let's say. And what we want to do is we want to duplicate this right multiple times. So now I still have my mirror on to duplicate it. I'm actually going to turn it off and go to one of the moved tools. If you hold control and just move it around, you can see that one gets messed off, but it is still there. And now you have duplicated one of these yet teeth, tooth. And now when you just do Control and then like delete that mask, you can see that we have two in the same sub two. Very nice. So lets say, I want to only select one of these to make a selection go a little bit easier. You can actually give all of these groups. Okay? So what you can do is we can first look at the groups that we have. So if you go click on this, it dropped body frame shift, you can see that it has a certain like it has a color. If we want to look at groups. So here, poetry groups, you can click on out-groups. You can see that now each one of these has a different color. You can also group a normal group I masked with I, which I also use a lot actually. So what does this do for us if analogist hold or move or scale or rotate. And Control click on one of these. You can see that the other one gets messed off immediately. And this is very handy because if analogist wanted duplicate this one, I can just hold Control and drag it out. Very nice. See. So the problem now is though, that the cache of duplicate. The problem is that now you will see in a polar group that these have the same color. So if I now try to select only this tooth, you can see that both these gets selected because they're both in the same like group. So what you can do is you can click on out-groups again, or you can mask one off a, again, create a group for that, just that singular mask. Okay, awesome. So these are all different colors. Now, one of the things that you might encounter is that you want to go in a highest subdivision, right? So let's go into dynam mesh and I'm gonna dynamite she had, let's say x 64 resolution data mesh. This works great. Just the problem occurs when there are a little bit too close or if the resolution is not high enough, so they are separated. If I now dynamite as you can see that they get merged together. See, so you can go into your dynam mesh and actually turn on multi groups. So now if I die animations, you can see that it won't go inside of each other. So if you have groups, probably if you want to keep down the meshing, skip them into the group. So use the multi groups option. Awesome. So these are some ways to duplicate this. And the problem now occurs that we want to duplicate this to the other side, right? So how do we do this? Well, you can just click or Control, but now we need to mess a lot around to actually make it fit. But you can also do go into Z plugin, go to subdue master, and then mirror it around the x-axis. Click on OK. Now you can see we have this mirror Earth. But let's say we want the bottom jaw line, right? So what I like to do as I like to just duplicate the stop jaw. And once you want to do is I'm going to hide off the top. And then this is going to be the bottom. I just like to mirror it around the y axis. You can see that they could kind of inside of each other. So I just go cheat a little bit and move this a bit up. Then do it again around the y-axis, bam. And I want to just select this whole top part. Then I'm going to split, hair split and then split masked. You can see that now we can just duplicate the one that is too much. And now we have a bottom and a top jaw, and that is perfect. One other nice thing about this is that if you actually duplicated over and then don't like bowlegged group them anymore. So you do not click on out-groups because they already have that groups. You can see that this side has the same product groups is this side, right? This orange, this is green and this isn't like a baby boom. But now if I just turn the mirror ONE again, I can sculpt on both of them at the same time. And you can select them both at the same time. So if we move them around, they were both move. Right. So that's also very nice. Oh, so this kind of how I did the mouth, the teeth, and you can see that I didn't really keep the shape good as I told in the beginning, I will actually change that later on. I found out that a bit later I was like something doesn't fit but I didn't really know what. But yet in the next part we're just going to go further. I just have so many more videos and I think we should just do this as one part. Otherwise, it's just going to be too long and too boring. So I see you guys in the next one. 17. 4.4 Skull creation part 2: Okay, so here I'm still busy with the teeth and I am counting them, I think. And then I see that I need one more, the wisdom teeth. It depends a little bit. Not everyone is born with wisdom teeth anymore. And that is also why they, like a lot of times have people have problems with them if they get the wisdom teeth because our school is not really, you know, made for it anymore. So, yeah, it's kind of redundant in some cases. But our natural selection is not that big anymore that people who get those infections will die off. So we probably just deal with it the way that we do. Yeah, I'm changing the jaw also a little bit. And now I need to duplicate everything and the bottom line of the depth. You can see that even before I put the bottom row of teeth and I have to change a lot with the shapes that we have because they are just not there where I want them yet. So you just keep going back and forth into the shapes. Alright, so the zygomatic arch is not really what I one jet. I look Also a lot actually at something that I want to share with you guys and that is this. So here we have the photograph, humans skull. I just type that in. You have an amazing video here which I would recommend watching. But we also go to Sketchfab dot core.com. And if you click on play, it's just the same as before. And I'm really a big fan of photograph me. I know it kinda sucks that people are just taking pictures of something right now and then just, you know, create a 3D model. But it also gives us a lot of information which we can't see from only looking at images, right? Sometimes is just hard to see certain pieces. Especially if you're, if you're a beginner, or maybe even intermediate, it's hard to see some stuff just from the Shadows had said. But like here in the bottom, for instance, look how much is happening here. But also by the way, this skull is think manufacturer that you can see here. So it can differ if it's made from like a real skull, like the kinda made a mold out of it, then it would be good. If it's actually made by a sculptor, then there can be some things which are not realistic. Because if you look at the, if they kind of look weird. But what you can see here are certain pieces which you might not have been able to see otherwise, right? So if we look here, you can see that maybe you don't have to be that smooth in your skull. You can look how the cheekbone. Or how the zygomatic arch goes. So I would highly recommend looking at one of these, or I really like this one as well. This is a video so you can't really look around it, but there are some shapes in here which you normally might find hard to see. Awesome. And so here I duplicated the bottom teeth row. And yet now it's time to fix those because the front 14th and made them a little bit smaller and it's also time to play a little bit around of the mandible that we have. Because yeah, as already said, you just keep going back and forth till everything kinda fits the way that you want it to fit. One over y. So let's see. And a lot of water. Okay, so this is also going to be important. I'm going to switch a math gap here. And with switching redcap, I can see a lot of things that I couldn't see before and it like Alex, identity, really think about that or how that shape works. So I really highly recommend you switching met gaps sometimes in your skull. Okay, so now comes a more important part and that is actually creating the hole in the zygomatic arch is. And you can do it before all of the sculpting with I like to do it after because I feel I have way more control over the sculpture itself. So you can see what I'm doing here. But I actually want to show you in C Brush itself just, I think I can explain a little bit better when I can just ramble like Brem, but I can't just talk a little bit around it and explain whatever I am typing, right? So let's just go into a shoe brush and I will explain you. So here we are. I took a earlier version of the skull and what we are going to do is we're actually going to go into sub2 and append or insert a cylinder. So this cylinder is going to be got out of the skull, right? So you have a Boolean like we can. So we can Boolean it. And I'd like to just scale this, have it down, move it where we want to cut it out. And of course, like to skill it also around the x and the z axis here. Now I'm going to move it more into place, and the whole probability will be here. So you can always look at your reference images where the hole is, and also the website has I just showed you showed it very good. But let's say around here. So what is cool about ZBrush is that it has life Boolean. You can see it here and you have to select it to actually watch the live Boolean. Now though, if I want to show the live Boolean, I have to look at these little dots here, and I think I explained this before, but this is essentially is going to be cut out of your mesh. And this is just the mesh itself. And we're only going to focus on the skull and on the cylinder, right? So here you can see that now instead of it being next to it, it is literally just got out. And the nice thing about ZBrush is, is that you can even move these around. So I can literally edit this modal. Do however I want to. I can dynam mesh yet that can do everything what I want with it and it will still work. Right, so yeah, that's very nice. So I can also put it back to normal and just so go into solo and just grab what I really want here. And just go back. Bam, awesome. So yeah, that's what I really like about this. And now we wanted also on the other side, right? So we're just gonna do the same as we did before, C plug-in mirror, and then our rounds the x-axis volume because they both the same whole. Cool. So if you still want to edit it, make sure you click on x before, okay? You want to edit this, you want to have them both at the same. We want to have our symmetry on. Ok, so how do we make sure this Boolean is now added to our sculpt because it's kind of annoying to scope on both of these pieces simultaneously. So what I'd like to do is I like to Boolean it and accept the boolean. Let's say down here in your sub tool tab, you can do Boolean and we can make Boolean mesh. So now it will just keep all the Booleans into mind and you can click on Make Boolean mesh. And what you can see here is that we have a new tool, you mash human skull to. And if you look in here, you can see that the Boolean is already accepted. So this skull does not get changed. And if you want the Skoll, You can just append it or inserted. I'm going to append it. Appends the human skill to BAM. Now you can kinda like make sure you it is the right one, right? So it is the same with the hole inside. And it is in this case, now you can delete the ones that you don't need. So let's say I'm going to delete the scope of our Boolean and these cylinders that we just created. And now we can just work with the mesh that we have recently created. A can also go into geometry and just dynam mesh it is again. And now we can just create everything. So that is how I create the Boolean. Okay, so you can just see me finishing up some stuff and just put it on some extra shapes. But I think this video's going to be too long if you go way further. And in the next part I will explain how I actually fix those teeth because they are still wrong. And also how to create some nice details on top of the model. So I'll see you guys there. 18. 4.5 Skull creation part 3: Okay, so here we are and I'm going to discuss two things. One thing is going to be creating some extra details on top. This will be the cracks in the skull itself rides where they are kinda merge together. And yes, some extra, I guess, noise, which we have already talked about in previous versions. So I don't really have to go into depth into that. But I also want to show you that once you have all the detail on top, it sometimes is associated to see that maybe the main shape that we have is not perfectly both wanted as I had here with the teeth, let's say. And it is kind of counter intuitive because I always keep saying like, you gotta check the forums, check the shapes, don't go into further subdivisions. And I still want you to think about that because that is really the way that he should work. But sometimes, you know, maybe or your boss say like, hey, I don't like this. Can you go a step back? Well, you can go a step back inside ZBrush itself. So you could go in a previous version of your scopes or you can actually do, or you can actually play around with the geometry that you already have. And that is what I want to focus on right now. So let's say you're are already, you already created some details, but still there is something that you might have not thought about that you still want to change it without intervening with the small details that you're ready half on Dr. model. So I'm going over that. So let's jump into ZBrush and then you will see what I have done with it in the end. Okay? Okay. So here we are inside C brush, and this is not the final result, let's say, but let's say we want some extra details on top of hair. Let's start with debt. Well, I like to create the standard brush, do with add a direct rectangular and create an alpha. So you can also download all foss. I think in this case I actually downloaded an alpha which loose a little bit like concrete. So if I import it, you can see here concrete and then you can drag ON THE All right. So looked a little bit more like bone. So that's why I like this. Very cool. So this is kind of the detailed dot i1 or the enthalpy. I also did is I went with the DEM standards and with the alpha 47. On a very small brush size. I created these yeah, these shapes in here which actually separate some of the cranium parts of the skull right here, blah, blah. I did it like this. And maybe I even put my self deficient a bit higher or Medina mesh. So that is kind of what I wanted to do there. And then as lasts, what I also did is to create even more noise on top. I went into the surface step here, clicked on noise. And yeah, if you look a little bit closer here, you can see that you can change the noise scale. And also you can play around with this, right? So yeah, and then it OK, you click on OK and you have your noise on top. Very cool. So at this point, I figured that oh, my like my jaw line top one is not really a horseshoe shape. You see it's like way too broad. And this made Moscow look very weird. So what did I change? Well, I was kind of bound because I already had a lot of detail on top and I didn't want to do it over again. So what I actually did, I duplicate this model, duplicate, I hide this one for right now and I'm just going to focus on the top of the duplication. So I went into geometry and actually wanted to click on z remeshing so we can remember our whole model, right? If I now click on Mesh, it just does its thing. I'm not going to say that you can animate a character with this kind of remeshing and these, these rematch guides, but for sure help in certain shapes and forms. Okay? And this is already quite low. You can even make it lower if you would like to. You can have it, let's say, and they can 0 meshing again. There are a lot of things that you can do, but let's keep it at this right now. So how do we get all the detail from this human skill three, on top of the human skull that we just duplicated. Well, it's very easy. Make sure you only have the, like the eyes on top of any object that you want to project. Our data's on top. So I want to project the details from this high poly on top of slope only. But if you also put the teeth inside, then it will also try to conform to that shape and we don't want that. So only do the subtleties that you actually want to project the data. So though, so we go now to project, it's down in the sub2 tab. Project a can click on Project L, So you can put a distance also a little bit lower or higher. Few ones. Let's start at 0.1. So here we can project of the high details on top of our low poly. The one problem though, is that we do not really have a lot of geometry right now, so we won't project any cool details. So what we need to do with our low poly, we actually need to go to the geometry and subdivide it a few times. I'm going to start the fight at five times. It's around the same geometry is higher than what our main scholars right now. So it will work great. Now, make sure they're both on and then go to project and click on there. So now it's going to project all the details from the one that we've created before on top of the duplicate. Now it's done. I can hide the main skull, and this is our duplicate, and it looks exactly the same as you can see. Awesome, right? So why do we do it like this? Well, ZBrush is very nice with hits sub deficient levels. So if I want to go into my move tool and actually go to sufficient level one, I can still change big, big shapes around, right? So I literally just needed to move this a little bit around. Maybe I need to do extra sculpting, but probably not too much. Now, if I go up into BIS observations, you can see that nothing has changed. And we don't have any weird stuff happening, let's say, right. You can go up and down a self-sufficient levels, change certain things. And still the detail will be at self-sufficient Level five, let's say, right. I hope you guys learned from this. And lets look the less those flows. And let's look at the last load steps that I did to my skull. And then yeah, you can send in your skull when you are ready. And yeah, don't be afraid to send in anything because I'm here to teach you and you want to learn, right? So let's do it. Taut, taut, taut, taut, taut, taut. Taut. Of no, no, no, no, no, no, no, no, no, no, no, no, no. No. Force. On top of on top of 44444444 So no, no, no, no, no, no, no, no, no, no, no. No. So as you can see, I can't really explain a lot. I'm just adding more details in it. It's not something that I can go into depth. Yeah, I'd just like to add some extra details. I still go sometimes in the secondary. And then the third charity, which will be like the more, you know, the alphas and stuff, I just play around if those two at this point and just have some fun with it. And at 1, you should also just say, okay, now it's done, right. There's nothing else you can learn anymore. And if you're learning, don't spend too much time into a sculpt. You can better do it like three times over in shorter periods. You will learn way more that way. Instead of creating one, you know, sculpt tried to do it by perfectly in the first code that really won't get you far. And if you're going for an end-product, of course, put some extra time into the details. And also when you are creating images, let's say you want to create images for your portfolio. Only show the good points of your, you know, your models. You don't want to show parts which you may have no debt march home. Yeah. It's just show whatever is the best. And yeah, it sounds weird. But yet, we all know that if you can do like one part good, probably if you have a little bit more time, you're going to also make the other parts look just as good, right? So just show the good parts that you have created and that is it. So I hope you guys learned a lot. Let me know what you thought about all of this because I have put a lot of time into this course. And yes, already said if enough people actually enrolled, I will for sure creates some cool, cool updates. So if you know someone that actually wants to get into sculpting, or maybe you have a friend that you want to show him to have a goal, then yeah, send them through. I would highly appreciate that and adventure that you can get also a free update, right? I will not ask more for updates of this will always be free. So and also if you have any feedback on how I can really make my courses better, maybe you didn't understand me at some point, or maybe I'm too much going off topic. Let's say, Please tell me because I really want my course to be better. And I want to grow and said courses, but also in the art that we are going to make. So I really need some feedback and I see you guys in the next one. 19. Extras: Blender introduction: Blender is amazing of sculpting. I will not say that it is as good or if it comes close to ZBrush, both, you know, blenders, amazing. I loved blender and that's also why I am making these videos. So the blender users between you guys can also follow the sea brush videos, right? So what I want to show in these few videos here we're going to make is the similarities between C brush and blender and how I would approach certain stuff inside blender free SC brush. Okay, so maybe in C brush we need to dynamize jumping. How would I do it here? Because we do not really have a same dynamic tool, right? But there are some ways that you can profit from. The one thing that I need to say though, is that blender is not as good in high policy S ZBrush is. So you going into the millions of polygons, gets quite heavy on your PC. And that's what you kinda got the lookout for it because if you just keep clicking at subdivide, subdivide, subdivide, you might crash, right? So keep that in mind. So I just want to start with making a model ready to be sculpted upon. And there are multiple ways to do this just as C brush. But I'm now going to show you the first way which kind of explains why we need to put more subdivisions. Ok? So the normally you go into here modifier and you add a multi-resolution. A multi-resolution modifier is the same as a subdivision modifier, but it works very well for sculpting. So that's kind of why you use a multi-resolution. We have the subdivision surface, you just get an error and it doesn't really work. So what does this do? Well, it is the same as a sub deficient, as I said, if you subdivide it, it gets subdivided, right? So what does it mean if I put it at simple, if I apply this? Now, we have for every phase, four phases. So one phase subdivided, which means it's subdivided into four outer faces. What does this mean for sculpting? Well, let me actually do some more. I'm gonna subdivide it. Again. Subdivides, make sure your object mode and not in edit mode, then apply it. So now you can see we have more, right? So that's just how it works. So let me put actually one more and also I want to have it on symbol, so bam, apply. Okay. Now I'm going to sculpting and we can just start sculpting on here. You can see that it is very blocky. That is because our brush only affects these vertices. And at this point and time, we have a very limited amount of vertices as you can see. So this is why we have a multi-resolution. And this is also why you probably put this a bit higher, right? And the fun thing about the multi-resolution is that you can keep it. Here on the side. So if you can just start sculpting and let's say I want a little bit higher now you can just click on subdivide and it will work as expected. So you can see that you can just go up in subdivisions if you want to. Very, very nice. There's one problem though. And that is, let's say we are going to move this a bit or brown. So I am going to use my grabbed Thu here, put the radius a little bit up, and I'm going to move this a bit around. You will see that at this point we have a fairly, Yeah, ours, our geometry is quite far away from each other again, right? So here the detail will be more detailed than it will be here. And of this will be stretched. You can go up and subdivisions. But as I already told you, it doesn't really work the way that we wanted because it is still stretched and here are density just keeps getting higher and higher. So at Fengshui blended, we'll just crash. So what do we do with this? Well, let's actually just deleted. Bam, you can see that everything is gone. That is fine. But I want to show you another tool. If you go here into active through and workspace within the sculpting mode. Now we have Dang topo. So with Dan TOPO, there is where the magic happens. So I like to use this a lot. You can see we have a data size here. We have a very fine method and a detailing tab, let's say. So with this tool, you can see whenever I clicked the geometry changed. I also want to show you that the geometry is not anymore in quotes, it's actually in trees. And what I want to show you is that where I've just sculpt it upon has a higher density than where we did not scope the bomb. Let me show you that a little bit more. Be careful. You can see that when I went from layout to sculpting, scolded for layout. We need to activate the Dental again. Ok, so try to not move too much between them. Doesn't matter too much, but it's just, if you're in higher self deficient, it's really needs to calculates and that's just annoying. So what does this do? Well, let's put the data size a bit lower. Let's put it at five. You can see that now this detail can go way more refined, so we can have smaller details as you can see. You can also see this again in the geometry. So now what happens? We do not calculate all of this as the same density. This will save us a lot of geometry, but we still get a great amount of detail, right? Awesome. So what can we do if this, well, first of all, that what I just showed you, if you grab your tool and I want to move this around just like we did before. Here. You can see that now this is quite stretched. This is before. But if I go in here, I'm going to put the deals as a little bit up. But if I go in here, you'll see that all of this geometry will get changed in a second. All right, so now I can just keep detailing it the way I want to. So you can also put it, of course higher and you can see that a DDL doesn't change. So I hope you guys can now see how powerful this is, because now I do not need to subdivide everything. I just focused on 1. Right. So let me explain a little bit more about the dental pulp. You have a detailing size at this point, with the data size at five pixels, you can get this amount of detail. I normally don't play around with the refined method, but I do like to play around with the detailing. Now it is at relative detail. So what is relative detail? So if a sculpt in here, you can see that we get a certain amount of detail. This all has to do with the radius and the strength of your brush. Because if I now zoom in, you will see that I get the same amount of detail. Of course, way smaller, right? Because our brush moves with our fuel, right? It's now almost smaller. I hope this makes sense, but we can go into detailing and we can also put it at constant. So now the detail will always be constant and it doesn't matter how far or how close by you are zoomed in. So if I put this radius down, you can see that a still get this kind of detail. When you put it at constant detail, you actually have to put a resolution up to get more detail, right? So let me put it a bit more up here. You will see that if I zoom in, it doesn't really change the amount of detail we get, right? So there is a difference and I like them both to be honest. But as switch a lot between them. These other ones, I don't really care about too much and is less. We of course also have some smooth shading, which is always nice to put on, right? You can also go in the layout, click on w and shade smooth. It's kinda the same. Ok? So now you guys know how to start sculpting, right? So when I go into ZBrush and make something a dynam mesh, it is the same as a D9 TOPO. It has to do with the dynamic topology, right? So it's the same. So dynam ash is Dan topo. Now you can see how it works. So this is how we can go very high in such deficient. And how we can just make this kind of meshes where you can just grab a move around and still get a very nice consistent details on there. In the next part, I'm actually going to talk a little bit about sculpting, how you should sculpt, and how you move around in this particular few space. So I see you guys there. 20. Extras: Blender measuring + multiple objects: So let's start with using multiple models. It's quite simple. So if you're going to sculpt, you can just go into sculpting. I'm going to put the top on. Let's make a tooth. Because we are for sure are going to use this technique in one of our later exercises. And we're gonna make a skull there and there we need to have some proportions, which includes measuring certain species. Plus we're all saying having teeth in there and the teeth that you are going to use, I need to be duplicated and yeah, you're working on multiple of them. So you can't just go outside of the sculpting modes and duplicated. You can also just add extra geometry. That doesn't matter. But if you want to work, let's say we want to work on this tooth. We go to sculpting mixture you selected first though we'd go to sculpting, then third on TOPO or whatever you want to use. And then you can start sculpting. If you want to work with done topo and you want to go to the other cube, it doesn't really work like that. I can't click it now, you have to first go outside of the sculpt mode. So I just like to go into layout, then select my other cube, then go back into sculpting. And you can start sculpting. And of course, be worried that if you want to have that dopamine, you gotta make sure it's only a game, right? Because those dopa just goes off when you go outside of the sculpting mouth. Say, OK, the next thing. Let's say we want to measure a human skull. Well, there are multiple ways to actually do this. Let's create some eyes in here. So I'm just gonna go into sculpting. And I'm going to use my drawl brush to create some of these eye sockets. Here. Like this. Okay? It looks very weird Of course. But let's say we want to measure that these are in the middle because the eye sockets or as Walk or also called the orbit. Those have to be in the middle. So how do we measure that? Right? So now we have this and how do we know it's a if it's like nice in the middle. Well, there are multiple ways. One way that I want to show you is kinda this way. It looks weird. But essentially sometimes should take one piece of a model. And with that one piece you can measure all the other size, let's say. So if you have a have, you can see that we can just create a head. And then if we have 123 around three heads down, we are around hair right? In the pelvic area. And then around 1234 heads down from the pelvic area, we have the bottom of the feet. So now you can yeah, you'll have those measurements. So how would you do it? Lets say for this piece, well, what I will do is I will go here into measure. I would measure it from the top, build a bottom. I see it's 2.8. So around 1.4 would be the middle, right? So this is kind of how we can measure it at much can do then is you can just annotate this biome. I have to be honest with C brush, this is a bit simpler. But now if you go back to sculpting, you can see that the Annotate is gone. You don't see your little drawing anymore. You only have to go in here and do annotates, ohm annotations. So now you can see where the meter would be, right? Awesome. So that is one way to do this. There's also another way, and I think it resembles this a little bit more, but you'll have more clumped up seen. So how would I do this? Well, you're just going to create a mesh. I'm just gonna do a cube and I've got a skilled up to the size that we have here in the front view. Go. So now we know that this is 1.5, let's say. So I already told you before that the AI should be in the middle of the face, right? The orbits. So we can just duplicate this. I'm going to move a bit to the right. And what I like to do then is just scaled around the set X is 4.5. So now it is half and then you just put it down. Right? So now we know that around here, the AI should be. And as you can see, it clogs up the sea in a bit more. Right? But yeah, you can also do it like this. It depends. So if I create a human eye often do this, I just do the whole face. Then I just do it like this, like fairly simple, put like three phases down for even because this is just a normal face. And then I know this measurement, right? So I just got a little bit. And then if I have the measurement, I'll just delete it f there. So now I have the base of the measurements and yeah, that's fine. So you can go on from that point. Yeah. So that's kind of how I would do it in blender. I do think there should be a better way to do this. I hope they are going to implement something like C brush in the future, but that's it for now. And I'll see you guys in the next part. 21. Extras: blender brushes: To make your learning experience inside blender and a little bit easier. I created this little cheat sheet. You can download it. Of course, I spent a few hours on it. It seems weird because it doesn't seem like that much. But yet, in the last row we have all the brushes from side C brush. In the right row, we see other brushes inside blender. And if you just take a brush, let say you are following a tutorial and I am of course inside C brush because I will sculpt everything has a ZBrush and you see me use the clay buildup brush. What are you going to use that insight blender? Well, just look to the right of it and you can see that I must have done like stripes and the clay. And it will say that clay stripes will be great for the big shapes in the beginning phase of your sculpt. And the clay is a little bit later when you want to define your shapes. So I hope this makes it way easier for you guys. And if there are any questions as down below. But let's look, it's a blender and see what this brush actually do. Let's talk about the brushes inside blender. The first thing that I want to show you is if you like, start sculpting as a blender, it will already have a symmetry or mirror mode on. You can turn it on or off hair. Okay, so you x, y, and z. We also even have done TOPO hair. So if you don't want to click down here, you can always do it on top of hair, right? Okay. So what I'm going to do is I'm going to explain how you start an end a model. So we'll probably start with moving big parts of our geometry and then also sculpting just big, big shapes. Then we go into smaller detail and then even smaller, which is essentially just creating very small heights detail like pours just from a grayscale image. And if you go look at the materialized section variable, actually explain how to create them. In the last part of the video, I will also explain on how to actually do it inside blender. So if you want to learn more about the alphas after this video, I highly advise you also looking at that video. And one more thing. I am using Sievers tourist hold course as you already know. But I want to find the brushes that are the most similar to the ZBrush brushes. So if I use the clay build-up, we will find something here which looks a lot like it. And this way, you can just follow the same steps that I do and then do the inside blender, right? So you do not need to, like have a score specific blend of sculpting. That's bullshit. Sometimes you can learn amazing stuff from other programs. I even learn stuff from, let's say fever a or 3DS Max programs while blender is not even, you know, it doesn't seem like you can learn anything from it, but you can learn a lot. So do not feel like you can't learn suffering if it is still in another program, they all kind of work the same. Okay, so let's start with our first brush, which is the draw brush, NC brush. This is called the standard brush. It's just, yeah, a standard brush. Let me actually turn off my mirror. Here. And this brush, Yeah, it's used a lot. But it's a lot in the later stage, right? But this is the first brush you start up with. So that's why I want to go over death. And you can see that this climate translates to ZBrush. But what do we do if we want to build a model? We first want to move big shapes. So the first tool inside ZBrush would be the move brush. In blender, this is called the grab brush. You can see that this is changed as well. And we can grab big pieces out of hair. Okay, this is the graph brush. I always use this in the beginning. This goes hand in hand with the clay buildup brush. In Blender. We do not have the clay buildup brush, but Clay stripes comes very close to it. So if I'm using clay build-up inside ZBrush, I will probably use the clay stripes inset blender. So these tools will be used the most for big shapes. Then we go to the more secondary shapes in which they will also be used. The grep through will be used a little bit less because in the beginning you really make big moves. You grab a LOT around. And later on you will just keep using autoclaves, stripes, the draw brush, and sometimes also the clay brush, right? So the clay brush is kinda the same as Clay stripes. It just has a ferry, more rounder and softer feel to it. So when I go into the secondary details, then I would like to use the clay instead of the clay stripes. Then inside C brush, I will use a lot of the dam standard brush. The damn standard is very close to decrease or the draw sharp. If you look at it, there are sharp, you can see that we get a nice sharp line in here. And with decrease, it's kinda the same, but it works at a crease, works a bit different. You gotta play around with that little bit. So maybe the strength of it up. So in between these, I would probably use the draw sharp first, right? You can put it more. Strength rate is a bit down, ache and get like nice and sharp edges. And inside C brush, I will also use the trim dynamic or trim adaptive tool. A lot. And closest thing here is flatten. So let's say we are going to build up a bit of shape hair builded up, BAM. Then we want to flatten some phases here. You'll do it with the flattened brush, right? So you can put the strength also up, radius a bit down. And here you can flatten. So the problem with the flattened brush is a dust create like flatter areas, but it's sometimes also creates extra shapes around the edges. So this is why in some cases, I like to use the scrape brush way more. It really just scraped away as you can see here. So the scrape brush is, I guess, a little bit more like the trim dynamic tool that we have. Then at last we also have a pinch brush. So let's say we want to create a very sharp edge here. And I want to pinch it a bit more together. And in this course I am not using this pinch partial a lot, but it is also called pinch inside ZBrush. So those will be the same if you ever want to use it. So the last important one is the smooth brush. So also S inside the ZBrush, We have a special button for it. You do not have to just click it. You can know if you want, but if you are inside another brush and you want to smooth solving out, you just hold shift and drag over it. It is that simple. So the smooth brush will just be your shift button. And now we go to our masking tools. Masking is not just control or Alt or any other button. We actually have a masking brush. And here you can mask everything else off. So with the masking tool, you want to play around with the radius strength, maybe even the hardness, because you can see the hardness makes it way sharper, let's say on the edges. So let me show you if I do have hardness or if I have an off, you will see that it is way less sharp, right? But with masking, we do want some other options as well. You can find them here in mask. Here you can invert, fill clear box less so, and you can smooth it, sharpen. And all these options are available to you. If you want to do the opposite of creating a mask, then you just hold control like the shapes we did before. You can even use the smooth brushing hair, right? It will smoothen out your mask. So this kinda explains all the tools that I have for you. And you can of course, download the little cheat sheet. And that will just show the brushes when see brush on the left and the brushes I use inside blender, which are the closest to it on the right. I hope you guys learned from this. If there are any questions, just ask down below. 22. Extras: Materialise (Create alphas from an image): Let's talk about materialize. Why are we going to use this program? Well, first of all, it's open source and free to download. And you can find it at bounding box software.com by the way. So what are we going to do with this? We are going to create all phosphor, the brushes, right? And you could do way more with this materialised program. Why is it called materialize? It is called materialize because from a single image, you can create a whole material. F The I've explained materialize. I will go into ZBrush to actually make our brush and also into Blender later on. So let's go here into materialize. And this is what the program looks like. It doesn't look too hard and actually also is not too hard to UI seems quite simple. We just need to know what everything does. So if you go here into the controls, you can already see that you have controls to navigate through this 3D space. So we have rotated modal, move modal, zoom in, zoom out. And then you can move the light or the background. Normally, you don't really do this in the beginning because you first just want your diffuse map to be in here. So what is a diffuse map? Diffuse map that we're going to put in here is just an image from Google or your camera. It doesn't matter. And I am going to throw in this image. So how do we do this? Well, you can literally just click on O for open and we can open our image. Here's our image. I'm going to click on it and it will just open up. Now you will have a diffuse map. You can see are diffuse and here we have PCOS. What do they mean? Based? Copy? Open and safe. So you can copy this and you can paste it somewhere else. For instance, you can open it, which we just did, open an image, or you can save the image that is shown here. And then we can edit it or clear it. Since we have added this. And you can see that now we have some extra options in our hide, metallic as smooth as map. The Create option has been created that started the height create. You can now see that half of this image is shown as a material and half is shown as the method you're working on, which in this case is the height map. You can change this slider, let's say here. Now, we can also change the way that this height map is being shown. So you have some presets. So for the weight equalizer, you can choose details, displays, or default. You can see that these sliders here go up and down. You can also change them yourself. So let's say details is kind of what I want, but I want some extra whatever and you can change these around. We also have a frequency contrast equalizer. This also has some presets, default, corrects, and funky. Let's keep this at correct right now I'm just going to test it out. And you can of course, also change these sliders. We've just moving them up or down. Okay? Here we also have a final gain. Final contrast and final bias. This essentially already is our alpha rights or hide map is a grayscale map and RC brush, all of us are also gray-scale. One little tip that I have to give you is that when you import an image, make sure that it is square, it works the best for materialize, but also for ZBrush. If you're happy with your results, you can set it as, as a hide map, so set as HIV map. And we can also look at our whole material, show full material for an alpha of a brush we are already done. So how do we go inside shoe brush and create this brush? As you can see here? Well, it's fairly simple. I just put a sphere down, make sure the coefficients are high enough. And as you can see, I have a standard brush. These things are different though. Normally we have a dots and a alpha off. So that is the things that I want to change, right? Just select your standard brush. You can use any brush that is shown. I just like to use the standard brush. Then instead of stroke, I want to have a drag because then you can drag your office out and, uh, like to insert our alpha. So here, bam, we have are alpha stomp and I can create this image that we have just created from materialize, right? So very, very powerful. Let me also show you how to do it in blender. So here we are inside blender and you can just click on texture. We can click on New. And now we have to go to our texture tab. So texture properties and you can open the direction that we have just created. Now. We of course need to have enough subdivision on here. So I'm just gonna use a multi-resolution. Now we can go back to our tools. And if you drag in here, actually, right now it was styled as you could see. If you look at the mapping, you can change it to few plain area plane tiled, 3D, random or stencil. Let's put it that stands for right now. And what you can see is that we have a stanza here. If you right-click, you can move the stanza around. If you click on control and hold it, then use right-click. You can see that you can rotate this stanza around. If you hold Shift and right-click, you can see that you can scale your image. Now, if you left click, you can just drag on your model and create your scope like this. That is one way that I like to do. But I also like if I put this at the few plain, then go to stroke and actually change the stroke from space to drag dot. So now I can just drag it wherever I want it to be. So you can put the rate is built up, bam. So you can see that this might not work the best with a standard brush. Or you can change, of course, the way that the standard brush works, the fall-off, you can put the fall off to constant may be, you can see that the works a little bit better, but you can also try a different brush. So if we have a clay brush here and actually do the same which we did now, you will see that it probably works a bit better. So inside ZBrush, I like to use the normal brush, right? The draw or a standard brush. But inside blender, I think the clay brush might be better to add some of these alphas. So this is how we create our alpha's or this is how I like to create them. I hope you guys learned from it and see how quick it goes and how fast you can create some extra details and see you guys in the next part.