Transcripts
1. Intro to the Course: Hi, my name is like I've seen and I'm a senior
character artists that I have in creating characters since
more than seven years now. And in this course, we'll learn how you can create a cute female character
in a dancing tools. So this course is divided
into three parts. First part will be, will be creating a base body
of the character. We'll look at some of
the anode or requests and we'll create a
cute looking face. For the second part, we'll get into the marvelous
designer at Gator, Victorian style dress for her. And in the last part,
we'll add more parts like shoes and here, hairstyles and other
teams like fools, the character as this course is for someone who have interest in creating good-looking
characters, especially female characters. And you have some
prior knowledge of 3D sculpting software
such as ZBrush. In this course, we'll
look at how you can create a base body
for your character. Just look into some
part of the anatomy. So before further ado,
let's get into the video.
2. Using Primitives: Hello everyone and welcome to the first chapter
of this course. And this video, we'll
be taking a look at how we can create the basic
blocking of our character. To do that, we'll use some
simple primitives for that. Like we used to pass
fear for her head will be shipping that
shape off and helmet. In this case, you
can use Move brush. The more practice you
will do more brush. It will make your life easier and in the journey of ZBrush. So yeah, have a good
practice of using move, mood, clay buildup,
these basic brushes. So in this case, we shape
the more brush will take cylinder up and down and
use it in a place of neck. Since we are blocking the
character will be using simple and primitive object
for creating the body. Once those are in place, you can again use my brush
to make head like sheep or a helmet looking
sheep and try to replicate what Dusko
can look like. And you can also
use clay buildup in certain cases if you want to skirt some APIs like chain
or eyes or anything. Mostly in this, for this stage, we'll be using more and
using all the parameters, whatever we want, square
cylinders, spheres. And by duplicating, we can
again take the same sphere and convert it into chest area to omega torso or to duplicate. You can just press W
to get the gizmo and you can hold Control
and drag in any axis. You can then duplicate any object within
that same sub two. So after shipping that
in the form of a chest, you can again duplicate with the same technique and form it. Scattered in the
form of pellets. Have you referenced
to the 3D view? And I'll be sharing
my references in the project resource section. You can refer to
that and you can again find your own
references as well. So for this, we
just didn't define whatever the area of the body
looks like that perimeter, like neck look like a cylinder. So you surrender arms again, cylindrical so we will
use the silica fall back. Again, the same technique you can hold Control and drag in any axes have so that you can
have a duplicate an object. This way. We got the
elbow and an arm. So they're not going for
a proper T-pose because if you go for it
or property pose, that will stretch
some more parts, some parts of the muscles from the back and front as well. So we are going for
more relaxed course, which is a, and this case. So that to avoid older or another extra stretching
of any muscles, shape up your arms, you can also meet at it. If you want to use
this interface, you can go to the
project section. Again, I will be attached with the same interface if you like. Or you can go to Tools
and sub tool master, you can bet your object. Here we have, again, duplicate it the same part of the arms and created the legs. Yes. Make a habit of using the
Move tool so that it'll be easier for you and have your references
already shipped them. Well, move the legs in place. I found it a little bit smaller, so I scaled it up a little bit. They use mice. You can hold Control and drag. On any surface. You can use mask.
Moving the arms, moving the legs, knees in place. Trying to match
the proportions of the body with the proportions
of my references. Any question you can refer to. If you How are you
can find some images of muscular echo shake
and on Internet. It's been used that as well. So try to shape up
everything from all angles. I'm sculpting the back part a little bit just to get an idea of how the
body will look like. Because on the bag it
will be some bulge and on the front it
won't be that much. So we're blocking it. Simple shapes. Again. For ships, we fought for bomb. We can use the cube if
it's hard to append it. Finally awarded. Move that in place. Scale it up, scale it down. Rotate it in place. Like so. Which is blocky, robotic. But you can use mode
to get a smooth, smooth surface and sculpted. Move that a little bit better. And machinery. Once you're happy
with the shape, you can again use
the mirror tool, which you can find
under supplier master. And you can meet them
in x and in the same. So now I have just lost
everything in one sub two so that I can shape
them a little bit better. Like an mosque. To avoid modifying the idea
which I don't want to change, then I can just move
them around freely. Back here, the back area, and the front pelvis. Going for a ship
since she's a female, the chest will be
smaller than the hip. Hip will be a little bit
more variety quality. And in males, it's reversed. The chest is wider than the
hip area on the pelvis. Here. Adding this sphere, since we are using the primitives for, again, for blocking up. So identifying the
objects, whatever, like the breast is, looks like a sphere. So we will use fear for that. And we can just
move them we want. And in that case, we had to Donald's to my
tree and then he got this. So that's it for this one. I'll be dealing it further
in the next quarter. So in the next video. So I'll see you there.
3. Merging the subtools: Hey everyone, welcome
back to another lesson. In this one, we will try to simplify the fingers
a little bit better. Try to transform from a stick
figure, two basic body. And in this case what I'm doing, I'm merging everything by Merge Down button in
one single sub tool. And then I'll do dinosaur that it will become one single
mesh from top to bottom. Like this because
there's DynaMesh on a lower resolution so that it's easier to
manipulate objects. Make sure you start with
a loop solution and then move your way up by your detail. And when you get
the proper shapes, proportions are ready, you can just increase
the resolution. So once everything is set up, once everything is
DynaMesh into single mesh, what I will do is I'll just shift everything up by using me. And sometimes clay
buildup, make forms. You smoke and do not hesitate
to use any brush you want. But in this case, you will primarily be using Move Boss Mode and
clay buildup brush. I'm just trying to simplifying
the shapes a little bit more from stick figures
to an actual body. Moving everything in place. And I will be taking a look at how our body is made
up of eight heads. So this is what the
comparison looks like. It's similar to the
proportion of polio humans. Can be a little bit less
in height, but yeah, I adjusted the legs
a little bit longer. Now, which looks more sexy. Longer legs are always
good for female. Remove the temporary head that I created from this session. This way I got an idea of
how the body is made up of and the height and everything of the boy
is playing online. You can also do that one. And now I can use inflate
to integrate a lot of ties, make it more natural. Moved them everything a
little bit in places, making shape of the
head more like a head. Once everything you
have in a single mesh, you can start smoothing it. So you will get an idea of
where you want it to be. Putting the body posture, which I want the head
is looking up for. I will be fixing that liter by inflating some parts
where I want them. And they are very thin
using played brush. And that way you can get the
proper shape of that object. We'll be fixing everything, will keep on fixing it once
we get the desired form or we get what is desire by looking
also at the references, collect as much as you can. So yes, as I said
in the last video, she's a sheet, so a sheep. Remember that and detail
according to that, killing the knee but the
the leg part as well, everything touching it up. I wouldn't be creating feet. She will be veering shoes. Flight as green shoots for her in the later part of the course. So right now I'm just
detailing the calf area, trying to make it
a little bit curvy since she is a female body. Goes are important. But block everything. Daily News. Using dam standard to
cart and the details. Big forms work on lower subdivision or
low-resolution DynaMesh. And the beginning,
it will be easier to manage and smooth everything. It looks pixelated,
but that's fine. We will any vehicle
into detail in later. Not sculpt on
higher subdivision. That's a bigger device. You will learn. You will see how it is
to handle on now because I'm making the neck
Alicia much longer. It might look weird right now, but we will ship them better. So trying to get her to
a more relaxed for sure. Mainly using Move brush
to move everything to parts of the forearms
and the back as well. Once I have the base body, I will start
detailing everything. So I'll start with a little bit more details on the next one and
I'll see you there.
4. Sculpting the body: Hey, welcome back to
another lesson, discourse. This one made it,
try to shape it more like an actual human body. Mostly working on the body. And after that, I
started working on pet. That I'll just use mostly the claimant who brush
to build up the forms. And whenever I
feel like there is some work necessary
to move the surface. So **** standard enclave in these two brushes are gonna be my bitstream
or this video. You will see me using them more. In this case going
the black box. I see some bigger a little
while making it stylized. So it can be a little bit
more pronounced as well. So don't be shy to make it a little bit
more stylized and more pronounced than working with a global leader to refund the forms a
little bit if you want, you can also add
this point of time, increase the resolution of
your DynaMesh so that you can have a little bit better and better the
resolution to work with. And it needs to best-case. If you get the basic blocking, fine, then you can increase it. Muslim Melians, which
I don't want to move. Then I just isolate parts of the arms where
I wanted to focus more. You can also call
liberal them and then use control shift
and click on it, it will isolate it. That's what I did. I just created a polar group of the arm so that I can sculpt them to be in a focused manner. You can also isolate
certain part of the body. Hello. But make sure you, you go away from the
isolation mode and work in a big picture so that you get a better idea of how
the rest of the body, you'll see that I'm shifting
from one part of the body to another part very
quickly because I want to maintain the similar
kind of details all alone. I don't want to
detail the arm fully and then go to the
legs and detail that. I'll just keep the details similar in all
parts of the body. So I just moved here and there. And that also keeps me busy
and interesting, possibly. Using your impression
to certain parts of the body and using clay
buildup to the back, the shoulder blades, everything. There's no Vandals. The chest, the lungs area, the ribs. You can use Clayton did for them and then you
can smooth that area, which you would see
that it's protruding too much or it's looking
sharp, you can smoke them. Building the shoulder muscles and the form of shoulder,
little bit wider. But gallery so that into
nodes that just by looking at simple stick figure or the body that you can see
that she is a female. Try to maintain that
to that fizzy cold, that concept of creating
a female to male. They both have a very
distinctive body type. So yes, by first glance, it should feel what
gender she is or he is. It should be clear. So focus on that detail in some parts of the body were **** standard and
clay buildup as well. Again, following the
reference a little bit more. Once you increase the
DynaMesh resolution, you can again use smooth
brush to smooth some part of the body to make
it more natural. Because what DynaMesh does, it just returns the
shape and the details. Hey, it makes it block here. So you can smooth
Dr. Diana machine at any stage with a back reference open. I can go in the detail of back. Read, starting with the muscles and smoothing them
are a little bit, even though it's not
gonna be visible. I just wanted to cover basic anatomy of any
stylized character. Even if it's Tyler's, you
cannot keep everything smooth. It's better to have a
good practice of Anatole when you can divert an idea. And I. I wanted to do it or show it. I just did using
the same base mesh. And we'll build
the character upon the space and the shelves
but making the abdomen area? Yes. Tried to focus on
the areas of bag because it's not proper round or two spheres joined together. They have a certain shape, they have a certain angle. Those you have to
focus on doors, plane changes, not just for
face, for the whole body. Those plane changes
are the key to your sculpt and they can
break or make your body. So yeah, Like an angle that
you can see on the back, even if it's any
shape body here, tap to the back is another
sheep and the whole torso. It's made up of several shapes. You have to identify
the two shapes, the balloons of chest, like lungs, and the back, but it moves like buttocks. So yeah, all those shapes
mapped to identify by yourself, Scott, pure Bay alone. But at this point, there's all all is left is
detailing everything one by one on increasing the resolution gradually and detailing it. But they turned the elbow
or the forearms, whatever. Try to do details using clay buildup and then
smoothing a little bit. If it looks too thin, you can use smooth brush
and make it wider. Like in this case, the forearms looks very thin
and place them in place. It was a little short as well. Now, we're getting closer to the body that we wanted. Now it is again, we got to the point that
we can add more details on the body like muscles
and some forms of, you know, some forms of
loans that every phone died, he got the bone protruding out. We can build that
in our character. So here I am separating the head because
I wanted to have, so I wanted the head to have a little bit more
resolution than the body. If they both will
be most anyone, we don't have enough
resolution to work on. Rotating the head in place, making the head look forward instead of looking at Upward. Also damaging the body as well so that it keeps automatically. And we have two
objects right now, which will work separately. That way, we can have a lot
of subdivisions and details.
5. Sculpting the head: Hello and welcome back to
another video of this course. In this one, we'll
take a look at how you can sculpt a face, a coupon. For that. What we'll do,
we'll just carving the details you in clay buildup, cardholder details
using keyword at the scene and some part of
the face using dam standard. It's corrupting the full URL, putting them in proportion, and smoothing them a little bit. So you can also
move the nose out, punched in the eye sockets
using clay buildup as well. Using move to shape
up the head will run. Shaping up the jaw line, shaping the part of the neck
which connects to the body. And now I'm asking, my ear can come out from and moving that from
gizmo, rough shape. You can also, again up in
any other sphere shape it like it's like an ear and
merge it using DynaMesh. But in my case, I just
monastery out and it outwards. I missed it so that I can have equal distribution
meshes on at all. And then moving everything using more brushes a
lot here than there. To make this tomato gear looks smaller and in line
with the eye sockets. That's where the
placement are usually. And if you want to
meet with you here, you can just pull
it out a little. Now. I am just trying to build the eye sockets coming in
and then those as well. I'm only using clay buildup and move at this point of time. You don't have to go any fancy, go into root of
any fancy brushes, can use these primary
brushes and appending any sphere to have
a sense of eyes. And I'll be converting
in isolated. I can mirror it so
that I have an idea of how the mesh
around the eyeball. I can sculpt my way from
there using that ball as pulling the mesh on
top and bottom as well, using the face that I wanted
to take it a little bit more, matching the background. I think the dimension. You can load the image
using your best things. You can make it appear. Again. Pressing Shift Z, you can make it disappear. So yeah, you can use
your reference as well. This reference is just
two for the placement of my nose and mouth and some
part of the eyes as well. Once I got the hint of where my placement or I can
start building the forms and more glucose to
make small cube. So for that, I have to
work mostly on the eyes. Eyes. You can also focus
more on ice because ice can have sold and they represent the
beauty of characters. So we're focused on
how we organize more. I am just did here as well. A little bit. Come back and front part. Right now. It's looking a little bit
longer to be fixing them soon. Like right now, I just
took a small brush and made them more Ian Lake and made them
a little bit smaller. Shifting our focus from other parts of the face,
which is very important. You want your face to look
equally detail as well. Using dam standard to carve
in the detail for the year. Again, using clever
enough for eyes as well. So if I wanted to do size, I was just figuring
out the size around or are shifted my focus
towards lips as well, a little bit more
curvy, Catholic lips. The best way to go first, I'll ask character also from site should look like
a female character, which right now it is
not the case for me, which I will be fixed. So once doing a
lot of adjustment, movement here and there, then the machine
again and again. Holding everything in place. Shaping the nose, making
it more stylized. Not, not very
weird-looking knows, but we can also have a bolt
at the tip of the nose. It looks cuter. I
might do it later. But what it is or better yet? The nose. So finally I went with the eyes, which looks something like this. But again, I will be
shaping them a lot more. For eyeballs, what you can do, you can have Blake
between two eyeball. There should be a one eyeball
that should fit together. So a combination of three
eyeballs make two eyeballs. Oh, yeah, that's pretty much it for this
one will be detailing it. Look further in the next lesson. And I'll see you there.
6. Detailing the Eyes: Hello, Let's start with
creating eyeballs. And for that I just masked
out in a circular manner and scattered them using clever little bit
and smooth them out for an hour a day just
for eyes. I really do. I plastic is one of
the best material can use, which is preexisting. So we don't have to go
here and there is that. So to use that you just set it on m and you can
just fill object. You can also Polly
painting using standard. Just make sure you have
Ziad off and only RGB on. So for eyes, I
easily paint black, that first layer of black. And then I go ahead with
domain color of the eyes, leaving black borders aside. So there we have a
decent black border and a black eye
responds in the center. So that's how I bring
the eyes usually. And then in the end, I can just paint
the eye shadows. Which makes it a little
bit more believable. What I'm doing right now
is I'm just adjusting the shape of the
mesh around eyeball. It should be circular
and wraps properly. It should obesity. The eyeball is fully spherical, so don't mess sure.
Graph properly. You have to make sure I'm
masking the idea which I want and not to be transformed
or deform and work on it. We'll make sure
you also use mask. Do not hesitate to mask out the areas which you
don't want to get affected and then work
on specific reasons. So now I this I wrote that is missing the bulge that comes out to be making that as well. Using dam standard two-carbon. Some of the details
for the eyes, because the eyelid folds
up and the muscle goes inside the deck for now, I'm just adjusting everything according to the
shape of scholar, also detailing the area around the eyes, eyelashes
and eyebrows. Welcome. Trying to keep her
in a neutral pose or neutral expression
because the posts that I'm going with it, she is dancing in
a very natural, very serious, but not
at all to my link. So it's a neutral,
neutral expression with eyes half-closed. That's what I'm
trying to do here. I'm just masking out
the areas which are warned not to get affected, but with my mood or
any other brush. For eyes or mouth,
It's very important. I'm currently detailing
the little girl here. I don't want the air to
look very realistic. So I am detailing it
a bit of scale there and keep shifting
my focus on ear, eyes, mouth for lips will go
into detail in the next one. I'm just detailing
most of the part of ice and I'm just
trying to establish what is the base shape
of my eyes will be. We have our muscle tissue forming about eyes
envelope the eyebrows, which should be there. It is very important and mix. Your character
looks more cute and it gives a natural
feel to the character. Even if you are
creating stylized, you should have that
much in tissue. At the bottom of your eyebrows. Here. I'm just shaping up here so that will be better
using moved brush, mostly. No masking or the area where I want my eyebrows to come from. So I have a plugin called
extract plus. I'll use that. You can use the normal extract with chicken tenders or two. So this one, I bought
it on our station. You can search for
it and use it, but I wouldn't recommend it
because it just does extract. It just does a 3D mesh on top. So you can just know, you can just use
the usual extract from subgroups and you
will get the same mesh. All I have to do, I'll have to give depth
later on and extract. You would have to give the depth comes whenever you extracted, shaping it a little
bit better for the eyeballs and
still single plane. So I will be giving depth using loops or panel under
Geometry, come under loops. And here we have the ban a loop experimented a
little bit if you want. If you have any plain surface which doesn't have
the other side, you can use a loop to
give that some depth. So I can go crazy with
this more flushing. Shape it a bit better. It's hard to scarp
in single phase. One-sided mesh. Again, sculpting the detail, making the surface around the eyes a little
bit more rounded. Using clay buildup, mostly
to scope and move brush. Along with that. Round and smooth.
That's the way. Also a line using
dam standard that will go on top as well
as at the bottom. Maybe a little curvy. Here is that line that
I was talking about. And at the end of the eyes you see that the curve is coming. It's just to denote
that there is some eyelashes which
will come on top, but even I am keeping it
in the mesh looks good. A little bit of indent on the bottom as
well to denote that. Yeah, It's the eyes dark. The muscle that comes on top
of the eyes that happens in the real world as I
can just mute it more. Looks a little bit too dominant, which I'll do that later. For now. I just moved the
eyes and shape in place and I'm pretty much done for this one,
detailing the eyes. I'm trying to figure
out the shape, how I my eyes expression
is going to be in the end. So yeah, I'll figure it out and detail the lips
and other particle, the face in the next one. And I'll see you there.
7. Creating Lips: Hello, Welcome back
to another class. So in this one, let's start by detailing the
nose a little bit. For that, I just use the
paintbrush and pinch the pins along x-axis to give it
a more stylized look. Moving the nose nostrils around. And I just have to
put in the liver. Also detailing the nose bridge. And don't have to be very deep. It's fine. Just it should give an indent that that is your intention to be using dam standard to give little details on the bridge of the nose
and the edge as well. Touching up the
nose a little bit, then making it look natural. And there's a, there's a good balance between
natural and style. That's, that's what I
wanted to achieve here. Now, the lips are
looking really bad. Address that masking the
area which I want to adjust. I had to move the
lips a little bit up, adjusting, moving small
parts and undo it. I don't feel like
it's going good. So yeah. There we go. Doing and building up
on top because I did not have enough space
between nose and lips. School yeah. I'm doing is
filling the upper lip. First, pulling that
out a little bit, making it feel like natural. And using clever
depth and smooth. Going slow on this one. I can't go rough because we already established
that love shape on top. Now it's time to
detail the lips. And it's a bit of
trial and error. If you are not going to form
what shape you're going that I had a couple
of references open. Oh, but it's not clear cut. So I was applying my taste
as well on the lips. So here we have some results. But I still have to make a balance between the freaking
original lips for that. And I have still make sure
that ellipse looks cute. Nobody telling. No extra painting
here and there. I just have to shape
it a little bit more. And still the upper lip
looks that in this case, I'm just building the
tissue around that. That looks cool. Rebuffed cheek, cheeky effect. What it gives. Kind
of getting there. It's slow, but there's
looking decent. For now. I keep touching the areas
around the eyes as well. Whenever I feel like
that's it for this one. And I'll see you
in the next one.
8. Adding EyeLashes: Welcome back to another lesson. In this one, who mainly
creating the eyelashes and adjusting the neck a little bit to get the proper pollution. So to do that, let's just mask out the area we want our eyelashes
to be. Like so. And you can use
extract mask properly. The ship should be put. In this case, I'll be
using the Extract as well. So extract the values
according to your Meet. Not too high. Churn
protrude out. Next up, Shepard up. And you can also DynaMesh it. What I didn't do that
I won't do that. Hurts fine as it is. And I can just make it black. Pop a feel for the eyelashes. I just see remastered for proper flew off all the polygons
and proper distribution. So after a little bit of polish, just go ahead and make it black. And I can duplicate that, or I can just extract another
one for the bottom eyelash, which I'll do right now. The duplicate. Duplicate.
A friend like, it could be a lot of work, so better to just mask
out and extract again. I can see the mesh
and append them to both of these
approaches in one, to have a proper management of. So cool, you can have
unlimited amount, but the management will
be very hard for that. So have a proper practice of
margin goes up to speeds. Don't have much much details on much subdivisions
in but just Marsden, similar box like these eyelashes against even mention this part. So again, we can have a proper edge flow around it and we can make
it black as well. Like so. By adding eyelashes, you
will notice that the face is already looking wavy pattern and it had so much definition to it. Now, it's all about adding
more details all around. So I'll just adjusting
a little bit of neck, putting the neck line and the next looked way too
long on this one. So Moscow and push the
body side a little bit. In future. In future I'll be monitoring the body
as well as the head. One store that we have a
seamless character base body, which we can work on that simulate working
on the shoulder, pushing them here and there. And we have almost almost ready. So after this, I'll just test out the hair hold
the hair style. You're gonna be in Photoshop. It's artists that I
do sometimes to get an idea how the character will look after she
will get the hair. I'll see you in the next one. Is going to be fun.
9. Sketching the hairstyle: Hello again and welcome
back to another lesson. We are here in Photoshop
with the screen capture and the reference of how
the hairstyle gonna be. So we'll just take a
look at how we can give some character by
adding hair style and some hair to the
ball that which, which will completely
transformed the way our character looks. And that's to get an
idea of the scene. We have come here in Photoshop. This step is not mandatory. If you want, you can
just experiment. I sometimes have to get some idea of how
the certain hairstyle will look like all
the character for that before adding them in
3D and doing a lot of work. Experimenting in theory is kind of hard work and it
can consume some time of u. So it's better. You can just come take a screenshot on a software
where you are going on, in my case, ZBrush. So I took the screenshot
and gaming Photoshop. I can just add few strokes
and get an idea of how does hairstyle
will look on her. Even in 2D, it's not certain that it's going
to look like that, but you will get an idea, basic idea of how
uncertain workflow can be. And it's called pre,
pre production. You can continue to consider
it as a pre production. It's not actual production, but to get an idea of how your
character will have here, you can do this step. Sonata thinking process. It's lot of light, so
back-and-forth process. But again, this is
important for me because it gives me a
clear picture of the head, the proportion of hair,
and everything else. I quickly remove
that hair strand. I wanted some negative space
to have the head to be then. Yeah, it's just to get a basic understanding of
how it's going to be. So after that, we always get
into the e-tailing part, into the exciting stuff of creating this character
in three as well. I hope you're learning
something, kill this now. And I will see you
in the next one. Cheers.
10. Addig Fingers to the Body: Welcome back again. So in this one, let's have a
look at how we can add bomb. And something goes to her. Carving in the
details using clay will have remembering
the shape of a pump. It's not straight,
it's a little curvy. If you look at the bottom, you'll see the transaction
cross sectional area is cross-sectional area
is a little curvy. It's a C-shaped, not great. Appending a sphere so that
I can make it along it and use it to create my thumb as well as other
parts of the fingers. So that's true that roughly
shaping them like a thumb, removing all the
subdivisions from that policy sphere because
I added twice here. And DynaMesh it so that we
get little low resolution. Putting that in place, using inflate to make the area of certain parts a
little bit inflated. And then I can just duplicate the same thing and use it as a, as the front part of that comp. And I'm using
DynaMesh constantly. Don't want to merge the box and distributing the body
bonds in equal manner. Shipping it like a head or excuse me, shipping
like a tongue. How it should be working
on the hands more. And once I get the final or as a basic idea of how
the TMS can be. I can just move on to
other part of the fingers turning the handle to get inside because that gives more
character to my character. It's more aesthetically
pleasing. Now, duplicated the
same time using control and dragging on
any axis using gizmo. And that way I can have a thing moving it,
making it longer, smoothing it DynaMesh and with it being repeating
the same process again, I wrote a little pointy fingers, which I will adjust in a bit. So it's a three step process. So the fingers divided
into three parts. You just have to
break them and pulls it in a way so that you have an idea of
where is the front. The second and
then the last one, which will attach to the lockup. Again masking out the area which I don't want duplicate and using control and dragging it on the other side to
duplicate the finger. Using inflate per car option, which you can find
under deformation. Understand the tools section. Under deformation can find
inflate which you can use to integrate everything
which is in the subgroup. Or you can just mask it out, use all the functions
and the deformation. Paul duplicating the
fingers one-by-one. Once we have the finger, I will, in the next video, I will imagine
everything including the head as well
as these fingers and creating the one body, one uni, body structure
for this character. Whenever in doubt, for hands, look at your hand and treaties
at it as a reference. And you can go to go from there, that the middle finger should
be a little bit longer. The front four fingers are shorter and the
pinky is the shortest. Make sure you keep your
fingers a little bit apart. Oh, you should have a little
bit of space between them. Otherwise, if you
DynaMesh along with the character, they may emerge. So that's one coin
to look out for. I'm just merging the body down and I just merged the
body with the finger, the animistic so that we
can have one single object. Now, I can go ahead and detail
the fingers a little bit. So using in fleet to give whatever part
the finger is to Tim, I can give them
some volume using enclave brush and using clay
buildup to detail the hand, the fingers spot by media. As I said, move brush
is very useful, very crucial part of sculpting. And you cannot run away
with more pressure. They'll get to get in a
habit of using it a lot. It's going to be
your best friend. So in the next one less moister, head to the body. And we'll go to there. So I hope you are learning something and I'll see
you in the lecture.
11. ZRemeshing the body using guides: Welcome back to another lesson. In this one, let's merge
the body to the head and try to have a
good remastered body. But we can put more
details and properly. For that. I'll just duplicate everything because I'll have to
project the details later. Duplicate whatever you
want to get merged. And then I have just
like this head is there. What I'll do, I'll
just 3D mesh for now. I merge it and animate
it for the animation to merge on the
neck to the head. Now it's most I can
use smooth smooth the surface since they
are two measures now. And as you can see, it has
lost some of the details. So I undo them and Mozi it on
a little higher resolution. Once I'm done with that, I can again go with the more
brush and smooth out the smooth out some
of the surface or the section where
it's connecting. Trying to look for errors
by rotating the model here. There. Whenever I see food, I can just adjust the
model according to my. Once that's done, let's go ahead and let's see how
it gives the result. When we do measure of that, what I did when I
changed the model, I duplicated it once again. I said resolution of polygon
of what I want my 3D mesh. Toby, speed up this process and see how the living God now, this 3D mesh model, which gives you observe closely. You will see that there is no
definition on eyes or lips. They just go on because they are just flat
and weird looking. So we'll need some loops
to get them working. Well that we can
use mesh, guide, brush, and we can draw the loops that we wanted to
retake, like our eyes. Two lobes are nice. One going from four nodes and 11 denoting the ear and one for lips, maybe two polyps. Like so. This way we can retain
some of the bladder. And we can have a better score than we can here as eating mesh, again, you can double-check
and put wherever you want. You can put it for me. That's good. It can just be my shipped. Now it's the ZD meshed. And as you can see, the
difference from earlier, it's way much better. We have some details
on the lips reading. All we have gloomy can
just project whatever we have on top of
what we had earlier. This one, what we had,
the z diminished. After merging the neck. We duplicated it Z, Z remeasure, and now we
can just project it, go to Project and increase
the distance if you want. Otherwise just project.
And it works just fine. Now the model have
been projected, you can just go ahead
and delete the model, which we got the detail form. Because this is the new
model that we can again, it's more the part of this
neck. Yeah, that's it. That's it for this one. I will see you in the next.
12. Deatiling the forearm: Let's start by detailing the
head and part of the arms as well that just use mostly
dam standard brush. I keep looking at my reference. And my hand it as a reference will be
detailing the bomb as well. Just a little bit because she
had already complex poles, which we'll do in the third box. So in this part, we have just are, in this course, we have just created a bee's body
for the character. In the second part
of this course, we'll do aggressing Victorian style dress for the character. And in the third part, we'll
pose the character Andy, deal out some of the
parts of the character like shoes and everything else. So I'll just move them
in place since we don't have to
DynaMesh it anymore. We can please fingers
as close as you want. And also we can do
posing if you want. But I'm putting it later. Now. I can just go crazy. Making could put more
details on the fingers back an engraved and defeat
them, move them around. Also, I can put
subdivisions on the model, which we already put. If you are following along, we have already mentioned, we have added few
subdivision and we have deep rejected then the projected older teens from
the mesh to this new one, which have a proper topology, make sure your fingers
are not of equal length. The first finger, which is
a little bit medium-sized, the middle finger is
the most prominent and more angular and
taller, all-to-all. And the ring finger, a little bit shorter than the forefinger. And the pinky is the shortest. And thinnest. Also. Make some adjustments like
giving proper angle to the finger because
they can be viewed like they should do
need a proper edge. Guts from there, each
finger is bending. So focus on that
details there as well. What I'm trying to do
here is I'm trying to set a proper proportion
for the bomb. For me, it felt like it
was a little bit too long. So I adjusted it using
scale and now I can add a little bit more
detail on the farm using clever and **** Standard. I can use downstairs
to Godwin rebuilds, which is the fingered carts that comes up in each
finger two times. And for thumb piano as well. Adjusting the terms
a little bit. Well that you can also mask
it out and move along. Masking and moving is the
best way to adjust quickly your shapes and your
parts of your model. In this case, we
are really going to detailing over the thumps, moving them around, making sure that the
proportions are right. Keep in mind that your
proportions are fine. Look at the reference.
Look at your thumb or your your bump. Not just the hand, you should
zoom out of your model. Do not focus too much
on the minute details. You can zoom out
firstName the proportion, then go into the details. That's the proper formula
of creating a 3D character, namely VC proportional language. And then go into the
secondary details and then go shoot details. You want any. In this case, we are creating
a stylized character. So there won't be
any minute details. As I said, the palm
and the hands Parker, they are not straight. They look fake. So make sure you give
some naturality. The tibia and fibula. All those all those bones. You should keep in mind how the hand push your
forearms, tuition, and then shapes into keep in mind and post them in
the initial stage as well. So what I'm trying to do
is I have a smooth mask, which lets me scaled
or object properly. In this case, we are scaling,
bomb very aggressively. So to avoid any
kind of distortion, I can smooth out my mask by using Control
clicking on the object. Now I felt like it. Let's oppose the hands a little bit in a relaxed position. So I am just posing it using
masking and rotating it, moving it. That's
all you have to do. You have to work on
each finger one-by-one. So have some patience and
work your way through. You're almost done
with our base body. I hope you learned something. Oh, domain thing to
focus on is to focus on your proportions, your base. More than, rather
than detailing. This course was about that only when the next one we will be
creating the address for it. There's two, again,
less than left. So I'll see you in the next one.
13. Scaling the body: Hello and welcome back
to another video. So since we started this
model with the sphere, I'm sure the scaling
is completely wrong. So let's append our open
this tool, which is Julia. She's already there in ZBrush, which it seems like
he's off good height. I think she is 55 or 6 ft, around 6 ft, but she
is of proper height. Why do we need to scale our
model according to her? Because if you compare, it's like this and we cannot simulate our clothing
according to real world. In this case, the
particle distance will be off and it wouldn't be
according to the centimeter, all the motivator case. So what do we have to do? We have to scale our
complete model according to the one which we
showed this one. So what I did is what I'll do, I'll just use the
transpose depots to sub t, the usual posing method. And we can just scale it up. And then again, depots to somebody using transpose master. If you can't find it, you
can just go into Z plugin. There's your transpose
master and you can use that. So as you can see,
the model is very, very low in height. We have to do is
come to our model, append that to for
our reference. Since we have more parts. You can use the same picture. We want to scale this
model according to that. So I am deleting everything, not everything, whatever
is useless from a model. And I'm just keeping
only the body and everything related
to the body like eyelashes, eyebrows, and eyes. Make sure you have a
separate file saved as you can hit on people's. When you hit on T-pose, it
will append as a new sub tool, and it'll append everything
in one sub tool. Now, you can center your
Gizmo and scale your model. Then append Julia as well
for proper reference. In the same sub tool,
but before hitting some depots to sub t, before hitting the final scale
button or T-pose button, you have to delete
the Julia model. Since she is a little under
18 or somewhere around that. She had a little low hype. So I am keeping there and then hitting the
T-pose sub T button, which will scale all of my sub tools according
to what is desired. That's all in this course. And I'll see you in the
next one where we will get into marvelous designer
can create a good press.
Akash Singh, Senior Character Artist
