Create Plankton From Scratch using Zbrush & Cinema 4D | Patrick Foley | Skillshare

Playback Speed

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

Create Plankton From Scratch using Zbrush & Cinema 4D

teacher avatar Patrick Foley, 3D Artist

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

    • 1.



    • 2.

      Zbrush Basics


    • 3.

      Sculpting Planton (Zbrush)


    • 4.

      Remeshing (Zbrush)


    • 5.

      Exporting Model From Zbrush


    • 6.

      Importing & Posing Plankton (Cinema4D)


    • 7.

      Lighting & Texturing (Cinema4D & Octane)


    • 8.

      Post Processing (Photoshop)


    • 9.



  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

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





About This Class

In this class, you'll gain the essential skillsets to bring one of your favorite Nickelodeon villains to life, from sculpting in Zbrush to lighting and texturing in Cinema4D/Octane. This will also be the first class ever to go over the basics of Zbrush, one of the industry-standard sculpting platforms. 

We'll cover everything below in making this still-life from scratch;

  1. Sculpting
  2. Topology
  3. Composition
  4. Lighting
  5. Texturing
  6. Rendering
  7. Post Processing (Photoshop)

Hope you enjoy!

Meet Your Teacher

Teacher Profile Image

Patrick Foley

3D Artist


Hello, I'm Patrick. Many know me as Patrick4d. I've been creating photorealistic abstract renders in Cinema4d and Photoshop for awhile now and was overwhelmed at the support and buzz surrounding my social media. My work has been featured by Adobe, Photoshop, The Motion Designers Community,  and more.

So as a thank you, I've decided to share some of my knowledge. I will be releasing a new class every other month so hit the follow button and jump aboard!

See full profile

Level: Intermediate

Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

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


1. Introduction: What's up guys this is Patrick Foley aka Patrick4d, as you may know me on social media. Thanks for joining me on another Skillshare premium class. It's been a while. It's been like nine months since my last one and this is an exciting one. I've been getting a ton of requests on some ZBrush stuff so finally we're gonna get into that. In this one we're going to learn how to sculpt Plankton from Nickelodeon's SpongeBob Square pants and I've got to give credit to those guys who have designed this character from the bottom up because if we didn't have their reference we wouldn't really be able to make this so shout out to them. We're going to be going over everything from sculpting it, remeshing, exporting the model from ZBrush, lighting and texturing in cinema 4D, composition, camera settings and Cinema 4D as well. Messing with the camera and last but not least, rendering and post-processing so making it look a little bit more realistic in Photoshop. I think this will be exciting. I've also included a little mini-tutorial at the beginning to show you kind of the basic ZBrush just so you can follow along, not the whole basics of ZBrush, just everything you need to get the gear spinning before the class, and I think you guys will enjoy it. I'm really excited about this one and I can't wait for you to see. 2. Zbrush Basics: All right, guys so we're in ZBrush here and everything looks as it should. You should look something or yours interface should look something like this and remember this is just an initial class. I want to give you guys who just got ZBrush or got it specifically for this class, you want to know how to sculpt stuff, a chance to come to know the interface and how to navigate around before we actually get into it. If you already know everything, then feel free to go to the next part. But for those of you don't, I'll just be going over just the very basics. Again, you start off in ZBrush and this weird mode, we don't really have to worry about that. I've never actually used this. I don't know really what is there for it, but we're not going to worry about it. The first thing I want to do is go to "Document", "New document" and we click "No" that this gives us a full canvas here and it gives us the ability to drag out our first object, because obviously we can't make anything without anything. We'll start with the primitive, just like we do in cinema or any other 3D program. Let's click tool. This will be our basic 3D primitives. We can do sphere 3D and nothing happened, because right now all that does is let you draw it out like this. If you try to move around, you won't be able to because it just will keep making more and it gets confusing. I was very confused when this first happened, but after a bunch of learning, I figured it out so you don't have to worry about that we just have to worry about making one of them. If you do control or command and that'll give you a new template here. We can just drag one out and then like most programs, if you hold down shift, it will lock the axis in front and we're good to go. Remember we can't start drawing on this thing because I'm just make more of these spheres and so we have to make sure we do is click ''Edit''. Right now you see these bounding boxes forum and this will allow you to know that. Now, we can in fact navigate around and it's hard to see, because it's so low, it's so symmetrical. You can't really see us navigating, but you can see this guy navigating. Want to make sure you're centered right here. Now, at least we can navigate around this thing, if you hold down alt, we can move this guy around and we can navigate around like this or if you hold down alt, drag, let go of alt, we can go in and out and so those are the basic functions. It's really confusing at first, but after a couple of days, I think you'll be fine. It it's actually much faster than navigating any other way so it literary just be like this, boom, navigate around, go out, and it gets to be really fast. Again, hold down alt, drag, let go of alt, in go in and out. That's basically, how you navigate around the thing. If you want to start painting on this thing, this is our brush settings here. We won't be able to, because we need to convert this to a 3D primitive. Just like in cinema or in any other 3D program, we have to flatten it so to speak so we can actually start using it. But before we start or before we flattened this object, the same way we do in cinema, we have options to change the overall composition of this thing. If we go to initialize, we can change these settings before flattening this image. We can change the x size obviously and go back, the y size, we can go back. Let's go x. Again, the coverage. Just like this so it allows you to change these things. This will be the only time you're able to change these settings, because after we initialize or flatten this thing we won't be able to change these values this perfectly. I'm pretty happy with this initial shape. What we can do is click make pie mesh 3D. Now, we have a sub tool. This is our object, and we have converted this tool. Now, if you see we are on a brush, we can start drawing on this thing and now we can start having some fun. Pretty much the basic things here, this is your sub tool. I like to think of this as like the attributes manager so if you have a character, all of its attributes, it gets arms, legs, eyeballs will be in this folder hierarchy here. Right now we just have this sphere. I'm going to name this just test mesh and just like that, so that's how we know we are highlighted on this thing is our test mesh. Of course, the default color here is this like random red color. Our mode is actually working in, where is it matcap gray, that's the color I like drawing stuff and so maybe getting used to that, it'll show you these values better once we start highlighting details. But the next thing is the brushes. You really just going to be using this guy, this guy, and occasionally the Alpha. You don't have to worry about too much else. Right after, we're just going to click this guy for our brush menus, a ton of brushes or you can click ''V'' on your keyboard and it will give you the same menu. I know a lot of these shortcuts so if I do C V, that will give us a clay brush. But the same way you can find the clay brush right here or somewhere in this place. You'll be using like the clay brush and a few other brushes primarily for this tutorial, l so if I start dragging stuff out, boom, looks cool. Maybe like a little eyeball here. You can start to see, we're actually drawing on the geometry and we can exit out right there. If you click ''S'', then we're going to increase the brush size or decrease depending on what we need. We can start drawing out here and notice these edges are getting really sharp. One way you can soften those things is if you hold down shift, it'll change the color to blue. Now, you can start smoothing things out. You can see now we've got a little bit of a bump there. If we hold down alt, this is essentially digging inside. If we don't hold down alt taking the outside, we hold on alt digging inside and then using a smooth brush to smooth out the values to get an even data amount here. Notice when I hold down control or shift, it changes the brush here. We have different modes. We have the smoothing mode, we have a masking mode for control. Shift we have smoothing, control we have masking, which we'll talk about in a second. They are the remainder main brush, if you go to our masking brush, you'll notice that we can actually start masking things out here and if we can get rid of this mask, we do control and really it's just like that and that's pretty much if you want to single place out and you want to start building around it, but you don't want to affect that area. Just like that, pretty simple. Not too much else. You got to know about that. Let me go back to the initial sphere. That's mainly all of the things you'll be doing in that order. I think that's pretty much it. I think everything else we should be able to cover pretty easily in the actual class, but that's a pretty much basic, a rough explanation of how you do some of the things in ZBrush. Again, we can scale in. We can change the intensity here. If we're digging and we feel like that's too much going on there. We can change the intensity to two and very slightly starts to change the values there. That's pretty much it. I think we can start going to the actual making of the class. We'll see you in the next one when we start to actually build out plankton and some different features there. 3. Sculpting Planton (Zbrush): Hi guys. We pretty much are exactly where we left off from the last part of the video and if you skipped ahead and you know ZBrush, you should be totally fine. But for those of you who followed from the last one, we should be good to go. Right off the bat, what I'm going to teach you guys is how to use something called DynaMesh. The one thing we didn't talk about earlier is what happens if, let's say you have the clay brush going on and you sculpt here. Sculpt a little bit more. If you go b, n v, this gives you the Move brush. What happens is you drag them out, but you want to keep building out over here, but you're running out of geometry. This is no way, no, this is not what we want here because we're literally running out of geometry to mess with it. We want to build something. We just don't have the information there. What we're going to do is convert this object and DynaMesh it. Essentially what that's going to do is even out all the topology. It'll allow you to recalculate the topology as many times as you want to keep building out. But it's not like doing like usually if you go to geometry and you divide, that'll give me a little bit more geometry, you even everything out, but you're also dividing everything else here and you don't want that much geometry. You want to be able to just increase the geometry that you've built out without increasing everything else to make it super dense. We don't have to worry about that. What we're going to do is do this thing called DynaMesh. If we go to DynaMesh and we change this thing from 128 to 64 let's say, and DynaMesh it, you'll see now we have all these evenly distributed polygons. Now if we go to the clay brush again and we build out here something like this or a matter of fact, let's go to Move brush. Let's move this thing out here. Again, we're stretching the polygons, look in a little bit rough and then when we Control drag, this will now read DynaMesh it. Every time we Control and drag off the screen, that will give us more of the resolution that we need. If I go over here, we DynaMesh, over here, we DynaMesh, it just gives us the availability within the topology to keep adding on and extruding, re-DynaMesh, so you don't have to worry about everything else. That is super useful when you're building a complex shape where you want some skinny parts, you want some non-skinny parts and you can just keep moving on and you're not limited to this geometry. Re-DynaMesh, boom, re-DynaMesh, sink in a little bit, re-DynaMesh. It just gives you unlimited power to make these complex shapes and not have to worry about losing the quality of the mesh. That's exactly what we're going to do, but we're going to start with a preset. If we go to the comma, it will give you this within the project settings. You can go to DynaMesh sphere 32 and that's exactly what we're going to start with. You click No, we don't want to save this. This is usually how I start all my projects, to be honest. Right off the bat, we're going to kill the floor and the perspective and we're ready to go. This is already DynaMesh 232 resolution. That's one thing when you start building an object, you want to start with the lowest resolution possible because it's much easier to more of these shapes into malleable pieces. It's easier to make a simple shape out of really low resolution than really high resolution. That's what we'll do. You want to keep this as low as possible until we really need to focus on minute details. But for the basic shapes, we don't have to worry about that. If I go to like a reference picture of plankton here, you can see this guy, we want to make this pill shape, something like that. Maybe he's a little bit skinnier at the bottom. But for the most part, this looks good. We don't have to worry too much about him bending over or anything, we just want to make a pill shape. That looks good for now. What we're going to do is using the masking technique that we used last time, of course, you can draw a mask. That's cool. But I think what you want to do is grab something like wall. Obviously, you have control held down. You're switching this brush. Let's go to the mask rectangle. With the mask rectangle, we're going to click and drag and drag halfway through. Something like that and maybe a little bits like that. Now we have half of this mass, so we are controlling this bottom half of the object and the easiest way to do that is just click Move and drag this all the way down just a little bit to something like that. We can see that's looking good. Control drag off, that'll clear the mask, and then Control drag to DynaMesh it. You may not have been able to see that, but we just read DynaMesh everything and you can see that by clicking the poly frame here. That looks good. We have the basic shape here for plankton. Let's go back to draw and let's increase the scale a little bit. Let's enable the symmetry. If you click X, we now will start adding in the opposite direction. Then when you're building a character like this, it's got a very simple character, usually, you'll want things to be, for the most part symmetrical and it just saves you half the work. It applies to everything, the masking, the smoothing everything. Let's go and smooth these parts here because we can still see bunch of lines here and we don't really need to worry about any of that. Then playing too, and I feel like maybe he's a little bit longer. I think maybe we can just go into B for brush, MB for the move brush. Maybe increase the scale a little more and just drag him down and go to the side view and let's drag him down a little bit. Again, we don't have to worry too much about his shape, whether he's being banter, we'll change that and then re-DynaMesh it maybe, smooth ever so slightly. Again we're still having these symmetry brushes act on everything. That looks pretty good. As long as you have a basic shape, it doesn't have to be perfect, but a basic shape that looks like plankton and then you'll notice, go back to the reference, you'll notice it's got a pretty big eye here. That should be for the most part good and before I forget, I think an easier way to drag a reference here is by going through this one program called pure ref. That's just what I use for references and stuff like that. If go p u r. That'll open up this tab here and it'll always stay on top. If I go drag the bounding box here and I just want to drag this guy on top. There we go. Because it is an Alpha, it'll just mask out plankton. All I really need to see is its basic shape there. But that's good. Maybe a little bit smart. I don't need to worry about those details. If I just keep it like this, that'll be good. Because this is pure F, it'll always stay on top. I can keep working and I can keep looking at this reference as needed. I might put this actually here because I'm a lefty. But it looks good. You can see we have his eye here and that's taking up a decent chunk of his face. I like to keep symmetry active. Let's just take the size down a little bit. I think for this we'll go back to from B, C, D. Let's go to the Clay Brush. Then we'll take off this alpha. I'm going to have this smooth dig inside that his face. Let's just pull down all and dig in. Just like that. Looks pretty good. Let's DynaMesh it and maybe dig in a little bit more to make sure we got pretty good amount of space dug in. You don't want to be too crazy about it, but you want to make sure while re-DynaMeshing every once in a while, that we have a basic shape. Already, you can see what's going on here. This is going to be where his eyes are going to be, this is a nice hole. Things really start to look realistic when you have these debits instead of just putting a sphere right here because you won't have any light highlights hopping off of these ridges. You want that kind of detail. Then you'll notice the mouth. But I think we can add the mouth once we add a little bit more resolution. I think first, before doing anything else, you can increase the DynaMesh resolution from 32 to 64. Hit Enter, and this won't really take effect until you re-DynaMesh here. But usually what I do is because it won't update right off the bat, I think you have to just smooth it out a little bit and then re-DynaMesh and then there you go. All this extra resolution and it looks a little bit botched because you might have to smooth a little bit of it. Smooth very slightly because you don't want to round these edges too much. Then just smooth around, take all of this unneeded noise off the model. I do that for peace of mind, a little bit of smoothing. Now we have a very simple plankton shape without an eye. The first thing you can do if you want to add the eye, we can add our first sub tool. We can rename our PolySphere, which is now this shape. Let's call this body. Now we know that's the body. Next thing we want to do is just insert a mesh. Let's go insert a sphere because that's a pretty basic on the eye, then what you can do is to scale, then while dragging on the yellow, scale that down a little bit and then rotate, you want to get that as close as you can to where the eye should be. I mean, this part should be pretty self-explanatory. Let's maybe dig in a little bit, little bit smaller. It's really whenever you think it looks good, but to me, this looks pretty decent. Maybe drag his eye out and in a little bit more. It's pretty plush. I want to make a pretty clear line from here to here, so maybe drag it in a little bit and make it bigger. You'll see that these parts look pretty good, but you're clipping some of these parts of the skin. To change, right now, you obviously can't. If I go back to draw, you can't edit this mesh because we still have the sphere selected. You can obviously select this guy and you'll know what you have selected based on how light it is. You can select the eye or you can select the body here, or you can wall clicking all, click on the eye or click on the body. That's the easiest way to do that. I believe before we get too far, let's change the name of that sphere to Eye. So we have Body and Eye, pretty self-explanatory. Let's all click on the mesh here, for the body. Now let's go back to our Move brush. Let's go B-M-V, so that is our Move brush and we still have the symmetry selected. What we can do is drag these guys out a little bit. Again, we just want to see these divots because those are the kind of details we want to see and light is going to work really well bouncing off of these things so looks pretty good, and then re-DynaMesh. That looks pretty good to me. For the amount of resolution that we have, this looks good. Now we have a nicely cratered-in object with an eyeball outside. To me, that looks pretty decent. His eye actually looks a little bit more vertical or lengthywise. If you want, we can click the eye and make it a little bit thinner. It's all about just making the stuff perfect little by little. So we drag that back in, maybe that down a little bit. This kind of looks like a cartoon finger at this point, which to me is good. We've got that, we have the eye, and we've got the body. Now we can start worrying about the mouth. Now, this is where we're going to start to add a little bit more geometry because the mouth, we've got some pretty sharp edges. If you had a really low-resolution model, the mouth is not going to work well with that straight. To get a really straight line, you're going to need more resolution. What we're going to do is go geometry. Dynamesh from 64 to 128. Again, just remember, smooth real quick and then re-DynaMesh, and now you can see even more resolution. That's exactly what we want. This looks terrible if you were just going to bump this out like this. But while we're building this, we need that needed geometry. I'm just going to smooth this stuff a little bit. Peace of mind, have it looking nice. The more geometry you have, the less you can worry about messing things up while smoothing, because there's so much geometry, it's not going to deform the whole shape when you have this much geometry. Even if I smooth over the eye, it's not going to be crazy because we had that geometry to back it up. We're looking good. We got a model, a pretty dense model. Now we can work on the mouth. What we can do is we can draw the mouth. Oops, we are still in rectangle mode, rectangle mask mode. If we click that, that's obviously a square mask. But making a mask in this way will also penetrate it in the back. A lot of times if you want some selection like this, you're going to have to go to the back and de-select it. That's just something to note, we can get rid of that. But what we really need is, let's go to the lasso. This will allow us to draw out a shape like this, and because we have symmetry on it, it does some funky things. If you know how to use symmetry, it'll really make this whole mouth symmetrical. What I'm going to do is take off. See we have this red line chasing our mask and that's to smooth out the brush motions. But we don't really need to worry about that. That's within our stroke and that's called Lazy Mouse. So we don't need to worry about that. Now we can draw and there's no weird line that's real-time. But for our mouth, that's totally fine. What we want to do is just recreate this shape here. Obviously, you can deactivate symmetry mode and just try to draw this thing the best of your ability, which depending on how good of a drawer you are, that could turn out pretty nice. Of course, it's still getting the back area. But if you leave symmetry activated, it'll do some of the work for you. Maybe you'll start over here and then go down. You don't have to worry too much about being clean on the other side because it will just fill it in if you're on symmetry. That mouth looks a little big for me so maybe I'll clean that up a little bit. Something like that. I usually start with a starting point here and then go back to my pen brush and maybe decrease this and just start filling in the gaps. Something like that. Maybe something like this and obviously holding down all this, subtracting the mask. Might need a little bit more here. Remember you'll still hold down control. But we just need a basic shape. We don't need to worry about too much going on. Maybe I can subtract a little bit from here just so we have room for other pieces. This is looking better. I think that's all we have to worry about for now. Let's get the rectangle brush out real quick and just subtract. We have this mask saved here, so we only have to worry about one mask here. Then if I were to scale and drag this in, the opposite's going to happen because we have this part selected. So we have to do is just hold down Control and click outside to invert the mask. I like to go to the unmasked mesh center and then drag this guy back. You can tell this is getting too far, so let's drag that back a little bit and then maybe increase the size a little bit, just to give us some more surface area in the middle or in the mouth so we can demask it. Right now it looks really stretched. Let's re-DynaMesh it. Now we have this nice cut out of a mouth, and we didn't really do too much to achieve it, so that looks good in my book. This stuff looks roughed up, so let's smooth this stuff out. We have symmetry still activated. Maybe a little bit of a bigger brush, let's smooth some of this stuff out. Oops. Smooth. Just like that. This should be good for the most part. You're smoothing away all the jagged lines and you're getting a better idea of what Plankton's mouth actually looks like. This looks good. I'm not mad at this. He looks happy still because he doesn't have this eyebrow or anything yet, but to me, I believe that looks good. We can just smooth this stuff out. It doesn't have to be perfect. The rest, you can do by going B, M, V, getting back to that move brush and you can change the shape of the mouth really easily just by changing a few things like that. You can move down or up, depending on the shape you're going for re-DynaMeshing every once in awhile. Boom. There are a lot of things you can do if you want this edge sharper, you can go to B, D, S for Dam Standard. If you're trying to dig in, it's just like embedding your nail in the clay or something like that. Vice versa, if you pull down all, you're digging out, so you're like invert scratching. That's a really good way to get clean edges sometimes. If you get an edge you're trying to clean up, that'll give you that strain edge that you're looking for. You can see, in this case that actually works out pretty well. We can re-DynaMesh, looks good, maybe smooth it out a little bit in the middle. That looks good to me. I would say a good Plankton mouth. Maybe go back to the move brush and drag this guy up. Looks good to me. We have two of the features done. Very nice. The next thing we want to do is, I think we got to start worrying about this guy's arms. One thing you'll notice is that it would still be hard to maybe take the move brush. You might be thinking, ''Oh, let's just take the arms. Let's just go like this.'' That's nice, but this guy doesn't have nearly as much surface area at the bottom and we can't do too much about that once we make them. We can do that, but I think an easier way is to do this thing called the SnakeHook, so S H for SnakeHook, and then it'll literally allow you to drag pieces of geometry out much better until you start curving it. What we're going to do is make this a little bit smaller. You see his mouth or his arm comes about in the middle of his mouth, and so we can drag this guy out. You're going to lose resolution as you go, so you're just going to have to keep going, re-DynaMeshing, you're going, re-DynaMesh and smooth. Then to offset it, you inflate so B, I, N is inflate brush. You can inflate things like that, and just creating arms like that. That's pretty much it. Then what I'd like to do with the fist, maybe that's the same thing. Inflate brush, boom, little wrists, inflating it, re-DynaMeshing. Re-DynaMesh. This is why it's good to be at a decent resolution before getting to smaller details like this, because there's no way we would've been able to do this with a smaller brush or a smaller resolution. You need this kind of resolution to really make these detailed shapes. That looks pretty good for the arms. Again, you can smooth a little bit, depending on if they're too thin or if they're too thick, but that looks pretty good to me. Same thing with the legs. Very simple. Again, for this class, I think for ZBrush class, we're keeping it simple. We're going to spend too much time on any one thing. This is just to get you guys used to it. Let's go B, S, H for the SnakeHook. Go a little bit small and drag some legs out. Again, little bit pointy at the bottom, so you move B, I, N for the inflate brush and we can just inflate his legs a little bit, re-DynaMesh, smooth out, just like that. Just smoothing out just like that. That's pretty much the basic shape of Plankton. All we got to do now is maybe create some of these lengthy antennas. But we have the mouth. We got to make the teeth. We can make the tongue. Then I think we're looking good. What we can do next is I would say the teeth, and for this, I kept it simple on my Instagram. We're not going to get to individual teeth. We'll just make this white little shape here. What I did was I went to SubTool, insert. Let's go Cube 3. Let's change the shape of this thing, drag it out. Again, just make the very basic shape of the teeth, a little bit smaller. You'll see the teeth don't need to be this thick so you can make them much thinner. Then we can drag them at the very beginning of the mouth here. Then we're just going to twist these guys to be in their position. I think the easiest way to do this is to make sure there's a lot of geometry here. If you'll look, you got some geometry, not a ton, but yes, so let's go to geometry. Let's go to DynaMesh. Let's go to 200 resolution and DynaMesh this thing. We got a lot of resolution to work with here. How do we bend this thing around? Let's go to this gear here. While we're in Scale mode, let's go to the gear. Now let's go to Bend Curve. You'll see you got a point here and a point here. This is where we'll be able to change the positioning of everything. Because if we had a middle point by going to curve resolution, we add one resolution. We had a middle point, we can now bend this thing accordingly so you can see how this is going to start forming. You can change the axis. If this was top to bottom, you can change this initial state where the axis is. We're going to stick with that. Then we're also going to go symmetrical. Pull this thing down. Now everything we do on the left, we'll have them at the right. That's what we're going to do. We're going to drag this thing over to the right, just like that. Again, just a little bit of trial and error. Boom. Just like that. Dragging these guys in, a little bit up. Here we go. I can see that I got our teeth there. It's poking out there a little bit, so let's drag that there, but you can see now we have these nice teeth. It's a pretty clean position. Looks good if you see. Here it's a less pretty similar, and I'm happy with that. The next thing you can do is the same thing for the bottom. All we have to do, SubTool, we can title this TeethTop, and then just duplicate. TeethTop 1, let's rename that to TeethBottom. With the bottom teeth selected, we can do the same thing. Just drag this down, drag this guy down, drag that down. Again, his bottom teeth are a little bit more sunken in there. Something like that. That's looking good for me. There are two sets of teeth. That's a pretty much no time. When you're done with these, you can just go back to the gear and click "Accept." Gear, Accept. Now we've got two sets of teeth, we've got the TeethBottom, TeethTop. Remember, I'll click to change the tool. We have a bunch of different tools here, you have the body, TeethTop, TeethBottom, and the eye. There you go. That's pretty much it. We're looking good here. I think the next thing we want to work on is the tongue. I say it would be pretty fun. The tongue I usually start with Subtool, insert a sphere, and let's scale, grab down. Let's make this much smaller. The general shape of the tongue, let's flatten this guy a little bit. One thing, if you go to transparency, you see where everything is lying here. What I like to do is drag this out a little bit. We're making this long, very basic tongue thing. Then we're going to do the same thing that we did with the teeth. Let's go to Bend Curve, change the axis until it's in this format, and then we can drag down. This is still on symmetry mode, so we got to take off symmetry, drag down, up like that maybe. Because we're not going to see too much of the bottom of the tongue, it doesn't really matter where it is. But you can see, if I want the front of the tongue to be a little fatter, just like that. This tongue isn't actually that big, so I don't have to worry about too much going on there. The front of the tongue can be a little bit beefier, and the bottom of the tongue. That looks good. I think we can accept this for now. It's the glitchiest button, I don't know why. Let's accept that and then we can go to Geometry. Let's DynaMesh it at 128 is fine, and we can take off Transparency and see how this looks. Looks fine for now. Then we can solo this real quick by clicking the "Solo" button and just go inside. Really for this one, I think all we need is a Dam Standard. Let's go B-D-S and this is remember you're digging in with your nail, Check this out, just like that. Very easy tongue. Let me DynaMesh it, and then that's your tongue. There you go. Looking good here still. Of course, a couple of the basic details we can add are like some of the cheek inflating and some of these lines here so we can do that. Let's go back to the body. Because we're still in symmetry mode, let's go B-I-N for the inflate brush and let's inflate his cheeks a little bit. Look how easy that is, boom. Just inflating the cheeks where needed. When you're happy with a certain amount of inflation, then we DynaMesh it. Let's go B-D-S for Dam Standard and just digging into the dimples a little bit depending on the look you're going for. Something like that looks good to me, a little bit pronounced, but I think it'll work. A little bit of softening there and that looks good for me. I think they're a little bit more. Again, this is stylized so we can get as creative as we want. Then I think he has a little bit of puffiness at the lips, it's kind of a little bit going on here. It's going to be a little smaller and let's go B-D-S for Dam Standard. Dynamesh, smooth it out a little bit at the bottom, and we have a little bit of a lip. Let's go B-I-N for the inflate brush, of course, give him a little bit more of a lip. Again, the one thing you'll notice is you want to be subtle with all this stuff. You don't want all of this stuff to be super crazy and that's how you get out of control. Let's go B-D-S again to dig in. Here we go, very subtle, but so much more pronunciation on some of the stuff. Again, I think he has a little bit of a divot in the eye so let's go B-D-S to dig in and I guess like right here. It takes a couple of times to get this stuff right. A lot of times I'll just end up command Z a lot of time just to see what this stuff looks like. Then we can inflate here, DynaMesh, and there you go, a little bit of a divot there, little bit of inflation, DynaMesh. We've got this nice Plankton shape so far. This looks good. I think one of the last things is just dragging out these things. We can either start with just drag it on the body like we did with the snake hook. We could theoretically just boom, and that could be fine if you want to texture this stuff the same, or you can let them be different objects. That's totally up to you guys. I think I'll do a little bit of both. What I'm going to do is I'm going to drag these guys from about here and then just drag, keep dragging. Again, see the deformation? That's when we're gong to start looking into Sculptures Pro. That might be a different class, but that would probably be your best bet for something like this. But we can still make it work in the way we're doing it now. If I did this and then just DynaMeshed it, and then just smoothed it out, it's essentially the same thing. Yeah, just DynaMeshing and then making sure you have these things. That's pretty much that. That's like his little things, whatever you want to call them. Kind of what I did, I think the easiest bet for these things on the side are something like, let's go to Append, let's go to a Cube. Oops, my bad. Actually, let's not click Append. That's my bad. We can do it that way, but to keep it simple, let's not do that. Let's go to Insert because I think the only difference is when you insert something you've selected the object already so you don't have to worry about moving anything else. Let's make this smaller. Let's make this first guy here, rotate it, make it much smaller, skinnier, and we don't need it to be this thick, so I would just go like that. I think that size works, maybe a little bit smaller even, and I believe so. Once we do that, all we have to do is let's keep this in the same subtool. Let's go boom, drag it here, boom, drag it here while holding control. Don't let go of control. Boom and boom, and there you have it. These are all technically one subtool, they're just masked. If you unclick now, they're all there and so if I were to use something like the Move brush, it's going to move all of them if I click on it. Just watch out for that. If you want them to be separate objects, you can totally do that just by going split, split to parts. What that's going to do is split them all into separate SubTools. But for this, I think all I'm going to do is go to Zplugin, let's go to SubTool Master, and then we want to, oops, this picture is covering it, let's drag this out of the way. Then we're going to go to Mirror, and then we're going to mirror it on the x and we can see everything is the exact same. As long as you are making everything very symmetrically, you don't have to worry about all the other nonsense. There you go. I think we are looking good. Of course these guys are looking really sharp. We can totally tone that stuff down just by, let's see, just by making sure we're on Symmetry mode, so X, and then just smoothing, making it look a little bit more organic. We can do the same on the back just a little bit. Because we're in symmetry, we only have to do this once. I think that looks pretty good so far. If you want to make the ones on the top a little bit skimpier that actually might even work. That looks good to me. What else we got to do? That should be it for the most part. The rest we'll actually be doing in Cinema. That is exactly how you sculpt, or how I sculpted Plankton. Of course, I didn't spend nearly as much time, I just want to get the basics out of the way. 4. Remeshing (Zbrush): But once you're done with that, you want to retypologise stuff. We've got a little bit of a cleaner mesh, and when you're not texturing stuff that looks like a million little cubes. What you want to do is making sure symmetry is still selected, assuming that you want to keep this stuff symmetrical, you're going to go to geometry. It will be ZRemesher. Let's click "Half" and make sure adapt is checked on and KeepCreases and you click "ZRemesher". What's happening is it's going to calculate everything and make the topology much smoother and much better and 100 percent the same on each side. You'll see when that's done, it looks much cleaner, stuffs following the topology much better. But we still don't need this much, so we're going to click it again and looks good, even better. Let's do it one more time, even better. Now we're starting to get somewhere. The more we do this we're going to lose some information. But as long as the basic essentials are there, that's going to be good and you're going to see it's going to start looking blocky, which are going to be like, Oh, I don't like the way that looks. But once you put it into cinema, all this stuff is going to be even down and it's going to start to look a little bit like this. That is fine. It's just a much cleaned up version so you won't have to worry about taking in a version with so many polygons into cinema. We're not going to get into UV unwrapping because we don't need that for this class but that's what you're going to worry about. Everything that we DynaMesh, we really don't need to be in DynaMesh format. Let's go to the tongue, in a way you can tell it's still in DynaMesh mode it's obviously thing DynaMesh that things highlighted or if you get this looking, if everything's in really weird squares. We're going to do the same thing. We're going to go through ZRemeasure, half. Here is depth keep creases and that's going to keep these little indents here. ZRemesh looks good to me and let's go to the teeth. Let's have, keep creases to your mesh and we go add a lot of polygons. Let's do that again, one more time. Boom, we definitely don't need that many polygons. You can just keep doing it until you're happy with the result. We can keep it there for now. Same thing with this guy, half keep creases. Do it again, and again. Some of these things are easier made in cinema depending on what you're used to, but I thought I'd make everything in ZBrush and again, and again, and that's looking good. I'm pretty happy with this guys, you have this eyeball which is pretty high polygon, if you want. I'd probably leave that how it is. I'm not even going to use a subdivision surface and cinema. Then this guy is this DynaMesh I'm not sure. If anything, you can read, that typologises this as well, let's go to half and this should be good. Now everything has been Zmeshed and we have this very nice looking model for cinema. For what we're going to be doing, we don't need to UV unwrap this. We're not really going to rig this or anything. We're just going to put some bend deformers and make them bend in different ways. But this is how to make plankton, that is essentially it in ZBrush and in the next class I'll show you how to light texture, compose this guy and do all that. Thanks for following along this far. We'll see you in cinema 4D and I believe that is it. I'll see you in the next one. 5. Exporting Model From Zbrush: We're back here in ZBrush. One thing I wanted to also show you guys is how to export this thing for Cinema 4D. We're going to export these in an FBX file. That's essentially going to keep these guys on a group. We'll have the body, teeth top, teeth bottom, Eye, call this tongue. I guess let's just call it hairs for lack of a better term, so we'll know that, and everything is named properly, and that's going to show up in a group together all named correctly. To export that, we'll go to a plugin Z plugin, and let's go FBX export, import. These settings are fine. It's pretty much saying all the visible items, aka, all of them will be exported. If you go export, and we go to plankton, ZBrush. Let's go to Plankton_01. That should work, and then it'll export everything just like that. That looks good. I think that'll be ready for importing into Cinema 4D. So that's that. 6. Importing & Posing Plankton (Cinema4D): Hi guys. We're here in Cinema 4D and you can see I moved our little reference image up here. This should be the blank template for Cinema 4D that you're looking at. This is actually Cinema 4D R23. That's pretty updated but the newest version actually just came out not too long ago, but we're not using that. You should be fine as long as you're using really any of the versions I believe, as long as it's not too old. Because we're not using anything like the volume measure or anything from this I don't believe, so we should be good to import everything. All we're going to do is go to File, Merge Project, and I know this guy is covering here. But we're going to merge project here and then we're going to go to the 3D object, the FBX Plankton 01 that we exported out, click ''Open''. We can just click ''Okay'' for all these. You can see all these body, teethtop, teethbottom, eye, tongue, hairs, everything is how it should be. We need to go highlight all of these and then alt G, just to put them in a group and we can call this Plankton. That's looking good so far. With the group selected, let's go to this mode over here. Then with the scale tool selected we can just scale this guy all the way up. Let me delete that camera. We haven't used a camera yet. We have Plankton right here and it looks good. A lot of people might adjust the axis, so it's at the bottom. It doesn't really matter in this case, but I guess we can. If you want to change this axis to be on the floor, all we're going to do is click this guy right here, the enable axis and let's hop into, by clicking middle mouse button, the front view. Let's click E, and drag down the axis tool about the floor and you can tell that's about right. We can disable that. Now when we go to the group, we can zero out the why and it should be exactly on the ground. That looks good. One further thing we want to do before really manipulating this guy at all is adding his unibrow thing. He looks pretty mad there. I think what I'm going to do is actually just go and I'm try to think of the best way to do this. Let's create a plane. Obviously we want this to be maybe the Z positive side. Scale this down just like that and scale this just like that. We want to create the general shape of this object. Just like that. I believe, let me see. The best way. Let me create the debits here and it'll help to actually look at the lines here. We don't need this many height segments. I think these things taper out a little bit out there. Yeah, I think we should be good for something like, 1, 2, 3, so it'd be 1, 2, 3, 4, 5, got you. Something like that should be good. Then we can click C, call this Brow, drag that into the hierarchy here. That's going to be important later. Then we can just drag and we can just click a couple of these guys and go, these ones go on the inside. We actually should have one more I believe actually. Let's just select the very bottom line like that and we can just drag one more by holding control or command. As long as you eye it it should be good. Now we can just go to the points mode and select this guy now, same with this side, boom, boom, boom. Then clicking T, let's just scale these in. That should be good like that. You can see that's giving us the same shape. Then I believe what we can do is just click a point. Let's go to Soft Selection, and bring this all the way down and just drag this guy down. Because we have a soft selection made, that's going to give us this nice little shape that we're looking for here. That should be good. I think if we just select this guy and this guy, maybe select these groups. As long as it's generally the same shape, should be good. Let's see if we can get. Cloth Surface and ideal cloth surface will be nice. We don't need it, just a brow here. Once we're good there we're pretty much good to place this thing somewhere, generally in the right direction. Again, we're not going to be too close up here. It doesn't have to be absolutely perfect. We want it to look nice but we don't want to lose our minds over, bring this out a little bit maybe, drag this back. Just making sure we're not colliding with anything. That should be good. He looks happy or he looks pretty angry. We can drag him down a little bit more just like that. If we eliminate the lines, I'd say he's looking pretty furious to some degree. Because everything is in the same hierarchy, this is going to be easy to manipulate it just by using a simple bend deformer. If we click Bend Deformer, we drag inside here. Matter of fact, a better way to do this so it's immediately bound by the box is holding down Shift and clicking the Bend Deformer. This should now be theoretically messing with everything here. If I were to bend, he's bending. However we need to I guess change the structure of this box because for whatever reason it was not bound directly to him. Let's match this to his body. That honestly looks pretty good. What I like to do is keep the length here. We don't want him to get stretched like that, we want to keep his overall length and now we can see we're actually mimicking him in a pretty cartoonistic way, so we can keep the length there. I think what I did was I just rotated this and he's like, ha, ha, ha, like that. But we can change the axis here and if you don't want his feet to really move we can shorten this a little bit. Just like that. A move up a little bit. We just want his torso and up to move. Let's change the strength, that's really getting them there, because you can see how much. Because we have the subdivisions, we don't have to worry too much about deforming him or this breaking too hard. You can see we've got a lot of leeway when doing this. We're really changing the vibe of just using a simple bend deformer here. You can see what happens. Unlimited, I'll add that there. Cool. This looks good. I think trying to figure out what x is I want, and this comes down to the vibe you're trying to go for. The next thing we should do before messing with this too much is creating a camera, specifically an octane camera in our case. If I do Shift C we just type an octane. We'll just click an octane camera, that's what we'll be using. Then I'm going to hop inside the camera just by clicking that box. I'm going to zero everything out except the Z. I'm going to go minus 1,000 and then zero these guys out. I'm going to change the focal length from a 36 millimeter to probably like an 80 millimeter. Then manipulate the camera from here on out and just maybe zoom in a little bit on the Z, while holding Alt, messing with the P rotation. We're looking pretty good and we can see if we hop outside of the camera, our cameras looking at them, we can see the deformer. We just want this to look really good and centered. Before we go too much further, I should note our bounding box sizes and everything. Let's real quick do Shift V and go to Safe Frames. Then we'll take the opacity to 100 percent. I'm already set to a square aspect ratio like I do on Instagram. But to be clear we'll just go to Render settings, make sure we're octane render output, let's go 1,500 by 1,500. Everything should be good. That should be perfect. That is looking pretty good composition like that, sometimes this guy gets in the way so we can just hide that from the camera by double clicking the little bubble up there. But it's still being affected. We can still change all these parameters and change which way he's like dancing. We could even animate that if you wanted to later on. But I think depending on how you want to do this, just finding a good, I thing that looks pretty good, it's up to you guys. I think on the other render I did put a slight bulge deformer. Let's go. I believe you can literally just pause this guy depending on vibe we're going or maybe make it unlimited. You can see what this does to it. You can see if we want to fetter on the top or the bottom. I believe he's fetter on the top though in the cartoons. Slightly, maybe slightly, very slightly. Maybe like honest five percent. That looks good, we can hide that. It's going to meet in the middle let's go like 60, or maybe not. This just comes down to your artistic vision and how you want to do that. But I think we're pretty much ready to light and texture this thing. We're going to just set the camera up like this. That should be good. Then you can move him wherever you like, place him in the frame. Maybe offset him a little bit just because his antennas are going all over the place. But that should be good. I'm going to save this as it is. I shouldn't call them Plankton 01, that's similar C4Dfile and we're good. Now the next step is we're just going to lighten texture. I will see you in that section. 7. Lighting & Texturing (Cinema4D & Octane): What's up, guys? We're back here in Cinema. I made a couple of tweaks just to the bend of plankton like we see here. I realized we're probably going to end up rendering him like this at an angle because I think that looks better. Messing with some of these settings, whatever you guys are feeling, free reign completely on what to do there. Of course, just seeing how all of these work is pretty fun. Yeah, I think something like this makes it look like he's enjoying the evil laughter he's doing. I think that's good. We're at a good point now. He's lower in the frame. Depending on how you want to do it, you can totally make him fully in the frame, make him bigger, make him smaller depending on what perspective you want to go with. I mean, that's probably the most realistic, but maybe a little bit too small for what we're going for. This looks good and I think we're ready to start lighting this guy. Without further ado. Actually, I think we'll get to that later. I was going to add the pupil, but we'll do that when we finish lighting and texturing. What we're going to do now is light this guy. I'm going to grab an octane live view window. It's coming out very big, but we're just going to drag that to the side here. We have the viewport window and the active viewer window, which we'll be doing a lot of this stuff in. Yeah, there we go. That looks much better. What we'll do is grab a couple of the central things out like the octane settings. We don't need to do too much in this right off the bat. Let's just change this from direct lighting to path tracing. Change the max samples to something like, let's go 80. We don't need too much detail for this first part and GI clamp to one. That should be good. Again, making sure we are set to octane 1500 by 1500 everything looks good and we can render this out. This looks nice, it's giving us a very basic version of what's going on. We could add some shadowing here if we're rendering it on white, but we're going to do it on black. The first thing we'll do is let's click the ''Lock'' button here so we can see our render in full here. There we go. One thing we want to do is just with this octane camera tag selected, let's go to camera imager, enable camera Imager, highlight compression to one. That's going to look pretty bad at the start, but you'll see why we do that. It's going to save some of our highlights and give us some more dynamic range later. What we'll do is just click off right right and do Shift C, and we'll do HDRI, so HDRI Environment. I'm going to use an HDRI that I use for pretty much a lot of these things, a lot of these scenarios that I do on Instagram. What I'm going to do is go to is right here, texture, and let's go load image. Usually, that's how you'll upload a lot of these images into your HDRI. But what I'm going to do with the selected, I'm going to go Shift C again and go to content browser and open this guy up. Right now it's going to open up just by default I have here. The pack I have is my HDRI pack volume 1. I guess I searched that earlier. I'm going to go to Patrick4D Store, this is going to be the HDRI pack volume 1. You'll see a lot of different looks here. Pieces of work being done with this pack. This was a pretty good one, this one, and my volume 2 for more of a studio situation. That's what this is from. HDRI pack volume 1, my first ever HDRI pack. So not to be too product place beneath, but that is literally what I use for 90 percent of my Instagram renders. For those of you who didn't know how l lit them, that's how I'm going to do it. I think for this I'm going to use parkingdeck_01 HDR. So I'm just going to drag it over here. I'll have to worry about that. Automatically it's going to light this guy and you can see based on how I light it. It's going to look a little bit too dark, but let's boost up the power here. It's going to look better. The next thing I'll do is just duplicate this octane sky. Click the sky, zero it out and primary environment to visible. So that's just going to delete the background. Now you can just play with the settings of the background we had before. Whatever you think looks best. Something like that, maybe like an overhead light. I just rotate these guys until I get the cinematic look that I like. You can see it looks a little bit grayed out and that's where we're going to boost this exposure backup in the camera imager. A little bit up, drag the gamma a little bit down, add some contrast. We're cooking with gas, we're looking good. I like that. I like a little bit darker on the front like he's a little evil. We've got a nice, you get to fill light on the back and we get a nice rim light here. It's given us some nice contrast right off the bat. If you want, you can always boost this a little bit more to 20. But I think I liked it at 12, maybe 15, let's meet. That's pretty much good so far. I think we're ready to texture this thing. Let's go ahead and let's see. Let's grab a material. Let's go create. Usually, I start with a composite material because I'm mixing a lot of things. But for something like this, I think we can just do composites, material would be safe. We can double-click that and go ''Node Editor''. Now we are manipulating this first texture. Let's just get the big stuff out of the way. Drag this to the right, to the body. Before we do anything, let's make sure the body is gone from spherical projection to cubic. Usually, a lot of stuff works well when you're working with like image textures and stuff like that. But I think we'll be using noise textures to do most of this. So we're definitely not going to need three materials. Let's go down to, I guess just one for now. We're dragging node out here and we'll create a sub material. Now it's by default a glossy sub material. The next thing we want to do is pretty much the, let's get the subsurface scattering out of the way. Let's go convert this from a glossy material to a specular that should make it pretty glassy. You can see behind it now, which we don't really have to worry about because this is going to be of subsurface scattering E if you will. Right off the bat, I'm going to take the let's go common, go fake shadows, check that. We're going to go medium and scattered. That's going to kill all the light pretty much because of the settings we have. So we're just going to take this absorption tag, drag it out, and go RGB spectrum. We're going to change this to some green color. Let's take the brightness all the way up and go to something like a plankton color, something like that. Cool. We can see the thinner areas, we have a lighter color, and the thicker areas we have a darker green. But this is not going to look anything like plankton yet until we add some scattering. Let's drag a node out there, and just type in FL for float and you can see now what's going on. It's like candle wax at this point, very translucent in the skinny areas and more opaque in the thicker areas. For something like this, I think we can boost up the density quite a bit. We can see we're still getting some subsurface scattering in the thin parts, but we don't want too much around that stuff. I think he's too neon green, so we can dial that down a little bit and maybe go a little bit more blue and dial it down even more. That's looking better to me, that's looking good. We're still getting a pure glossy material, so we'll have to mess with that in a little bit. But this is looking good. This is our basic texture for plankton. We've got some nice subsurface scattering and we've got some nice lighting. What we're going to do is actually duplicate this and we can title this first one, body, and we can title this, eye. We'll texture using the same preset we just made the eye. Just like that, we can hop back into the node editor. Remember we're changing the eye right now because we just duplicated that preset, and all we have to do now is, I believe his eyes are yellowish so let's pretty much drag this to the yellow. Let's add a little bit more color and a little bit less density. Because we want that eye to look really translucent, maybe a little bit stronger with the eye. We can get as stylistic as we want. I'll say something like that, looks good. Then we just need that pupil part, which is going to be red. I believe we could have done that earlier before we started deforming everything. At a fact, we can do the same thing right now, so pretty easy. Let's lock our camera and so let's right-click the camera and go rigging tags to protection so now we can't move the camera around at all. Let's just make sure we save it again because that's always safe. Let's disable this camera icon so whenever we jump out of the camera it'll stay right here. Let's go back into this eye. We're essentially just duplicating this eye here. Let's control drag up for eye 1, we can call this pupil. We can take this off for now because we want to see what's going on here. Then we can just drag the pupil out and make it smaller. Drag it out even more, smaller, a little bit thinner I believe, and maybe a little bit up and a little bit flatter. Let me drag it out, it's covering more surface area, a little bit flatter, and a little bit change the orientation and that should be good. Let's duplicate the eye and let's drag that on top of the pupil. With this eye let's go back to the node editor and just make this pure red. That'll be pretty jarring to look at. There we go. I think we can actually take the density down a tiny bit. Just like that, looks good. Then I'll just bend it again. Boom. That looks good because it will now bend with everything else in the hierarchy. Go back to the camera view. Turn this on. Unless we make changes to the camera, we can just leave this protection tag on. Let's just go to what we call material, creates, still diffuse material. This will be just like the hairs, I guess for the antenna. We can call it AHairs. Hairs just like that, and then we can just make those black. If you want to make them a little bit glossy, let's just change them to a gloss and rough them up a little bit so you get some shine and then we can see what's going on. That looks pretty good. Now we just got a texture for the tongue, even though we can't really see it that much, let's just duplicate the eye. All this on. Drag it onto the tongue. Instead of making this one look like a jelly bean, I think we can actually just scatter this one a little bit more and take the roughness up just a little bit. Again, this is more of a cartoonist stick render, especially with our first ZBrush class. I didn't want to go too crazy on it. But I think we're ready to texture the teeth. I think we can take the eye, let's just start with that, closest thing to teeth there I guess, so teeth. You drag that here, and right about there. We can make these cubic production. I believe we can just take the float and make this a little bit more opaque, maybe even increase the density a little bit. Take the RGB spectrum and make them a little bit wider. Because we want them to have some feeling, the lights bouncing off of them a little bit. I don't know how well you can see, but you can see the light reacting to that stuff little bit. But we're looking pretty good. This is pretty much texture, we just got to worry about the hair at this point. The hair, we're just going to go to the brow. With the brow selected, all you got to do is, Shift C hair, add hair, and that's going to add hair, I guess apparently in the wrong direction. I guess we got to just reverse those normal. Let's go to brow, let's select all the faces here and you are to reverse the normals of the hair. Definitely don't need that many hair. Let's go to 500 maybe. Guides, I guess 77 is fine. Let's go polygon area, and let's reroute and re-grow. Length let's go to like 30, because we're going to actually do some other stuff to it that will shrink it even more. Let's double-click the hair. Let's give it some kink and frizz, and some curl. There we go. Already we're getting some crazy results here. Let's change this thickness to 0.5 and 0.05. I guess all we really need to do is just change the length of these things to 10. Like that. That should be for the most part good. If you want to get real nit-picky with it, it's just hard to see the position of the brow here. At the very least, let's kill these things. You can see it more here. But let's get rid of the actual brow. We can't see it anymore. But we should reveal it in the editor. Take away the hairs here. We're actually seeing the inverse here versus here. Let's hop out of the camera here and go to our brow. Let's go over here. Let's go back to our soft selection, if you go to click "T" and going to 15, that should work. It'd be 10. Then something like that. Yeah, something like that. As long as we make them look really mad, that's pretty much what we got to do. Now if we bend them again, we can see that we might need to bend the brow back a little more even if it's inside the skin, I think that's technically fine in this case. Let's go to 10. Bend them again. That looks better. Just this gross looking in brow. But for the most part, I think that looks pretty damn good. I'm happy with that. Now we can start messing with the details like let's nap his skin a little bit. Let's go to the Node Editor in the body. Again, this is such a simple looking render. We don't have to do too much to it. Let's add some roughness, so let's go octane noise. If you right-click this in solo node, we can see the noise in action here. Let's go to something like turbulence. Even this will probably look better than what we have. We can see some very subtle details there in the roughness, which is what we want. I'm actually happy with that because we might make up for the other stuff using bump. Let's do another octane noise. You can see already it's giving us a nice look. Let's go to turbulence and even more. However you want this thing to look, that's what we're going to do. Let's go roughen up a little bit more. Let's go to maybe 6, UVW transform, and we decrease it a little bit. Let's see how that's looking. To me that looks pretty good. That's a pretty natural looking thing without getting too gross. The eyes are looking fine. We're keeping the structure, everything and that looks good. I think that pretty much looks good, we can start rotating this guy to see what angle he looks good from. Not bad, I like how his eyes getting a lot of attention there. We can bulge him or we can bend him back still and everything will cooperate, and maybe something like that. It just depends on revolving the lights help too. Whatever you think will make him look evil or a sinister, I think works out. I think that looks good. It's so hard to pick sometimes, I'll be like scrubbing for minutes and minutes, trying to get this thing to look right. But that even looks pretty good. I can try rotating him more. But to me that looks pretty good. I think the skin quality is looking good. It looks botched but not too crazy. He's got his little things going on there. If we want to make those a little bit more realistic, we can take the hair object and Shift C displacer, and then while holding down shift and Enter, it'll be a child of that. Let's go shade that noise, and let's go down to one and take the noise down maybe like 50 percent. We can go from one, two. Anything to rough it up just a little bit. Let's go from 50-30, something like that. Just to make it a little bit more organic. Same thing with this body. Obviously, if you were to duplicate this displacer, it's going to make his body look really walking weird but, he changed the global scale like 200 and change the type of displacement. You can really get some funky results depending on how weird you want this guy to look. There's so many levels of detail you can add depending on what you want him to look like, I should say. But I think he's good without it. That my friends, I think is the very basics of how plankton should look. Depending on which vibe you're going for, it just comes down to a lot of testing. That's all this stuff really is just testing what looks good. I think that looks pretty good, yes, I don't know about you, but I think that is it. Last thing I'll do is just render this guy out. Usually I will go to my Octane settings. I'll just pause this first so it doesn't keep rendering. Then I'll change this to 1,200 or something like this. Let's see what this guy looks like at. Let's see. I think the positioning of that looks pretty good. We can increase his size a little bit. Pulled this way a little bit. I think that looks good. I hope you guys enjoyed this. We will move on to the next section, which will be in photoshop. This is pretty much it. Render settings should be good, 1,500 by 1,500 keeping everything the same, 1,200 samples, and we should be able to render this guy out. You can see already he's looking very nice. I'm using 2,280 UTIs in my machine, so obviously, it might be rendering a little bit faster depending on what your machine's specs are. But I'm very happy with this and I hope you guys are too. We'll see you in photoshop. 8. Post Processing (Photoshop): We're nearing our last session here in making plankton. If you've made it this far, congrats. I think this looks just great as is even if you posted this, but we're going to do a little bit more to it. If you imported this or exported, I should say, as a 16-bit tiff, that is what I usually export them at. When you import them to Photoshop, they should come as a smart object already, but if not, just go Filter, Convert for Smart Filters. We're going to do is just jump and do a camera. You don't really have to duplicate him because he is non-destructive by definition. Camera and we'll open this dialogue. I usually like to cycle between the before and after so I can see what's going on here. Right off the bat, let's see what we can do here. Typically, I like and these renders, boosting the texture to get more than detailed popping out right off the bat, and depending on if I think it needs a little bit more [inaudible], I'll add some clarity as well. Let's push the whites a little bit up. I usually do it until I get the white point here. Typically, everything looks fine, and then until I start getting a little bit of that clipping, I really won't stop. Now, I know we're actually losing information. We pretty much pushed as far as we can on the whites. The shadows, I don't want to do too much with because I do want it to have that sinister feel. Depending on I want to do that, I might kill the shadows or the blacks. I think just a little bit of the shadows. If we add some contrast. Sometimes depending on, if I don't want too much color, I'll take some of the vibrants out, we can take this off, and increase some of the saturation, but in something like this, this might even be good enough. I definitely don't want too much color. I think something like that is pretty sinister. We definitely don't want too many shadows. Then it just comes down to the Color Mixer and changing the green. That's why it doesn't really matter too much if you got the color perfect in cinema or not, but that's what I'm saying. Here's this guy. It actually does cover. Interesting. Just having this open, maybe in another window, you can see. Add maybe a little bit blue, it'll skid back some green. The red looks good. The yellow maybe can be boosted a bit, same with that, but those are looking good. I think I'm pretty happy with that. You can see compared to before, it's looking much better and then I'll add a little bit of grains. In effects, I obviously used too much green and I'll usually go around 20 to just give it that realistic amount of film grain going on. Guys, that should be pretty much it. Depending on how sinister you want, maybe I'll lower the exposure by a tiny bit. Maybe the clarity a little bit more. This guy is getting really sinister. You got to make up for how small is. Honestly, that's looking good, you almost can't see this tongue, but I think in a scenario like this, it doesn't matter too much. You're just finding that happy medium. Do you want to have part of his face hidden? I think in a render like this, potentially. I think that's good, guys. I appreciate you guys checking it out. If you click "Okay", you can do that or you can save presets here just by clicking this button. If you like everything you did, you can save this as PlanktonSkillshare_01 and then click "Okay", and there we go. Because it's non-destructive, we can turn this on and off as we please. Guys, I am happy with that. I hope you guys enjoyed this class and check me out in the next one. Let me know, I always want to hear feedback on my Instagram or here. If you want future classes or what you're looking for, but I'm glad I made this class and it's been a while. Take care guys. I hope you enjoyed. 9. Outro: I want to thank you guys again for checking out this video in the first place. I hope you learned something and I'm always on Instagram, so feel free to DM me your project if you end up posting at Instagram. I love sharing student work when I get the chance and please let me know. In the comments of this or on Instagram, if you want a DM me a future class idea or something like that, I'm always open to suggestions. I'm going to try to make more classes from here on out. I feel like I say it all the time, but I feel like I got a good hang of things and hopefully, I should be making more. Thanks again for watching and we'll see you in the next one guys. Thanks.