Dynamic Male Anatomy for Artists in Zbrush : Make Realistic 3D Human Model | Nexttut Education | Skillshare

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Dynamic Male Anatomy for Artists in Zbrush : Make Realistic 3D Human Model

teacher avatar Nexttut Education, A Specialist in CG Tutorials

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

84 Lessons (1d 3h 33m)
    • 1. Introduction

      1:31
    • 2. Understanding the Head Structure

      18:01
    • 3. Blocking the Cranium

      18:23
    • 4. Sculpting the Cranium

      18:59
    • 5. Finishing the Cranium Sculpt

      20:24
    • 6. Understanding Facial Muscles

      22:38
    • 7. Sculpting Facial Features

      20:41
    • 8. Finish Sculpting Facial Features

      20:03
    • 9. Adding Facial Muscle

      19:59
    • 10. Blocking the Head

      21:19
    • 11. Adjusting Facial Features

      23:22
    • 12. Sculpting the Neck

      19:14
    • 13. Refining the Head Sculpt

      21:21
    • 14. Refining the Eye Shape

      20:28
    • 15. Refining Facial Features

      21:03
    • 16. Refining the Face

      17:30
    • 17. Understanding the Torso

      13:21
    • 18. Blocking the Torso Mass

      21:05
    • 19. Adjusting Proportions

      23:39
    • 20. Sculpting the Shoulder Blades

      20:29
    • 21. Working on the Arm Bones

      5:08
    • 22. Understanding Neck Muscles

      19:29
    • 23. Sculpting Trapezius and Throat

      24:50
    • 24. Understanding Chest Muscles

      19:15
    • 25. Sculpting Chest Muscles

      15:13
    • 26. Sculpting Serratus Muscles

      11:17
    • 27. Sculpting Scapula Muscles

      15:09
    • 28. Sculpting Deltoids

      20:39
    • 29. Sculpting Pelvis Bone

      20:25
    • 30. Sculpting Abdominal Muscles

      18:40
    • 31. Sculpting Back Muscles

      19:46
    • 32. Refining Arm Bones

      15:37
    • 33. Sculpting Bicep Muscles

      18:59
    • 34. Triceps Sculpting

      27:19
    • 35. Sculpting Back Forearm Muscles

      23:52
    • 36. Sculpting Front Forearm Muscles

      22:20
    • 37. Finish Sculpting Forearm Muscles

      22:46
    • 38. Torso Muscles Review

      18:06
    • 39. Blocking Torso Sculpt

      22:49
    • 40. Sculpting the Torso Muscles

      17:45
    • 41. Polishing the Torso

      13:29
    • 42. Blocking the Upper Arm

      19:34
    • 43. Sculpting Lower Arm

      20:11
    • 44. Polishing the Arm Muscles

      18:17
    • 45. Understanding Hands Structure

      17:17
    • 46. Blocking Fingers

      16:57
    • 47. Sculpting the Hand

      20:34
    • 48. Sculpting the Palm

      20:27
    • 49. Polishing Fingers Sculpt

      20:15
    • 50. Refine the Fingers

      20:29
    • 51. Finishing the Hand

      6:13
    • 52. Understanding Leg Structure

      20:34
    • 53. Sculpting Leg Bones

      24:29
    • 54. Sculpting Front Thigh Muscles

      19:07
    • 55. Sculpting Gluteus Muscles

      21:44
    • 56. Sculpting Inner Thigh Muscles

      22:22
    • 57. Sculpting Back Thigh Muscles

      18:04
    • 58. Adding Details to Thigh Muscles

      19:36
    • 59. Finish Sculpting Thigh Muscles

      25:44
    • 60. Making the Foot Structure

      24:05
    • 61. Sculpting Back Leg Muscles

      23:54
    • 62. Sculpting Front Leg Muscles

      23:15
    • 63. Finish Working on Leg Muscles

      24:17
    • 64. Blocking the Leg Sculpt

      22:02
    • 65. Blocking the Leg Muscles

      19:35
    • 66. Sculpting the Foot

      24:31
    • 67. Welding the Foot and the Leg

      24:26
    • 68. Refine the Leg Sculpt

      15:16
    • 69. Painting Landmarks

      15:27
    • 70. Project all the Details

      25:37
    • 71. Starting to Pose the Character

      21:26
    • 72. Blocking the Pose

      23:21
    • 73. Posing the Hand

      20:26
    • 74. Refine the Hand Fist

      20:07
    • 75. Correcting Squeezed Muscles

      20:13
    • 76. Adding Details to Muscles

      25:45
    • 77. Adjusting the Muscles

      24:58
    • 78. Refine the Pose

      20:08
    • 79. Adding Details to the Body

      19:24
    • 80. Refining the Character Pose

      19:40
    • 81. Adjusting the Hand Pose

      14:20
    • 82. Polishing the Character Sculpt

      26:12
    • 83. Adding Vein Details

      18:33
    • 84. Review and Greetings

      7:20
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About This Class

Do you think sculpting Human anatomy is not your cup of tea ?

Have you tried learning anatomy before but felt overwhelmed and quit ? Then, this class is the right class for you. Welcome you to Dynamic Male Anatomy for Artists in Zbrush class.

My name is Victor Yamakado, I'm a freelancer character artist, with many years of experience on sculpting statues of heroes and movie characters.

BENIFITS:

At the end of this class, your fear of Anatomy will vanish and you will be able to sculpt Human anatomy with ease and create stunning realistic characters.

IN THIS CLASS, WE WILL BE COVERING:

  • Sculpting All the Muscles

  • Sculpting a Final Male Body

  • Making a Dynamic Pose

  • Sculpting Anatomy in Dynamic Pose


    In this class, we sculpt a complete anatomical model, simultaneously between we do a complete human male body, in a flesh and skin model.

    This way we can better understand each muscle and bones that compose the entire surface of the body, and also figure out how it can affect the volume under the skin. Once we cover all the body, we also bring the character to a very dynamic pose, understanding how the anatomical structure will deforms when it comes to bring gesture and life to the model.

  • This class is designed for intermediate Zbrush users who are looking to improve their anatomy sculpting skills.

  • Basics knowledge of Zbrush is required to follow along with this class. This class is fully real time recorded and narrated. 

Meet Your Teacher

Teacher Profile Image

Nexttut Education

A Specialist in CG Tutorials

Teacher

Welcome to Nexttut Education, We only create courses with highly talented professionals who has at least 5+ years off experience working in the film and game industry.

The single goal of Nexttut Education is to help students to become a production ready artist and get jobs wherever they want. We are committed to create high quality professional courses for 3d students. If you are a student learning from any local institution or a 3d artist who has just started working in the industry or an artist who has some years of experience, you have come to the right place.

We love you and your feedback. Please give us feedback on how we can make better courses for you and how we can help you in any ways.

See full profile

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Transcripts

1. Introduction: Do you find it difficult to scope Muslim bone landmarks when the character is in an extreme dynamic pose, the venture is cooked realistic characters, but you are not able to, because of the lack of good anatomy skills that will try to learn in anatomy before and felt overwhelmed and quit. Then this course is the right fit for you. Welcome to next occasions. The ZBrush dynamically may anatomy for art this, my name is Victor Mercado and I'll be your instructor for this course. I'm a freelance character artist with many years of experience on sculpting statues of heroes and movie characters. On this course with a complete equation model. Simultaneous with between, we do a complete menu, mind-body, enough flesh and skin model. This way we can better understand it. Muscle and bones that compose the entire surface of the body. And also figure it out how it can affect the volume under the skin. Once we cover all the body, we also bring the character to a very dynamic pose. Understanding how the anatomical structure will the forms when it comes to bring gesture in life to the model. This course is designed for intermediate, diverse users who are looking to improve their anatomy, scripting skills. Basic knowledge of ZBrush is required to follow along the tutorial discourse is fully real time in the recorded and Mehrabian. 2. Understanding the Head Structure: Hey guys Victor here, welcome to our first lecture into this anatomy, male anatomy course k. So let me first explain you how it got to be the lectures and the structure of this course. First of each lesson, you know which part of the body. I will first try to show you guys, like theoretical studies where we're going to see some proportions, some structures and in the anatomy. And first analyze a little bit of our reference first and then into second time we're going to, we're going to be able to start sculpting from half and ZBrush k. So let's get started with the anatomy of the head. And for doing this, we're going to start here with Andrew. Andrew Loomis ahead and remove. This was an awesome writer for anatomy books, for the artist. And he actually showed us pretty nice way to get some proportions for the head based on some divisions, like in thirds, in three parts of the head, as we can see here. K. So we first have like the sphere draw shape. And then we can, we can draw some lines and reach the, the structure of the head case. But first, let's first analyze a little bit of the cranial structure, some of the bones and some names that I will say a lot of time. So it's nice to have this memorized it or, you know, really understand what you are. You are building up in the skull shape. Okay? So they School is mainly separated by 22 big parts, which is the first one will be the cranium, which will be like this, all this region. Here let me show you all this region is like one unique, unique part 4 for the structure. And then this mandible, which will be second part k. And here I can show you some of the bones. The mingling bones that we're going to talk a lot will be first, this one, the zygomatic bone. Which will make the volume for the cheeks. And it takes a lot of features for, for the person itself, for doing likeness and all the structure of the head. So the zygomatic bone is all this region that we have here, K. So we're also going to talk a lot about the, you know, these two big holes where we're going to have the eyes. And here we have blending of bones inside there. But the only thing that we have to keep on mind is the format itself, you know, so here we can clearly see the format which remind us kind of Ray-Ban, I bless, you know, re been already famous eyeglass. And this is mainly the aviator model I am talking about. The aviator is really famous because it really reached the the, the semblance, the same blood of the cranium. Also it's really based on our anatomy. Because of this, I believe it was really mark in the history of eyeglasses because it's so much in the structure of the head in the anatomy, so it kind of fits in every person, you know. So always try to remember this, this format of the aviator. Glasses at eyeglasses. Let me show you a pig. Yeah, right here. We can clearly see the aspect and the format which will be very close for the format of this two big holes. Where will be our, our eyes inside here, k and here we have the frontal bone in green, which is the bone where we're going to have the strictures of the of the forehead. So here we're going to have kind of like three parts in this frontal bone, which will be amused to call like to separate them in three parts, like the frontal part, which will kind of remind. And the sphere shape over here. And then the true three-quarter views, three-quarter, three-quarter Bart's, which will be like in the diagonal. So we can also try to understand this and we're going to see it better and more reference of the school. Okay. In sequence, we can have the maxilla bone, which will be all this in orange. So it's Lincoln to zygomatic bone, which will be this one that we said. Okay. And also the nasal bone. The nasal bone is this little structure here that we have in the beginning of our nose, and it's a bone. So you can also check in your own nose. Then we have our part, which is cartilage, which is soft, and another part of which is hard, more in the beginning of the nose. And this is our nasal bone k. And then we have the maxilla that we said. We're going to have the peace. And down inside here we're going to have the mandible, which is all this region here in light green and I don't know how to call it its color. Then another thing that we can see here is temporal lobe. The temporal lobe is all this region here, which will be kinda hole but not a whole. We have this how they call it in English. This, this little bacteria which is part from the zygomatic bone here, k. And all of this region here goes inside the zygomatic here, like behind it. Okay? We're going to see it better in the sculpting tool. But just for being aware of these structures. And in this temporal region we have the temporal bone. Clearly is this one and lighter orange. We have the sphenoid. You don't really need to memorize these names and all fungi then parietal bone, ethmoid bones, sphenoid bone, the lacrimal bone. But just far you locating yourself and when you are sculpting the cranium. And all of this is nice to have a mind-mapping of all these structures. So when you're sculpting with, for me, at least it will be 0 for remembering the parts and also it's formatted k. And then in the nape of the head we have this occipital bone right there. We can check it here. And also the parietal bone, which is this region here, right? So this will be our mainly parts of the structure of. For the cranium. And now let's go here for some approach. In the building of the head, the structure, and all the proportions. As I said already in the beginning of the lecture, we're going to start from my sphere shape and this shape, we're going to make some lines which will be in the middle of this fear. We will like to access the vertical axis and the horizontal axis k. And by going, going from this first axis here, in the middle of this sphere, we're going to draw another, another line, almost in the end of the sphere, but not actually in the end. And then we're going to have this distance here, which will be the distance that we're going to replicate for the top. And then here we're going to have the hairline, as you can see here. And for the bottom as well. And then we're going to have the distance for the the, the, the chain and also the mandible and everything. Okay, so we can clearly see here that we have three-thirds, like in the face with the same high K. So the first one, we'll mark our hair line. The second one will be in the height of the, the eyebrows and the disorder one here will be the base of the nose, also the base of the years. And then this one will be the base of the chin k. And also by looking from the side view, we can check it another time here. The first one we'll mark the hairline. Second here, the eyebrows and also the top off of the years. Then we're going to have here this, this line which will mark the base of the nose and also the base of the nasal nasal concha that we said, I think that this nasal, nasal, Nasal hole here and also the base of years. And also in the last part here, the base of the nape of the head. And then here I have the base of shin. Okay, so it's always nice to memorize this this portions here and also the base of the zygomatic bone. As you can check it here in this drawing shape, we can clearly see that we have the base here of the nose, the base of the zygomatic bone, and align it with the base of our the nape of head. So here it is going to be. Our neck. Okay. Yeah. So by looking from the front view, once we're going to have here, is we can separate that in the medial axis, like here. And then the, the weeded of the head will be 555 times the size of the eyes k. So we're going to have the eyes here. We have one. Then in the middle of the HI is we're going to have another eye size, 2, 3, the other, the other eye. And then from, from this part should this other here we're going to have another eyes size. So 45. Okay. This will be like the the, the width of the nose like this, which will be the same of the middle. Between the eyes, the space, the mouth will be almost like in the middle of the eyes here, but not exactly more for the center. And I, I'm use it to check like the beginning of the iris, iris, like here. So it will be the, the normal distance for farther than the mouth. But, you know, everything all of this distance that I'm talking here, it's kind of for doing a generic head. The most frequent in nature. But we have so many, many difference in each person. So you're going to have a lot of different shapes and different proportions. But first starting this, it's a good, good point for getting started when blocking out the head k also, not only the head but also the cranium. So in all this course, all the anatomy part that we, we are talking about, all these little rows are all always for, for doing like a generic universal head. And then from this point you can modify and reach the likeness that you want. You want. Okay? So here as you can see, it will be kind of aligning this top of the eyebrow hairs and then the mouth, lips, and also the chin. Okay. But we can have it more pronounced for the front or more for, for the back. It will depends on each person. Another very nice rule that we have here is like this one. If we, we have this separate in this distance here of the head from the beginning of the eyebrows to the, the last part here in the back of the head. If we separate this into two pieces, 12, the same, the same distance we're going to have from this middle line here, we're going to have the place for the years. Okay. Never placed the US in the front. And always from the back of this line here. And for the front we're going to have this jaw line here. Okay. But first, let's start with the cranial. And here in red, check a lot of the names for the bone itself. And I think we can start show to blocking out in ZBrush and so we can get the paren, some names and also the farms. So let's do it. 3. Blocking the Cranium: Okay guys, so let's start here with the blocking, blocking off the head. And we can start by doing the cranium, as we said. And for doing this, Let's go here for the opening the light box and going over to balance and then we can open up policy, right? So starting from here, I will turn on my my mirror. And then we've done standard brush. I can, I can make two axis, one in the middle, the horizontal axis, and another one in the middle of the vertical axis, k. Here I will disable my perspective. And what it could do here is using the H polish brush, you could actually make flat shape to the sides like this. Okay? And from this, we're going to have almost like in the end of this fear. The beginning of this one here doesn't have like a specific place, but you can always imagine like this to tool distance here and also here. And then we can draw another line to the end of this field there. Then with the Move brush, we can bring it more for the front here. And then we're going to have to make the same weight. I disabled the symmetry in some, some, some action. I did try to keep the same, the same high here until these two parts, right? And we've moved brush, you can add just this. And then from here, we can start by bringing this part here, you know, for the front. And trying to have the same high that we have, this, this distance here. We're going to try to make the same high over there in the bottom. Okay. Here we have clay buildup and we can start to put in some, some, some volume. Okay, just to have more uniform shape, right? As you can see it here. Already trying to achieve some L shape as you can see here. Right? But once you realize you can smooth it all, all this region here and then carve on other. Another line here. Just remark for yourself. So the first thing that we're gonna do here is make those two big holes for the AIS region. There is said, and they will be mailing to this this portion here. We're going to carve like that. Ray-ban eyeglasses shape. Okay. Like this. And then here we're going to start by doing some zygomatic bone. Just going to put some, some volume just to mark the shape. Right in here in the middle. We can start by making the nasal, the nasal hole here also. And also we can put some, some volume here in the middle of the forehead. Okay? And so what I will do for continuing this can push a little bit here and put some volume already for the mouth. Just a little bit, and also for the chin. Okay, So in the middle of this side view here, we can draw a line, a line shape as well. I think here we have too much distance. Let's grab it a little. I always like choose the Move brush with a low intensity, like almost 20 or something. Which for me is more, is more organic, right? And here we can start by adjusting the shape of the cranium to the top view. Here from the side view, we can start by doing this shape carving. Kind of see form here below. And it should this region, we're going to have the zygomatic bone. Zygomatic bone, right? As we have made this vertical line in the middle of this distance, this distance here, let me show you the middle of this distance. Like we can get more for the front. So the jaw will make an L shape, like this shape here. A little bit inclined. You can always think like watch. And then here you have 12 and here you're going to have three. Here will be for something below 65 groups, five, right? So you can always try to remember this shape, like making this, right? So always try to have the same, the same Hein to the thirds. Here we have 1, 1 third, 1 third distance. The base, base of the nose, the base of zygomatic and the base of the back of the head. And this distance will be the same. This distance here, and also the same for this distance here, right? Maybe we can drag it more from the top. So the second thing that we can do here is from the side view, we can start to bring the nasal bone shape for the front. But here I have not enough topology, so I'll start to doing this with DynaMesh. So I can calculate the DynaMesh here. And then we can start to draw the shapes. By looking from the side view. We can use then standard brush with a big, large size like this. And we can draw kinda fun line, diagonal line going from this region here of the nasal bone, going through the middle of the distance when we made the jaw line. Right. If we have here the job. And to this inclined and we're going to have this middle, middle distance. And we can make stroke with the standard brush by reaching the middle like this. This is very important because from this we're gonna have our read some, some volume for, for the mouth and the teeth. And also better, better form for the doing the job here. Also we can continue, Bye. Adding volume here for the side part of the zygomatic bone. Zygomatic bone. Which here into this region, we're going to have the whole four for the years and how they call it that. Yeah, for the year canal there. So here I'm just blocking out the forms. Here can have this volume into the frontal bone. And let's work here to this top view, top portion here, which is very worried. Yet this region here, I would grab it more for the front. And this not too, too high. Okay. This region here, I can remove some volume with them standard brush and we can carve it here just to leave it more coherent with the anatomy. Okay. Just for the instance, and this region into the base of bone of the nasal bone, we can rabbit further, little bit more like this. Okay. So here we can already start to see some structure of the cranium. Here we have to make an uniform shape for the jaw line. So if clay buildup, I can add some, some volume like this and this region of the mouth. We're going to make for a nice hole here. And then recalculate the DynaMesh, right? Into this region, we can start to make a hole for the mandible. Let me put the reference here so you guys can, can be following what I, what I scoped to here. In looking to the reference k here, I'm using the period half as a canvas for reference. And we're going to have some, some lectures first by showing how, how do I actually customize all my interface and also how do I use this period, have window and use this always on top, you know, over here. And then I can go through all the reference very easily. So one thing that we have to pay attention is this, this, all this mandible. It goes like inside the bottom of the zygomatic bone. We have the zygomatic here. Zygomatic here. The mandible, it goes inside. Not the same weeded, right? And also, let's start to correct all this shape. Here we have, we need to add more roundness. Here. We have, have to add this shape here, the shape of the sphere. Right? So let's add this volume, but more for this part over here. Then we can start to move a little bit. This we can manage a little bit more to make when I'm using the Move brush. Size k. And as an animal rule, the most the larger, largest part in the cranial will be this region of the zygomatic bone. Right? So by looking through the tube from the top view, we can have this this kind of view here. Okay. Let me save it. Yes, So continuing here, I can all right. Start to make to remove the volume here into this side part, you know, like this. And then it goes getting softer, softer than the temporal line. Oops. Into this temporal region. Here we have all this temporal region. So you have a more deeper part. And then it starts to blend more in getting to this U-shape. Right? 4. Sculpting the Cranium: And then this region here, we have to draw this shape. So by reaching close to the eyes, the eyes roll hole here. We can have this shape. So let me show you this code thing. We're going to have kind of this. Okay? So let me removes the volume here and also here a little bit. But they care for not going too much for the middle. So I go back here and bring a little bit more. We've moved brush. And by looking from this view, what can adjust here is first the nasal bone structure and into the zygomatic bone we can change here is this angle. You can clearly see here that is more like a horizontal line and then it breaks here. So I have to make this and this, right? And then we can work all this region of the zygomatic bone. And also this is I'm not too deep, too large. Okay. Also I cannot just this region. And just a little bit the the aviator, aviator shaped. By looking from the side view, we can start by doing better approach for the zygomatic bone, like here. And from here we can start to draw better shape here. You can understand that this is upper part is more like an straight line and the bottom part is more like a diagonal. Okay, so I did want to make this shape. And also this is too much inclined. We're going to have to make it more straight. And then going there. So you can bring it more here. And this, hey, now we can go more into the this part and also start to work better than the jaw. The jaw bone, mineral bone. Here, as you can notice, I left our volume over here and also a volume over here, right? By looking at the silhouette. Could even bring it more for the front a little bit. And pay attention for this. The silhouette here and here. And here. Here can add some volume, like in this diagonal, diagonal shape like this. And this will be the middle, the middle of the teeth. Let's carve out a little bit more this whole for the bone knows me DynaMesh a little bit more, more resolution. And then we can start to move a little bit more the forums like this. By looking in the side view, what we can notice here is we have this angle for the job. And do remember that we did. Diagonal line here, right in the middle distance of the mandible. So we have this, this axis like diagonal inclined one. And then here you can see that we have this this part. And keep in mind to live like some space between the start of the zygomatic bone from the side of you and the start of this, this part of the job of the mandible, right? I kept here some space. And then we have all this hole here. And we're going to have this shape, right? So I bring it back a little bit in here. I can start to draw better the shape of the region. I want to carve it more, more than this, like the realistic shape, realistic thickness because it is just for illustrating and understanding the structure of the head. Okay. The intention is not to make very realistic functional cranial structure. Just show you guys the structure for once we understand what is what is behind, we can go further and make make the proper face and the head, right? You have to always be a station in all the angles. I always like to pay attention to this, this region over here, which it will be, it will, it will give us the silhouette of the shapes. And also, we have. Where the zygomatic bone here. To give this a nice difference from the part, I'm asking. What's happening. My standard brush with RGB mode, okay? So with standard brush negative, we can push it more deeper. And I can bring it a little bit more for the top. Yeah. K. So here I'm start toward more into this region. And also I think we can push it a little bit more for the throne. Working to this place. Here we can see we're going to have the frontal bone and we have kind of sphere shape into this semi sphere shaped like here. No end to this three-quarter view. Three-quarter parts, we're going to have this shape. So we can separate them into this despots. And this another part here. So this will be more Margaret Blaine and this will be more pronounced for the front, right. And for this reason, we're going to have this shape here. We can bring it more for the bottom. And here, using the dem standard brush, I like to use it a lot. The dem standard by pressing the Alt key. So I can draw it like this kind of shape, you know. And then more sides move it. We have a Blaine. Blaine for mud. So you'll do this and then you cut it for inside. Remove some volume here in the middle. The dam standard brush I also like choose with less intensity, more like 12 or something. And very large size like this. So let me first do the farming, then I can explain you how exactly it is. It will be this shape. But here is very pronounced. But we can understand this part. Most of the time like like this. This will make a plane, you know, plenty of cation like this is more pointing for the bottom, pointing for the top right. And it goes just until the middle of this distance here. It goes just until the middle part. There's no like here. And then all this region over here, it will be more pointed for the topic. You can check it here. Like this. Then this middle part, we can add a little bit of some sphere shape and move it a little bit. All the farms will be very, very subtle. We won't be able to proceed into, to figure out then by rotating the model and truly understanding the separations. 5. Finishing the Cranium Sculpt: Okay guys, so here I'm going to start to refine a little bit more the cool shapes that are we are, we are working on. And also for, for showing you, I got so many reference here that I use it to have this in my, my Pinterest. So you can always go there and check it out. Just let me show you here with you can always go there and check it out. Over my SCCOE board and pinterest.com slash not slashes. I don't know. Bar, yeah, my Cato, vars Qu. So there you can always check some, some school reference that I got and use this as our reference. These ones are like scanning versions and some of those we're more like drawings or these were four from a site called bonds clones, which is a very good reference for getting some nice shapes like this one that it makes kind of comparative between African skull shape and European and also Asian shape. So you can try to learn a lot from its difference. But in this case as it's not really focus and the head, head another anatomy, so I won't go too deep on it. But maybe in a future course we can have more, more details, but you can always go there and check it out. Or my school board, they are all there. So I I actually downloaded all the images. And there they are here in this board. The sprint is Peer have board k. Then the OH is on, on top. And yeah. First, I want to show you here that the this part that we were we were modeling right now like this. Let me down a little bit. Our eight. Yeah. The silhouette in this angle, it's something more like this. I always like to pay attention in this tree color back. And so I wanted to say you guys, that the name of this structure here that we made is the, they are the super ciliary, super ciliary arch. Okay. And just in the middle of it, we have this region that it's called glabella, k. This region here, It's called glabella. So is the region between the eyebrows and also between this super ciliary arches. All right. And just behind just below the frontal bone here. And yeah, there it is. Here it can, can check some other, other kinds of co shapes. Here we have some difference. Like the Mayo SCO and the males go to Asia and shapes. There are many reference that I am used to save that. And yeah, that's it. So here you can check some nice, nice angles for, for referencing. Like here, you can always go here and check out that angle and the silhouette that I said, like here. And like this is cool shape. We can clearly see that the super ciliary, ciliary arches, they are way less pronounced than some of the others. It may be because this co shape may be from a woman. So this is clearly our region that is more pronounced in Mayo and men, men's cool shapes. So yeah, Like this one is more pronounced and it varies from each look. Comparing this one from this other one, clearly this one is more familiar shape or even can be some agent shape because Asian has this region lies pronounce and then than European and African, Caucasian and African. And also, and this one clearly is should be Mayo, Mayo school shape. Also because of this region, there is said, Let me show you this region of the super ciliary arches that they are more pronounced and also this pointy and more square jaw line. So we can check some, some difference like this. And I always recommend you guys to go there and check it out over 1024 and many others bone clones and many others other sites that you can, we can learn a lot of trauma from those images. K here is like that angle, the Joe Joe line angle that I was saying about. It chains for each pair, each person. We don't know. It's almost time. It's based on this kind of angle like you you can always remember the watch and check the hours. And it will be kind of for for our like eight or eight or four o'clock. Okay. I don't know why this is here. I think it's because of the time I downloaded. I also don't like nothing this group here, it's totally bizarre with donor. You guys can clearly see this and check what is wrong here. In this region. Kuru, kuru. Let me know. It's like here we have an entire shape, entire face, which is binding for, for the floor, foreign for them. The bottom and should not be like this. We should have division here. And you know, the, the super ciliary forms should be more like here. Making this shape, you know, and not merging margin with this one here, right? And also it's kind of a little bit with this, this draw shape for the orbit. The orbit. I, I think this is maybe too large. I don't know. We're going to have to check more in. But just for getting used with those. Let me delete this. And I have some, some other references that I've saved from a workshop that I did with clay workshop with alex Oliver, which was my main term many years ago. But you can always use this as a good reference because you can truly understand where each feature will be like the eyes will be here in the orbit of this, I hold that reset. And here you can clearly see because of the lighting conditions, the planes that are formed by, by the forms here of the super ciliary arches and the forms of thing pr, all the zygomatic form as well. So you can clear, see some angles that are formed here. And you can try to better understand by looking to this clay model and truly understand the facial features. Okay. All right, so let's continue here. Let me show let me see some things now here we can check some reference just to show you how are made like this jaw bone. Like here we want make a whole. We could. But for doing this, we are going to need to know though more DynaMesh. And let me show you here if we could if we wanted to make kinda hold here, we would have to. Carve these more this way because many, many people actually don't know how to make to open a hole in DynaMesh objects. So let me first show you here. So if you wanted to do this by 0, you can always try for opening like those, those holes in DynaMesh model. One thing that I actually like to do is to use those brushes, those insert mesh brushes like this one. And it's always good to do a quick save before it. Because the British are used to crashes when, when you use some insert mesh, so it becomes some way and stable. So I'd like to do a quick save before of this as a brush. And yeah, good. Then you can wait. You can drag and drop. You can drag the new, the new object here. And once you click like this, it will add another object. But once you click with by pressing the Alt key, then it's going to be like this. This way, you know, this harsh, harsh view. And here we have like the normals Flip Grid for the new object that we had. Because it will understand that when we, we, we update the DynaMesh, it will do kind of fun Booleans and will make the hole. And this object is placed and it will be like a negative space. Okay? So here I can position the object just like do a R1, you know. Turning on here my local symmetry just to have this scale option being asymmetric Rahway proper symmetrically. And once it's here, like crossing the surface, maybe we've turned on the double, we can better see what is happening. Yeah. Like this is all crossing the surface and then once we recalculate the DynaMesh, it will make for us the whole, right? So now here we can clear the mask and It's actually painted for me. I don't know why, but I will go here and use my fill object option, which is always here in color and few objects just to fill my, my objects with pure white color. And so we can, we can continue. Okay, So here what is happening, what happens is that recalculating DynaMesh once again. And I'm going to open the, just this hole here to make this more illustrative. But I won't do. Separated version, I think maybe let me see. Here I'm adding last thickness for this part, this region because, you know, guys, this will be kind of the diffs, the mouth. So we want managed to work too much on it. And this I will leave it very, very, I'm not too sure. Tick, like it's being now K. And in this region of the jaw, I can even separate it better. Here, I'd like to use a brush which is called ARB cracks brush. And I position it with Q letter before and I left then this brush inside my startup and brush presets folder. So it's on here. It shows here in my brush pallet, once I start the software, so in the queue letter I just modified because once I press B and I press Q, it will select my ARB, Greg's brush. It's kinda of them standard brush, but it's more the dam standard also make likes up in pinch. And this one is more. I know it again, it's more. It has an alpha which makes kind of standard brush, but it's more plan with more, more I inorganic and without this pinch version, this pinching that is common in dem standard brush. So I like to use when I just want to, to remove some or loom in place. And you're gonna see I work with this a lot, a lot of times. Right? So here I just, I'm just carving like removing the volume where I know it will be some space there. I, you know, like here I use it the DOM standard version as it being just as it starts to remove the mass for the sides. And sometimes I don't want, I want I don't want this effect. So I do prefer to use the Greg's brush in this way. So it more, it works better in dependent dependent angle that I'm working with this screening in for, you know, for me it's it's better better approach. One thing that we forgot to say, it's like here, we have this whole for the years in this side. And also we have this this part here, which is called mastoid process. Mastoid process is kind of a piece of bone here, not this one. Which will be the insertion point for great muscle we have here in the neck, which is very important, which is the sternocleidomastoid muscle. It will start on the sternum, on the chest and it will insert here. And this mastoid process, you can try to touch behind your ears. And you're going to really feel that you have preeminence of a bone here. And it's because of this. So let's do it. Also this way. Make suggests some, some volume here. Just show you guys garden. Getting know with this part. And it's running like this. And here, as I was seen reference, it's called, this region is called the external occipital protuberance, which is the nape of the neck, the nape of head. As I saw this, I think it's this name in, in English. Here we could even continue like maybe adding some little details like this. The best thing would be to have also another hole here. So yeah, let's do it very fast. Out key presses, click and drag. And then you're going to have a 3D is our capstone. I think it's being black version because we have the black here and the secondary color. So as I'm pressing the Alt key it using my secondary color for processing that. Yeah, I think here if Move brush, we can even manage these objects here and just the way we want to cross. And once it crosses the surface, we can clear the mask and DynaMesh it once again. So now it's made our, our hole and then bent in pure right? Okay, let me continue in next lecture. 6. Understanding Facial Muscles: Okay guys, so here, just before we continue by adding the facial features to understand, let's do a quick, quick review about the proportions that we said and all those things at the beginning that we wanted to use the Andrew Loomis method here, right here. The first thing that we said is we, we've made on its fuel shape. And then after we made these few shape, we flatten the sides a little bit. And by live, live in a little bit of this space in and the top and also in the bottom. Okay, The same space because we would have this horizontal axis and then the vertical axis, like here and here, right? So we would left the same distance for the top and the bottom. This one would be the hairline, which will be kind of here. And this will be the base of the nose. As you remember, the base of nodes based off the zygomatic and also the base of the back of head, right? So we would have like this, the sphere shape would be like here. And this would be her, the vertical axis and the horizontal axis like here, right? So we've flattened the side like this. And then we took this distance and replied, left it the same distance, like here and here, and also here. So we have 1 third, 2, third, second, third and the other third. So two-thirds of the head. And then this little space here until the top, which will be the space for the hair, like here. Okay? So this is the proportion for the side view and also that require. And then from here, we can start to understand what is, what happens with the, the muscles and also the software masses above the disco shape here. Here I can, I can start to show you that here in the middle we're going to have the, the eyeball. And once we have the eyeball and the middle just a little bit for that, move it to the top. No, not exactly in the middle. Then here we're going to have the muscle, big muscles around the eyes, which will be the orbicularis muscle that will take all this region here. And then we're going to have some bleeding of muscles like here, the We'll have an muscle like we're going to have the mouth here. First. Let me show you, you know, you're going to have here the mouth, maybe not that big, just a little bit less. And from that, we're going to have the muscles which will link to the corner of the mouth here. And in our region that is called like node, which is this region here. And we're going to have this one which will be the zygomatic major. The second one, zygomaticus minor, and some other muscles like here. And here I think it's not necessary to memorize all these muscles, but it's good to understand because one muscle, the muscle brings one part to another part. So if we have the muscle with the Georjean like here and insertion here, once it contracts, it will do exactly this. This movement. You know, it will bring this part to that part. So this will be responsible for this myelin. All right, so as soon as we get another muscles like here and here, once it contracts, it will be the same. You know, it will brings this region here for that direction and the same here for that direction there. And just in this way, we can start to make all the expressions, right? So we also have the depressors. Let me show you. Yeah. Once you search in here, all the muscles, the facial muscles, you can always go here and check any of those, those images. And then you're going to see it here. We have the depressor labii inferioris and the mentalist. And also some of them, the depressor anguli oris, which will make, will bring the, also the node, the node region as we draw it here in the corner of the mouth, it will bring this region for that direction. And this one is the depressor labii inferioris because it will depress the lips and for farrier lip. And then the mantle is what will bring this region or this region here for the top and the point of the chin. Here's the RB colors that I showed you, right? And we also have an orbicularis oris for the mouth. Which monster it contracts. It will make all point for the center. The same for the eyes and everything. Okay. So as I was showing here, we have some here, we have the mantle is like here. And depressor labii, R is here, and another one like here. Okay. I want to make all these muscles here and I just, I'm just showing you guys the muscles. And also in the side, we're going to have all this region. And low here we're going to have the mask gate mitigate. Let me let me show yeah, sorry. Here we have the muscles of mastication, which will be the temporal. Lot of fibers going on around here in attaching for this, this point here in the inferior part of the jaw. So once the Joe opens, when it contracts, it will brings this region for that region. So it will close the jaw, right? Because of this is the mass of the mastication. And also we're going to have another muscle which is called masseter, muscle mass center, which is located like here. You know, it starts from this part of the jaw and then it attaches here beside the direct zygomatic zygomatic bone. So it also brings this region for that part. So it's responsible for domestication as well, right? And for less, we have the buccinator, buccinator muscle, which will be, I'm also which is go from here to here, you know, like the the corner of the mouth in that region that we call nodes and will be like for, for the end there. It will be responsible for bringing the node for the back there. Okay? And, and then we're going to have some muscles here in the temporal lobe, the frontal bone there, which will be some muscles like the frontal, which will be here. Let me show you some reference. Right here. Have the frontalis, which will be all this muscle here in the top of the frontal bone. And then we have the arrows, which is this little muscle here. Let me show you another reference. Yeah, Imagine the direction of the fibers like this. And this will be exactly the direction of the muscles that will contract. And all the form. And then you can imagine that all this region here in the eyebrows, if you contract this muscle, the frontalis, it will bring this region for that direction k. So it responsible for raising, raising your eyebrows and everything. And also the arrows will be over here. Okay? So maybe in future curves of facial structure, we can go even further and, and truly recurrence strict each muscles like here. But now, let's start with the facial, facial structures of the face. The, these structures, the features of the face, you know. So one thing that we could do here is start to add in the nose and also the eyes. And let me show you. If once we add, append some, I don't know, some sphere here. You're going to start to understand or know. Select this here. K here. We're going to have the nose. As I said, that Bart was the nose nasal bone. So just for understanding each structure, Like this. Yeah. Just doing quickly. Half half sketchy for the nose. So you guys can understand all the features and where it's going to be located. Here. We could even drop a little bit this nasal bone angle just to match it better like this. Okay. Just like this. And then we can also append some sphere shapes here. This way we can show you where the eyes will be located. And also a little bit of the size of the eyes. Do you remember that I said that we have like 33 I's distance and then five distance and the total length of the head. Here you're going to have 12345 K. So five eyes for the distance of the head like this. And I can go here and do modify Topology and mirror and wild. So activate the symmetry, the mirror and local symmetry. Okay? This will vary like this. And for the eyeball, you, you can have like this, this position here for the eyeball. And how can you can see that it will be this region, and this region will make like an axis. The eyeball won't be forward. For this region is access journal. It will cross like here. And this x is i. I draw it from this part of the, the orbit. From far this part of the zygomatic, you know, you're going to have, you're going to notice that we have this angle and inclined that angle. So the eyeballs won't be for them that and not too much in Word. So you can leave it, left it here, around here. Good. And from this we can duplicate. And then I'm going to show you just how, how can can be the the scoped of the color isn't also the eye? Eyelashes? No, not eyelashes. The eyelids. Yeah. Okay. So I duplicated that in here. I'm going to position this for you guys understanding how it works. Here we're going to do a DynaMesh like this. And this way I can show you how to be in in this part of the ice and how it will be constructed. Just like this. Here I'm filling that the eyes are maybe knitting. Yeah, I need to be more close. Here. I'm using the transparent mode. Here. I, I activated the shortcut for this, which is in my case the Alt T. Here. I like to use my brush just to make this remove this volume so I can show you what is happening to the eyelids. Okay. Make sure your eyelids will follow the curvature of the eyes. Right here. Have the, the lacrimal. Alright? So this will be for the ice. Here. We could even bring some eye bags superior. I beg here. Going to this direction. Just like this. Okay. And then I can start to show you the picture, how it's formed. Each part, like the nose and everything. But if we stay too much time here in this facial anatomy, think we won't be able to have the full body. So I'm just making some details here in the nose and also the rest of phase. Right? So here we can clearly see already some, some phase line. And you can start to understand what is happening with the shape of the head. Okay. So let's continue in the next lesson. 7. Sculpting Facial Features: All right guys, let me just first show you here some, some, some theory about then the nodes that we actually forgot to show you. Here we have let me see. Yeah, some visual illustrations for for the nose made by my Judge Freedman. And here we can clearly see that the nose we are, let's see. We already saw that the nose is made by this part, which is the nasal bone, as we said in the beginning. You know, this part here is natural. The nasal bone, which will be like in this region here, which is a bony part is more harder and not, not so often, like the cartilage part. So we have this first part which is very rigid. And then we have this other part here, which is all soft here. What do we have? We have the nose separated in three parts, three carts, large. Three cartilage is actually four because of the septum in the middle. But we can clearly see three cartilages here. We have this first one, which is between between the nasal bone and the, this part here, which is the, the wing and also the lower lateral. And this one will be called a per lateral. Okay. Let me show you here the notes from Bridgeman. Yeah. Like here. Right. So here we can clearly see that this first, first 1 in the middle, which will be in this region here, we're going to have a per lateral cartilage. It's called it this way. And then we have the lower lateral cartilage would be in this format here, you know, just like this. And it goes from the inner part. And then we're going to have the lower lateral, the, the wing cartilage. And also it's this part here. So we can clearly separate the nose by 3, three parts, like three-thirds as well. So we can see like, oops, sorry, this one is marked from here, here, and here. Okay. So generally when we're going to have the same one, 130, 130, and 130 of the high. And then we can separate this same, same distance. And from between, we're going to have the, the distance of Berlin, the iss distance R, des can get closer or far it will depends a little bit from each person. But it's real, kind of be the same like this as we saw that in the Andrew Loomis proportion here. This first one. And this will be actually the structure for the nodes. And then we can, if we try to make some clarification, it would look more like if I use my dem, standard brush with a Ziad mode, I can draw here some, some, some borders for making, making it squared like plentiful than I can even use my H Polish too plentiful. This is just for illustrating for you. But just for you understanding what is happening here in the notes because I felt it was too fast and even it more coarse. Focus on the anatomy of the body. It's nice to have a better explanation of this features there. I would actually do this with the model of the head that we're going to make it. But I decided to do with already in this model here because it was too fast the explanation, so not so easy to understand. But well, it's just like this. This would be very very forced blocking of the nasal nasal bone and non nasal bone but the nasal format. Okay. So you can understand that this part should be manageable. Like software piece as well. This other part here and this other here. Okay. The wing, the lower lateral, the upper lateral, and then the nasal bone. Right. So I got to live it first like this. And then after we can we can refine it more organic way when we make the full facial structure. Okay, and just to finish it with the nose, wish we said that we have for cartilage for the nodes. And then the fourth will be in the middle, the septum, which is supposed to be here. You know. It will be cartilage, like going through this part here. Often cartilage here. And sometimes we have to make a surgery because it's not well located and yeah, that's it. So here we have the nose and now let's go for the eyes. The eyes. What I have here is what is good to remember is that we have this concave part and this region concave. And in this region we have the convex part, right? The eyes is very important to know. The, the overall format. It will looks kind of barely diagonal. And let me explain you. This is just a half sketchy. So I'm not going really further with this, but because it's better to when we have the forehead sculpting. But just in order to show you how it works. One thing that you have to pay attention is just this. We have this concave part and almost going through the middle, we're going to have this convex part which will drops, drops over the, the eyelids. And the eyelids is very important to have a nice flow and a nice shape, a nice drawing. For the eyes. We're going to have so many variations. But, you know, the average, the average format will be something like this. You have this entrance for, for the lacrimal. And then we're going to have a plane just like in this direction. And then like this. And then more a bigger plane like this. And from this part we're going to have a plane more like this shape and this, and this. I said that diagonal because we can relate this axis like this, you know, it will be more like if it were like this, it will be more tilted, tilted axis like this. Okay, and then here we're going to have the shape for, for the iris and everything. But one thing that is important is to pay attention. The difference of the eyelids. The eyelids should be thick enough to make the shadow in the project the shadows in the eyes like here, k. This will be. A part of the men in shadow. And then we have to pay attention to the eye bags. The formats of the eye bags will also follow that shape. We said. And after the, the eye bags, we're going to have this, all this region here which is called, I don't actually remember the scientific name. But it's always nice to have this separation here and pay attention of this because this will be part of the eyelid and this will be part of the eyelid as well, and this will be like soft and mass. Okay, good. So let's also append the year over here so we can better understand where it's located and how it's shaped. So here we're going to add the cube. Doesn't matter if it's a coup. A cube or sphere doesn't need to be a form. And as we said, where is the location for the year? Here? As we said here in the blocking of the head, we're going to have the year just located in this two axes that we, we said in the beginning and right behind the jaw line. So here we have the axis in the middle and we have the other axis in the middle for that sphere recreated their member. But notice that this fear has been along gated. So we have more space and like in the front in this way. So the cranium has to be more more performed, performed. And this x is like, like this, you know. So we have that x is in the middle and right behind we have this first axis for the first 130. Right? So I have this and this, which will always mark the base of the nose, the base of the zygomatic, and also the base of the back of head. And here you're going to have the line for the eyebrows, right? And then the year is going to be located just right here, just behind this first vertical axis here. Where in the front we're going to have the jaw line and in the back we're going to have the years. Okay. So for the years, what we can say is the years is basically another cartilage. So and it's format we will kind of reminds me. Interrogation, kind of an interrogation like this. But we're going to have some, some specific forms which I like to remember the shape of numbers. And also here we're going to have kind of nine, invert a nine, the number nine. And inside we're going to have kind of Y shape and why it's tilted, tilted like this. And then we're going to have some structures here that is called the tragus and triangles. Now, the triangles with will be this part here and a 100 trials. Let me first sculpture. And then you guys again are going to understand it better, right? So let me show you here, are going to start to use my DynaMesh. This will have a better resolution. And then I can start by creating a contour line like this. And then this part, I will have less volume. I'm going to start to make more like this. You know, the, the shape of the the question questions sign. Now, I don't know actually really know the name. This symbol here, right? Question, Question, sign. I don't know interrogation. And in Portuguese it would be like interrogation, point of interrogation, but I don't really know exactly the name. How do we call it in English? All right, so here let me raise up the resolution of DynaMesh. And good. I can carve it like this, this shape. And then let me enable my back face masking, which you can always enable it here and brush brush pallet auto masking and back face mask, which is here, brush pallet auto masking, and back face mask. This button here because as this surface is very, it becomes three very thing. Once we use the clay, clay buildup brush. If we curve like this, it may be can start to know to get the opposite face by depending on the surface. And in this case I didn't, didn't didn't get the the other side. But, you know, here we got the other side. So now let me show you maybe. I don't know if we leave it very thin. The thickness of this and then we use the clay buildup. Yeah, Not yet. But you guys should know if we have very thin structure and we use the clay buildup brush like this. Just because I'm trying to show you guys it's not working. Yeah, you know, this work and here. So once I did it because I had the back face mascot turned on. If I turn it off, look what happens. Okay. It got the, the the back face and I don't clearly don't want it. I turn on the back face masking and even phi mu. Now very thin surface, it tries to get the back face. Okay, oh, let's go back. Here. Let me show you a little bit of the shape of the years. Here will be the Y shape that I said. The Y shape. This will be the hole in the middle. And then over here we can make this shape like this, you know, kind of bow with some harms. But in the middle, we remove the volume. And then here we're going to have the hole for the year, right? So look, one side is move it. We're going to have it will try to show you guys. Here we have the nine shaping, the counter. Okay? This nine shape. Then we have the Y shape in the middle, the Y shape in the middle. And then we have the blue shape, which will be that drag. The name of this this portion here. This will be the Dragos trackers. And here in this region will be the Dragos. Ups. And GI tract goes right. And here in the middle we have space between. So I'm going to continue with the urine in the next lesson as it saving right now. Okay. 8. Finish Sculpting Facial Features: Okay guys, so we are talking here about the year. I also got some references here that I've saved it in my Pinterest board called year. And so here we've got the same, same structure that I said to you. Here I actually painted. And this is what, what do we have for the structures of the year. Okay, so we have this Y shape in the middle, the nine counter, and then we have this struggles in anti triangles. Okay? Actually the drag will be that form, that will be here. So let's start to refine a little bit this form. Because this is all very half yet. For the back of years, we're going to have this shape like. So. Once we start to refine a little bit more these shapes, you gotta understand better. I think here we have too much density for the DynaMesh because it's being a little bit harder to choose move the forms. Now my