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

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, n