Transcripts
1. Introduction: Do you find it difficult to scope Muslim bone landmarks when the character is in an extreme dynamic pose, the venture is cooked realistic characters, but you are not able to, because of the lack of good anatomy skills that will try to learn in anatomy before and felt overwhelmed and quit. Then this course is the right fit for you. Welcome to next occasions. The ZBrush dynamically may anatomy for art this, my name is Victor Mercado and I'll be your instructor for this course. I'm a freelance character artist with many years of experience on sculpting statues of heroes and movie characters. On this course with a complete equation model. Simultaneous with between, we do a complete menu, mind-body, enough flesh and skin model. This way we can better understand it. Muscle and bones that compose the entire surface of the body. And also figure it out how it can affect the volume under the skin. Once we cover all the body, we also bring the character to a very dynamic pose. Understanding how the anatomical structure will the forms when it comes to bring gesture in life to the model. This course is designed for intermediate, diverse users who are looking to improve their anatomy, scripting skills. Basic knowledge of ZBrush is required to follow along the tutorial discourse is fully real time in the recorded and Mehrabian.
2. Understanding the Head Structure: Hey guys Victor here, welcome to our first lecture into this anatomy, male anatomy course k. So let me first explain you how it got to be the lectures and the structure of this course. First of each lesson, you know which part of the body. I will first try to show you guys, like theoretical studies where we're going to see some proportions, some structures and in the anatomy. And first analyze a little bit of our reference first and then into second time we're going to, we're going to be able to start sculpting from half and ZBrush k. So let's get started with the anatomy of the head. And for doing this, we're going to start here with Andrew. Andrew Loomis ahead and remove. This was an awesome writer for anatomy books, for the artist. And he actually showed us pretty nice way to get some proportions for the head based on some divisions, like in thirds, in three parts of the head, as we can see here. K. So we first have like the sphere draw shape. And then we can, we can draw some lines and reach the, the structure of the head case. But first, let's first analyze a little bit of the cranial structure, some of the bones and some names that I will say a lot of time. So it's nice to have this memorized it or, you know, really understand what you are. You are building up in the skull shape. Okay? So they School is mainly separated by 22 big parts, which is the first one will be the cranium, which will be like this, all this region. Here let me show you all this region is like one unique, unique part 4 for the structure. And then this mandible, which will be second part k. And here I can show you some of the bones. The mingling bones that we're going to talk a lot will be first, this one, the zygomatic bone. Which will make the volume for the cheeks. And it takes a lot of features for, for the person itself, for doing likeness and all the structure of the head. So the zygomatic bone is all this region that we have here, K. So we're also going to talk a lot about the, you know, these two big holes where we're going to have the eyes. And here we have blending of bones inside there. But the only thing that we have to keep on mind is the format itself, you know, so here we can clearly see the format which remind us kind of Ray-Ban, I bless, you know, re been already famous eyeglass. And this is mainly the aviator model I am talking about. The aviator is really famous because it really reached the the, the semblance, the same blood of the cranium. Also it's really based on our anatomy. Because of this, I believe it was really mark in the history of eyeglasses because it's so much in the structure of the head in the anatomy, so it kind of fits in every person, you know. So always try to remember this, this format of the aviator. Glasses at eyeglasses. Let me show you a pig. Yeah, right here. We can clearly see the aspect and the format which will be very close for the format of this two big holes. Where will be our, our eyes inside here, k and here we have the frontal bone in green, which is the bone where we're going to have the strictures of the of the forehead. So here we're going to have kind of like three parts in this frontal bone, which will be amused to call like to separate them in three parts, like the frontal part, which will kind of remind. And the sphere shape over here. And then the true three-quarter views, three-quarter, three-quarter Bart's, which will be like in the diagonal. So we can also try to understand this and we're going to see it better and more reference of the school. Okay. In sequence, we can have the maxilla bone, which will be all this in orange. So it's Lincoln to zygomatic bone, which will be this one that we said. Okay. And also the nasal bone. The nasal bone is this little structure here that we have in the beginning of our nose, and it's a bone. So you can also check in your own nose. Then we have our part, which is cartilage, which is soft, and another part of which is hard, more in the beginning of the nose. And this is our nasal bone k. And then we have the maxilla that we said. We're going to have the peace. And down inside here we're going to have the mandible, which is all this region here in light green and I don't know how to call it its color. Then another thing that we can see here is temporal lobe. The temporal lobe is all this region here, which will be kinda hole but not a whole. We have this how they call it in English. This, this little bacteria which is part from the zygomatic bone here, k. And all of this region here goes inside the zygomatic here, like behind it. Okay? We're going to see it better in the sculpting tool. But just for being aware of these structures. And in this temporal region we have the temporal bone. Clearly is this one and lighter orange. We have the sphenoid. You don't really need to memorize these names and all fungi then parietal bone, ethmoid bones, sphenoid bone, the lacrimal bone. But just far you locating yourself and when you are sculpting the cranium. And all of this is nice to have a mind-mapping of all these structures. So when you're sculpting with, for me, at least it will be 0 for remembering the parts and also it's formatted k. And then in the nape of the head we have this occipital bone right there. We can check it here. And also the parietal bone, which is this region here, right? So this will be our mainly parts of the structure of. For the cranium. And now let's go here for some approach. In the building of the head, the structure, and all the proportions. As I said already in the beginning of the lecture, we're going to start from my sphere shape and this shape, we're going to make some lines which will be in the middle of this fear. We will like to access the vertical axis and the horizontal axis k. And by going, going from this first axis here, in the middle of this sphere, we're going to draw another, another line, almost in the end of the sphere, but not actually in the end. And then we're going to have this distance here, which will be the distance that we're going to replicate for the top. And then here we're going to have the hairline, as you can see here. And for the bottom as well. And then we're going to have the distance for the the, the, the chain and also the mandible and everything. Okay, so we can clearly see here that we have three-thirds, like in the face with the same high K. So the first one, we'll mark our hair line. The second one will be in the height of the, the eyebrows and the disorder one here will be the base of the nose, also the base of the years. And then this one will be the base of the chin k. And also by looking from the side view, we can check it another time here. The first one we'll mark the hairline. Second here, the eyebrows and also the top off of the years. Then we're going to have here this, this line which will mark the base of the nose and also the base of the nasal nasal concha that we said, I think that this nasal, nasal, Nasal hole here and also the base of years. And also in the last part here, the base of the nape of the head. And then here I have the base of shin. Okay, so it's always nice to memorize this this portions here and also the base of the zygomatic bone. As you can check it here in this drawing shape, we can clearly see that we have the base here of the nose, the base of the zygomatic bone, and align it with the base of our the nape of head. So here it is going to be. Our neck. Okay. Yeah. So by looking from the front view, once we're going to have here, is we can separate that in the medial axis, like here. And then the, the weeded of the head will be 555 times the size of the eyes k. So we're going to have the eyes here. We have one. Then in the middle of the HI is we're going to have another eye size, 2, 3, the other, the other eye. And then from, from this part should this other here we're going to have another eyes size. So 45. Okay. This will be like the the, the width of the nose like this, which will be the same of the middle. Between the eyes, the space, the mouth will be almost like in the middle of the eyes here, but not exactly more for the center. And I, I'm use it to check like the beginning of the iris, iris, like here. So it will be the, the normal distance for farther than the mouth. But, you know, everything all of this distance that I'm talking here, it's kind of for doing a generic head. The most frequent in nature. But we have so many, many difference in each person. So you're going to have a lot of different shapes and different proportions. But first starting this, it's a good, good point for getting started when blocking out the head k also, not only the head but also the cranium. So in all this course, all the anatomy part that we, we are talking about, all these little rows are all always for, for doing like a generic universal head. And then from this point you can modify and reach the likeness that you want. You want. Okay? So here as you can see, it will be kind of aligning this top of the eyebrow hairs and then the mouth, lips, and also the chin. Okay. But we can have it more pronounced for the front or more for, for the back. It will depends on each person. Another very nice rule that we have here is like this one. If we, we have this separate in this distance here of the head from the beginning of the eyebrows to the, the last part here in the back of the head. If we separate this into two pieces, 12, the same, the same distance we're going to have from this middle line here, we're going to have the place for the years. Okay. Never placed the US in the front. And always from the back of this line here. And for the front we're going to have this jaw line here. Okay. But first, let's start with the cranial. And here in red, check a lot of the names for the bone itself. And I think we can start show to blocking out in ZBrush and so we can get the paren, some names and also the farms. So let's do it.
3. Blocking the Cranium: Okay guys, so let's start here with the blocking, blocking off the head. And we can start by doing the cranium, as we said. And for doing this, Let's go here for the opening the light box and going over to balance and then we can open up policy, right? So starting from here, I will turn on my my mirror. And then we've done standard brush. I can, I can make two axis, one in the middle, the horizontal axis, and another one in the middle of the vertical axis, k. Here I will disable my perspective. And what it could do here is using the H polish brush, you could actually make flat shape to the sides like this. Okay? And from this, we're going to have almost like in the end of this fear. The beginning of this one here doesn't have like a specific place, but you can always imagine like this to tool distance here and also here. And then we can draw another line to the end of this field there. Then with the Move brush, we can bring it more for the front here. And then we're going to have to make the same weight. I disabled the symmetry in some, some, some action. I did try to keep the same, the same high here until these two parts, right? And we've moved brush, you can add just this. And then from here, we can start by bringing this part here, you know, for the front. And trying to have the same high that we have, this, this distance here. We're going to try to make the same high over there in the bottom. Okay. Here we have clay buildup and we can start to put in some, some, some volume. Okay, just to have more uniform shape, right? As you can see it here. Already trying to achieve some L shape as you can see here. Right? But once you realize you can smooth it all, all this region here and then carve on other. Another line here. Just remark for yourself. So the first thing that we're gonna do here is make those two big holes for the AIS region. There is said, and they will be mailing to this this portion here. We're going to carve like that. Ray-ban eyeglasses shape. Okay. Like this. And then here we're going to start by doing some zygomatic bone. Just going to put some, some volume just to mark the shape. Right in here in the middle. We can start by making the nasal, the nasal hole here also. And also we can put some, some volume here in the middle of the forehead. Okay? And so what I will do for continuing this can push a little bit here and put some volume already for the mouth. Just a little bit, and also for the chin. Okay, So in the middle of this side view here, we can draw a line, a line shape as well. I think here we have too much distance. Let's grab it a little. I always like choose the Move brush with a low intensity, like almost 20 or something. Which for me is more, is more organic, right? And here we can start by adjusting the shape of the cranium to the top view. Here from the side view, we can start by doing this shape carving. Kind of see form here below. And it should this region, we're going to have the zygomatic bone. Zygomatic bone, right? As we have made this vertical line in the middle of this distance, this distance here, let me show you the middle of this distance. Like we can get more for the front. So the jaw will make an L shape, like this shape here. A little bit inclined. You can always think like watch. And then here you have 12 and here you're going to have three. Here will be for something below 65 groups, five, right? So you can always try to remember this shape, like making this, right? So always try to have the same, the same Hein to the thirds. Here we have 1, 1 third, 1 third distance. The base, base of the nose, the base of zygomatic and the base of the back of the head. And this distance will be the same. This distance here, and also the same for this distance here, right? Maybe we can drag it more from the top. So the second thing that we can do here is from the side view, we can start to bring the nasal bone shape for the front. But here I have not enough topology, so I'll start to doing this with DynaMesh. So I can calculate the DynaMesh here. And then we can start to draw the shapes. By looking from the side view. We can use then standard brush with a big, large size like this. And we can draw kinda fun line, diagonal line going from this region here of the nasal bone, going through the middle of the distance when we made the jaw line. Right. If we have here the job. And to this inclined and we're going to have this middle, middle distance. And we can make stroke with the standard brush by reaching the middle like this. This is very important because from this we're gonna have our read some, some volume for, for the mouth and the teeth. And also better, better form for the doing the job here. Also we can continue, Bye. Adding volume here for the side part of the zygomatic bone. Zygomatic bone. Which here into this region, we're going to have the whole four for the years and how they call it that. Yeah, for the year canal there. So here I'm just blocking out the forms. Here can have this volume into the frontal bone. And let's work here to this top view, top portion here, which is very worried. Yet this region here, I would grab it more for the front. And this not too, too high. Okay. This region here, I can remove some volume with them standard brush and we can carve it here just to leave it more coherent with the anatomy. Okay. Just for the instance, and this region into the base of bone of the nasal bone, we can rabbit further, little bit more like this. Okay. So here we can already start to see some structure of the cranium. Here we have to make an uniform shape for the jaw line. So if clay buildup, I can add some, some volume like this and this region of the mouth. We're going to make for a nice hole here. And then recalculate the DynaMesh, right? Into this region, we can start to make a hole for the mandible. Let me put the reference here so you guys can, can be following what I, what I scoped to here. In looking to the reference k here, I'm using the period half as a canvas for reference. And we're going to have some, some lectures first by showing how, how do I actually customize all my interface and also how do I use this period, have window and use this always on top, you know, over here. And then I can go through all the reference very easily. So one thing that we have to pay attention is this, this, all this mandible. It goes like inside the bottom of the zygomatic bone. We have the zygomatic here. Zygomatic here. The mandible, it goes inside. Not the same weeded, right? And also, let's start to correct all this shape. Here we have, we need to add more roundness. Here. We have, have to add this shape here, the shape of the sphere. Right? So let's add this volume, but more for this part over here. Then we can start to move a little bit. This we can manage a little bit more to make when I'm using the Move brush. Size k. And as an animal rule, the most the larger, largest part in the cranial will be this region of the zygomatic bone. Right? So by looking through the tube from the top view, we can have this this kind of view here. Okay. Let me save it. Yes, So continuing here, I can all right. Start to make to remove the volume here into this side part, you know, like this. And then it goes getting softer, softer than the temporal line. Oops. Into this temporal region. Here we have all this temporal region. So you have a more deeper part. And then it starts to blend more in getting to this U-shape. Right?
4. Sculpting the Cranium: And then this region here, we have to draw this shape. So by reaching close to the eyes, the eyes roll hole here. We can have this shape. So let me show you this code thing. We're going to have kind of this. Okay? So let me removes the volume here and also here a little bit. But they care for not going too much for the middle. So I go back here and bring a little bit more. We've moved brush. And by looking from this view, what can adjust here is first the nasal bone structure and into the zygomatic bone we can change here is this angle. You can clearly see here that is more like a horizontal line and then it breaks here. So I have to make this and this, right? And then we can work all this region of the zygomatic bone. And also this is I'm not too deep, too large. Okay. Also I cannot just this region. And just a little bit the the aviator, aviator shaped. By looking from the side view, we can start by doing better approach for the zygomatic bone, like here. And from here we can start to draw better shape here. You can understand that this is upper part is more like an straight line and the bottom part is more like a diagonal. Okay, so I did want to make this shape. And also this is too much inclined. We're going to have to make it more straight. And then going there. So you can bring it more here. And this, hey, now we can go more into the this part and also start to work better than the jaw. The jaw bone, mineral bone. Here, as you can notice, I left our volume over here and also a volume over here, right? By looking at the silhouette. Could even bring it more for the front a little bit. And pay attention for this. The silhouette here and here. And here. Here can add some volume, like in this diagonal, diagonal shape like this. And this will be the middle, the middle of the teeth. Let's carve out a little bit more this whole for the bone knows me DynaMesh a little bit more, more resolution. And then we can start to move a little bit more the forums like this. By looking in the side view, what we can notice here is we have this angle for the job. And do remember that we did. Diagonal line here, right in the middle distance of the mandible. So we have this, this axis like diagonal inclined one. And then here you can see that we have this this part. And keep in mind to live like some space between the start of the zygomatic bone from the side of you and the start of this, this part of the job of the mandible, right? I kept here some space. And then we have all this hole here. And we're going to have this shape, right? So I bring it back a little bit in here. I can start to draw better the shape of the region. I want to carve it more, more than this, like the realistic shape, realistic thickness because it is just for illustrating and understanding the structure of the head. Okay. The intention is not to make very realistic functional cranial structure. Just show you guys the structure for once we understand what is what is behind, we can go further and make make the proper face and the head, right? You have to always be a station in all the angles. I always like to pay attention to this, this region over here, which it will be, it will, it will give us the silhouette of the shapes. And also, we have. Where the zygomatic bone here. To give this a nice difference from the part, I'm asking. What's happening. My standard brush with RGB mode, okay? So with standard brush negative, we can push it more deeper. And I can bring it a little bit more for the top. Yeah. K. So here I'm start toward more into this region. And also I think we can push it a little bit more for the throne. Working to this place. Here we can see we're going to have the frontal bone and we have kind of sphere shape into this semi sphere shaped like here. No end to this three-quarter view. Three-quarter parts, we're going to have this shape. So we can separate them into this despots. And this another part here. So this will be more Margaret Blaine and this will be more pronounced for the front, right. And for this reason, we're going to have this shape here. We can bring it more for the bottom. And here, using the dem standard brush, I like to use it a lot. The dem standard by pressing the Alt key. So I can draw it like this kind of shape, you know. And then more sides move it. We have a Blaine. Blaine for mud. So you'll do this and then you cut it for inside. Remove some volume here in the middle. The dam standard brush I also like choose with less intensity, more like 12 or something. And very large size like this. So let me first do the farming, then I can explain you how exactly it is. It will be this shape. But here is very pronounced. But we can understand this part. Most of the time like like this. This will make a plane, you know, plenty of cation like this is more pointing for the bottom, pointing for the top right. And it goes just until the middle of this distance here. It goes just until the middle part. There's no like here. And then all this region over here, it will be more pointed for the topic. You can check it here. Like this. Then this middle part, we can add a little bit of some sphere shape and move it a little bit. All the farms will be very, very subtle. We won't be able to proceed into, to figure out then by rotating the model and truly understanding the separations.
5. Finishing the Cranium Sculpt: Okay guys, so here I'm going to start to refine a little bit more the cool shapes that are we are, we are working on. And also for, for showing you, I got so many reference here that I use it to have this in my, my Pinterest. So you can always go there and check it out. Just let me show you here with you can always go there and check it out. Over my SCCOE board and pinterest.com slash not slashes. I don't know. Bar, yeah, my Cato, vars Qu. So there you can always check some, some school reference that I got and use this as our reference. These ones are like scanning versions and some of those we're more like drawings or these were four from a site called bonds clones, which is a very good reference for getting some nice shapes like this one that it makes kind of comparative between African skull shape and European and also Asian shape. So you can try to learn a lot from its difference. But in this case as it's not really focus and the head, head another anatomy, so I won't go too deep on it. But maybe in a future course we can have more, more details, but you can always go there and check it out. Or my school board, they are all there. So I I actually downloaded all the images. And there they are here in this board. The sprint is Peer have board k. Then the OH is on, on top. And yeah. First, I want to show you here that the this part that we were we were modeling right now like this. Let me down a little bit. Our eight. Yeah. The silhouette in this angle, it's something more like this. I always like to pay attention in this tree color back. And so I wanted to say you guys, that the name of this structure here that we made is the, they are the super ciliary, super ciliary arch. Okay. And just in the middle of it, we have this region that it's called glabella, k. This region here, It's called glabella. So is the region between the eyebrows and also between this super ciliary arches. All right. And just behind just below the frontal bone here. And yeah, there it is. Here it can, can check some other, other kinds of co shapes. Here we have some difference. Like the Mayo SCO and the males go to Asia and shapes. There are many reference that I am used to save that. And yeah, that's it. So here you can check some nice, nice angles for, for referencing. Like here, you can always go here and check out that angle and the silhouette that I said, like here. And like this is cool shape. We can clearly see that the super ciliary, ciliary arches, they are way less pronounced than some of the others. It may be because this co shape may be from a woman. So this is clearly our region that is more pronounced in Mayo and men, men's cool shapes. So yeah, Like this one is more pronounced and it varies from each look. Comparing this one from this other one, clearly this one is more familiar shape or even can be some agent shape because Asian has this region lies pronounce and then than European and African, Caucasian and African. And also, and this one clearly is should be Mayo, Mayo school shape. Also because of this region, there is said, Let me show you this region of the super ciliary arches that they are more pronounced and also this pointy and more square jaw line. So we can check some, some difference like this. And I always recommend you guys to go there and check it out over 1024 and many others bone clones and many others other sites that you can, we can learn a lot of trauma from those images. K here is like that angle, the Joe Joe line angle that I was saying about. It chains for each pair, each person. We don't know. It's almost time. It's based on this kind of angle like you you can always remember the watch and check the hours. And it will be kind of for for our like eight or eight or four o'clock. Okay. I don't know why this is here. I think it's because of the time I downloaded. I also don't like nothing this group here, it's totally bizarre with donor. You guys can clearly see this and check what is wrong here. In this region. Kuru, kuru. Let me know. It's like here we have an entire shape, entire face, which is binding for, for the floor, foreign for them. The bottom and should not be like this. We should have division here. And you know, the, the super ciliary forms should be more like here. Making this shape, you know, and not merging margin with this one here, right? And also it's kind of a little bit with this, this draw shape for the orbit. The orbit. I, I think this is maybe too large. I don't know. We're going to have to check more in. But just for getting used with those. Let me delete this. And I have some, some other references that I've saved from a workshop that I did with clay workshop with alex Oliver, which was my main term many years ago. But you can always use this as a good reference because you can truly understand where each feature will be like the eyes will be here in the orbit of this, I hold that reset. And here you can clearly see because of the lighting conditions, the planes that are formed by, by the forms here of the super ciliary arches and the forms of thing pr, all the zygomatic form as well. So you can clear, see some angles that are formed here. And you can try to better understand by looking to this clay model and truly understand the facial features. Okay. All right, so let's continue here. Let me show let me see some things now here we can check some reference just to show you how are made like this jaw bone. Like here we want make a whole. We could. But for doing this, we are going to need to know though more DynaMesh. And let me show you here if we could if we wanted to make kinda hold here, we would have to. Carve these more this way because many, many people actually don't know how to make to open a hole in DynaMesh objects. So let me first show you here. So if you wanted to do this by 0, you can always try for opening like those, those holes in DynaMesh model. One thing that I actually like to do is to use those brushes, those insert mesh brushes like this one. And it's always good to do a quick save before it. Because the British are used to crashes when, when you use some insert mesh, so it becomes some way and stable. So I'd like to do a quick save before of this as a brush. And yeah, good. Then you can wait. You can drag and drop. You can drag the new, the new object here. And once you click like this, it will add another object. But once you click with by pressing the Alt key, then it's going to be like this. This way, you know, this harsh, harsh view. And here we have like the normals Flip Grid for the new object that we had. Because it will understand that when we, we, we update the DynaMesh, it will do kind of fun Booleans and will make the hole. And this object is placed and it will be like a negative space. Okay? So here I can position the object just like do a R1, you know. Turning on here my local symmetry just to have this scale option being asymmetric Rahway proper symmetrically. And once it's here, like crossing the surface, maybe we've turned on the double, we can better see what is happening. Yeah. Like this is all crossing the surface and then once we recalculate the DynaMesh, it will make for us the whole, right? So now here we can clear the mask and It's actually painted for me. I don't know why, but I will go here and use my fill object option, which is always here in color and few objects just to fill my, my objects with pure white color. And so we can, we can continue. Okay, So here what is happening, what happens is that recalculating DynaMesh once again. And I'm going to open the, just this hole here to make this more illustrative. But I won't do. Separated version, I think maybe let me see. Here I'm adding last thickness for this part, this region because, you know, guys, this will be kind of the diffs, the mouth. So we want managed to work too much on it. And this I will leave it very, very, I'm not too sure. Tick, like it's being now K. And in this region of the jaw, I can even separate it better. Here, I'd like to use a brush which is called ARB cracks brush. And I position it with Q letter before and I left then this brush inside my startup and brush presets folder. So it's on here. It shows here in my brush pallet, once I start the software, so in the queue letter I just modified because once I press B and I press Q, it will select my ARB, Greg's brush. It's kinda of them standard brush, but it's more the dam standard also make likes up in pinch. And this one is more. I know it again, it's more. It has an alpha which makes kind of standard brush, but it's more plan with more, more I inorganic and without this pinch version, this pinching that is common in dem standard brush. So I like to use when I just want to, to remove some or loom in place. And you're gonna see I work with this a lot, a lot of times. Right? So here I just, I'm just carving like removing the volume where I know it will be some space there. I, you know, like here I use it the DOM standard version as it being just as it starts to remove the mass for the sides. And sometimes I don't want, I want I don't want this effect. So I do prefer to use the Greg's brush in this way. So it more, it works better in dependent dependent angle that I'm working with this screening in for, you know, for me it's it's better better approach. One thing that we forgot to say, it's like here, we have this whole for the years in this side. And also we have this this part here, which is called mastoid process. Mastoid process is kind of a piece of bone here, not this one. Which will be the insertion point for great muscle we have here in the neck, which is very important, which is the sternocleidomastoid muscle. It will start on the sternum, on the chest and it will insert here. And this mastoid process, you can try to touch behind your ears. And you're going to really feel that you have preeminence of a bone here. And it's because of this. So let's do it. Also this way. Make suggests some, some volume here. Just show you guys garden. Getting know with this part. And it's running like this. And here, as I was seen reference, it's called, this region is called the external occipital protuberance, which is the nape of the neck, the nape of head. As I saw this, I think it's this name in, in English. Here we could even continue like maybe adding some little details like this. The best thing would be to have also another hole here. So yeah, let's do it very fast. Out key presses, click and drag. And then you're going to have a 3D is our capstone. I think it's being black version because we have the black here and the secondary color. So as I'm pressing the Alt key it using my secondary color for processing that. Yeah, I think here if Move brush, we can even manage these objects here and just the way we want to cross. And once it crosses the surface, we can clear the mask and DynaMesh it once again. So now it's made our, our hole and then bent in pure right? Okay, let me continue in next lecture.
6. Understanding Facial Muscles: Okay guys, so here, just before we continue by adding the facial features to understand, let's do a quick, quick review about the proportions that we said and all those things at the beginning that we wanted to use the Andrew Loomis method here, right here. The first thing that we said is we, we've made on its fuel shape. And then after we made these few shape, we flatten the sides a little bit. And by live, live in a little bit of this space in and the top and also in the bottom. Okay, The same space because we would have this horizontal axis and then the vertical axis, like here and here, right? So we would left the same distance for the top and the bottom. This one would be the hairline, which will be kind of here. And this will be the base of the nose. As you remember, the base of nodes based off the zygomatic and also the base of the back of head, right? So we would have like this, the sphere shape would be like here. And this would be her, the vertical axis and the horizontal axis like here, right? So we've flattened the side like this. And then we took this distance and replied, left it the same distance, like here and here, and also here. So we have 1 third, 2, third, second, third and the other third. So two-thirds of the head. And then this little space here until the top, which will be the space for the hair, like here. Okay? So this is the proportion for the side view and also that require. And then from here, we can start to understand what is, what happens with the, the muscles and also the software masses above the disco shape here. Here I can, I can start to show you that here in the middle we're going to have the, the eyeball. And once we have the eyeball and the middle just a little bit for that, move it to the top. No, not exactly in the middle. Then here we're going to have the muscle, big muscles around the eyes, which will be the orbicularis muscle that will take all this region here. And then we're going to have some bleeding of muscles like here, the We'll have an muscle like we're going to have the mouth here. First. Let me show you, you know, you're going to have here the mouth, maybe not that big, just a little bit less. And from that, we're going to have the muscles which will link to the corner of the mouth here. And in our region that is called like node, which is this region here. And we're going to have this one which will be the zygomatic major. The second one, zygomaticus minor, and some other muscles like here. And here I think it's not necessary to memorize all these muscles, but it's good to understand because one muscle, the muscle brings one part to another part. So if we have the muscle with the Georjean like here and insertion here, once it contracts, it will do exactly this. This movement. You know, it will bring this part to that part. So this will be responsible for this myelin. All right, so as soon as we get another muscles like here and here, once it contracts, it will be the same. You know, it will brings this region here for that direction and the same here for that direction there. And just in this way, we can start to make all the expressions, right? So we also have the depressors. Let me show you. Yeah. Once you search in here, all the muscles, the facial muscles, you can always go here and check any of those, those images. And then you're going to see it here. We have the depressor labii inferioris and the mentalist. And also some of them, the depressor anguli oris, which will make, will bring the, also the node, the node region as we draw it here in the corner of the mouth, it will bring this region for that direction. And this one is the depressor labii inferioris because it will depress the lips and for farrier lip. And then the mantle is what will bring this region or this region here for the top and the point of the chin. Here's the RB colors that I showed you, right? And we also have an orbicularis oris for the mouth. Which monster it contracts. It will make all point for the center. The same for the eyes and everything. Okay. So as I was showing here, we have some here, we have the mantle is like here. And depressor labii, R is here, and another one like here. Okay. I want to make all these muscles here and I just, I'm just showing you guys the muscles. And also in the side, we're going to have all this region. And low here we're going to have the mask gate mitigate. Let me let me show yeah, sorry. Here we have the muscles of mastication, which will be the temporal. Lot of fibers going on around here in attaching for this, this point here in the inferior part of the jaw. So once the Joe opens, when it contracts, it will brings this region for that region. So it will close the jaw, right? Because of this is the mass of the mastication. And also we're going to have another muscle which is called masseter, muscle mass center, which is located like here. You know, it starts from this part of the jaw and then it attaches here beside the direct zygomatic zygomatic bone. So it also brings this region for that part. So it's responsible for domestication as well, right? And for less, we have the buccinator, buccinator muscle, which will be, I'm also which is go from here to here, you know, like the the corner of the mouth in that region that we call nodes and will be like for, for the end there. It will be responsible for bringing the node for the back there. Okay? And, and then we're going to have some muscles here in the temporal lobe, the frontal bone there, which will be some muscles like the frontal, which will be here. Let me show you some reference. Right here. Have the frontalis, which will be all this muscle here in the top of the frontal bone. And then we have the arrows, which is this little muscle here. Let me show you another reference. Yeah, Imagine the direction of the fibers like this. And this will be exactly the direction of the muscles that will contract. And all the form. And then you can imagine that all this region here in the eyebrows, if you contract this muscle, the frontalis, it will bring this region for that direction k. So it responsible for raising, raising your eyebrows and everything. And also the arrows will be over here. Okay? So maybe in future curves of facial structure, we can go even further and, and truly recurrence strict each muscles like here. But now, let's start with the facial, facial structures of the face. The, these structures, the features of the face, you know. So one thing that we could do here is start to add in the nose and also the eyes. And let me show you. If once we add, append some, I don't know, some sphere here. You're going to start to understand or know. Select this here. K here. We're going to have the nose. As I said, that Bart was the nose nasal bone. So just for understanding each structure, Like this. Yeah. Just doing quickly. Half half sketchy for the nose. So you guys can understand all the features and where it's going to be located. Here. We could even drop a little bit this nasal bone angle just to match it better like this. Okay. Just like this. And then we can also append some sphere shapes here. This way we can show you where the eyes will be located. And also a little bit of the size of the eyes. Do you remember that I said that we have like 33 I's distance and then five distance and the total length of the head. Here you're going to have 12345 K. So five eyes for the distance of the head like this. And I can go here and do modify Topology and mirror and wild. So activate the symmetry, the mirror and local symmetry. Okay? This will vary like this. And for the eyeball, you, you can have like this, this position here for the eyeball. And how can you can see that it will be this region, and this region will make like an axis. The eyeball won't be forward. For this region is access journal. It will cross like here. And this x is i. I draw it from this part of the, the orbit. From far this part of the zygomatic, you know, you're going to have, you're going to notice that we have this angle and inclined that angle. So the eyeballs won't be for them that and not too much in Word. So you can leave it, left it here, around here. Good. And from this we can duplicate. And then I'm going to show you just how, how can can be the the scoped of the color isn't also the eye? Eyelashes? No, not eyelashes. The eyelids. Yeah. Okay. So I duplicated that in here. I'm going to position this for you guys understanding how it works. Here we're going to do a DynaMesh like this. And this way I can show you how to be in in this part of the ice and how it will be constructed. Just like this. Here I'm filling that the eyes are maybe knitting. Yeah, I need to be more close. Here. I'm using the transparent mode. Here. I, I activated the shortcut for this, which is in my case the Alt T. Here. I like to use my brush just to make this remove this volume so I can show you what is happening to the eyelids. Okay. Make sure your eyelids will follow the curvature of the eyes. Right here. Have the, the lacrimal. Alright? So this will be for the ice. Here. We could even bring some eye bags superior. I beg here. Going to this direction. Just like this. Okay. And then I can start to show you the picture, how it's formed. Each part, like the nose and everything. But if we stay too much time here in this facial anatomy, think we won't be able to have the full body. So I'm just making some details here in the nose and also the rest of phase. Right? So here we can clearly see already some, some phase line. And you can start to understand what is happening with the shape of the head. Okay. So let's continue in the next lesson.
7. Sculpting Facial Features: All right guys, let me just first show you here some, some, some theory about then the nodes that we actually forgot to show you. Here we have let me see. Yeah, some visual illustrations for for the nose made by my Judge Freedman. And here we can clearly see that the nose we are, let's see. We already saw that the nose is made by this part, which is the nasal bone, as we said in the beginning. You know, this part here is natural. The nasal bone, which will be like in this region here, which is a bony part is more harder and not, not so often, like the cartilage part. So we have this first part which is very rigid. And then we have this other part here, which is all soft here. What do we have? We have the nose separated in three parts, three carts, large. Three cartilage is actually four because of the septum in the middle. But we can clearly see three cartilages here. We have this first one, which is between between the nasal bone and the, this part here, which is the, the wing and also the lower lateral. And this one will be called a per lateral. Okay. Let me show you here the notes from Bridgeman. Yeah. Like here. Right. So here we can clearly see that this first, first 1 in the middle, which will be in this region here, we're going to have a per lateral cartilage. It's called it this way. And then we have the lower lateral cartilage would be in this format here, you know, just like this. And it goes from the inner part. And then we're going to have the lower lateral, the, the wing cartilage. And also it's this part here. So we can clearly separate the nose by 3, three parts, like three-thirds as well. So we can see like, oops, sorry, this one is marked from here, here, and here. Okay. So generally when we're going to have the same one, 130, 130, and 130 of the high. And then we can separate this same, same distance. And from between, we're going to have the, the distance of Berlin, the iss distance R, des can get closer or far it will depends a little bit from each person. But it's real, kind of be the same like this as we saw that in the Andrew Loomis proportion here. This first one. And this will be actually the structure for the nodes. And then we can, if we try to make some clarification, it would look more like if I use my dem, standard brush with a Ziad mode, I can draw here some, some, some borders for making, making it squared like plentiful than I can even use my H Polish too plentiful. This is just for illustrating for you. But just for you understanding what is happening here in the notes because I felt it was too fast and even it more coarse. Focus on the anatomy of the body. It's nice to have a better explanation of this features there. I would actually do this with the model of the head that we're going to make it. But I decided to do with already in this model here because it was too fast the explanation, so not so easy to understand. But well, it's just like this. This would be very very forced blocking of the nasal nasal bone and non nasal bone but the nasal format. Okay. So you can understand that this part should be manageable. Like software piece as well. This other part here and this other here. Okay. The wing, the lower lateral, the upper lateral, and then the nasal bone. Right. So I got to live it first like this. And then after we can we can refine it more organic way when we make the full facial structure. Okay, and just to finish it with the nose, wish we said that we have for cartilage for the nodes. And then the fourth will be in the middle, the septum, which is supposed to be here. You know. It will be cartilage, like going through this part here. Often cartilage here. And sometimes we have to make a surgery because it's not well located and yeah, that's it. So here we have the nose and now let's go for the eyes. The eyes. What I have here is what is good to remember is that we have this concave part and this region concave. And in this region we have the convex part, right? The eyes is very important to know. The, the overall format. It will looks kind of barely diagonal. And let me explain you. This is just a half sketchy. So I'm not going really further with this, but because it's better to when we have the forehead sculpting. But just in order to show you how it works. One thing that you have to pay attention is just this. We have this concave part and almost going through the middle, we're going to have this convex part which will drops, drops over the, the eyelids. And the eyelids is very important to have a nice flow and a nice shape, a nice drawing. For the eyes. We're going to have so many variations. But, you know, the average, the average format will be something like this. You have this entrance for, for the lacrimal. And then we're going to have a plane just like in this direction. And then like this. And then more a bigger plane like this. And from this part we're going to have a plane more like this shape and this, and this. I said that diagonal because we can relate this axis like this, you know, it will be more like if it were like this, it will be more tilted, tilted axis like this. Okay, and then here we're going to have the shape for, for the iris and everything. But one thing that is important is to pay attention. The difference of the eyelids. The eyelids should be thick enough to make the shadow in the project the shadows in the eyes like here, k. This will be. A part of the men in shadow. And then we have to pay attention to the eye bags. The formats of the eye bags will also follow that shape. We said. And after the, the eye bags, we're going to have this, all this region here which is called, I don't actually remember the scientific name. But it's always nice to have this separation here and pay attention of this because this will be part of the eyelid and this will be part of the eyelid as well, and this will be like soft and mass. Okay, good. So let's also append the year over here so we can better understand where it's located and how it's shaped. So here we're going to add the cube. Doesn't matter if it's a coup. A cube or sphere doesn't need to be a form. And as we said, where is the location for the year? Here? As we said here in the blocking of the head, we're going to have the year just located in this two axes that we, we said in the beginning and right behind the jaw line. So here we have the axis in the middle and we have the other axis in the middle for that sphere recreated their member. But notice that this fear has been along gated. So we have more space and like in the front in this way. So the cranium has to be more more performed, performed. And this x is like, like this, you know. So we have that x is in the middle and right behind we have this first axis for the first 130. Right? So I have this and this, which will always mark the base of the nose, the base of the zygomatic, and also the base of the back of head. And here you're going to have the line for the eyebrows, right? And then the year is going to be located just right here, just behind this first vertical axis here. Where in the front we're going to have the jaw line and in the back we're going to have the years. Okay. So for the years, what we can say is the years is basically another cartilage. So and it's format we will kind of reminds me. Interrogation, kind of an interrogation like this. But we're going to have some, some specific forms which I like to remember the shape of numbers. And also here we're going to have kind of nine, invert a nine, the number nine. And inside we're going to have kind of Y shape and why it's tilted, tilted like this. And then we're going to have some structures here that is called the tragus and triangles. Now, the triangles with will be this part here and a 100 trials. Let me first sculpture. And then you guys again are going to understand it better, right? So let me show you here, are going to start to use my DynaMesh. This will have a better resolution. And then I can start by creating a contour line like this. And then this part, I will have less volume. I'm going to start to make more like this. You know, the, the shape of the the question questions sign. Now, I don't know actually really know the name. This symbol here, right? Question, Question, sign. I don't know interrogation. And in Portuguese it would be like interrogation, point of interrogation, but I don't really know exactly the name. How do we call it in English? All right, so here let me raise up the resolution of DynaMesh. And good. I can carve it like this, this shape. And then let me enable my back face masking, which you can always enable it here and brush brush pallet auto masking and back face mask, which is here, brush pallet auto masking, and back face mask. This button here because as this surface is very, it becomes three very thing. Once we use the clay, clay buildup brush. If we curve like this, it may be can start to know to get the opposite face by depending on the surface. And in this case I didn't, didn't didn't get the the other side. But, you know, here we got the other side. So now let me show you maybe. I don't know if we leave it very thin. The thickness of this and then we use the clay buildup. Yeah, Not yet. But you guys should know if we have very thin structure and we use the clay buildup brush like this. Just because I'm trying to show you guys it's not working. Yeah, you know, this work and here. So once I did it because I had the back face mascot turned on. If I turn it off, look what happens. Okay. It got the, the the back face and I don't clearly don't want it. I turn on the back face masking and even phi mu. Now very thin surface, it tries to get the back face. Okay, oh, let's go back. Here. Let me show you a little bit of the shape of the years. Here will be the Y shape that I said. The Y shape. This will be the hole in the middle. And then over here we can make this shape like this, you know, kind of bow with some harms. But in the middle, we remove the volume. And then here we're going to have the hole for the year, right? So look, one side is move it. We're going to have it will try to show you guys. Here we have the nine shaping, the counter. Okay? This nine shape. Then we have the Y shape in the middle, the Y shape in the middle. And then we have the blue shape, which will be that drag. The name of this this portion here. This will be the Dragos trackers. And here in this region will be the Dragos. Ups. And GI tract goes right. And here in the middle we have space between. So I'm going to continue with the urine in the next lesson as it saving right now. Okay.
8. Finish Sculpting Facial Features: Okay guys, so we are talking here about the year. I also got some references here that I've saved it in my Pinterest board called year. And so here we've got the same, same structure that I said to you. Here I actually painted. And this is what, what do we have for the structures of the year. Okay, so we have this Y shape in the middle, the nine counter, and then we have this struggles in anti triangles. Okay? Actually the drag will be that form, that will be here. So let's start to refine a little bit this form. Because this is all very half yet. For the back of years, we're going to have this shape like. So. Once we start to refine a little bit more these shapes, you gotta understand better. I think here we have too much density for the DynaMesh because it's being a little bit harder to choose move the forms. Now my move brushes to week. Yeah, I'm gonna get my my smooth stronger, which is a brush which comes by the fall in ZBrush. But it's always accessible. You can access the brush by using the lightbox. Notice that the years is a very thin structure. Like yeah, look how How without the back face mask enable it grabs the other face in the other side there. So here I can add more volume like this. This will be more clear when we do when we do the year in our red in the head. But it's basically this this shape that we need to fall to follow when you are doing the year. Okay? So this is the triangles, right? And the empty triangles will be the other side here. Let me show you this, this region. Remember to make this region very thing. So once you make the model for like realistic rendering, it will be, it will works very, very nice with the subsurface scattering. Then standard brush I make a better separation of the structures. And here the right thing would be to have this whole exactly where we, we've made it here in the model of the Earth, kay? Here I live kind of this way. A little bit of this difference so far for the year is It's always good to pay attention with its gesture. The planes and how the face is our turn it like forward and for the side views. But the most important thing is to have this right structures. And also the right thickness for this here actually adjusting the connection. And we will not look at that real because we don't have exactly the the head here. So to make the proper better placement. And here we could actually do a weld, which is always located here in, in Geometry, modify and mirroring weld. But here I actually created a customized palette for me. And then I can do quickly me her and welded there and then I can work with my Symmetry, turn it on right now. So always pay attention for the lines, the curves of the years that we have here. Looking through all the angles and how those those curves intercalate with one with the other. Like here have one great curve there and here I have another one which is come, which comes from the inside part and then it goes back and make travel the whole four. This part here, and then the triangles in it rivals the triangles and triangles. So here we have the, let me check how I say that in English. The Alix and the NG Alex. Alex. This one and this is another will be n t Alex. Okay. So yeah. Our had anatomy is just missing the mouth for this structure here. And then I believe we can make our, our head proper modeling, right? So let me get here some reference for modelling the head. And then we can we can try to make it here very separated. These yeah, that's good. Yeah, So here, while the ZBrush is saving the project, let me show you here a little bit of the mouth. How does it works? And the mouth. We can clearly see in this image here that we have some specific features and the lips and the mouth itself. Here we can see first for the, the upper lip. Let me see a reference here that shows you that what I mean, maybe this one is a good one. We can clearly see here that we have like three structures in this upper lip. This first structure will be this one in the center. Like form with this volume, you know, more pronouncing. And then we have this part, more rough flat plane, not exactly flat, but more flattened and plane. And in the lower lid, we're going to have like two great volumes like this. The middle we have this depression. And in the corners is very important. We have this flattened part which is kind of a continuation for the corner of the mouth. And look how does it work here. In other examples, you can clearly see that the Persian the middle, like this. Now everything is very curvy, right? It's curve starts to get more. Not so COVID in the end, here in the corners. But it's also very curved, but in the middle. And that big structure that we said, it's more curved. And for the lower part we're going to have this part, which is more of a flattened, flattened surface. And then we're going to have this to two great volumes with some depression in the middle, right? By, just by separating them. And another thing that is important to pay attention in when, when you are doing the mouth is here. Look, those those elements that I've said. No. And what I was talking was concerning to the draw lines. We have the contour line, which will make this kind of drawing. And then we have the middle, the middle line, which is very, very important. We, we always concern too much with the the, the exterior lines and we kinda forgot the middle, the middle line k. So you can remember this middle line just by, by understanding the volumes. This will fit between this. Right? So here and here. And here, where we have the volume in the upper lid, we're going to have a depression did lower lid. And the opposite is true as well, where we have a volume in the lower limb, we're going to have a depression in the upper lid. Okay. Let me show you one more reference for the lips. Right? And also another thing that is quite important in the mouth is the, the, the, the things that are harder, how do I say? Yeah, the thing that are around the mouth. All this information here that we have, this is related to the muscles for the lobby lobby depressors. Right? And do you remember that I call the corner of the mouth like node. This is the node, this little volume here in the corner. And this is related to the muscles, the depressors. Okay. Let me show you. Here you have also the corner of the mouth. And here we have the depressors. Lot of lab of the ellipse. Actually, sorry about any nice here my street. But you know, yeah. Let me analyze here from, from the side view, we're going to have this great volume, right? This is more like a feminine male, female mouth. But we can clearly see the structures that we said, the node portion and also the muscles for the depressor labii Alice. Look, this is what we call the nodes. Here we have a depression and here we have some great volume like this being volume. And here we have the volume for the muscles. Okay? Once again, here we can see that sharp edge in this part. This part will be more flattened and this will roll in. This will be more flattened part as well. And here we have this great bump, right? So yeah, let's, let's do it here. For doing this, I'm going to append to append a cube. And with the cube selected, I can bring it closer to its position. Like here. Turn on symmetry. And then here it can start to model the mouth. I'm going to grab it here and apply a DynaMesh with a little bit more resolution first. Good, so we can start the, the mouth in the next lecture.
9. Adding Facial Muscle: All right, so here's starting to model the blocking of the mouth. The first thing, let's grab the volume for the back so we can have more appropriated curvature for them off. Okay. And as it will be separated from, from the face, it may be a little bit here. But yeah, let's write the MAF. Always start like this, you know, pronounced volume for the forward. And then we can start by drawing is and where exactly. Here. We can divide that. The distance from the base of the nose to the base of xin, we can divide it in three, three-thirds, like 123 k. So in the first one, the first third, we're going to have the drawing for the MAF, right? Just like in this shape k. And here we're going to have those separations for the muscles. And here we're going to have this one, right? So the mouth will be more like here. So we can start. And also, if you see here the line for, for the diffs, our middle line for the mouth. If you check this in the mirror, you can see that it will be here like this. And here will be the top part. And then the bottom right, just to have a kind of market there. And then we can see it better. So here if the, let me recalculate with the dam standard brush and with our great size, you know, I'm pushing the middle like this. And be careful to not reach the def. Here can do this, cut in the middle like a V-shape. And also this part we can. Make some depression. So here we can start to refine a little bit the form. Grab this, this middle part here, just as we did. And then actually we just did this depression just for illustrating. It's positioned but for the mouth we're going to have like this shape, the M shape in the middle. And then it goes up. Here in the middle, we have this depression. Move it. We're going to need to add the node volume in the corner. Just as we said. Just like this. And for the lower part, we cannot forgot. Can move a little bit this volume for the muscles, right? That the depressor labii Alice. And here phi is move everything. Then I can with them standard brush, make a depression here in the corner. And then that means move this. And then we can draw this a little bit like this. And it's moved more into this middle part here, right? Yeah. So apparently, what are you going to have is like this this shape in the corner. Kinda like a line here. Where I'm, I'm I'm marking like this line here. And here you're going to have this great volume, which will be the node portion. Right? Remember that we did there. We said that here can even use the inflate brush, just make it closer. Yeah. Remember to place in the right position like this. Yeah, And and that's it for the mouth. Just have to pay attention to the middle line, which will make an M shape. Also the upper line, which will also make em letter shape. And why this just because we have this great volume here and also this great volume, the middle, right? And just as we said, we have this volume in the middle, then we have the depression in upper lid. And where we have the volume in the upper lid, we're going to have a depression in the middle, middle, and the lower lid, right? Yeah. So there it is. For the mouth, the nose, the eyes, and the years. Here you have like a full a full set of features for our character. Here, the mouth, I can make it just a little bit larger than, than the nose. Or like this. And now we can start to think about the movable masses that we have in the head. And like here in this region, we're going to have a great mass, which will be called the nasal labial fold. Right? You can see this region here. So this region here will be exactly this place which will be filled with fat, some fat cells. So this is what is missing here for our head, which is this region. And then obviously the chin and the skin in the whole face, right? But for the features in the anatomy, is this what we have here? We could even like add some some muscle volumes, just as we said here for the masseter, buccinator, and some muscles that we have there. But yeah, just Foreigner for explaining a little bit this volume that we have here, let me show you this volume here. Let me show you where would be the masseter masseter muscle. It would be just like here. And it will marks the general volume of the face. So it's important to note is this. So let me. Extract, some, some shape here. Go to extract and then too much. Yeah, let's accept this. I don't actually need this, so I can delete. I use it, my Del Hidden, charged good, resize, set out the butt because I, I, I hide this part with my, my select the lasso. I hide this by pressing the Alt key with Shift Control Shift, and then it's hide, it's here. Okay, So I can tell what is hidden. Just clicking here into geometry, palette modify Topology, and then they'll hidden, right? So now I have just this. And then I can grab click with the polar group, and then I can manage to work here. Turn on local symmetries so it will works properly. Yeah. This would be like the format for the masseter. Masseter muscle could even painted like like this. So we can better understand how did look the muscle. And then we can better understand the structure itself. Right? So here we have the masseter. And yeah, maybe we could add a little bit, some some other others muscles. Like here would be the temporalis. Temporalis muscle that we said. Like if we subtract and accept no, no. It got like let me delete this. Now hidden. And then I could grab this and bring it closer to this part where it is. Here I converted my mask and now i'm, I'm working with that piece. And then invert it again. Yeah, I'm not sure if I will be able to show you by working this way. Let me turn on the double. Yeah. Maybe Phi DynaMesh it let me try DynaMesh. And then we've moved brush. I can turn on my back face mask and then I can give it more thickness just to make sure that we have altogether and then DynaMesh it again. So let me get that color. Yeah. And so here we have on all turn on, turn off the back face masking now k. So this would be the temporalis muscle, which will also makes some nice volume here. Then the lateral parts of the head. So let me add a little bit that volume. This is the muscle responsible for the medication as I said. And yeah. And because of this, when you knew, you know, you eat those swimming, this region starts to move when you I don't know. Yeah. When you chew the gum, I think is this how, how, how do I say that? When it should again, this vision starts to move itself, right? Maybe not that much of volume. More like this would be good. And this would be some principle. Great muscles. We're going to have more muscles here. Going. This part of the zygomatic to the corner of the mouth, which we call node. So we're going to have another one here, which is this one will be the zygomatic major disorder will be the zygomaticus minor. And here we have some other two muscles, I guess, which will be the lobby. Livia, Livia, Livia later. Let me check. Yeah. The levator labii superioris and the levator labii superioris, superior outlet. Just for you knowing that because as we said when we contract those muscles, all this region of the mouth will go up, up here, right? And the same for that muscle. We have here, which is the depressor labii address and also the other side here. And then for the chin, we also have the mentalis muscle, which will be here. And another one in the corner here, right? But for the general volume, the most important and are these ones, the others are more for expression. So now let's go and do the same head by, by trying to do this upper, this, this anatomy study that we did. Let's try to make the head in the proper way for from, from the half, half sphere. Here I'm going to append another sphere. And this way we can started again from, from the half. Let me first organized a little bit here. Those so those cranium. So I'm going to group everything. Yeah. I'm going to ungroup everything. And then we continue in the next lecture from this fear by doing during the head again, okay.
10. Blocking the Head: So let's start with once again. But now by modelling the proper face, the full phase. And yeah, so just reviewing the infos that we said, we're going to start by using the head, the day sphere shape. And then we can grab just a little bit more decides. And one thing that I also like to do when I'm blocking out the head is to start by grabbing a little bit of the front and the lower part, just like this. So this way we're going to have the format of the head, right? And then you can let me do a DynaMesh already. Okay. And so just for for you to follow what it did, we're going to have like this. This show two lines, right? That one will be the middle of that sphere shape and will be the eyebrows and no other will be the base of nodes. Okay? So what it can do here is start by using the clay buildup brush. And then we can help, right? Then we can start by doing the orbit for the eyes. Just exactly how we did. The cranium. In the middle, we can add the volume for, for the nose. These are the steps that I use it most of the time. When I'm blocking out ahead. Here, I can add a little bit of volume for that region that we made this super ciliary arches. Here I can add some volume for, for the zygomatic. Here, I can use like dem standard brush and make a C curve for the temporal and remove some, some volume. Here, this remark a little bit, the temporal line. Then into this part here in the middle, we can add a volume for for the mouth. And then here we can start to make the chin. And do you remember the middle, middle length of this distance? We're going to have like another axis. And from this, we can start to make the curvature for the chin. Just like this. But remember. That the chin will be inside the zygomatic k. And then you can add more volume for this, this part of the jaw. Just like this. Right? So this we can already start to see the head just exactly the same that we did here with the cranium. So can grabbed a little bit more the nose. And you guys remember that we did curvature diagonal line coming from this part of the nose, the nasal bone. Do you remember the nasal bone here? And then we grab it like for the middle distance of the jaw. Right? So there'll be more for this point here. And then we can go and check our model with the dense than the brush with great size. Like always pay attention to the size that I am using for this, this distance, for the size of the brush that I'm using, right? So with this distance, if I use the dam standard brush, for example, we'll create kind of this depression. If I use this distance, it will create kind of this depression, right? So let's use here that the dam standard brush and grab it for there. So this way we can create the plane, the proper plane for the zygomatic, right? Just as you can see here. And once we do this, we can adjust the cylinder for the mouth. Just like this. And yeah, this way we are, I block out the head now very fast and simple way. And from this we can start to, to make the, the features of the head just as we did, right? So the first following the steps, once again, we make the holes for the eyes, the orbit of the eye orbit. Then in the middle, we should, first, we first made those two lines, right? One in the middle of this sphere and another almost in the base. Like in the same distance from here to here will be the, the, the beginning of the hairline. And here will be the, the, the end of chain. So here we have this distance which will be the same, this distance in the same of this distance here. Okay? So in the middle, we have this. The beginning of the jaw line. And also what it could do here is to mask from the middle to the back, the man may could mask the, the, the general form for the years. We can invert the mask and then with the Move brush, once we press Alt key, we're going to move it like this towards the axis of the face that we are pushing. If we grab it, it here. Move like this. If a gravity are going to move like this, here, like this, here, like this, it will move along its normal axis. So Move brush with Alt key precedent. I can grab it like this and then move it more like so. Just like this. And from that, we can recalculate DynaMesh once again and remove a little bit of the volume. And then we can start to blend it here. And also start to blocking out the sphere over the years, just as we did removing some volume in the middle like this. Okay. After we can continue with the years. But Just as I said, it's always good to always work in a little bit in everything and not being too, too much concerned with just one part. Right? Here would be exactly that volume for the mass setter that we said. And now we can continue by using the clay buildup, some dem standard brush. From here we can start to make the nose. And also do you remember that that region that I said that we could we would have a mass like here, right? So let's add a little bit of volume for this mass over here. Just like this, we can start to blocking out the head from the structures that we learn. The anatomy structures. Okay. And then. I'm going to use that same ice, the same eyeballs. So let me try here. Okay, I forgot to continue with that organization. Look here, I could grab a little bit more and make it match on the features that we made. Then here, I believe we can start to raise up a little bit of our DynaMesh resolution. So we're going to be able to add more details. Start to blocking out the features, right? And so the same we can start for, for, you know, just let me, let me first show you what we did. This distance will be one of the thirds right? Here. We have 1 third, 1 third, and another third. And this less, less third year, we can separate the three parts. This would be the beginning of the chin. This would be the mouth. Good. So if we have it here and here, we can start by drawing, oh wait, drawing the middle of the mouth, like here. Right? And then we can use the standard brush to bow in a little bit of the middle. Just like this. Pay attention to the size of my brush. When I'm doing this. Do you guys remember what I said about the size? Look here. What is this? Look it here. Let me leave it just like here. I have this side. And for my dem, standard brush, so what I did, It did this cut in the surface, right? If I have Little, a little bit less of the size. What will be the cut? Look, the size and the cut. So it's wrong. It's all related to the size of the dam standard brush that they are you are using. Okay. And then here we can better make. We didn't, did the depression in the middle. And then this part, we can make this good. And then I just did volumes. Volume here. We can make this region just as the muscle like this. And what is missing here, the node right here we have the node, that version of volume, the corner of the mouth. And then once, once again with the standard rush, we can push a little bit of the volume there and then we can adjust the size of mouth. Let's recalculate a little bit. Dynamesh. Good. So here we have the tin. And then the continuation for the jaw. Here you can feel with some, some volume. And remember what do we have here? The muscle like this. I'm just getting a little bit of the general looking down and then let's go for the nodes. Do you remember what you have? The nose is very important that this point here in the middle will be forward, then this point, the lateral wing, right? Let's make them the holes here for the nose and recalculate the DynaMesh. And do you remember the structures that we have here in the nose? What are you going to have here? We're going to have that scripture. I can make a cut here. And then we added that stricture structure, which will comes like this direction here. And then better doings. And then here the nasal labial folds, we can refine it a little bit. This part will be thinner than the part with the bone. Right? And then let's go now and refine the ice portion and also decide. Here we can just basically two. I'll go back on the cranium. We did just to be closer to what I have there. Okay. After we can refine a little bit more all this. Okay.
11. Adjusting Facial Features: I'm refining a little bit that region, adding the proper standard, the proper for the nose here. And then from here we can we can go and make the, the ice just as we did. What is quite word here is this shape and the temporal line. Do remember that I said, like if we have this format for no weight, this was too much. Let me just add a little bit of this volume here. You can understand like just like this. Here we're going to add another, another sphere because maybe it won't match exactly the same for this new head that we are doing. And I could even try to match it more like this. And also works. But I'm not sure if it's going to work properly. So let's try to hide it in the eyes over here. And what I would do here is I will start to bring the volume for making the eyelids just like this. And this. Right. Let's remove just like this. Then we can start to make the proper, the proper draw shapes for the eyes. And do remember here that we have a concave and convex shape. And here you can fill with more volume. Pay attention to the lower eyelid. Good. Yeah. You know, maybe these eyes are too much for the back, but I'm not sure if it works really good to make it match with that another model behind the cranium. But I I hope you guys understand what I'm doing here. Relating with that first motto we did. Then refining, start to refine it a little bit. This is Bart. Be careful. The mouth for more, for more. Refining the shapes. Being careful. Start to see some expression. Let me just get this volume for the mouth. First. For the king would have kind of this shape. And yeah, so from then we can continue refining the forms, refining the forums and trained to follow this is reference from Andrew Loomis for the proportions. And do here. And yeah. Yeah, So continuing here, what I actually, I'm seeing here is that this frontal part is true. Too big and too projected for the front. So we can start to make it less less big. Light that also his mouth here. This should be just a little bit bigger. And one thing that you will, you will remember is that this nose was not in the right place. Because remember that we said days of nodes based off zygomatic and then based off of years. Okay. Before we continue here, let me Before we continue to refine the forums, here in the eyes, the eyelids and everything. Let's block a little bit more the years shape. And so after we can continue, we can continue here with the eyes. There is very, very half yet. I'm afraid that maybe we're going to need to reposition the eyes. I'm not I don't know. I don't like to be like risk. The risk make some restrictions like that. By the position of the eyes. I like to one side. I feel the necessity the knee. So I can I can transpose the eyes. But this time, let's try to keep on the same place that we have there. For the. The skeleton, the cranium we did here. This correcting a little bit the volume of the temporal line there. And it was like too big for the silhouette. Notice that I always pay attention to this, this view here. I do prefer to work with me into this field then that, that one, because this one is mainly the the real volume because it gets the silhouette of the farms, right? So I always do prefer to work like that and truly understand what is happening with the volume of the things. And not only depending on my perception of this 3D fake, you know, the 3D ZBrush is very fakes or sometimes it will depends. It will change your perception based on the material you are using because it actually fix the, the perspective view so we have to take care about it. Okay, After we can continue with the eyes, Let's block a little bit the years, just how we said. Notice that the years, one thing that I, that I paid attention is this line, right? If the character was wearing sunglasses. Certainly the, how they call it this part here. In Portuguese, it's called astrocytes. But yeah, I don't know, I don't remember, but, you know, this will create an edge in the same high of this part of the years and the coordinator of the eyes. Okay, so what you can do here is start to try to make that drawing, you know, remove the volume over the years. Just doing like this. And then do you remember that here we are going to have the tragus. So just beside the triangles we can make like a cut like this. And then we can add a little bit of the continuation of this Alex, Alex shape. And then here we can carve a little bit more to make it very thin. As you already know. And inside, what do you want? What do we have to do is to make the antihelix, which have the shape of that. Why, Why letter? So we're going to be just right here, right. And then you're going to go over there just besides. This contour, contour volume here of the Alex. Here the member will be the nine shape. But as we are working to this side, we will not be exactly a nine. But then to this view, it certainly could be nine here. K with an a Y shape inside. And after this Y shape inside, what you're going to have is exactly the bow shape. Make with the triangles and triangles. Okay? So like the sign, no sign of bot. Okay, So here let's carve a little bit more like this. And like here, we can carve like a farmer like T-shape. So here we can recalculate the DynaMesh once again. And we can make just a little bit of our contour. But here, the position and the shape, we have to refine a little bit more and make it a continuing for the shape of BU. And here it going to be like this big hole, this big empty space where, you know, it has to be the space, enough space for the character. Placing the fingers below. Because I do remember once, once upon a time I was I was doing sculpture workshop and I was sculpting like in the clay. And the character that I was sculpting would not be able to place the fingers. How they call it. And I think it's treat stitches, stitches, stitches. Let me see. Let me check that. Yeah, I actually truly scratch the years. And also because it hasn't had had not enough space. It was kind of like that very close one thing to the other. And you have to make sure that here in this blue shape, this counter, you will the character, we will have enough space to do that, to scratch our years, the years. Okay, So let me refine this a little bit more. The the, the Y-shaped be inside, which we'll call, will be called T Alex shape. And notice that this stale for, for the ALEKS will be very close to this region here. Okay, very close to the contour of the whole Alex. The contour here. I like to leave it very, very thin shape, right? And from the back, we can at this contour line for the shape and then separate that from the head. I could even use this brush. Did the cracks? I'm not sure if I read said about this brush. You can always download it on Internet. You just search, search for this arm without the skew letter before. You can search that, you can always download the brush made for from an artist, which is called art. I think. I don't remember exactly. But yeah, it works like Damn Standard brush. I don't actually remember. I think our, our read said about this brush in this course, but I don't, I'm not really sure because I am use it to record here more than just 11 course. And I also though, classes like online classes. So I may it may be a little bit confusing for me, but I think we cited about, About this brush already. And I just dropped it, the brush into my, my startup startup folder there in ZBrush installation folder. So once I start my ZBrush, it drops here in my brush palette automatically. And I like to try to rename it in place like queue before the Greg's name. Because once I press B on my keyboard and then, and then Q. And there is no brush in native, native, native in ZBrush that starts with the letter Q. So it would be the only one. So once I press V and Q, it goes directly for, for the brush, I want this case the arms. Okay, so here we have some nice, nice shape for the years of our character. And always paying attention for those points that we said. For the high, high off the years. And
12. Sculpting the Neck: Also is a little bit where you have to have this head without, without the next shape. So let's first grab a little bit of an X shape here just to start to have something and make our character not only a flat, modified but isolated head. So where did I, did I selected my, my neck, the mask for doing the neck. Remember that we said about this line, which would be the base of the base of the nose, the base of years, and then the base of the back of the head. So the head will be more like this. And then the NyQuil starts from here. And also in the middle line of this jaw. You can drop the neck here. And always the NyQuil be like them to this incline that view. More for the front. And not actually always. But if the character is in neutral pose, so certainly it will works like this. It will be a cylinder shape and from all the views k. So here the message didn't work too quite true to perfectly. Then we can recalculate the animation. We can work a little bit more. So here we start to see that the jaw line for our character is very word and maybe the years is quite true backwards. So once you have the parameter for an accurate starts to, to figure out more, more details that are becoming word into our character. And from the front view, or you can say is the neck we'll have kind of the same, the same weeded of the of the jaw. So be careful to not live in this too much, too large and going out of the cigarette. And here, Take care about this. You know, the jaw line needs to be more sub-domain. And you can always start to adjust this in. Here, taking care with the drought shape of the mass center region that we are at said here are going to refine a little bit the back of head. Right? And let's draw just a little bit the shape of an egg here I can use the eight polish brush just to make a proper, proper shape for this base of the neck. Because once we do the torso, we will make the neck properly. So just for heaven, for not having the head very floating. And you know, here we can use the dam standard brush to make just a little bit of some information for the neck. Because here you're going to have that muscle that we said the sternocleidomastoid muscle, which will connect, connect to the the base of not, not exactly the base but the sternum bone. And here you're going to have this shape, which is the Adams, Adams atom bomb. I don't don't actually remember the name. But we're going to check this before we continue there. I'm just refining this a little bit more so we can have a proper proper visual for our head. K. Always pay attention for the line of the back of head. And also the silhouettes, the silhouette for the Cranium Cafe. Notice how this, you know, here you can clearly see like a plane and going more inclined. So once we force a little bit more disinclination angle, we start to have more, some, some expression already for the character. So I like to, to bring for the character a little bit of expression like this because it makes part of the The character's personality. Personality. How, how is say that? Yeah, let me check. Yeah, it's personality. So one x2, y2, you look at the character, you already start to feel some, some kind the way that the character thinks and how he, his, and all it's related to his anatomy to create this kind of max. Okay. Yeah. Let me pause here so you guys won't need to wait. Okay, So continuing here, now we can start to refine a little bit more all of those shapes and I think the part is most, which is most needing some refinement, is the, the ice, right? Looking through this view is quite important too. It's quite important to check the the angle of the ice here between these two points here, right? This will be more for the back and this will be just a little bit more in the front. So you'll have to pay attention to this in order to make your character looking, looking good. Here, if it would be very let me search, right? Yeah, It's diabetic. So what do we have here? Is it would be kind of this this shape, this contour line here with another as actually like this, more like this, K. And here we also have a line going in this direction. They're more like this. Oh, it's taking, taking care to this angle of for getting the silhouettes of the forms in. And then checking if your model is looking right or not. Here we have too much volume. Maybe this region. Notice that here it's all, okay. But I like to pay attention to this angle, the silhouette, so I can truly understand what is happening and to that region. And then I can refine the way I want. Let me check the eye balls more. For the top, like here. If we would try to, to feel a little bit where it's placed, the orbit of the eye, that would be kind of here. Right? And then to this region we could start to make a little bit of detail like this. But I think we have not enough density into our, our DynaMesh and maybe we could start to, to have a 0 mesh version. The head. Because all the time when we, if we, if we recalculate the DynaMesh, this region here, we'll, we'll merge together again. And this way we will not have the result that we want. But first, it's good to go to find the proper the proper thickness for the eyelids. And also make sure that we have the right contact with the eyeballs. This way the mesh will be calculated very no more precise way. Here. I'm already trying to separate the lacrimal shape. And there is one thing here in the years that is, there is wrong into its shape. Its that this region here. For how how's they call it? In English? Yeah, I don't remember exactly the name of this part here, but you know, just as we haven't introduced the image by looking to the side view. This region here must be two in my case. Right? So let's try to do it. Yes, something more like this. Better. Be careful with its shape it. So here I'm refining a little bit more and always paying attention to the connection of the silhouette for the jaw line, which will be more straight like this. That angle. It's always good to, to turn it around on your model. All the time. Does i'm, I'm doing here. So you want stayed with just 1111 region. Here. Can use the Move brush with the back face masking activated. Once again, you can always you can always separate. Reached this auto masking, back face mask here until the brush pallet and see auto masking and back face mask. I drop it here into my custom palette. Once again, I, I already said that, but I like to use this for adding thickness like this. And then I can disable with my shortcut that I created. And then I can add just some, some thickness to the model. Just the way I want. Here, the triangles and triangles is quite a little bit word. Look. We should have something more like this. Let's make it this part here more connected to the head. The character starts to have, should be more. The way we want here. Once again, I'm using the back face masking with the Move brush. In order to, to, to understand this part, you can use your fingers and feel that region into your ears. All know what's happened. Oh my God, I think we crash at ZBrush. I will go back in a minute and hope that the recovered will work. Let's see. I want balls it now because it will change. The window in. It may be harder for ZBrush show. Just save it. So continuity with the recording. And yeah.
13. Refining the Head Sculpt: Exec, actually the ZBrush didn't recover what we did there. So I lost just a little bit of the process, but yeah, no problem at all. Let's do it again for for this part here and the years. We added more volume and tried to make it better. So let's go build a model. And no problem. Let's see if I change, actually change the material. I'm giving here more volume to this bar. And also I think we can start to blend better the forms and better refine everything. Here I actually got some in reference, which is also in my Pinterest. So you can, you can use them as a reference. And look, this is what I was calling about the diagonal planes that we have here. And to the sides. Right here you can clearly see what we have here. And actually I think is too much. His head is maybe too big. Yeah, now it's better. I tried to use as a parameter, like the distance, the height of the ice. And normally in some, some, some people are using it to think like the eyes in the middle of the head. But for me it's not exactly in the middle, is just a little bit more. If we have this distance here, you know, it will not be exactly in the middle. Do a little bit more for the, the, the upper part. Let's use less than density for the dam standard brush. And now is being careful with this part in the eyelid. Should not mark you too much. But we have to have the change of Blaine's in that region. Here is also good to be able to know where, where the zygomatic is. But sometimes there are many, many skin and also some fat on it. So here I'm trying to refine a little bit more of the shape of the zygomatic arch. And refining a little bit more of the shape of the nose can move it a little bit more. And I'm actually filling the zygomatic, maybe too much burnout. So trying to remove this bumpiness in the cranium. The only bumping is that we can have this here in an atom Callaway. Docking is something like this. If you remove just a little bit of volume here and leave this this middle semi hemisphere and all into this region. Here we're going to have kind of a suggestion for, for the temporal line. But always been being very careful with this. Yeah, so here we can start to work more into the superior eyelid. Look like this guy here. You could force just a little bit more of this expression by making some strokes in this direction and leaving this, this volume in the middle. So you're going to have this volume, the middle and this part here that will be crispy, crispy, which will have the change of planes. And this is because the arbiter of the zygomatic arch. And yeah, and here you're going to have a depression. Because here you're going to have all that region with the volume that we recall, the, the super ciliary arches, which are this, this part here. And I'm filling here in the years, maybe too small and the head could be a little bit more like this. His mouth now is very strong. Okay. Once again, I'm trying to make the proper contour for further the eyelids here. So the software will calculate a better, better 0 mesh and better mesh for this better flow. I guess. One thing that I can say is that most of the time this region here, it kind of blends together. And I'm just going to have I could for the side view into this region, which is I'm using the DOM standard brush refine great size. So I can remove just a little bit of volume into this region. Like indicating this change of planes. Recovering some, some, some shapes for for the zygomatic bone and trying to refine a little bit more some forms in the mouth and the chin. Everything is still really have yet, but we can already start to see some, some, some lightness. Here for the mouth. You can start to refine just a little bit more the shapes and adding more to this kind of tailing. Right? And now with the inflate brush, I can make that contact more more inflated. Right here his mouth is. To pronounce it for the front. I'm living it more natural. The shapes of the ice. We could also add another, another shape like this. And so this region. And let me refine a little bit more. Those are those parts. Trying to remove those blimp in is in this region. I like to leave it very simple. Yes, So now the character starts to bring more life. And here could even use a little bit of pinch brush because this part there was maybe too thick. And now I'm trying to correct a little bit here. I'm going to grab a little bit more thickness for this disbarred in the years and giving it a proper volume. Once again here I'm trying to make that separation. And then I can move this a little bit more. For this stage, I would start to to 0 mentioned that the objects, so we will be able to work a little bit more on the eyes. On the eyes. Here, I'm going to use Move brush with back, face masking once again to edit that thickness. And here I'm adjusting the contour line. Yeah, Here in it, we're going to need more subdivisions, more density, and also refining, start to refine a little bit more those, those bumpiness as we, we. We figured out then in this material, trying to get a nice shape in the side views. And now I'm trying to add more some kind of separation between the eyelids. Okay. Yeah. I think for continuing here, we're going to we're going to really need more Martin city. But in this view and fill in that maybe yeah. This way I think because batter wait, here's some more volume and the zygomatic region. Good. Maybe we could add just a little bit more the nose and some parts there. Here we have clearly word word region that we have to reveal this. I don't know why it got this this whole yeah, not not a whole. But why the volume? Because we move the years I think further inside of head. So it became this way.
14. Refining the Eye Shape: Yeah. This is becoming very good. Head. The forehead. Maybe too. Yeah. Once again, the mouth is too small. Let me check mark places. Maybe the nose is yeah, I like it. And just feeling that maybe the ice could be a little bit more for inside like this. And this way we can draw a better shape. Always paying attention with this angle, you know, the, the three-quarter view, the back. If you compare like with this, this reference, you're gonna feel that this region is more thing. And also maybe this region in the corner. Yeah. It's getting better. Already start to liking. But I still feel some parts. Yeah. I like it like a generic head. Think it's very nice. Just trying to remove the break in the surface. And like to leave this, this curvature more straight. And all. Like this guy here is maybe too strong. The difference between the zygomatic in the jaw. So I don't want this, this strong, maybe less. I would prefer more, something more natural like this. So because of this, in my case, I'm not really sure if maybe we would need to add more volume like this. Let me check. I think it's more natural. Yeah, now it's more a generic CAD. As I said, this region can start to blend more with the sides. Just like great volume go into this direction because it's related to the zygomatic in the volume of the temporal. Yeah, I think I prefer like this, the chin not so pronounced. Chin. One thing that is important to pay attention is this Blaine's like. Just in this form here? Yeah. Looking through through the face. It's already started. She looks very not word for word. I think maybe the eyes are too big right now. Something more like this should be good. Yeah. And we can recover a little bit more here. That could in the middle. Why? Because the head, we're going to have this shape for the nasal labial fold. Then from here we're going to start to see the zygomatic bone. Zygomatic bone. Here, the zygomatic arch and merging with temporal line. Through all this region, we're going to have a shape or a flat shape. And then here we can start the eyelids, right? Yeah. Yeah, good. So look for look out at the planes and the head. That semicircle here. And this, all this volume and this bar. Just like this. Okay? Okay, So then I think we have a pretty good base for the head. And let's do a quickly reveal of some, some, some points that we have. Have docket here and try to figure it out. Some, some very important regions in the head. By starting from the proportions, the general proportions, what I had here is that we created the head based on the loom is divisions. The lumen is the structure for the head. And what we did here is just we started by the sphere, the sphere shape, that's filled shape here. And what we did, we started with the an axis in the middle. And by these x's, we flatten the sides. And then we created another line, which was not a, not exactly at the bottom shape of the sphere, but a little bit less. And then we got this distance, and we duplicated this distance for the bottom part. And then we got this other third. And we did the same for the top part, and we got the, the last term. So here we got three thirds, right? And then from this three-thirds, we have here the hair line and the top of head, k. Still looking from, from, from sides. What do you have to pay attention is here at this line of proportions that we made. We can have some, some points to Japan notation is that in and this first line here of the third, we're going to have the base of nodes, the basis of our zygomatic bone there. Remember that we recreated this here. Here would be the zygomatic arch. And you know, like here, the orbit of the eye. And here we're going to have all that that whole for the nodes. Here, the nasal bone, you remember. And yeah, that's it. The base of nodes, base of zygomatic, base of fear. And based off the back of head. Kay? Well, then by the front view, still talking by the proportions, what I have here is we can draw a line in the middle just as we did there. And then we would have like five iss distance for the weeded of head. Okay, so 1, 2, 3, one eye distance in the middle between the ice, 45 K. This would be varied. Like the same distance for the nodes, but it could change a lot. As we said, this is the generic face, like we can pay attention, but it can change a lot between between the different Jane gen, generous, generous attorneys, attorneys and everything. You know, we have some lot of different proportions in nature. But this is the starting point, right? And look for the weeded of mouth. I would get the, the inner part of the iris. If we got the iris like here, Loomis say is like the middle of the popu. But for the bottom of the mouth, I would say something like this. You know, the inner part of the, the, the iris is where I would place my, my mouth. Something like this. Like the width of the chin would be virtually the same of the mouth. And one thing that you will have to pay attention by looking through for the front view is exactly this, this kind of the shape here, you know, here we have, we can clearly see that this region is, is lighter. For light. Then all this region here, okay? Because this will be more front-facing and this will be more side faces. So you should try to understand the light information that's even ZBrush or even your reference. And everything is showing to you on each change of low light conditions. As you know, here we have clearly a line between two values of light here and here. What does it means? It means that we have a change of lanes, like this plane would go over here and this plane would be more like in this direction. Okay? So in every part of the head or the body, you can try to understand this change of planes, right? As we have it here. Clearly in this top part of the eyes, the eyebrows region, we clearly have a change of blames like here. Because this part of the The eyebrows region here is this kind of pointing front and this part would be more pointing the k. Another thing that we can notice still concerning two proportions is until this last third. If we separate that in three-thirds, we would have something like this. 1 third and other third and another one. So the middle of the mouth and the starting of the chin. Kay? This is that same third that we said in the beginning that we started from those bigger one. Right? 1 third, 1 third, 1 third, and the hair line for the top of head. Good, cape. One thing that I also like to pay attention here is this draw shape here. From the ice. By looking through the profile. Here we have the the zygomatic projected. And do you remember that cut we did into the beginning of the blocking for the structure of the, the, the, the cranium and also for the head. We got like the middle distance from Chin, chin to Git jaw. And we started with that cut with the dem, standard brush with our great, great scale. And we drag it from here to here. From that GOT we market. Where it would be the formation of our zygomatic bone K, which is, which will be exactly here. And all this region that I'm masking right now is no more the zygomatic. So it's, it would be like a soft in southern region with, with No, no, no bone. And here we just would have like this. Let me show you those muscles. Here. Like some muscles, which is this RB colors RB. Okay? And at some people you can notice that we have some separation because the skin turns to be more, more thing and then it will marks more the bony structure. No elder people. Here we can also see some, some separation the volume from the zygomatic bone and then this orbit, the orbit for the eyes. All right.
15. Refining Facial Features: So all this region here can also have a nice difference between that region, which is the bone structure of the zygomatic bone, right? And then we can, for this region of the eyes, we can separate that in some, some parts like this one will be separated from the inferior eyelid. For the inferior eyelids. You have to pay attention to this plane. This plane is really very important because it will drive our perception of the eyes. So it has to be in right away. Our drawing. Like here, I can even make this look in more coherent with the orbit of the eyes, the eye globe, the curvature of the eyes. Okay? So you have to pay attention in this curvature by looking through all the angles, even like from the top view, from the bottom view. And the same we can say that for the superior eyelid. And notice the thickness of the superior eyelid and also the thickness of the inferior eyelid. It's very common to people to make those eyelids very, very thin. Some way like like this. But once you realize that you are going to fill, that is not that thing. So it's wrong. Then. Another thing that we talk it is about disinclination of this two points of the eyes. If we look from the bottom, like this, the eyes will have almost all the time in this kind of inclination. They will, they won't be parallel at the same, the same angle. This part will be more for the back. Okay. Still talking about the eyes. What do you have here? In my case, maybe this is eyeball is actually too big. I could actually make it less. And the distance that I like to place it is more. Considering that the end of the eye is here and the end of like remote part. The lacrimal is exactly that region that I call that we have a gland which secretes the lacrimal. That water not water volume. You got it. I just don't know how to say that in English. Yeah, that's it. Let me bring this a little bit closer and gathered into the right context for the ICE. Or maybe I could bring no, I won't change the the eyeballs because it was with the cranium. Like here, I could bring a little bit more thickness, so activated my back face masking for regression. I'm dragging this a little bit like this. So I can easily add more thickness for the eyelids. Also because I'm still working with DynaMesh k. So I want just try the topology this way. I'm not sure, but I'm filling a little bit. The eyes are going to have to do this. Because if not, we're going to lose that AI is size that we did at the cranium, right? So I'm going to leave it like this. And after if we feel more necessity you we can change it. Now by talking about the, the nose. What I have here for the structure of the nose. We can imagine the nose by blocking out this just like a triangle shape at first. And yes, something more like this at the first time. And what do we have to understand here just by reviewing some, some things that we said is here, I actually would drop a little bit more. This region or maybe not. It depends. But notice that this region will be the part that we, we put the we position our eyeglasses. Okay. So this is just above our bone, nasal bone, which will go until this part here. And from this part, we're going to have the nasal Nasal that needs a whole that we call. Let me check. Yeah, I found here with the name of nasal nasal aperture. And I know all this hole for the net's denotes know. But sometimes I, I don't know exactly the name, but it's really easy to do remember that shape. Okay. No problem at all. And then I have the nasal bone. Which will kind of create some, some angle. Because by the end of the nasal, nasal bone, you're going to have that the starting of those cartilage. And for the catch lights we said for the nose, we're going to have three main, main cartilages, which will be this media one which is called, is called the upper, upper lateral cartilage. And then I'm going to have also this other cartilage here. That will be the lower lateral cartilage. And one thing that you will have to pay attention is that this cartilage mix kinda continually for its shape. And it goes like a C curve. Just like this. And it tends should goes inside the nose like that. K. And besides we are going to have the, the wings, which are all this region here, k. By the clarification of the nose, we can understand that way. We've made here. Like I have crispy ID, the middle here, like this, going through the hole right here. And here we have the wings. Which plane it would be kind of plan like in this bottom part and then this curvy, curvy part more like this. K, This would be also separated in the middle. For some people, it can be more than other people. And let me show you here some example in photograph. I don't have a good reference because it will bend by each person. And also for the light conditions, it will be more, more visible or not. But it's very subtle. But even though it's subito, we can notice its shape. Maybe a little bit here. You can, you can feel this, right? And this is less large, this region because it's the upper lateral cartilage. And then here it becomes more a little bit more large because it's the bone and bone nasal bone region. Okay. And notice for the shape of the nose, how how is it by looking from the front view, as you can clearly see in this reference. What I have here. Maybe our noses can be a little bit more like this and closer to the reference we have. And notice that all the guys are more like looking and should this angle more and all facing, facing floor a little bit more. And you can notice this by by the high of the top of fears. Okay. This one is more just like ours. And then all you can feel the heads had inclination by, by the actual height of the years. You know. And because of this, we can clearly see a lot of difference between some, some guys here that we have in this upper lid and this eye bag here. The eyebrows baggy. Like all these guys. The bag is like covering the eye, the superior eyelid. Right? But when we want, do, we want do this right now? Because if we mask it here with the mass class, so and then we, we drop it just like the reference. Just like this, which is more common for Caucasian and those people, we can clearly do this. But once we do this, if we do this, once we update our DynaMesh, it going. If you're going to bring this all together again. So I won't do this right now. Maybe I can do it further after we, we, I don't know if we merge all together the way if the body and everything. So we can do a mesh version. And then we can, we can address this. But for me, I think is really okay at this time. For this top part of the cranium. One thing that is nice, nice thing that is good for remember, is Let me see. You can always try these plentiful of the head. Okay, It's very awesome to better understand the shapes and the planes in the farms, exactly the change of planes. But one thing that I noticed in I'm not sure if it wasn't religious or Bridgeman. I think it was Bridgeman. I can try some image after this is we talked about this semi circular region, thermosphere shape. But it also continues. For the back of head. And you want to be maybe until like this region here. Are these. I have to confirm that, but we can clearly separate this part from that region. Here. This region will be more pronounced. And that region in the Twitter, that was how I am used to call. It goes from here. And then the side part will be more like in this region where the temporal muscles will be connected at the shape of cranium and everything. So this will be more and this side portion of the head, this would be the three-quarter and this will be the front and the top, right. And now talking about this region of the eyebrows, once again, what do we have here? We have clearly this change of planes of this region. We can clearly separate this part, which will be this region of the cranium. And from there we have the temporal temporalis muscle. And here we can see this shape. Let me show you a better feel like if the bone the bone edge would be here. We're going to have the eye bags. Just as like with the gravity. You know, like this is moly skin, soft and skiing. It will drops all the superior eyelid. So it it makes this curvature and it drops and it accumulates the volume just like this. Right? And we're going to be, it's one. It will start here in the side of the eyes, but it will make kind of diagonal shape. Because here, as we said, the beginning, we're going to have concave region for the eyes. And here a convex shape, right? So concave and convex. I said this. I said, did, I said the opposite. I don't know. Here the concave and here the convex, convex shape, right? And then for this region, we're going to have the glabella, which is exactly this part here that we said in this cone shape. And look how here we have a change of planes. This plane is in shadow and then it's dark. And all this part is clear that so it's in the light and then it's turning its face from fronted for more far the top. But here we have some, some muscles, the co-creator and some muscles of the leg zeros like this. And it will create like this shape that we can notice change of planes from here to here. Right? So it helps you pay attention. I'd like to, to feel kinda of a line going from that, that part here. And this would be the crisp of that region for the temporalis. And then I have this shape. Okay? And it will kind of continue our weight. For me, it will be kind of this shape like this. Because of these in this region, we're going to have a more pronounced shape, pronounced the volume. You can clearly see that in the silhouette that here it rubs and makes more, more volume in all this, this region here of the face. Right? And this region we said already. I don't like to make, always pay attention to this silhouette. And the reference. You're going to see that we have the eyebrows. Of course. But let me show you some reference. It will change a lot, but tried to don't make this too much like this. Like I squared. It has to be served though. It has some curvature. No. By looking from the top, it has this curvature. And my looking from the three-quarter view we're going to have here. And then just a little bit, you know, it, you'll have to pay attention and should is just the region which makes a change of planes. Okay? Maybe it's very subtle, maybe is a little bit stronger, but you can feel that this, all this region is at the same, The same, The same orientation like that. Okay?
16. Refining the Face: And from this side part of the eyes we're going to have the crispy of that region, that region for the arch, the zygomatic bone. Zygomatic will be just like here. Okay? Another thing that we can notice is this region will be more concave in that part. And then here you can accumulate more, more flat and more fat. So this would be more, just a little is lightly, more concave. And then from here it can start to be more pronounced a little bit. So we can separate this, this region. I always try to remember because in elder people it's going to start to make those wrinkles from this, starting from this bag. And it's going to make this kind of Franco's over here. Okay. Remember to pay attention with the drop shape for this inner, inner part of the eyes, the lacrimal. And remember to always check the shape of the eyes that we said. It would be moral. Something. Incline it like this. Actually this. Yeah, more like this. Okay? So this, this edge here should be more inclined in for the vertical and this will be more horizontal. And then we're going to have this shape for the leg and the lacrimal. Alright, so this region very concave. Notice the thickness of this part. What do we can talk more? This part here of the nasal labial folds, which we will always go, goes in this region. It will go over here. So we add this volume and do remember that in the corner of mouth I call, some reason I call nodes. Node will be this region here that we have this, this volume, a little bit of this one because it will merge all these muscles altogether here. The corner of the mouth. And those muscles will bring for those regions. Okay. This like that. And it's all related to the expressions. Okay? So now talking about the mouth, we can see though that region here, which is because of these muscles. Depressor labii Alice. Right? And because of this, we have this change of planes for the chin and farther muscle. All right. Always remember to make this little depression. Remember the contour line of the mouth, which will create this M shape, also the middle. We will also create this M shape. And in the bottom two crates, this shape. Here in the middle we have a depression because we have two pads, like two regions like this. And then it will force to have more beds here, here in the middle and here. So in between, for the lower, we're going to have a depression in the upper lid. And in-between this one we're going to have a depression, the lower lid k. Also remember the shapes that here we're going to have more flattened, flattened region. And here it will be more curved one. All right. Here we can make this kind of detail like a little bit of separation from, from the volume like this. And crispy edge. In some people, it may be more pronounced in some people no less. Okay. Let me just save it. And then what is it, Mr? We'll just say here is that, here we have that node region. And by looking from the side view, we clearly can see separated line, diagonal shape. And here we have to notice this silhouette for the mouth and for the chin, right? Remembering the rule of thirds. You know, sometimes the chin can be bigger or not. You know, it will, depends but it's a good, good, good parameter to start, to feel your, your structure for further ahead. Okay? Also another thing that is quite important to notice in the nodes that we didn't talk about is this plentiful location here. You know, it's a good, good point to start. By doing the nose. Always understanding the forms like edges. And this way will be easier to understand what are the change of planes? Change of planes. I know for I usually say when you're seeing this point, the change of planes, this region here, let me do it in red. Here would be a trend of plane, a plane to plane, change of plane. I also, I used to say 10 of planes for like those, those, those regions like this. This would be a change of plane. But also when we are talking about cigarettes, we can understand the structure better with those change of planes like this, like this, like this. It's always easier to understand the figure and also to measure, to start to make those measurements between like, I don't know, maybe you are checking your reference, this this measurement and this measurement and this distance. Yeah. So you have to pay attention to this point. Notice too, don't let your node 2 too strong. You know, the draw any shape. Don't make like this. Or even less. No, try to don't make it. This would be kind of the, the farm. Just to show you, but it's all very subito, just when you, when you are but your model, you are better able to see that. So pay attention to the way that you mark those, those regions. Okay. I'll also is important to notice this, this region of the per liter. And one thing that we said is about, let me show you. No, I don't want I want this drawing shape for the nasal labial fold. That, and it goes until like this region, until the high of mouth maybe. And then it starts to move with all the other forms here. Okay. So you just let it more pronounced into this part and into this region. You could feel by dependent on the fat percentage of each person. Like this change of planes for the zygomatic region. And also in this region of zygomatic, we can clearly see that from here we're going to have more pronounced shape and then it starts to blend more with the rest of the farms. But do remember that it should this region, from the zygomatic to the jaw, we're going to have the masseter muscle tear, which will create some volume by independent of this wrong, the fat percentage of the person. And also if the person is masticating, chewing something, it will be activated. All right. Here. We could bring it even more volume just like I don't know, I'm very subtle way, but more like this. So now at some angles we can better feel this change of planes. Then we have this plane and also this region of the mass center. Okay? And just for reviewing again the years, we can Few here the nine, the number nine shape at a contour line. And then inside we're going to have that Y shape. Is, and then the boot shaped by the triangles. Triangles and triangles. Okay? And between them we can make some depression, which in this region here it makes more like a beachhead. And it's closer to the contour line like here. And it's also very nice to have this, to pay attention for the gesture of those, those parts, okay, by looking for the front, how the curves are, and all the triangles. And then going here and making that bowl shape. And then this Y shape we can comes from the outside part. And then it goes inside direction of inside region like this. And for the upper part like this and all this concave. Which is so, so important, you know, to have all this concave region. You can feel it with your own finger, with your tried to, to feel your ears. And you're going to fill this region very, very thin part. You know. And one thing that is also important to notice is this point between the years and the cranial will be in the high of the side of the corner of the eyes. Because when you wear sunglasses, it will be exactly like here. Okay. And yeah, that's it. For the back-off head. We can try some little suggestion like this. No, no. Like in the middle going this way. And here we are going to be, you're going to feel separated. Two muscles, which we will start with, the trapezius muscles. That will, we will cover it in the next, next lesson. All right, so we're going to have the trapezius insertion point here, this like this. And behind the years we're going to have the sternocleidomastoid muscle, which goes for the sternum part. Alright, but in the next lesson we're going to check all the next, next structure. And everything also is good to pay attention to this, this angle of job we created, right? And also this part, this region, which will be in all dark and it will be like the connection point for the atom bomb and also the next muscles. Okay? And for the neck, always try to pay attention into its read it. It's the distance it will average. The average distance will be at the same, The same We did the job. And it means more like stronger and it is less than the weeded of draw the the jaw. It will look more like week are our thin guy, you know. So yeah, that's it guys. Let's continue into the next lesson and check away the, the next muscles and then the torso.
17. Understanding the Torso: Okay guys. All right. Before we continue with the head and all the other structures that we have made. Yeah, we have the head like this right now. And now we're gonna go over all the rest of the body. And for this, I actually spirited some, some informations that I collected from books that I, that I use it to read. And some anatomy books for, for artists. And some of them are like Andrew Loomis and Michael Hampton. And also let me see. Yeah. Judge Bridgeman, after I going to write all the books on section here and all the books that I usually recommend for studying anatomy for the artists. And yeah, that's it. So here I'm using my period have window just to show you some, some clips that I've separated. First of all, we, we actually need to to understand the main structure of the body. And for doing this, we're going to need to understand the structure. You don't know. When we say a structure, we should understand the movable masses like like this one. The mainly movable masses, which is the head and the cage for, for the chest and torso and all the ribcage and also the pelvis. This is from the book for by Jerry Bridgeman. It's a drawing where he says about the, the overall masses that are movable. So here we can see clearly and structure made for blocking a person, human body by separating the head, that the ribcage and also the pelvis and then the spine intersecting everything and giving the gesture that mainly curve of action, right? So the spine is going to be like this overview here. Here we have some some anatomy pictures, some drawings for by Stephan, step and hardware spec, which is the same, who made those those images here of the skeleton and also some, some orders of the ribcage here we have Front, Front, back, side, top, and below. Right here we have another some some images of the shoulder blades, the clavicle. Here, rules of arm, you know, radios and owner. So we're going to travel along all of these, but also some proportions and some landmarks of the body here that we must pay attention when we are blocking the, the overall structure. And they are like good points to have an overview of the structure. And you don't measure it everything, if everything is alright, the proportions here we have some nice rules of proportions of the human body. Some of them made by loom is, and, and others. I just save it from the Internet and then are some, there are some, some ideal proportions that I usually like to follow, you know. So the first thing that we should pay attention is the movement of the spine. And you can clearly see that spine should look like and a curved line. And we can actually separate these by here is the, the, the overall view of an atomic view. This is the side view and this is the back and this is the front view of the spine. But the first thing that we have just say is we need to actually separate the, the understanding of the spine by those curvatures that we have here. We have some curvature like this and this, this, and this. And as you can see here, that this is Mars subdural in real, real, real nature image. But for our first clearly understanding, we can separate by those groups here is actually more like this four groups. But we can try this 1 first. The first one will be the cervical part, which means it's related for the neck region. And so it's curving for the front, the front part of the, the character, right? And it's more curved like this. Let me show. Yeah, more like this. What's that? Yeah. It's COVID for the front. And so it's just a little subtle curvature far, far this way. And then the region of the ribcage, we're going to have another nice curvature which is curved for the backward. And it starts from from the base of the neck. And sorry guys IS NOT null adult diamond shape panel for them on shape like this. In this region because the sides we're going to have the trapezius muscles. Okay, but we're going to talk later about trapezius is just to know, very good. Locate it. The seven vertebra, C7 vertebra. You can even touch your eyes, your spine, just in the back here and your, of your neck and you're going to feel the, the seven vertebra. Okay. So by continuing here and we're going to continue with this, this region which is covered for the back and it goes all along our ribcage. All right. So after that we're going to, we're going to have this another region here, which is another C curve. And this region, you can clearly see here that the first one is nearly straight, right? The second one, the second part, which is just in the region of the ribcage, it's more curved one. And then we have a more curvature, more curved parts. But now for the front region, which is between the two movable masses of the ribcage and the pelvis, right? This region here will be one of the most movable and bend bone. Let me check. Yeah. And because it was once we we turned our our body, it will be more this region, but all the cervical spine will be able to have curvature. Not just exactly just this part here of the end of the spine, which is along the, say, Chrome here and the end of spine. It will not be so band ball because we can then our our our pelvis region because it's a rigid part. But just for our understanding by looking through, through the side view, this will be more marched straight and then COVID, more curved. And here the most curved part, okay, So this will be the gesture line of our spine by looking from the side view. Right? And once we we do the spine, we're going to be able to actually make those blocking is for the regions of the ribcage and now so the pelvis. We can clearly start by doing like blocks like this. And then it can also use cylinders and started like an, an, an egg shape for the rib cage. And after we can start to bring more information by an all given V-shape and the bottom of the ribcage and then creating. And those angles that we have here for the top of the ribcage. The bottom of the ribcage. If we have here like a box. In this region, we're going to see that this part will be more cut. Great cut. Then this one here, this one. It will be more related for the region of the neck. And we're going to check, we're going to see that the neck should most of the time, you know, followed the same weeded of the jaw line here. So but sure it will depends on the character and on the structure of the character. If it's more strong man or thin guy, will depends. Too much of this region for the neck and also it's read it. But for instance, for the instant, we can understand like this. And this is what we're gonna do the front first, we're going to create those great box. And then we're going to, we're going to refine it more. But one thing that is nice too to understand here is the ribbon of the body and all the written. Written is what I say. Written. I don't know if it's an wire here and I m, I don't remember exactly how do you write this in English. But the thing is that the pelvis is turned from the front view. The rib cages more Turn it far. The back and then the neck and the top of head will be more located by the front film, you know, k. So let's go first for, for the ZBrush and then we can start to manage it, all of this and start to understand a little bit more of proportions. And also the landmarks. Here are going to have the image of the skeletal. This is what are you going to make, but not exactly, you know, all the structures of the skeleton we're gonna, we're gonna do something more like this. General blockage of the, those masses. Just to understand all the muscles that are connected here and how they're going to work when we, when we build our character in my doing in this anatomy. Okay.
18. Blocking the Torso Mass: All right guys. So let's start from what we said. We're going to start by doing the main structure, which is the spine. And then we're going to block out the the ribcage and all this this box those box for the ribcage and the pelvis. And this way we can have the main structure and after we can start bargaining by adding the clavicle, the shoulder blades and those, those structures for the arms. And then we can understand better the shapes of muscles, the origins, insertions, and then after we can do the whole body by, by the flesh and everything. Okay? So here I actually separated everything in a common group here and the folder which I named head. And it's all separated by, by those. It ends like here. And yeah, let's, let's, let's start it. Okay, so let's start by painting here. Common cylinder, right? And force, we can make it just a little bit thin and higher. So as you can see it here, let's try to reproduce those curvatures. And remembering that we have this cervical part which has short curvature, and then the direct bar, which has its more COVID one. And then it adds more curvature, but in the opposite side. And this lumbar region here. And then after in the sacrum we have this discharge region, but also the most curve that part. Okay. So I'm going to try to make it a little bit like the same, the same we did for the cylinder. And then we check the density. I think like this is okay. So I will first try to make those curvature by, by, just by the eyes, by, by looking through and comparing the size. And after we going to check more the proportions and everything, let, let's just make first the initial structure for, for that, like in those boxes. Okay. So at first, I am going to push like this far that directs it barred the lumbar region and then the sacrum. And here in the neck. Just a little bit like this. So we're going to have kind of an S shape, but with one more, some more curvatures like this. I could even know subdivided once. And now we can continue by adding some boxes, some tube like this. And then we can edit this, this box with the scale, the transpose here by adjusting its scale and trying to make a box like this. And then we can tune this a little bit and a little bit more. I think maybe the scale for the spine will be it's not that that that much that we need. But let's first position everything and then we can adjust all the proportions. Here are going to duplicate this box and tune in to the other, the other side. Then here we can position this as this one. Let me check if we have, yeah, can maybe use as a reference this other image here as well, right? Baby is too big and we could leave it like the same size. And I'm now first using as a reference, you know, the weeded size of this one by comparing the size of the head. But maybe we're going to need to, to add a little bit more. Here, are going to turn on the symmetry and start to manipulate a little bit this form, It's okay. Actually here we can make it more larger like this. Alright? Once we have made this box, we can start to turn in those box into this shape. So we can better, better see what is happening. And then we can start true. Bring the Iveco and shoulder blades and everything. So then we're going to have better, better raised shoe. Stipulate the, the, the right proportions. Here are going to make a V-shape. And to this front part, like this. And here I can grab a little bit more. And let's move it a little bit. I'm going to turn down my, my Zoom thing city for the Move brush. As I'm used to do in every, every brush I use. Now for this box here, I'm going to do the same. I will turn on the symmetry by pressing X button. And then I'm going to try to make this shape for the pelvis, something like this. I am going to try to keep the same the same height to the top, and then into the sidebar. I can move just like this. And showed that Bayes. Okay. Here could even grab a little bit this part. And yeah, that's it here. I think we have a nice blocking for those those masses. The ribcage and also the pelvis. And and then we can start true to add more more and more features like the clavicles and maybe the shoulder blades in the back. And this way we are going to be able to find those landmarks that we have here distracted from Michael Hampton's book K. So as you can see, we have the clavicle and the external, which is the bone in the middle, the middle off of the rib-cage, this bond right here. Okay. And then we have those points in red, which are the ends of the direct, direct sick arch of the rib-cage. It would be kind of here and all. And then the external Reich right here. So before we continue, let's DynaMesh here. And those, those points. And then we could, you know, kinda make the, the external shape. And this way we could located for the sternum. Going to show you the external has its shape of neck tie. You know, you can see here, Let me check. Yeah, I'm not sure which image it was, but you can clearly see the shape of a tie here. So what you could do is just, I'm drawing so we can located this like this, you know, and then we can manage better in those forums and better understand those landmarks of the ribcage like this. Okay? So here are going to try to have kind of the mid, middle size for these external like that. And here we could also know not needed but with an age polish, we could make this shape. So it would be the base of the neck. All right. And now we can add the clavicle shape. The clavicle will mainly, we will be just like remembering this, this arch shape like this by looking through, through the top, the top view. So we can up in here some, another cylinder shape like this. I'm going to turn on my transparent mode, make it thinner. Going to position it. Just hearing the base of sternum. Like so. Let me show you here. Just like here. Okay, and the top of this external, external part. And also one thing that we can do is to do a mirror and weld so we can have both sides. So you go over Geometry, modify Topology, and meet her and weld k. So now we duplicated both sides and then we can turn on symmetry by pressing S button. And this way we can drag this shape for making this format. Alright. So notice that we're going to have kind of an S shape, which we can subdivide into three parts for the clavicle, which would be kind of this part. The first one, the second one and Martin diagonal shape and this first, this other one in front faces, faces part. Okay? So we could separate by one part, one diagonal and another one. So this is front-facing, this is diagonal and this is front face it again. Okay. All like in the same size. And I'm going to place my gizmo more into this side. Notice that we have on space between them. Okay? And look at the position they are in relation with the sternum part K. Look here. If we have the end of ribcage like here, we're going to leave just a little bit more for the end of Clive go just like this. Okay. I can leave it like that. Position it. I'm going to bring just a little bit bigger. And now we can even do just a little bit, not too much like this. No, just a little bit. It was like parallel. And then we can do just a little bit. And now let's start by adding the shoulder blades. The shoulder blades will be the mainly connection for Clive go. And actually the shoulder blades will, It won't be attached to any part of the the the the rib-cage. It will be like a floating, floating bone. So it has this shape, kind of throw, throw a shape like this. And this is nice, nice image by Stephan horseback book. And As you can see it here, it's going to connect to the clavicle, just like this and it will be floating over over the the rib-cage. Okay. Here in the rib-cage we could even, you know, standard brush make kind of this depression here in the middle and add just a little bit of volume. Should both sides there. All right. Just to mark and have a place to represent that. I think we're going to need to move everything to the top because as we have made it the neck here, then equity will be a muscle that I'm going to show you. And by comparing all the proportions, I'm going to show you guys. And then we're going to need to raise everything up. So here I turned it on this transpose all selected tools. And we've Control and Shift button. I'm going to isolate those two sub tools, like here. And then I can click just in the canvas with Control Shift, press it. This way. I inverted the selection for all the sub tools transpose all selected, some of those, right? So here are going to bring it more to the top like this. And now I'm going to select this B9 and place it more, more like here in the middle of head of the head. Maybe we can bring it just a little bit more for the front end. Reposition. The ribcage and also the clavicle shape. More like this. All right. So let's first add a troll shape for for the shoulder blades and then we can just everything in and check all the proportions and everything here. I can move just this pelvis are here. Okay. Yeah, so let's continue in the next lecture.
19. Adjusting Proportions: All right guys. Before we continue by doing the shoulder blades and let's let's make some adjust by on the on the proportional based on the skeleton. When, when it comes to, to measure the things in the skeletal. One big great units that we can use for this is this high here. Like this circle. Though. You guys remember when we were doing the head and we made, let me show you. We made the cranium like this. And here, as you can see, we have this first big measure, which we will take from the top of the head. And the, this, this line here which will be in the middle. Let me show you. Is, you guys remember those lines of thirds that we created in the beginning? We separated like thirds. And then I, I said about this circle. I'm not sure fie, fie sad about it. But here this base of, of of the nasal, Nasal hole here and the base of the zygomatic bone. You know. When we get, we got this, this measurement. We can replicate for all the body and use this as the great unity and off to check if the measures are okay. So like here will be like another unit from this line of the base of the nose, base of zygomatic bone. And then it will replicate until the beginning of the sternum, like here, as you can see, right? And then another thing that we can, we can figure out is this, this unit will be the same for the size of clavicle. And the same unit will be used for the size of the sternum. Right? So and then from the sternum and to the last less rim here, we're going to have another same unit, which will be this unit here. So one thing that I like to do in order to measure some, some place here in ZBrush is to use the transpose line. To change. For a transpose line, you just press W or e or r. Doesn't matter exactly. Just need to access the gizmo and then you press Y. Why button on the keyboard. And then you're going to have the axis for the transposed line, like this one. The transpose wants to click in some place and you're gonna follows the, the surface of the model of the active subito or even the surface of other subdue. But it will grab on the surface. But once you click and then you press Shift button, increases the line based on the angle of the screen, right? So this is now straight angle. So we can now measure those things. Note that now I have my perspective, turn it off so we can measure it properly. And also, I'm going to start, start by clicking here and to the base of the nose of the base of no's until the hide, the top of head, right. We can use this with the cranium or even with the head. Here as we did. The cranium, just like based on the head, based on the cranium we did. So it will be kind of the same high, right? So as you can see here that the green line, it will be the measurement. Here I have like one and some, some, some something new units. And we also can calibrate this. We can, once you click with right bottom Mao's of the mouse, you click in this circle, the yellow circle. It doesn't matter which one you like. The extreme, it's extremely, you can click with right bottom and then you can raise up, this is measurement and all the time that the units will be shown here. Or even if your, if your interfaces customize it and it's not here, you can go over preference. And then you go into the transpose unit here. And you're going to have this parameter here, calibration distance. And then you can customize it and grab it to any place in your interface. As you can see, I have it here. I grab it from there, from just by Enable Customize. And then we've Control and Alt key I can click and drag to any place that I want. Okay, So in my case, I gravitate to this displays here, so I won't change anything. I can after this. Don't forget, should do Store config. And then every time you initialize the brush it will remains in the same place right there. So once you check the this unit, what you can do is to click. Over here and set a number. In this case we're going to set one. And then I press, I don't know, dab, it doesn't matter just to apply the number. So once we apply this, once you, you raise this value, you can see these little dash here, which is bigger than the others. And this will show us the complete size of one unit. Here we have two units, right? So the first one will be market on the basis of nodes. The second one into the beginning of sternum. So here we have kind of exactly the right place we can, we can say, but maybe we could raise just a little bit the sternal just to be perfectly, you know, the sternum mark that we did. And so as you can see in this image, we have the first one which will be this circle in the head, then the second one until the beginning of sternum, until the end of sternum there. So we have here, we have it here. And then we're going to have the last, the last rib right there. It will be another unit. So just perfect. I guess. Maybe we could raise up just a little bit. The the ribcage. Yeah. At the time I think it's okay. And then we're going to have another ONE until this region. And as you can see, she will not be perfectly and the the end of the pelvis. Right. But just a little bit above there. Right. So just by measuring the size until this lies Ray I like to do this and also to measure the size of clavicles. And all. It will be the same size for Clive go and also the same size for the shoulder blades. We're going to have it here, right? So one thing that we can realize here is that we're going to have kind of a squared squared distance from here to here. Those two distance here will be the same, the same size. So we could make kind of a square here and also another square over here, right? So at this time, I think it's a perfect size. All those squares are like one unit. The same with the circles we did, but just another rates to think, 1, 2, 3, 4. This is the unit from the base of nodes to the top of head is not the head. High. You know, the head high will be another, another way to count the proportion. And we can also use this as well. It's the most common measurement for the proportion and we can see it here or even in all the others examples. We can check the loom is limeys, proportion and all of them. We can based on the idealistic idea, list good proportion because it will be eight heads, eight heads tall. So we could actually measure like this. The top and the bottom. Exactly in the middle will be the pubic bone. That will be the half doll of the character. It will be located on the pubic bone. So the superior part and the lower part of the body, right? And the superior part. Once we could exactly in the middle, we're going to have the higher of the, the nipples, right? And to the nipples will be the count of two heads. One head from the top of the bottom, but of the head, then from the base of tied to the line of the nipples, right? And then from the nipples, if we come to another head, we're going to have the belly button. And now it's kinda confusing the beginning, but we have one thing that was good for me to understand. What's your cutting in half portions, right? So if we have the high for the character, if we cut in the middle, the half, half size, we're going to have the middle and the pubic bone, right? The Punic, pubic bone, it will be exactly in the start of the genitals and everything there. And then once we get these high in the middle and the half, half size, we're going to have the nipples, right? And then from the nipples to the pubic bone there's the middle. The half size will be exactly the end. The belly button, right? And the belly button actually will be kind of almost in the same, the same high of the ribcage. But not exactly ensure this point, but more like the end of here. So the belly button will be kind of located right here, I guess. So once we have like one hat Tau. If we replicate this size, it will be, I don't know, we have to measure with the the Translate Y transpose line there. But I think it will be kind of around here. I don't know for the nipples. And then one more size, we're going to have the valley bottom, right? So let's try and check this. By having the actual size of the head. We could replicate this. How, how can I move the transpose line like this? I just clicked with right, right-click button on the mouse or the tablet. Right-click. And in this middle, middle circle, yellow circle here in the transposed lines. So we can move this the way we want. And don't don't remember. Don't forget you remember. No, don't forget to. Two, once you are going to start to drag this transpose line, don't forget to press Shift button. So it's going to take like a straight angles and also a perpendicular angle from, from the view that we are, we are looking for. Okay, so here we have one head, two heads. Yeah, exactly. Here. It will be the, the high of nipples. And then from that line, let me see. We're going to have the belly button. They are not exactly in the end of replication, but most of time like here in the middle, the middle part. And one more let me see. And then we have here the pubic bone, right? I think this is right, right proportion. But if you want to have really sure about this, you could even try to position it like the, the side, side view. And maybe you could click like like this should make the measurement. So for the top is okay. For the bottom. Yeah, this a little bit less. But those things are just measurements with time, with the time, you're gonna kinda be used with the distance. And you want, you want need more to make those measurements. You know, just in the beginning, I use it to use this a lot. But after I better memorize it, I think the shape of those muscles and the shape of the anatomy itself, you know. So I think it will be better than stay all the time measurement, measuring like this, but In the beginning, when you are studying anatomy, It's always a good, good choice to make those measurements. Yeah. So as you can see, it just right there, but maybe the pelvis is just a little bit too much for for the bottom. I don't know. One thing that we also could do is to use another period half window. You can create like another period have window and place this in hours on top. So here is writing to the right place and then here as well for the head. Good. And then for the pelvis is not okay because this one is not 80. Had this one. It's 7.5, which is more natural. But as you can see the Loomis, the idealistic eight heads, it will be most accepted by artists because it's easier. So to make those measurements. And you know, for when you are drawing characters like hero, not heroes, because here he says The Heroic, like nine heads. But you can change these all the time and all. Chosen. The way you want the character is going to be looking. So the easiest way is to use this idealistic with eight heads and the most natural. And you know, all the people, the realistic. It looks more like 7.5, like here we have, let me show you 1234. And then we have the middle of the body, right? And then for the legs we're going to have to 3.5, like 1.523 or something. So this is 7.5 or sorry my writing. But from seven to 7.58 heads, it will be the most natural, the most generic and most frequently own nature. But it will always tend geometry from people, you know, from person to person to person. But as good point to start, the eight heads, it's a good good way to measure and check if everything is Brian in place. Yeah, that's it. You Can we could also go here and compare like placing the same size like here and And yeah, we're going to have exactly the pubic bone like that. And all. And then the belly button, the nipples, and the base of head, the top of head, right? So here we're going to have nice skeleton. And this, as you can see, it will be like 21 third had. But we can also use this measurement here, like one had for the distance until almost the end of shoulder, it needs just a little bit more. But I good, good way to start is to measure the skeleton itself, just as we did here, because the skeleton won't change by depending on the character. If the character will be a strong man or thing I, it will not change. Only the muscles will grow and the skeleton will be the same. So because of this, I like to use that measurement from the top, the top of hedge or the base of nodes. And replicate this distance to the beginning of sternum and the size of sternum. It will be the same and also the size of clavicle like this. And from this distance of the clavicle and also from, from the sternum to the last. Let's read this down just a little bit more. So we could have this landmark that we have here and all this last rib ups. Let me show you. Yeah. You can even touch your ribs. If you press here in your abdominal. You can feel that. And this will be the landmark for those measurements, you know, like this. So the same size you're going to have from here to here, it will be the same to this part and also to this region here. And then we're going to have the same size for foreign from this less rib to this point here, which will be the point called which is called aces. Aces, which is an interior, which means anterior superior iliac spine. A's right is this point here in the pelvis. And you can also place your finger just above your, the end of your obliques. And you're going to feel a point in your pelvis, and it will be this point right here. Okay, So using that same measurement, we can go over here and we have one unit. And from there to the last less REM, it will be like here. And then we can grab this. And we're going to have the a's is point. We could even make it just a little bit higher and will be exactly this point right here, okay.
20. Sculpting the Shoulder Blades: Okay. All right. So in order to make the shoulder blades now, I'm going to append another, let me hide this. I gotta append another, cool, another box like this. Okay? And now I'm going to check for the gizmo, which is easier for me, and let's better positioning. So here we have some images that we can better understand the shape of shoulder blades, right? But I'm going to model, model it here and then you guys can better understand the shape. So here I'm going to use this in this example like the trial, like this. And so first I'm going to change for the poly cube. So this way I can have like no, no subdivisions just by clicking on those vectors like here. And then we can scale it again. This way. I can adjust properly. Okay. So for the size, I'm going to use the same size of the sternal, write the same high. So I going to place like here and to kinda have the same high like this, okay? And then this is the right capital, just like we have it here. And with the Move brush and greater, bigger size, I can try to manipulate those points and reach the first. The first. I'm blocking in all, just like this. And here I could even adjust. Also. I could insert an edge loop and show them in the middle here. So I'm going to use the Z modular and insert an edge loop in the middle. So this way, we've moved brush, I can manipulate it better. So I'm drawing like. This shape, right? And after that, I'm going to add the, this region, which will be the acromial. And all this for you guys should understand. How is this build? I'm going to make it very thin like that. Okay? And then one thing that I, I could do is in search another edge loop and this region just show manipulate better this portion. And this way I'm going to have like this. This region will be this actual glenoid fossa, where it will connect the head of humerus, which is the bone for the arms. Okay. And now what I can do is duplicate by using the move gizmo until the move, and then I press Control button, and then I can click and drag another copy. So I can manipulate this. In order to create the Crist, the spine, the spine off the shoulder blade, the scapula, which is all this region here. So let me show you how do I create it. I'm going to place it right in place. It doesn't matter. The actual topology is just for showing you guys how do, how could I build and show how it would work? Okay, So this will be kind of here to the side view. And after we build all the Tercel like in this anatomical way, after we're going to, we're going to make another torso. And with the flesh and skin. And all. This is just for make you guys understand the muscles and the structures of the bones and everything. For the anatomical approach, you can see that the shoulder blades will add that here. With the acromial and it will attach, attach in the clavicle. Just in this way, like we can see it here. Okay? So this will mainly follow the curvature of the ribcage. After I going to do DynaMesh here and we will be better to understand. I think I can extrude this and then it will be easier to create the acromial in order to show you sorry, not exactly here. To be more like over there. Yeah, let me try to do DynaMesh. So it will be better to show and go over here and DynaMesh. Kay? This is not exactly the same shape of the clavicle and all, but just for making you guys understand, how is that viewed and how would be the shape of this? Okay? Kinda of this. So we can now replicate for the other side there. And notice that we have another piece here, and this is from the side view, like this view like so. And this will be the glenoid fossa. And this region will be called the acromion process. This region over here, we can see that the chromium process is connected to the side here of the deltoid tubercle and the clavicle. Because deltoid will be exactly from here and all. And then the biceps over there. Okay. Just a blocking. Now I can do a mu her unwell to replicate to the both sides and turn on the symmetry. Alright. I could even do SMS move into this clavicle shape, or even use our Pinch brush just to make it flatter and more realistic. And here is two thing. So I'm going to use the Move brush with back face masking, turn it on. Remember the back faces always accessible right here and brush pallet and auto masking, back face mask. It's related to the brush there you are choosing. So now I'm using the brush and with the back face, I can grab this and make it a little bit larger. Okay. So I can disable and make it just a little bit thinner. Sorry guys. This is not a frog. Okay, so here we have the clavicles and also the shoulder blades. Better positioning, right? And now we can add the humerus and the other here, the radius and ulna bones. Okay. For the size of the arms. Right. So let me change also the pelvis. Just a little bit. Dynamesh it out, clean the mask and DynaMesh it first. Just to better understand the pelvis and have a better approach. Yeah, After we can manipulate it better and reach the right, right format. But just to have some silhouette. K Noted, note the inclination, but after we going to better position it like. Now, note that the pelvis is kind of tilted for the front view, like this. Okay, good. So now let's make a cylinder. A cylinder for the humorous. Note that the humerus will take this high, like the end, the end of ribcage. And all. All right. All of views just like this. Okay. So I can position it and then scale it down a little bit like so, and scale up to have the proper height. Now I can make with the inflate brush the head of humerus like this. And for the base, I'm going to make it just a little bit larger like this. Let me DynaMesh it and it'll be easier to show you. Here in the middle we're going to have let me show you. Yeah. For the humerus, we're going to have the head more pronounce it like this. I want the Teo everything exactly in a realistic way because we just need to know this actual size and not need to be perfect. So just showing you some structure and how it's made. Like here in the middle, we could have a part like this and some of those will be the epicondyles, which are kind of important. You're going to understand when we were gonna do the arms. I want make exactly the prop, the right curvature is just for us to better understand the forms. And here I am going to make it just a little bit open for the side. This way. K. And then I can go over there and me hearing world. Right. And then the Rachel's and owner will be until the end of pubic bone. Do you guys remember like this region, which is an eight character, 88 heads tall, it will be just in the middle of the size, right? I'm going to use the humerus bone. Just duplicated. And all. And a duplicate and grab it around there. Here for the owner. And I'm going to make something like this. Right? The owner. So and then on now, let's do another MUX hearing. Well, it again correct. Its place. Okay. The owner and then we're going to make the radios. Let me save and then we can continue. Let's continue into the next lesson.
21. Working on the Arm Bones: All right, So continuing here, what we can see is I'm going to turn on the symmetry and make it less, less big like this. And then I gonna duplicate and make the radius. Let me show you some big for the connections. Like if we have the model supination, it will be in this view like the palm of Han. Turn it up front. And then yeah. Now let me confirm. Yes, sorry. I always forget this. But let me show you the supination and pronation. Supination. Let's make the middle. I could even use the transpose line by pressing Y and the keyboard. And I can rotate this just into this way. After randomly go to the arms when we can make it better. Let's first understand the muscles here in the chest, right? So first we're going to have to understand the muscles in the neck. And then we go over the chest. But here we can see the structure for the anatomy. I have the ribcage. Right? And then we have the bones for a first we did the spine. Notice that we have those curvatures that we said in the beginning. Let's adjust it. Here. I was not using the mirror, so I gonna do I'm you Honeywell and delete lower subdivisions and do a mirror wild, right? Yeah. So this will be the actual gesture for the spine. All right. Good.
22. Understanding Neck Muscles: Okay guys, so now let's, let's start to check the muscles. And here we're going to see the muscles of the neck, neck muscles. And for this, I prepared some, some images here. Let me show you. Right. For the neck muscles, the, we can start by the main, namely the more prominent muscle, which is this one, the external Plato mastoid muscle. This muscle is muscle where it have its origins. Actually did. The origins are, are closer to the heart, I think. And then insertions are far from the heart hurt. But it doesn't matter. I just just names. But, you know, it attaches from this part here, which is called the mastoid process and the cranium. You can even feel the mastoid process. If you touch like the back of your year with your finger, is this spring minutes here just like this. This protuberance. And then you can, from this place, we're going to have this great muscle which has true great branches, which are the external, external branch. Because why external? Because it connects the mastoid process to the external, external bom, bom, right? So notice that it, it won't go for the clavicle into this branch. It goes and connect in the top of the sternum. And then we have kind of behind here. Another part that is called the clavicular branch. Okay? So it kind of divides the fibers. So we can have both. And actually in the middle between both of them, we're going to have had a depression in the form K. But for instance, let's, let's understand like this. It's just nice to understand that we have two brains, an external part and our clavicular one. Okay. This is the external sternocleidomastoid muscle which is let me show you. This one is sternocleidomastoid. It has this name because sternum, it relates related to the sternum bone. Clay though, I think is because of the clavicle. I don't know. I'm not sure. And mastoid because of the mastoid process. So it's a huge name. It May scares a little bit, but it's also very didactic. Does it exist this word let me check. Yeah, I think so. Didactic because in its name, it's alright to say is where it's really, what are the regions that it creates a link. And yeah, it's very, very, very easily to understand. Here. Actually the zymogens is not right. Yeah, because the clavicle is not position to the right place, the clavicle should be more like here. So you're gonna get more another reference and the sternocleidomastoid would get down like, let me show in red. It will be kind of here. Oops. Makes yeah. We'll drop the clavicular part here and the external part doing this way. Okay? So one thing that is nice tool to understand is that it, it falls down here like in parallel with the jaws size. To remember though, those thing that is said about the neck and the jaw size. Yeah, precisely. This will be the weeded. Though. By looking from the front view, we're going to see the neck muscle, the muscle like this. But one thing that is quite important is that the external part, which is this one, this one which is in diagonal. It won't connect to the clavicle k. So this is a really common mistake that all the students come are used to do. They are used to make like the external connecting here to the clavicle. This is not right. Okay. The sternal part, it connects to the sternum. It saves them on its name. So you have to take care about it. Okay. Let's talk about each muscle and then we can reproduce then in our model here. Let's first Heinz the head and show again the cranium we created. Here. I think I'm going to use the same, the same object. We use it for Clive goal. And I'm going to just duplicate it. Paint to it. Read this, just show that it's a muscle. And let me position it. Just to show you guys. Remember that all the muscles, they tend to be straight. Not with, not those curvatures saw because of this, I can go over here and move it and create more ions straight, straight angle for all sides. Okay, so here I'm going to connect to that point in the cranium, which I said mastoid process is exactly this part right here. All right. And as I said, we're going to have this connected should the external. So I have to take care and not connect this to the clavicles. Because most of the time people tends to make it connected here. And no, that's not right. Okay. I should push it. And connected to this terminal. More like this. All right. Maybe this is true. Pink changes. But just to understand, those demonstrations are just understand like the origin insertion of each muscle. So when it goes to v goes to remake that in the surface, we're going to better understand that. And here I will use the same. And I'm going to duplicate it like this. Let me show, maybe if I use this transpose line and drag it along the surface, I can use my Rotate option and rotate it here. So now I can drop it and makes the clavicle clavicle part. But always being careful. I want to be too precise than on this side is just and the muscle shape and everything just true you guys to understand where the muscle is located and understand the anatomy itself. But the tricky here is March understand the surface. So this will be when will, we will do the model. Just as we did in the head. We did the, the bones in some muscles. But the trick is to better understand the actual surface. Okay. Yeah, that's it for the external clade on my slide. Notice that the angle of the sternocleidomastoid, this will certainly show you about what's happened. I think I have my caps lock. What's happening? Okay. Now it's working. I'm sorry, guys. Yeah. Notice that the angle so once you look at someone and it has like this angle for this sternocleidomastoid to be kind of a non-neutral poles. If we have the sternocleidomastoid like this, the old, the head will be more projected to the front. Okay, so more, how can I say that? A hunchback and think, and you know that the hunchback of back Disney I think is like this and all the the head projected to the front sold the external Plato mastoid will look more vertical and how, how more or more line down the back. It will demonstrate like the character is pushing his neck and making it very straight relation to the rest, the rest of the body. All right, so once again, I'm following the same journal. We did. Same Joel size. And look how we have this, this V-shape, the middle right here. That will be kinda fun depression when we talk about the surface. But we're going to show it better. Okay, So continuing here with the neck muscles. The second one most important will be certainly in the trapezius. The trapezius muscle will be this great one. And it will mix part for the back, all the back butt. It adds the megafauna that the law. So all this region here show all this muscle here to the back of the neck, to the scapula, and also a little bit on the clavicle. It's also going to attach there. Here. You can see that it connects to their chromium. Chromium process that we said that it is this region like in between the deltoids and the trapezius. The the the sorry, how how the spine of scapula, Yeah. This region right here is the chromium process. Okay? So the trapezius will connect every part like this. And it goes also here. But for, for the instant, the trapezius muscle, I going to show for you. Yeah, Let me show you here. It will be better. It's going to make with red. And the fibers will follow this directions to the scapula. Spine of scapula. Scapula. And I can also separate, you know, just for understand the trapezius muscles. More like, I don't know, maybe three or two parts like the lower and the upper part. So trapezius muscles will be more like this and this I, I come on, use to say that it is the deeper part of the trapezius muscles. And then we're going to have the others, which is the lower part, which will also connect the scapula and the spine itself. Okay. But we're going to do the trapezius muscles, but behind the trapezius, we're going to have more muscles that we can. I can also say which, which are the levator scapulae and me show delivery to the scepter? Yeah. The levator scapulae, which is this one over here. It will connect to the top of scapula and those vertebra as those cervical vertebrae right here. And it's related to raise up the angle of the scapula, like pushing it should this direction. This direction. Right? Remember that I said the scapula is all floating along the ribcage. It's only connected on the acromion process and also connected to the humerus on that part that I forgot the name is. Let me show here this part right here and all. I think, yeah, the glenoid fossa. They are all just names, but it's nice to understand. And yeah, so we're going to have this levator scapulae and also behind, you know, we're going to have, this is the upper. The surface will be like this. But behind the trapezius muscles we're going to have the home boys, which are connected here. And the levator scapulae, which will be right there. The levator scapulae. Why we can see in this region, in this image that it can also be shown in this part right here. Just besides the explaining captures, semi capitalist captures in some of the scalene muscles. But you know, all these parts here are very hard to show. To be shown on the surface may be the levator scapulae can, can also appears. But for the surface, the things that are important to understand is actually the trapezius and the sternocleidomastoid. And all. So the trapezius muscles, as you can see it here. It's kind of connected. It has its parts, it parts in green here. On the clavicle, clavicle bone. It has in blue, this part connected in the chromium process, which is part of the scapula. And also have it connected to the spinous scapula right here and then the spine of the body. Right. So do you guys remember that I said about the clavicle, which we could actually divide that into three parts. One more facing fro front, the other more diagonal, and the other facing forward or again facing front. So once we divide the, the clive going three parts, we're going to have like this. The first one will be connected the sternocleidomastoid, just as I said, right? And even more, 123. And notice that in the diagonal part when we have nothing really connected there, but in this part, we're going to have the trapezius. Write this like this. And here the sternocleidomastoid and months again. And this part here should be empty. Okay?
23. Sculpting Trapezius and Throat: So let's first start by doing that. Let's first show you how would it be positioning the home boys and the levator scapulae. And then we can we can make the trapezius muscles. Let's make first the levator scapulae. I'm going to mask this part right here, Invert. Now kept the mask. And then I'm going to hit this tract and Mitch see maybe less. I'm going to deactivate the double. Yeah. Now I'm going to hit Accept and then we have to follow groups. I'm going to isolate this one. Let me turn on double. Yeah, Just this one is it's going to be enough. So I can select that group by clicking with Control button, press it, and then I can grab it just right there. And notice how it will be connected there. This will be the levator scapulae. And because of this, it can be nice. I like this way of being with this white part. Cool. I'm not sure if it would be that large. But this is true. Have an introduction about these muscles, but it's a good one. Okay? And then here I could do the same. But now for this region right there, I can go and hits again. Except and now if control press click and drag up. Oops, what happened? Now? Wait. This will be the home boys muscle. And always remember that any muscle is is made for bringing one region to another one. The fibers are all, all the time like straight. So once it contracts, it's going to bring all this region is shown in green. All this region right here to the direction of the spine. Okay, So considering that the scapula is floating, what we're going to have it here is contraction of the both. Both scapula, shoulder blades will contract and goals to the center of the back. Okay. So once you really understand the way that those those muscles are connected like the origin and insertion. It will be easier, yo-yo, easy to understand. The way that the muscles will turn. You change the volume by when, when doing and doing character and pose. Okay. And I think I will make everything to this. This red like this. Yeah. So this will be the Homeboy. It's okay. Behind the trapezius and everything. And then for the trapezius muscle, I'm going to actually duplicate this one. It will be easier. Notice that I, I bring it more for the top view, like that. The top view no more further. Because here we are going to have kind of a little triangle. And M21, which we can see a little bit of the Homeboy, it's dependent on the balls. Yeah, Let's see. For the trapezius again to connect it right here. And I think I'm going to need to to do a DynaMesh. I don't know. Notice how it's located in the spine. And then again subdivided one some more times. Yeah. No, no, no, no, no. Here. And then this part here for the front. Look, how am I going to connect that in the third part of the clavicle? And here there is something that is quite wrong. That is, what we could do is separate the trapezius by 2, two pieces. I think I do prefer to make you guys understand because the trapezius, it won't go to the base of the neck with the same and all the same. We did like this. Even It's shown here. And all. I do prefer to make it more like in two separate parts. Because here, as you can see, I have in too much problem of the density and everything. Yeah, I think you're going to need to do DynaMesh or not matter. Dynamesh, maybe 0 measure. Let me see. 0 measure. Maybe this way it will be easier to understand where it really located. Yeah. Not that bad. I think maybe before the measure of the DynaMesh would be needed. Now let's continue with DynaMesh. It's easier to manipulate. Let me connect it right here to the clavicle. That third that I said. Smooth stronger because the normal is kind of hard to manipulate. This way is easier. Here you're going to add more volume. Okay? And this is nice. Notice how the trapezius is more in the direction of the jaw. Not the years. No, this is not right? This is right. Okay. So pay attention to the the actual high here of the silhouette. And the first time me do a better. Better. Yeah, perfect. So this will be more on the surface, just like this. So when you are doing the trapezius, you're going to go over here and find the back of head. And you're going to create a line to the this third of the clavicle. And then we will add some volume here and make it goes to the back of head. Okay? So notice that how this part is more straight, this region. And then here it creates the triangle. The same for all the size triangle. And that part more straight. All right, one thing that is also nice to understand is that by looking through the back view, what we have here, we're going to have a diamond shape just right here. Okay? Because here we are going to have the seventh vertebra. And this will be like the fiber's direction for, for the trapezius. Okay? And in this region, in the middle, we're going to have more, those white, white fibers in myth, not, not too much volume because of this, it will create this diamond shape which is says, which has more has less volume than the other parts. Okay. Alright guys. And now just for to finish the structure of the neck here, what we could say is we have just to do this from the front part of the neck, which is the Adam's apple region. We have some muscles there, the hyoid, hyoid muscles, sternohyoid engine, you know, all those muscles here. Omohyoid gin, all those muscles, but they actually don't make too much difference in the surface. But instead of this, we can think more about the, the Adam's apple. We'd have some like two cartilages. Those two cartilages here and I think are those, those muscles here. But The middle is structure will be more this for understanding the, the actual shape and that will be shown the surface so, you know. So yeah, let's, let's do something here. I'm going to add on a cylinder into this shape with an insert mesh, just true to have a base for doing that. And then I'm going to position it just right here, just as we can see in this reference. This is a reference from broken. And he's a very, very nice teacher. Anatomy, anatomy for drawing, you know. But it works for everything I really recommend in. Yeah. So let me show you. Let's see if we add a cylinder like this. Let me first separate then in another piece, like so. And then it can manipulated better, just, just show better, show you pi, would I write? But I do, actually, I'm going to remove some edge loops here just to be easier to create this angle. Turn off symmetry and center people right there. Okay, so now I can raise up this a little bit more like so I think it will be bigger. Yeah. More like that. And I'm not really sure. I think it's more like if we have some something more like this, maybe I can this format like here. So actually, what I also could, could do is let me create a group for this region. So I can actually duplicate this and select only this group here. Now let me see how can I, how can I create that little depression in the middle? Maybe if I do something like this, right? This should be great. Good way to remember. This should make you guys understand how it's going to be these cartilage. So here it could extrude everything. Yeah. And this would be the cartoon, the main cartilage responsible for doing for making that that silhouette. And after to this next one, we could try to make the same. I got a mascot, this. And I'm going to actually duplicate it. Height, BCCI, which is always here in visibility. And now it's isolate the part that I've mastered. So I can literally tea than it is there. I've thick red show this process many times, but yeah, it's right here, delete hidden. And then now I can extrude with the Modeler once again. Turn on symmetry. And Here we're going to have kind of the, the proper silhouette. Just as it was for demonstrating the structure that we're going to have variety there. Okay. So let me paint that with other color. And then I'll maybe color like this, like this. Here. Let's make okay. And the last thing that we have to take care here is when it comes to make the neck will have to pay attention. I think I've said this. We have to pay attention to this region, right? Don't forget to make this, this shape. And here you will be the bone that I think is hyoid bone. And yeah, that's it. And so this way we're going to have this nice silhouette. And for the front view, we can clearly see that structure that was more kind of, you know, this and after another one, just some, some lyric sample, right? And here into this part, right hand, right there. And we're going to have this bone just behind the of the the the actual the chin. And yeah, that's it. So this will be the main muscles for the neck. Okay, so now we can go over the learning more about the, the chest and all those muscles here in the torso and arms.
24. Understanding Chest Muscles: Okay guys, now so let's have a look on the chest muscle. Here. I, I added more, more images for our lecture section. And here as you can see, I, I add some, some images from anatomy for sculptors book. And this one is more related to the bone landmarks of the skeleton of the torso. Here I have some some landmarks like the a's is the anterior superior iliac crest that I crest. Anterior superior iliac spine? Yes, sorry. So is this region here? As I said, the costal margin and the ribcage, the breastbone, which is the sternum, the collarbone which is the clavicle. The acromial shoulder blades write everything here that we can use as landmarks and we can find them on the reference and use them to to map the body. So it can be sure where we are working on surface right here, and the same for the back, back of skeleton. But we can see, check it more when he goes to the back muscles right here also, I added some image of the clavicle section where it says its shape and some relationship with the and all the haka, how, how they say how they call it the bot. The bot. I think it's the bot, the cookie cupid's bow. So the format for the clavicle and how it's attached on the shoulder blades and yeah, the format that we are Ed said. Okay. So now going further to the neck muscles or no, to the chest muscles. For the chest muscles, we actually have just like two great muscles that are the pectoralis major, which goes, it comes above everything. And we have the pectoralis minor, which came under the pectoralis major and between the pectoralis major and the ribcage. And the pectoralis minor is not. So all visible. Just this bulge here and some parts. Because on the top of this muscle it comes the pectoralis major, which is this one very bigger. And its structure of the pectoralis major, it's kinda of folding fun. No, I have some reference here from prokaryotes. Prokaryotes, really awesome teacher in anatomy for drawing artist. But it also relates to everything in money comes from human figure. So it's awesome. I really recommend him. And I separated some shots just to show you guys how How do we can understand the structure of pectoralis major? Pectoralis major is, is mainly stricter it in three parts. One portion, the first will be like the clavicular portion. And it comes its origin from this region right here. And the clavicular. And it goes from the humerus into this region. And then we have the sternal portion becomes all from the sternum bone and also goes to this region on the humerus bone. And we have then the abdominal portion. It goes from the abdominal fascia. Don't remember. It's a fascia above everything here in the abdominals. And it goes also to the humerus but more on the top. So because of this, it looks like folding folding fan because the clavicular portion goes to the lowest part and the abdomen, abdominal one goes to the let me draw it for you. Like here. The clavicular portion goes to the lowest part and the abdominal proportion goes to the highest part of the humerus here. And then the sternal portion goes to the ups to the middle, right? And just like this. Okay. And notice that between the pectoralis major and the beginning of the deltoids, we're going to have this false, which is called the navicular fossa, which is kind of an empty space that we can notice in some reference here. And offshore we can have to make kinda depression by separating the, the deltoids are all this region here from all the pectoralis major. The muscles direction goes like this. Okay? So you're gonna see in those reference this kind of directions for when it's contracted. So as you can check it here, we have this clavicular portion go in there and under this particular portion and we're going to have the mark and blue. We're going to have this external portion going further here. And then in red, right now, we're going to have. The abdominal part. Under everything. Here the color goes on the top, but it's like the opposite. Just as we if we did like first the abdominal and then the external. And then the clavicular. And it goes under the the delta IDS which goes all the way on the top right of everything here. Yeah, so that's it. Let's have a look more on the lectures image so we can check for the pectoralis minor. I've said that is just like a boot here, right? And it goes from this region, which is the coracoid process of the scapula. We didn't did yet the coracoid process on our model and all our scapula is still missing. The coracoid process would be kind of let me check it here because it won't appear in the surface. So now by looking from the side view like this, we're going to have region kind of Phi. Phi did something like this. And I'm not sure feel to be here or here. I have actually to remember, but it would be kind of if we make a mask like this and we could subtract. Let me show you. Here. We are not using DynaMesh. Yeah, we are. So let me just confirm that. Yeah. So let me just show you guys more images about about the coracoid process. Yeah. No. Just like kind of a finger, like going out from this internal part of the scapula. And it will be called coracoid process. It will be actually the origin of some some ligaments and also the long head of biceps will be closer, dad. But yeah, the arginine either. I do believe it will be just the pectoralis minor. Pectoralis minor I and now so the cortico brachialis, which is another muscle in the lower part of the arm. The arm is here, the axial, right? The internal part, but this we can check it better. On Monday we are going to do the arms are right, but I'm going to save it here, this image so we can check it after by doing the add the arms. Right? So let me show you more peaks around here. Yeah. As I said, the pectoralis minor will connect the coracoid process to some of those ribs. I don't remember actually the numbers of these ribs. I do believe we are the fourth, third in a second. I'm not sure the first one would be here or here. It will be the first saw. It it will be 123455 rib, I'm not really sure. But some some of those those ligaments here and we will be bringing the book. Here is the coracoid process. It will bring the scapula of the region here of pectoralis minor, right? It will adduct the scapula, now the Teresa. So another thing we can notice here by doing the chest muscle is this kind of distortion. How, how did the the highest part of pectoralis will connect on the lowest part on the humerus and the opposite, the lower part of the pectoralis. You connect on the top part of humerus. When we raise up the humerus, like going like this. And it was here right? When we raise up the humerus, it turns and do the opposite. Like this part, we will connect on the lower part. It will, It won't change, which will just make the torsion. So it's not so hard Chun Chun understand this distortion. You can clearly notice right here how the Firebird fibers are manageable like they are going under the region of the deltoids right here and connecting and the region of humerus bone. All right, and notice the shape of the outsides. None of deltoids but the, the pectoralis major. You're going to have, you know, kind of Pentaho pentagon shape at first. Look. Let me goes over here. So at first we are going to have kind of pentagonal shape. And after we can understand like this cut right here and some inclined glidant region here and the clavicle, because sometimes the clavicle won't be like in a horizontal way. Like this. It will be a little bit more inclined it like so. And yeah, and another thing that I that I have to say before we go to the 3D is concerning to this. The clavicle. You guys remember when we are doing the trapezius muscle, this is the tutor be x2. Here would be the neck like, like here. And the same happening around there. And this is a view from the top view. This is the pectoralis major, right? And this is the trapezius muscle. And this will be the clavicle that I'm drawing now in blue, right? So once this is the clavicle, notice those shapes that we said about dividing the Iveco entry shapes? Yeah. So I have this first first region which is more face it fro for forward facing front. We have this middle part which is more in the facing, the diagonal angle of the character. And I have this last part right here that is more the facing fraud as well. And it's exactly this region that we're going to have the trapezius muscle connected, right? And as you can notice here, I'm going to draw in red. For the pectoralis major. It comes from this to two parts, right out of the clavicle by leaving just a little bit further interact infraclavicular fossa, that empty space between the pectoralis major and the deltoids that I said. All right. Here we have the chromium process and yeah. No, not null and the acromion process, just the chromium which is that region of the scapula, right? Yeah. The chromium process. Yeah. Sorry, I just forgot. So yeah. Let's do the backs on the 3D and let's have a look on it. Okay guys, so let me just refining here a little bit more the coracoid process that we did on the scapula. So I'm going to do update the DynaMesh and just a little little detail like this. All right. Just in order to have the muscle right, right in the right position. And maybe it would be more. It will be closer. And all to that part of the acromial process. More on the top right here. I had to guess so. I'm going to raise up a little bit more this humerus bone like. Alright. And by starting from the the pectoralis minor, I'm going to make it then, like making an abstract view. Let me show you. So I hit strikes there and now, no, I just want this one, this one right here. And let's clean the mask. So now I can grab it and show you better. Be Okay. This should make you guys understand. So I could push it like here. And position ups. Position it on the other vertebra like here. The other rabid, sorry, not vertebra. And then another time. And we'll be more like so. Okay? So this is supposed to be the pectoralis minor origin and insertion. Okay.
25. Sculpting Chest Muscles: And now let's do the same for the pectoralis major. Remember that we said it's kind of folding fan. So let's start by doing the clavicular portion. Yeah. So again, I use the clavicle, clavicle to extract this. And remember that we separated the climate coin three parts, right? 123. And this first one will be for the deltoid, anterior until portion of the deltoid. And those two will be the origin for the pectoralis major. But remember that fossa, we have it here. So leave it an empty space. And then afterwards you can use this weight blue and blue and extract your clavicular portion just like this. Okay. So let's do it. I'm going to use this mask like so and hitch a struct. Yeah, doesn't matter how it is exactly, I just use this poly group here. And now grab it here. Let me but notice that restricted the lowest, I think that the clavicle is with the normal flip it. So let's do it here. Okay. We don't have it. Let's go back for the clavicular first. N Let me see. No, it's not. Flip it. And that's okay. Sorry for confusing new guys. But I'm going to do DynaMesh for this. But by doing this method of stretching, I feel, I feel that it's easier to place the fibers, its origin and insertion because it goes straight, marched straight. When we are drawing and grabbing the volume like this. But one thing that I would have to say is this muscle comes from above the clavicle. So one thing that we can realize is how strong are the character, how stronger lice clavicle it will be possible to children too. To see, you know, because the chest muscle is above the clavicle. So if the clavicle, the not the clive called the clavicle version. Notice how we have a volume like here and all this like this. Okay, so let's do a DynaMesh here. I'm going to use my interface. This should be easier. Here are going to paint as red. Don't forget to live in empty space. But this we can check again when we, it goes by doing the deltoids. Okay. After we are going to have to raise this a little bit more, I think, but let's first do the others, the others portion, and then we can add up everything. Right. This the clavicular portion. So the sternal portion comes from this region. Let me make a better separation. Yeah. And then grab this and place it where it should be. Let me add some, some divisions here. If the light curve, this will have more to push this to bow on all over the surface like that. Okay. But for this the best way would be let me check. Should make make this doing kind of a torsion. And ADH does as if was like that that way. But let's leave it like this at first. Because if not, it's going to be harder to understand. I think. So many information. Well, because yeah, it was I don't know, maybe flip it. I'm not sure about that. What was happening here. I'm subdividing, so I already have some fibers definition. Alright, And for the last, Let's make that abdominal part. And a set. Click on the group and let's position on its right insertion point. I'm not sure if this is the right jacket double. Here. I'm adding some cuts with my lice lice curve just to bring it some curvature. And it actually goes underneath everything right here. So this will be the pectoralis muscle and its origin and insertion. Okay. Let's add some fibers looking. Okay guys, Let's do the same for this one and add some fibers looking. So this way you can understand the directions for the fibers and everything of the best banks muscle. And at least this abdominal part. K. And here into this part, what is missing is the triangle that we said. We seen here. This triangle in the middle. All right, so let's correct this. Let me do one side four each time here. And now I can do a mirroring route. Okay, we have some divisions, delete and then just have it. We were working on a flip side. Flip it face. Okay. I don't care. Let's again. No. Let's delete. I think we have some flip it. Yeah. Now rappers mating then. And given a little bit more volume. Good. Once again, the fiber's direction. All right? And notice once again the cross section. Okay, Good. Now I think we have to do the Sarah serratus anterior muscle. It goes here under the shoulder blade and connects on the ribcage. And after we can try some muscles in the back and then the delta IDS. All right, so let's do it.
26. Sculpting Serratus Muscles: And now let's go do the serratus anterior. Serratus anterior is a muscle very origins on the ribs here, right on the region. And those are those ribs, 123456789. Okay. All these nine regions, these nine ribs and it goes, its insertion is on the backoff scapula. The medial border of scapula actually. All right. So it brings the scapula to the front. Its function, so is this muscle here. And notice that you can see kinda digitations. This encounters here like they're round and flat because the serratus anterior are round shape like those ones. Round. And here we're going to have the obliques. They are more flat shape and they intercalate. And all day goes like so. Does this way. When the serratus goes more horizontal line, that the obliques your goals in more vertical way. And remember those difference. The trapezius is more around and the obliques more flat. So we can check it into this. This reference. Like here is rounder. The farms and those fibers. Though, the volume here is more flat. Okay, so all this region in red are the serratus and tutor. And now in blue are the abdominal obliques and intercalates. Like one goes here, the other goes around there. So it creates like this z, z shape. Remember those for much of arrows know, make, you know, it's kinda of arrow shape. And the same for, for the obliques. Okay? So this region, it's kinda, I encounter for some arrows. Yeah, let's do it in 3D. I'm going to create some insertion, some origins like this. Let's flip. I'm not sure. I think it's flipped. Just restore my yeah. Let me flip it here. Good. Now I'm going to add more subdivisions in our divisions like this. And now I can bring it more to the region that I want. Let's paint into this nice muscle color and go back. And let's push copy. Make a copy around there. Let's make another copy and rotate it another time. Let me. Disable the chest and bring it to the DOM. All right. What is different? Let's ram me her invalid. Yeah. Still different. Maybe we have not symmetrical shape for this ribcage. Yeah. Okay, because here we are with the local symmetry turned on 0 now, should work. Yeah, better. Okay, So this should be the serratus anterior. They're just a little bit weird in some, some portions. Just two guys understand how it's placed in the muscle. Okay. Now let's turn on the chest. We have to be able to see then in the front view like that. Because of this, I'm going to bump up the volume, the volume of the surface, and try to manipulate them. And in order to create that folder, the folding fan shape. Okay. And I'd like to mainland show no 33 portions, three groups of cereus. And at the end we're going to have a little one like this. And sometimes it does appear on other one here. Okay. But most of time like this, those three will be enough. And I'll, you know, a little bit another one there. Okay, So is this for the serratus anterior, notice this arch. If we have here a line here, you're going to have the nipple. And just a little bit on the back, we're going to have this arch for for the serratus anterior. Okay. Now let's go to the back again and do some muscles here. And this is the scapula and after the lats and obliques, rectus abdominus. And then we can go over the Delta, its shape. All right.
27. Sculpting Scapula Muscles: Okay, alright guys, so let's continue here by doing some muscles in the shoulder blades. We can start by doing the infraspinatus muscle, which is this one right here. And it origins in the infraspinatus fossa and insertion the head of the humerus. So let's build then. It's a very almost flat muscle when it comes to show and some peace. Some photos. Like here is all this muscle here. In this case the scapula is like doing this angle. So here you have the admin paint in red. We have the infraspinatus comes to the right, the head of humerus there. And blue, we're going to have the teres major, which is another muscle battery goes and under under the humerus I going to manage. Show you guys, when are we gonna do here? Yes. So like in this case, we have teres major in red and teres minor infraspinatus and blue, right? So in order to memorize, you can use like if teres major is going to be here. By going inside in the lower part of the humerus and the other side there in the front that we can see it here by the front view. This will be the front view. Let me show you. This image will be the front view. Okay? So this is latissimus dorsi, which is this great muscle here. We're going to, we're going to check it further. And you know, from the front view, the rib cage was supposed to be like around here. Alright. The neck and sternum, sternum muscle like here. And therefore the back. We're going to have this muscle, the teres major, which will connect almost in the front here of the humerus. And you can even notice that in this image it says pectoralis major. Because the pectoralis major is going to be around this place, as we said, like flipping those fibers. Okay? And just behind the insertion of pectoralis major in humans, we're going to have this bow, but it's true insertion, the insertion of the latissimus dorsi, which goes in a tertian like here. And also the teres major. It goes. Behind everything there. But, you know, it kind of makes the rotation of the humerus when it contracts it, you're going to push this point to that point there in the back. So we're going to make the humerus kind of rotate. So this is called supination, I think. Okay. Is the movement of turning nerve mirror like turning your arm your hand palm to the back of the body. Yeah. So let's do first the infraspinatus, which will go the, which will make the other the opposite. A function, you know, it will pronate the palm of her hand and turn the hand facing forward. So because it will push this ball, this point to that point, right? So it creates another kind of rotation for the arms. And this is the backfill. Back view. Sorry for my letter. Yeah. So you can always go there and check it out. And for the terrorism, teres major muscle, we're going to do there as well. So continuity here. Here again, didn't did any fibers for the trapezius because we are just showing you not being really precise on the way we are drawing the muscles. Just another two guys understand what we are doing and what are the insertions and, and origins for each muscle there are k here are going to click around there. And I don't know why is getting the other side, but that's okay. Let me invert the mask. And then I'm going to grab it just around this place here. And after that we can add more, more. I'll wait. Let's turn on the local symmetry. And now it can better position it. And I think I'm going to need to flip once again my ZBrush. Yeah. I'm going to flip the surface. Batter. All right. This right in place. So this is going to be the infraspinatus muscle. And for the teres major, we're gonna do the same. I'm going to duplicate. Then. I think we haven't maybe too much. Spine of scapula, but that's okay. And for the, the teres major, I'm going to duplicate this one down a little bit. And I'm going to make it connect underneath the arm closer to the position where the pectoralis major connects. Just right there in the front of the humerus. And I'm gonna make this thicker necks. So because this will be called the hero Muslim, Alright? As the same they do for the pectoralis major. They call it the hero muscle of the front. The teres major are going to be the hero muscle of the back. All right. This has kind of this curve here because it's connected there, the front. So once it contracts, it will mix. The arms should come down to this displace here. Okay? So it will even the arms from the top to the lower position and even do the rotation this way. Okay? And actually the teres major is way more volume moles. Then, then the infraspinatus. So you're going to make the infraspinatus is very thing like that. Yep. And live the teres major with more volume. All right. After that we can, we can, we are going to be able to create the deltoids now. And after we can go further to the lower part of the torso. And that will be the abdomen, the abs, and the obliques. Right? And yeah, that's it. So let's start by came. Before we do this, we could try to make also the teres minor, which will be very thin muscle and very sub-domain. So in the middle between those two. Let me get some heifer is okay. The terrorists minor. It will be between both muscles here. The terrorists my major in and the infraspinatus would be visible just for a very, very low fat guy. So let me show you our reference. The helmet struggle. It's the guy, very, very shred. Guys. I tried to find some reference of teres minor appearing on surface, but even this guy, helmets treble. Who is our guy, very, very shred. You know, it's not so possible to, just to see today, identify the teres minor. So the only thing here that we have the teres major and the infraspinatus. You can always find the trapezius muscle first. And once you find the trapezius muscle, you're going to be able to find where exactly is the shoulder blade. And we're going to be the angle. When you are looking to the reference, the NGO almost all the time makes kinda fun. Nine degree angle. Here because of the drought shape of the spine of scapula and here the crest. And you know, it will be related to the high of the arms. Like in this case, the arms is more true to the upper, upper part. To the top. Facing to the top like that. Raise it up so you can find the trapezius muscle once again. Sorry, I draw the fibers in the wrong direction. So once you find the trapezius muscle, you're going to be able to find where is the scapula and this angle, how the arm's raise it up. Here we have also the rotation of the scapula. And once you find the scapula, you're going to be able to find the teres major muscle and also the infraspinatus muscle around there. So you can notice the infraspinatus muscle right here. This is the teres major right there. And the teres minor, it would be really, really possible to see, but we can also do it here and extract little guy. And should this region. It also inserts on the humerus. Saw is very hard. Very hard to see. That creates some cuts. Yeah. So that's it. Okay. I don't know, but I'm feeling maybe strong. This iliac crest. Iliac crest, no, sorry. This is region, the spine scapula. But we're going to have the shoulders over all all of this, the deltoids. And yeah, so let's go for the deltoids right now.
28. Sculpting Deltoids: Okay, so in order to make the shoulder muscles, the deltoids, let's take a look first and check how, how it is. So basically the shoulder muscle has three sections, as we can see it here in this nano me first sculptors base. And the first will be the anterior portion, which is this one right here. It originates on the clavicle into that first section that we said, then some other time. So let me show you here. So here we have this section. Remember those three sections for the clavicle there is sent. And then from this part here, we're going to have this first until your anterior portion of the deltoids K. And then we're going to have the lateral portion of deltoids. And it will be like this one right here. This is kind of a top view. And yeah, so the lateral, lateral portion of deltoid is going to be Let me see. And this section right here. So we are still able to should note this lateral section even from the back view like in this case, or from the front view. Like so. Yeah. Okay. Got some somehow or other references here. And let's analyze better the shoulder, shoulder muscles, the deltoids. Here. You can. This is a page from Michael Hampton book. And you can notice that we have kind of this term here for doing the shape of delta IDS. And remember the region for the anterior, anterior part of the anterior deltoid. And then it goes over here, the part in the code that'll be said, the lateral one there will be above all of the other two on the top of the two there. And we've got the will get the acromial, acromial region and also the, let me make me do it in red. This part here will be the posterior deltoid, which goes from the back and come the front, front view. So hearing it, we're going to have some reference from helmets, treble, the reset. Let me write his name. So this way you can, you can find some references and he's a very nice guy to study anatomy because he is the most shredded guy in the story, I think. So. Yeah. Here you can easily find the three portions, three heads of deltoid. Here we have the lateral. The lateral. The front, the anterior, the anterior. Anterior head. Okay. And this will be read will be the fibers of the pectoralis major. The clavicle part. Here, the sternal part. Sternal, sternal with S naught E, And here the abdominal part that goes to the top and abdominal part, portion. Okay. Once again about the deltoids here, the anterior part, the lateral, and just a little part of the posterior one. In this case, we can better see the divisions. Here. We have the posterior and then we have the lateral, and then have the anterior deltoid k, The same here. Posterior Barrow and they're in the front, the posterior, lateral and from anterior. So here we can see the separation, nice separation. Lateral, posterior and front, and tidier, sorry. And theater, lateral and posterior. Okay, So this way we can see from the top view, here's the, here's the Clive go and here's the shoulder blades with their chromium process. And all the chromium process will create a nice silhouette. The separation from the the trapezius muscle. Let me show you. It will breaks up the continuity of trapezius muscle with which will be here In this place. And the deltoids. Let me do it in red from the deltoid. So this would be the place for the chromium, chromium K. So it's going there and breaks up and then goes over there. This is because also, because here we're going to have the head of humerus. So this region will be main, mainly formed by the bone structure and then to this region will be more the bone, the muscles fibers and the muscle volume. So because of this, we can have, in this image is clear, clear. To see, we have this flat region for the silhouette, then the acromial. And from here we're going to have the start off. More from here, I guess. The starting of the trapezius muscle. Okay. Yeah. So this part will be more volume and this part will be. Less volume. Okay? Another thing that is also nice to understand about the deltoids is, okay, I forgot to say about the posterior, posterior head. It will start on the spine of scapula, right? And it goes under the lateral, lateral head. And we can clearly see separation on the reference. But the lateral will be even more separated as you can check it here. This will be the letter O, Right? The posterior and the anterior are more clear separation. But for the lateral we're going to have kinda of others separations in the middle between. And this way can it can look more like more separations, but it's not just like some, some, I don't know how to say that in English is some separations for the fibers and the interlace each other. And for the, the anterior part is more a straight. But one thing that is nice to, to, to look for when you're coming to delta IDS is to have this nice separation for the biceps. You know, the anterior head will be most of time above the biceps. And we're going to have this break for the drawing, like here. And here. We're going to have this break for the anterior part of the deltoids. And then the lateral part of the lateral part always going to have this nice corner. This corner, this corner. And here will be the biceps. Alright? So you can see it at all. The reference here is not showing reading, but it would be kind of finishing here. And from here we're going to have the biceps, right? So it will fills the same width of of biceps and then we're going to have the lateral. So we should have this break on the form, right? And another thing that is quite important that it's a very common mistake is to make the deltoids too much for the outside of the body, like starting the delta is from here and not inside. You have to remember the displays for the clavicle. So always it will create like this shape for the anterior head and the lateral head. Don't forget this break. That is said. I'm going to make it in blue. Okay? And from this we can have a nice separation into this part and also in this region separating the both heads like this one and the lateral one over here. Okay. And always the anterior part, it will goes inside the pectoralis because of this, I mentioned that shape of a pentagonal shape, okay? Because of this, I've made this way, look how pentagonal, pentagonal shape, right? The same way we did into this and this, like until here, but it will starts before the deltoids over here, right? Yeah. So that's it. And the posterior part, two, arginines in the spine of scapula, and it goes over there. J. These are the kinds of fibers that I've said. The anterior head are more straight and parallel and the lateral one, it will cross each other and do this pattern. And the same will be for the posterior head, more straight and parallel fibers. Okay? So now let's do it in 3D. All right guys, So let's start the, the deltoids here in 3D. Let's start by doing the the posterior deltoid. So I'm going to, I'm going to get from here. Actually, this fine could be just a little bit less big. Something more like that would be more natural, I guess. Yeah. Okay. And now let's extrude that. So we can actually start from, you know, it almost all the spine but not, not all. You're gonna get some part like this region and I'm going to live portion for the lateral. Okay. Here I'm going to try to make this way. No one is supposed to be this thing border. Just the same thing, Yes. Okay. Now hit Accept and click with the transpose and then let me see. Let's invert doing some inflate. So it's going to be easier to work. I think we're going to need to DynaMesh this. So let's DynaMesh. It also painted up, sorry, k. So its insertion going to be exactly in to the deltoid tuberosity, which is like in the middle, almost in the middle of the humerus. All right. So now let's go here and work on the shape. This like that. Okay? After we can change all the volume, Let's let's do first the other well, there are two portions. So I'm going to replicate this one. And I'm going to grab it to the side. So this way is easier. So I can make the lateral portion. But actually before we go over the, the lateral portion are going to do the anterior portion because they are going to be under their lateral. And the lateral wheel comes above everything on the connection there. So let me just position it is how it's connected. Sorry guys. At almost in the middle part of the humerus, humerus bone. And also notice here that I'm positioning the anterior, anterior head of the deltoid. Just in that position. We said just after the infraclavicular, the clavicle, our fascia, that empty space between the deltoids in the beginning of pectoralis major. So here I think I need to make a little bit further this fossa. And this way the deltoid is going to take, you know, the the, this first portion of the clavicle, this like this. Here I'm working with some move. And you guys remember that this portion here will almost all take the format of humerus. And then this other part here is going to charge more because of the mass of volume. Right? So now let's duplicate once again and we can make the lateral portion. Let me check this Like this. Yeah. So this way we can position it above everything. All the others, the others had. Good. And then its origin. We can position it just as we see here in this image from Stephanie back. Okay. So we live the acromial. Acromial is too big now. Maybe just a little bit less. Like this. Should be enough. The nose. So this way we're going to have the nice little lateral portion, origin and insertion. I just hear the volumes. So this lateral portion can be above everything, but almost also make parts of deltoid, you know. Okay, good. I think this is quite enough. And after we going to make start by doing the biceps, so we're going to have to adjust some some volumes over here. But yeah, let's leave it like that for this time. And after we can work on it more. Okay. Now let's start by doing the oblique rectus abdominis and also doing the lights and all this back part, the bag, back muscles of the torso. Okay.
29. Sculpting Pelvis Bone : All right, so before we continue here and before we make the rectus abdominus, we need to just, you know, refine a little bit more this pelvis, the pelvis bone. So let's do it in, make it just a little bit more closer to its real looking. So I gotta make like this for the crest. I think we're going to be better if we use DynaMesh version because this move is pretty hard on, okay? My smooth intensity was not that enough. I'm going to make it all together like the sacrum. Yeah. It would be kind of like this. And here in the middle we're going to have like a whole from the back. We're going to have like kinda heard shape. More like this in this would be the sacrum. You know, here you're going to have nice hold for that. And then all this region here will be like that. Here we're going to have those boobies, the pubis bone, the pubic crest. All right. So now let's make the the two holes around here and one bigger than the middle. Yeah, so let's try a DynaMesh now. Good. Here. I'm refining and recalculating the DynaMesh. Now I think we can remove that and make it hidden and recalculate the DynaMesh. Kay? Now I'm refining the actual whole for all of this. And here I'm going to make just an approximation, you know, not being too much precise. But just in order to you guys understand the form. This would be the sacrum part. And for these regions, let me show you. We're going to have the tuberosity here. How does it call this as a settable? A settable where it connects to the head of femur, right? Something like that. And from its side view, let me show you. Here's can see I'm doing it very basic on the Stefan's harsher spec drawing. Just a base for everything. So and here it can make another, another hole. I'm gonna delete that and delete this one. And now was we recalculate. No, it doesn't work. Okay, so let's do by adding an insert mesh and pressing the Alt key. So it removes. The form. So we can have our nice, nice hole here in the middle was recalculate. Good. All right. Here are going to pinch a little bit more. Yeah. So here you're going to be the head of femur. Here, Justin, that in let me show you. And now I'm creating the anterior superior iliac spine, which is that landmark surface landmark, the bone landmark that we said. This one here. Right. So on this is just kind of a blocking for the pelvis. Not really precise as I said. But from this now we can start and going further with the rectus abdominal all let me push this. Here. You can see that this going further. And here is the pubic tubercle. All right? And from this region is going to be our rectus abdominus. This around here. Right? And in the sides we're going to have the obliques right at the side, right here. Okay. Maybe we're going to need to adapt a little bit more, or surveyors and theater. Let's make a little bit less block this ribcage. Use some pinch. The border. Yeah, Good. Now let's extract little bit more. Some, some form here. And we're going to have the rectus abdominus. Let me see if I got some images. Not yet. But is this first muscle here in the middle of our abs. So the main male 1. And you can see that it goes just after the pectoralis major and it's abdominal portion. And then we're going to have this all the way down until it reshoots, reaches the the pubic bone right here. Okay. So let's read this and then we can we can grab it down there and we're going to have the rectus abdominis. So extract and accept. Clear the click with control. So select. I'm inflating and after is moving the forearm. So it becomes easier to work with some more subdivisions there. But actually we are going to need to DynaMesh. But just for positioning, I do prefer to do like that. Maybe my move is too hard. All right. For the rectus abdominis. Abdominis, I like to use the same weeded of the neck. Okay. And after that, besides that, you're going to have the oblique muscle. So let's do a DynaMesh. And then before we go on detailing all of this and grading those nice separations, I think it will be better for us too. Yeah, Let's do just a little marks. Notice how I create this angle like that. I'm going to the same point for the eight back. Okay. Not point-like here. I don't know. Here will be the belly button. Alright. So now let's create the oblique muscle as well and then we can define it better for all the rest of the dominoes and everything. So in order to make the obliques, let me first show some images in the rectus abdominus so you guys can better understand, but I think it's pretty predictable. The directors of DOM node is going to be working. So yeah. Nothing different from what we said. Here. You have the rectus abdominus just in the middle. And on the both sides we are going to have the obliques. When it comes to obliques, what you're going to have is actually three muscles narrow compose or this region that are the external oblique, the internal oblique, and also the transversus abdominis, right? But we're going to simplify it and make all just one which, which are the more the the exterior surface. Okay. So let me start by creating stretched like this. Clear the mask and grab it to the bottom. Like this. I think we can move this form a little bit more. Let me paint. Yeah, and now let's position it. And after we can draw better the fibers and everything, I think here we're going to add some cuts. We've sliced curve. So it will be easier to manipulate. This way I can move a little bit more the form and have a better volume of everything. Okay. Yeah. Just as I imagined, the need I think to the volume of those serratus anterior muscle. Adding more volume here for the obliques. So once we DynaMesh it, we are going to be able to detail that is a more
30. Sculpting Abdominal Muscles: And actually also it's missing that white portion here that will be the tendrils of domino. So yeah, let's first do a DynaMesh it on it. And this is to see, are going to inflate a little bit more just in order to Dawn. Open any any holes on the surface. Yeah. Better. And now what if we could have is this treatment for the obliques? How it's going to be the external oblique, the most exterior part. You're going to draw. The lines of fibers does the same. One thing that we can have here are those interpretations. We've weight with serratus anterior, right? Remember that this part is more flat one. Then there's a radius and theater. So we have to make this more flat like so. And then we can have some nice separations like that. Yeah, more like this. This way we can easily see that those interpretations that we said, right. Ups. Here is nice to almost follow, you know, the ribcage by doing this landmark on surface. So it's nice to have this be the, be careful with its volume. Okay? This region here, it would be its ends at this point. Right? So I think I'm gonna delete that. Yeah. Dynamesh it all know before we read DynaMesh it, Let's add some thickness. Or maybe doing a higher resolution for DynaMesh. Yeah. Now it's better. Good. As I was saying. Let's bump a little bit more this numerators muscle. So it becomes two. B is the scene by front view. And I'm feeling that maybe we could have another one here or maybe down this a little bit better this way. And now the only muscle that is missing is the trismus doors in the back. So let's do it. Maybe we're going to need to add also the erector spinae II, which are big muscle underneath the the latissimus dorsi and makes also some great volume on the back. Here I'm adding more volume for the backs. And after we can also add some fibers, detail those muscles. K, Let me do it here in the rectus abdominal heroes. So we already have in DynaMesh. So I'm going to create the muscles fibers in this direction. Over here. They are more like in this directions. The vertical. Yeah, I got a first, oops, sorry guys. I'm going to first create the fibers. And after I will make better, better detail. I think we could grab this region and make the aponeurosis. But maybe let's use the DOB cuz the oblique is wood ends in that region, just as we did before. But I'm going to make this for the app will upon the roses, which is kind of a fascia that connects everything. Here has been given some volume for DH BEQ. Also reposition it. We can also make for the external, it will create a v-shape bone in this region like that. Alright, yeah, here I will define the ribcage, but we're going to have like this. What do we could try to do? Let me check. This will be like the white part. Yeah. I'm trying to create some, some fibers there in order to be easier to understand the fiber's direction. And also after we can think of everything, this will be the lower part of the obliques. Here I am. I'm using ARM cracks brush. You can easily download that on our Craig's gum road, the Arden GEM rule and you can just that Arbor cracks brush. And you're going to find on the arbs are British back. And you can easily download for free or even do some contribution. Because it's a very, very nice brush. I use it a lot. And I just rename it to Q. Cracks because it would be easier for me once it's on my ZBrush startup folder. So how there wasn't any brush that started with Q. This one is nice because I just type B and Q and it goes to this brush. I think that's enough of fibers. The only thing that it's nice to understand is the silhouette. Here in this region going to be the belly button? And this one, it's more like the inferior lower abdominals. So let's save it and I'm going to continue on editing this. Yeah, let's see. Okay, Good. Remember to make all the fibers very straight because muscles usually don't do curves. Given more volume. Those versions. And adjusting the abdominal part, also giving more volume. So now let's start by doing the latissimus dorsi in some muscles here in the back, the erector spinae and everything. So after we going to end, I'm going to use trim dynamic Just to make better treatment and the back. Oh, okay.
31. Sculpting Back Muscles: Okay guys, I actually painted some parts here to make some difference. For them, dominoes, rectus abdominus, and this bill, that region on the fascia. So it's better to understand. And now let's go for the back and the more refinements in the erector spinae muscle, which will be responsible for those two saucers, like in the middle of the back here. But first we're going to need to find this nice landmark. That is, this the bottom line on the bottom edge of rib-cage, not the ribcage of the pelvis, right? The iliac crest. So we're going to find this and it's just right here. Okay? And once we find it, we're going to be able to build directory is benign muscle that is just like this, okay? Originates its fascia here and less vertebra and goes all along all the ribs and also until some pieces on the back of head. And all of these muscles are actually director has been eyes just like this one. But I think, but now we are talking about volume, right? So this main volume on the lumbar are because of the erector spinae muscle. So I'm going to extract some part from this original, I guess. And then extract a set and clear the mask. Yeah, Let's position it. And I actually think it will be need to create just one side. Now let's, let's write. Let's try to have a better approach. Let me see. This will be what we are looking for. Think DynaMesh, maybe higher resolution. Now let's check then to read. But actually this one will be not red. It's more like a fascia muscle so that y two or warm white that way. Let's first just its shape. So after we can do the fibers, Kay, trying to follow the shape of the spine. The spine. And then let me see. I think we can add some fibers now. Good. Let's do a paint. Okay, and now let's go and do the latissimus doors. For latissimus doors, it actually originates on those vertebrals and you know, the lumbar five and to the seventh. And also, it also origins in the idea crest, just as a habit here. Let's make it thinner. Good. Actually I going to use the same, same model here. Duplicate. And now I'm going to manipulate this an order to position it in the right place. Let's delete this part and recalculate DynaMesh. Then once, how it goes above everything, they're not actually everything because trapezius muscle is going to be on it. Let's do a DynaMesh with less subdivisions, less resolution. So we can block it better first and after. So it's insertion is going to be on the bicipital groove. In the humorous. But yeah, here, as we said, we have that nice image. Let me check where it is here. The latissimus doors that you can see. It goes around here and it turns on an insert between the pectoralis major is insertion and also the teres major insertion. It going to be just right here. Is really not, really cares about where exactly. I'm going to position it on the bone. But the thing is to memorize you understand the way that the muscle is built. Because when we go for the posing, we need to understand those origins and insertion points. Because we're going to have to understand which must, so it's going to be contracted and which part we will have more or less volume. Note how the latissimus dorsi covers a little bit. The scapula muscles. Like teres major, this a little bit. And some parts. Let's make it thinner around this region. For this part, it makes kind of a torsion like this. It's going to connect this shape. The same kind of twisting that we have in the decimal. So do you remember? Good. And well, another thing that it's quite nice to understand is this volume that we have. Most of time we are going to have this volume and it's related to the serratus anterior volume. Yeah. It it helps to create the V-shape on, on the Tercel. And once we add the arms, it will make more sense. But yeah, That's raise this trapezius muscle a little bit. And also draw some fibers here. Now, for the trapezius, these are kind of the directions for the trapezius fibers. Let me show you. Yeah, we we didn't have a part just for the trapezius. Okay. We have it here. So noted, note the muscle fibers direction. Yeah, nice. I also try to paint a little bit that those fibers, this way they're going to be easier to understand. I think. Also pay attention to this fiber directions. In this region. I think we're gonna have, we're going to need more more resolution, yeah, better. And be more the volume, digital volume for the trapezius for painting that Let's paint like this. In here in the middle, we're going to have that diamond shape. Here. We have the home boys down there. Just missing some painting here. Let's do it this way. Now let's do create the fibers for the legitimate doors. Let me show you. They all originate in that lumbar region. And it all goes to the direction of its insertion just by turning this way. Okay, let's save it. And after we can continue on the muscles fibers direction here. Sorry guys. I thought it was recording but I was not. But the only thing that I did is I'm actually changing this region for, you know, for the latissimus dorsi. This way we can have better better flow of fibers. Yeah. And I also painted many other muscles that I think I lost. The video. Yeah, this is better. We just need to make some some detailing for the deltoids. And that's it. Yeah, that's it. Let's go for the arms.
32. Refining Arm Bones: Okay guys, so now let's start with the arms. And first of all, I think we're going to refine just a little bit more the humerus bone because here is kind of so sketchy and I don't know, I'm not liking his, not looking that good. So I do prefer to just a little bit more. So it looks more professional, I guess. So. Here I have a mesh made by DynaMesh I think are going to mesh that here. Just to have a cleaner topology so I can know subdivided and then we can work a little bit more on those details and everything. Here I have the front view of the humerus bone. And this is from behind and this is from the outer side, like, just like if it was this way. So here I'm going to start by doing this kind of detail over here with them, standard brush and positive Ziad mode, right? And I'm going to carve just a little bit, is this part over here. And then from, from the front view, we're going to have those capitalism, which are kind of small, small protuberance, I don't know how to say. And here, another one, let me check that. And here would be the major epicondyle. So here we're going to create a transition between those two parts. And here I have this kind of depression. Just like this way, right? For the medial epicondyle, I going to separate like this. And then from here, let me check. I have this part shaft, right? Just to add some complexity for this bone. This way we can manage and make a better, better overview of the bone itself. Here I'm just trying to copy the. Yeah, just in the middle we have this deltoid tuberosity, which are going to be the part where deltoids going to connect. So we can check it like this. And the image. This is from the outer side, just as we are modeling right now. Here we have the head of humerus. Here is the place where you're going to spin over that part in the the shoulder blades. Here we have this nice tubular intertubercular groove this way. Okay. And this is actually more for the sides. Are enough front view this part because I'm not really sure, but I think that biceps tendon off by cross there. Let me show you. Here. I separated some events from the biceps. And as you can see, it goes over this this part here. The tendon. No. Just like a way where the tendon of biceps are going to go through until it reaches the cortical brachialis. And the coracobrachialis know this is the muscle, the coracoid process or k. So let's go back here and check once again, the humerus drawing. K from the back is it should be this one. And you guys can check. That we have this kind of detail. Okay? Then I have this form going through to the outside here to all the medial condyle. So I think there is just for a little kind of detail, the humerus, humerus bone. And then we can start with the muscles of arms are weight. Let's also try to replicate in this lesson the radius and ulna as well. I think it would be better. So at first we have the the owner, owner bone over here. This is to DynaMesh version. Two groups that take it first, this one here have a nice connection for that part we have in the owner. And then we can have this part more, kind of a great tip here. And it's going to connect and it will rotate around this structure. So it creates the movement based on this. Yeah, this like this. And Here we're going to be the radius. And the radius. We're going to have this little structure and the end here. Here, I made that data with the H bullish, bearish, right? So you can check that it is going to spin around this place. This besides the here. Now, what is important to know is the crest of honor. Yeah. And here at the wrist. So the crest of owner should have been made like this. And here I think it also may be connected to that part. There. Here I'm using the Move brush with back face masking, turn it on just to add more thickness on the owner. Sorry. Here I am. I am I am making the radios. Okay. Not the owner. The owner is that one behind. But actually in this case, we're going to have a face like for the back. If the hen was kinda of here. All right. And we can also maybe mask this and use it to rotate a little bit more. And so the owner will follow it. And this way we are going to have more side face at hand like this. Okay? Here are gonna do a mirror and weld so we can better check like this. The both sides equally. Yeah, what did they do? Much more. So now let's go over the arm is muscle because they structure doesn't need to be radio equal to whatever we are seeing. In that part. Let me just add more volume over here and the humerus. Yeah, the guys, that's it. Now let's start with the muscles in the upper arm. And then after we go over the forearm. Okay.
33. Sculpting Bicep Muscles: Okay, so now let's start to do the biceps. So here I separated some images with the origin and insertion of each muscle. This case the biceps brachii is going to be this one. And actually the biceps, biceps brachii. It has two heads like two portions and it starts from its origin, has the coracoid process. All right. This part over here, so it goes over there and this is going to be the, the short head. And then we have also the long head, which starts with, has its origin right over the supraglenoid tubercle. Alright, So one is going to be the coracoid process and the other and the supraglenoid tubercle. Alright, this around this way. This is for the long head and short head and the coracoid process. And both of them merged together and connects in the insertion here. And the insertion is going to be right over the, the beginning of radius bone. This right at. All. Right. So let's first height our delta IDS here. We actually forgot to make some, some fibers and the data is after we can do it. But for instance, the deltoids, let me check. It's going to be those. Yeah. Here are the those are the deltoids. They're here for this. I'm going to bring it closer to the part where it connects to the humerus. So here's going to be the coracoid process. Right? Let me check what is this. Okay. This is supposed to be the abdominal part of the pectoralis major. Okay, so now let's make the tendon of the biceps. I think I'm going to duplicate this bone, humerus bone, and delete higher subdivisions and use this mesh as as the muscle. Okay, So I'm going to first position the long head, which is more than the external part. And position it already on. The right place for the biceps stand on, which is over here, the supraglenoid false, I guess. No supraglenoid tubercle. Okay. K. So this is, this will be one of them. The short head. And it goes right over here. So this is very important to know. Where are the muscles, origins and insertion points. Because once you understand where, where are these insertions and origin point, you're going to be able to position then model then in any, any position that we want. Because once we know the origin insertion, we're going to know also its function. And knowing its function, we are able to, to tau if in and specific pose if the muscle will be activated or not. Okay. Yeah. And then I'm going to duplicate this one as well. And I will bring it more. For the origin over here to the Caracol backyard is coracoid, coracoid process. Right over there. Here. Let me hide the pectoralis major so you guys going to better understand what are the coracoid process? Here. So I'll wait. Where is yeah. And this will be the long head of biceps. Let me merge those two and it will be easier to manipulate. Let me turn on again. Just missing. Right there. I position it over the diagonal there, which is more natural. And here I've given deltoid better position. Also organizing the pectoralis major. It's gotta be behind us, correct? In its place, right there. Yeah. So I think we can actually make the others. The others must go first. And then after we go and check the proportions and all the size, the positions, because we have to have the, the other muscles there to have our parameter for its size and its volume. Yeah, At first, I am going to leave it like that. But I believe we could make it we can adjust everything household. Those connections here that are, you know, the the pectoralis major should have been more inside the biceps. So we're going to need to change just a little bit like this. Okay. And then the actual deltoid anterior anterior portion will be above everything like that. But always taking care for having the lateral had the deltoid lateral had just besides this tidier hand. And this part over here will be more underneath the lateral head? Yep. Okay. So now I think we can go over the triceps or maybe the brachialis first. Yeah. Bracket is, should be a nice one. Bracket is you can understand just like let me just as a matrix for the biceps muscle. But differently from from biceps. It doesn't came from, from the coracoid process or even that supraglenoid for sine and supra glenoid fossa of supraglenoid tubercle and the shoulder blades. Know the breakout is it starts kinda in the middle of humerus bone and it doesn't connect two radios bone know it it's going to connect to own a bone. Okay, so here I think I could duplicate once again this muscle here, the biceps. And then I can isolate just one of them and delete because we're just going to need one mesh. All right, let's bring it closer. Good. So here are going to remove the visualization of biceps and keep only this way like that. So as you can see in this image here, we're going to have the, the brachialis connecting to the owner. So I'm trying to connect with you here. In Let's position it. Let me check one thing first. Yeah, here's the biceps and brachialis. It going to be underneath the biceps. So let's make it kinda like amateurs going to be in both sides like that. Here are going to delete one loop and isolate just this part and delete hidden. And then I can close holes and recalculate the 0 mesh once again. Good. Now it's easier for, for is moving. I can even recalculate once again. And here I can use the Move brush with back face masking, turn it on. So this way can easily manage by this by adding more thickness and yeah. Okay. So now let's check. How are our biceps. I'm going to paint it like that red for muscle. Kay? And let's turn on our biceps. K. Here I'm Justin. Its thickness. And notice that the brachialis, it appears in this side portion here. The side position just underneath the biceps. As I said, just as measures. Ok. And now I think we can go over the triceps and after sorry guys. And after we go over the forearm, Moore's for our muscles. Okay. Let me check what is this, okay. The anterior head. And here for the lateral head should be more like this. All right. And yeah, let's start the triceps in next lecture.
34. Triceps Sculpting: All right, So for the triceps, we can see here that the triceps, here's the view just as we are looking at here. And here you can see that the triceps, it's called triceps because it has three steps. It's related to heads. So the triceps are going to have three heads. The long head, the lateral head, and the medial head. And the biceps obviously was by biceps by because of 22 heads biceps. So we have the long head, the long head, and short head, and then the triceps tree obviously. And then we're going to have the triceps, the long head, which has its origin in the scapula here. And then we're going to have its insertion, the tendon. This, this part of the tendon, the olecranon of owner of the stand on this white part, we will connect into the olecranon of owner this region here. Ok. And then we're going to have the medial head, which will be just into this region here. Let me get other reference search show you. Yeah, I just got more reference here from protocol. You can see here that the show you first the medial head. It's going to be like this one, but in this case it's like flip it, you know, it should be in this view like that. So it has its origin around here and inserts there in olecranon of owner, which is the elbow itself. And it's going to be this volume here, the back, right? So we can understand that this part should be the tendons connecting to the owner, like here. So this region, we're going to have the tendons, maybe not too big, like half of length, like this. And then we're going to have the medial head over there than we do in another color. The medial head over there. And then the lateral head, which goes over here. And then the long head. Okay. Yeah, kinda messy, but let's do in 3D and it is going to be easier to understand. So, yeah, here I'm going to duplicate that mesh of brachialis. And I'm going to use this to make the tendons. Once again, selecting just the part that I want. And notice how the tendons are going to be just a little bit more inclined, then the muscle itself, then the bone. So these are going to append like tendons like this. And then I'm going to duplicate and make first the medial, medial head. So I'm going to bring to the side and replicate once again, bring the lateral head. Let's flip this. The lateral head going to be, let me show you long head, medial and lateral head. The lateral head going to be the image is flip it. But let me show you like that. And we're going to have its origin just over the top there, the humerus. Let me first hide the deltoids. Where it is. Yeah, just right there. Now I'm adjusting the tendon. Bart. Good. Look how the tendon, I'm making it more. Turn it to the outside. Like this way by looking to the top more like here, not here. Okay. Let me 0 mesh this again. And once again, K. And now let me duplicate this again and make the bone was not painted. Yeah. Better right now. And let's duplicate this and make the the long head. The long head will be this one over there. So let's flip. Yeah. So I duplicated. And then it connects right over the shoulder blades. And for these heads, especially, you're going to have kind of a plane region. Yeah, Let me show you first this I won't need at all. So delete and do a Close Holes. Then mu is move that end and once again recalculate the dynamo, the mesh. Now if we turn on again the deltoids, now we can better position the deltoids and also the triceps. Deltoids is going to be our above everything like that. Good Men, much better, much better now. So this region, I'm going to make some kind of a plane region where it also some, some tendons, you know, just the same as this part over there. Okay. Let's make it just a little bit bigger. Yeah, so this are the triceps. Here we have the Bragg key Alice that I'm trying to adjust the first. And now we can go, we can go further. And here before we go further, let me change just a little bit. The shape of biceps. Yeah, that's it. And this is the bread Cal is that I'm working on right now. I'm trying to make this medial part the anode between the triceps and biceps. But it also appears in this internal view. The stiletto actually is missing another muscle then the internal part with, which is the coracobrachialis. But we will not be able to see it in right now. So maybe after the posing, we change it. And then I'm going to show you a better. Okay. So notice that silhouette that I mentioned. For, for the deltoids, this region less volume, this decision more volume. So it kind of makes this shape there. Okay. Yeah, let's detail you this a little bit more. So with the fiber's direction. In order to do this again, divided many times just as we did to the others. And start to add those details. Wave with ARB cracks brush. Actually for this lateral head, it won't be those parallel fibers. Just as I'm drawing. I'm just making the first, first pass and then I'm going to erase that in the middle because we're going to have kind of this shape over here. Let me show you. We're going to have those same digitations. Lot of other fibers. Maybe not too deep. This difference, yeah, here is way over deep. And then this those those heads, the anterior head and also the posterior one. It will be normally the parallel lines for the fibers. So not any mystery. K. And posted your head. Let's first detail even more this part. And then the posterior head. Here I'm doing this detail over there because here it kind of loss the volume. So you're going to be more like these shapes and make some adjustments and silhouettes and general volumes. And here we can paint those tendons for the deltoids. We can have more posterior volume, posterior head volume, and this three-quarter view. And also a little bit more lateral head. Now some volume for the chest. And now let's make some fibers for biceps and triceps. Not many secrets around this. Just doing parallel fibers. Now we can paint those insertions and making some adjustments. So here I'm going to do the same for triceps. But actually for the fibers of triceps will be more this way. Look, you know, the fibers will be all connected to the tendon like that. Yeah, this parallel line is, and the direction that we need here, you're going to move this part because wow, wrong direction, stroke. Yeah, very good. And now for the brachialis, the bracket is, it's, it's fiber's direction. You're going to be this way. All right? Once again, not any secret. This doing the fiber's direction. And just the visible parts should be. If we almost forget the medial head of triceps. And once again, the fibers will be more direct with the direction to the tendons K. And then also subdivided sometimes and just make some some details. And the top like that, some parallel lines for the fibers, the muscle but kind of straight. All right. And now we can go over and check the forearms. Alright. So let's see.
35. Sculpting Back Forearm Muscles: Okay guys, so now if we go to the forearms, something that is important is I actually like to just separate the forearms in tree. Actually 123 and maybe 44. Great groups for the forearms. So at first we are going to have the reach muscles separated here, which I call rigid muscles like that. That is just these two muscles. Actually the brachial radialis muscle, muscle and also the extensor carpi radialis longus, which is this one here. So these two are the reach muscles. Okay? And after we're going to have the extensor muscles that are the extensor carpi ulnaris, extensor digitorum, extensor carpi radialis brevis, and extensor digiti minimi. Okay. And the other side we're going to have interior part anterior view. We're going to have the flexors, which are responsible for flexing the hand and the extensors, the opposite, obviously. So the flexor muscles, we're going to have the flexor carpi ulnaris, the palmaris longus flexor carpi radialis, and pronated pronator teres k. So these are the most superficial muscles and the forearms. And also we're going to have to finish the policies muscles, which are called, there are two of them that they most appear in this surface, which is the abductor pollicis longus and also the extensor pollicis brevis muscle. Okay, so we're going to have a look and also we're going to have this in Kronos. And colonials is just one little muscle right here. Here we have the bone landmark, which is the lateral epicondyle, which is just protuberance like this part here and the humerus. We can call it those epicondyles. And all those sharp points. And actually those two points are going to be, as I said, a landmark. So once you find them, you can locate it in, map yourself about where the muscles are going to be. And what are the extensor muscles and also the flexors muscles. So the extensor muscles, I call that Are those muscles here. Okay. So they are in the top part of the hand. And all that. It's tendons and its surface is it's all into this region. And then in green here, we're going to have the bridge muscles, okay. And in the other side, as I said, we're going to have the flexors read all those years. Okay. So here I've separated some, some reference for each muscles for its origin and insertion and also how to locate then in between the others. And, you know, the farm May look a little bit confusing and also so many muscles right there. But once you separate them in those, those groups like the original source of the flexors and extensors and also the policies. And then you're going to be so much easier to understand and also to memorize its form. Okay, So let's start there on ZBrush by doing our rigid muscles. And for the rich muscles, we're going to have the brachial radialis, as I said, and also the extensor carpi radialis longus. K. So far, brachial radialis. It's origin is going to be in the lateral region, distal humerus, which we can, we can check it here. Let me show you. Just write into this region over here. Okay? So it should this region, we're going to have the Arjan for brachioradialis and also the extensor carpi ulnaris. Carpi ulnaris. No, I'm sorry. Carp carpi radialis. You have you can remember that, you know, the owner is going to be closer to the owner bone and the radialis going to be closer to radius bone. Okay. So let me first start by doing the extensor carpi, the brachial radialis. This I can do the stretch from here. Just another channel extrude. Let's turn on the local symmetry. And good. Now from here, let me first show you guys, where are you going to be this muscle actually grabbing it with the Control button. So I can extrude this way the mascot Bart. And then had been now here could even add some edge loops in the middle. So I can now is the move then this way, K. And then it's gonna go over here. All right. We're going to live to continue him after. And because we're going to need to have the other muscles force like this tensor. So what will be better for a straw? Position it perfectly. Okay, so the first thing I'm going to actually do as well, I'm going to duplicate it and make the extensor carpi radialis longus. Let me get another reference here. Yeah, I actually got this one. But just to show you the difference of from brachioradialis and extensor carpi radialis longus. Both will start from here, but actually the extensor carpi radialis longus will start more on the lateral epicondyle, as you can see it here. And we'll be just right there. So here I'm going to duplicate this one and grab it more. To the down part here, closer to the lateral epicondyle. The deep condyles that i've, I've said. Actually this one, the medial medial condyle. And this one the lateral condyle. Okay? So, well if both this tool to add condyles and the owner here, we're going to have a triangle. Okay? So once the arms race here, this triangle going to be more like that. Okay? So always take care of if this triangle, because it's going to be a great landmark for you. Good. This one. We're going to do a DynaMesh. Yeah. Better not to work. Okay. So this is just shown to, you guys. Understand that for those rigid muscles, we're going to have both these two muscles here, the brachioradialis and extensor carpi radialis longus. Okay. Good. So now let's continue by doing the extensors. And for the extensors muscles we're going to have let me show you. Yeah, actually we get we're going to correct this. Right. But for the extensor muscles, we're going to have this 34, actually three and also the minimi, which is just a later one. But actually three of three great muscles that are the extensor digitorum. This one, the middle. And then we're going to have after the extensor carpi ulnaris. Extensor because it will extend your hand or wrist. Carpi. So on the hands and onerous because it goes over the ulna here. And then we're going to have the extensor carpi radialis brevis, which goes over the radios bone. Okay. So pretty much the same. So we're going to have it here. Stains, surgeries, storeroom, extensor carpi ulnaris, and extensor carpi radialis brevis. And just in the middle of these two, we're going to have just a little one, which is the extensor, extensor digiti minimi, which is this one, which is responsible for raising the minimi, minimi finger. Okay? So all of them have the origin on the lateral epicondyle like here. So yeah, let's do it. I'm actually going to duplicate this, those bones here. And then I'm going to isolate and delete hidden. Just have this as easily. So now I can move it. It starts and also its origin. Good. And position. It's Arjun going to be the lateral epicondyle. Let me use stronger brush so I can easily move from this part better. Here I'm trying to create better the form. So this one will be the extensor digitorum. The one the middle. Just beside it. I'm going to duplicate this one and make the extensor carpi ulnaris. Extensor carpi ulnaris. Let me show you. In the middle of those. I going to make the extensor minimi septal one. Okay. As you can see, it goes over there. Right? And then to that part, we are going to have the extensor carpi radialis brevis. Let me get referenced by isolating this one. Yeah, I actually found, found the reference here. And what do we have is that we made a confusion. This one is supposed to be the Hijab is longest and this one is supposed to be the hydrogel is breve is like this. So we have the same orientation. Always look for the thumb. Yeah. This one, the extensor carpi radialis longus. Yeah. It goes over there. Okay. So the extensor carpi ulnaris. Extensor carpi radialis brevis. We can also duplicate the extensor digitorum. Position it just in this side. Right there. Remembering that the the extensor digitorum will be the most more pronounced one. So the muscle's going to look more like this. This, those muscles are different. So let's do a mirror weld. Mirror well, now, yeah. And also for this one. All right. Let me also do a DynaMesh on this one. The extensor carpi radialis. This way is better to work. Okay. And so those are the flexors. So just missing the flag. Those are the extensors. And we are just missing the flexors and also the policies k. So let's do it and ask after we can better correct the others shapes and everything.
36. Sculpting Front Forearm Muscles: Okay guys, so now let's start to make the flexors. And in order to make the flexor muscles, we can start by doing the flexor carpi ulnaris, which is the biggest one, which takes all this, this part and the bottom part of the the arms here. And as you can see, have a great volume for the flexor carpi ulnaris. And it's carpi ulnaris because it's going to be around the owner owner bone. Okay. So let me show you a better yeah. From this this angle here, it's also very visible even from from the back, back, face of the hand. So it's very visible like that. And also we can see from the front face of the hand, I can clearly see here. Okay. And this one should be the palmaris longus and flexor carpi radialis. Okay. Yeah, that's it. So let me let me make the muscle here. It has its origin on the medial epicondyle of hearers. Olecranon process, which is the elbow bone, the part in the bone and posterior owner. Okay, So let's see. So here I also going to duplicate this, this muscle here that we have made the extensor carpi ulnaris. Let's make the flexor carpi ulnaris right now. So I'm going to duplicate this just like that. And now let me grab if low intensity for, for, for Move brush, we can better position it. And as you can check and the other views like that. This one supposed to be like this. Okay? So what I'm going to do is to actually position it on, position its origin on the medial epicondyle. Those like that. And then I can bring up, sorry, I can bring. Bring this way so it covers the ulnar crest. Like that. Good. And here, here I'm actually moving with the back face masking, turn it on. So this way is easier for me to control. This this volume. I can easily add more volume by by depending on the silhouette that I'm looking for. Okay. And now let's go for the other muscles. Good, so now we can make the palmaris longus, which we are going to be the muscle right? Besides the flexor carpi ulnaris. Let me show you guys here. So once we have the flexor carpi ulnaris right around here, we're going to have to this region. Also from the medial epicondyle. We're going to have the palmaris longus. And after we're going to have the flexor carpi radialis and also the pronator teres. So let's make the OLS. Here. I'm going to duplicate once again this muscle that was the extensor carpi ulnaris, that let me just correct its shape just a little bit. Okay, and now I'm going to duplicate it. So let's duplicate here. If the Move brush, I'm going to position it. Once again. Palmaris longus, it has its origin. Let me show you. You're going to has its origin in the medial epicondyle of humerus. And you're going to be just in the middle. It will have its standards for those three fingers. So not so fancy. So just position it here on its origin, on the medial epicondyle. And then I'm going to bring it more. To the middle like that. So just the tendons. Let me position it just in the middle of those two bones. Just like that should be enough. Right now. We still need to do the flexor carpi radialis. So I also going to duplicate this one. Okay. And notice that it's standard and goes over there and connects to one of those bones here. I'm going to just bring a transpose wine and with the rotate mode, I will rotate it just a little bit. So this way we're going to have three muscles on the surface just like that. And the only one that is missing right now is the pronator teres for the flexors. And actually in this case, when me show you the pronator teres, I also going to duplicate this one because it also starts from the humeral head and your ulnar head. It has actually 22 portions. So what I gonna do, I will duplicate this. Bring It On the right place like that. You're going to be over above the others muscles. And here I will actually delete, make it shorter. Isolate this and I actually delete. So close, Close Holes. And then this way I have the pronator teres muscle. And its insertion on the radius, as we can see it here. So here kindly is moving the forearm and make it just a little bit bigger so we can better cover this. All this region here. Yeah, and let me just make those region muscles a little bit bigger like that. And now the only muscles that are there we are missing are actually the colonials. Let me show you then Kronos here. Then coin is going to link, I'm going to connect the let me show you here the lateral epicondyle to the crest of this region over here. So what I'm going to make it, I will actually do a mask on its connection, its insertion point. And I'm going to make an extract and accept. So once I do, I did this extract. Let me grab just a little bit more. So over here, click over just this polygon and this polygon. Let's turn on local symmetry and make it smaller. Just like that. And now I can position it better. Right on the lateral epicondyle of humorous. Okay, now I'm going to also do a DynaMesh. I can make a DynaMesh with greater resolution k and also bends it and show the muscle color that when we have, I have made here actually the banjos has become with some holes. Dynamesh. So I'm trying to inflate and recalculate the DynaMesh. Good. So now it has better the form that I want. And just position it in the right place like that. Also in this case, I think this bone is too big here. The radius bone. Let's position it right in place then Cronos. Good. Now I could also do some volume like that. Maybe not so big this way. Yeah. Okay. And now just one hour. Okay. We're missing the policies muscle. So let's make the abductor pollicis longus and the extensor pollicis brevis and abductor pollicis longus is going to be this one. So it has its origin on the posterior surface of the ulna and radius and interosseous membrane. So what would I have it here is in Ghana, originates on the owner and just that part there. So I actually are you're going to duplicate this one just in order to know. And it is going to be underneath the other muscles there. Let me show you how it works. We're going to became goes out from this region. So I can actually rotate it. Just this way should be enough. And notice that it, it becomes just after the extensor digitorum and between the extensor digitorum and extensor carpi radialis brevis. So this one, this big one is the extensor digitorum. I also, I'm going to do is I'm going to duplicate this. And in order to make all red mark or red, which one is the extensor digitorum? Going to draw some fibers. So we can better know where actually is going to be. The muscle. Now I am. So the tailing a little bit more. It's tendon from for the extensor digitorum. Okay? So now we know this one is the extensor tunnel and then we need, let me reflect so we can better see here the extensor digitorum. And let me show you from from the extensor digitorum here. And if I flip this, we're going to have the policies muscles just between that. So let me grab it and move like this and is more fit, more like that. And then I can make it just a little bit larger version back face masking. K. So this one is supposed to be the policies brevis. No, sorry. Actually the policies, laws. And write these slides. We're going to have I duplicated and we're going to have the pollicis brevis. And now let's add more of those fibers, the details on every muscle right here. So for those, I'm going to first do a 0 measure so I can avoid the triangles. Yeah, I gotta do this and the next.
37. Finish Sculpting Forearm Muscles: Okay guys, so now in this lecture, we'll start to refine to either more details on those muscles that we did. So this way I did that DynaMesh, sorry, at 0 mesh. And, and this way we can add those details with Arbor cracks, brush just like that. And this was the extensor. Extensor carpi radialis. Let me confirm that. Extensor carpi radialis longus, this muscle over here. And just above it, we're going to have the extensor. So let me rename it. Extensor carpi radialis longus. And this one, I will 0 mesh. And now sub-divide it sometimes and make it those details fibers. So this one should be the brachial radialis, brachioradialis. This one should be pronator teres. So the mesh. Pronator teres. And let me just save it. And now the extinct so the flexor carpi radialis. So let's do the same. I will do 0 measure. Great. Sometimes the tail, this wave, some fibers. Yeah. That's all right. Let's rename it flexor carpi radialis. Flexor carpi radialis. And the same for this one. Z remeasure subdivided and add some fibers. And then let's rename it. This one's going to be the palmaris longus. Paul. Mary's long goes. Good. Then the flexor carpi ulnaris. First do a 0 measure, subdivided some times n. Now, let's add some fibers. And let's rename it flexor. Flexor carpi ulnaris. Ulnaris because it's on the ulnar bone. Okay. So now just missing those extensors and the anconeus. So then canoes going to add some details like that on this DynaMesh version. Yeah, I can subdivided and add some fibers like this. So this one's going to be an Kronos. This one will be the extensor carpi ulnaris because it's on the ulna bone. Okay. Extensor carpi ulnaris. And this one will be the extensor digiti minimi. Extensor digiti minimi. And this one, the extensor carpi radialis brevis, I guess. Yeah. This right here. So extensor carpi radialis brevis. Ok. And now those two. This one will be the pollicis longus. I will rename just like that pollicis longus and then the other, like pollicis brevis k, because we have this, it's the abductor, but as the extensor won't be very visible on the surface, I will just make those two. So this one will be the policies. Very obvious. Just painting those muscles. And that's it for the forearms. Just think that I could have just a little bit more volume to those rigid muscles over here. Yeah, like this is better. And actually are the palm of our hand will be located over there. Okay. I'm just making adding more volume into those those extensors muscles. You guys. So that's it for the forearms. And the only thing that is missing here is actually a fascia on the biceps. Let me show you. The biceps brachii is going to have a fascia over there, and it's not shown here. But here in this way we can see that I go in and use the mesh from pronator teres. So I will locate it here. Actually this should be very, very thin, more like this. And I'm going to position it just this way. And the goals over here and make a better curve. So I just going to position it better on the right place. Yeah, I was trying to 30 tier one goes over the ulna, goes just like some part over there. It's already have some detail. That's perfect. And now I could paint it this way. Let's paint a little bit those insertion points and also the tendons. Just to finish, Let's paint a little bit those other muscles that we have made. Hey guys. So I think that's it for the moment. And from here we can add, add the hands and start to make the version of flesh and skin. We are just missing here. Let's make some, some details into this external sternocleidomastoid muscles like that. Alright. So let's go over the flesh and bones.
38. Torso Muscles Review: Okay guys, so in order to make the torso on verse song of flesh and skin, I actually take get, I got some, some reference on Pinterest and got a lot of personal images here from bodybuilders and, and some guys with nice shaped for four year olds or even referencing just for knowing the muscles. And then after you can always adapt for the kind of body that to one, making your character. So here we have blend of views and now let's start to do it. So I have some, some, some reference in the front view and three-quarter view and hear from some of the back. So we can better understand how the anatomy would work. But now in our version of flesh and skin, okay, so in order to make this, we can lead me first append a cubed. And I'm going to leave it with the head, the modeller, model and moon, so we can better adapt the torso that we're going to model. Yeah, So there it is. And here, let's drop a little bit the Tercel. And first I think I can add all those muscles and those things and group so it will be easier to manage everything. So yeah, let me first separates those that are bones from those that are that are muscles. Let me erase this visible count so it will be easier to manage this and group everything. First. Yeah, I'm going to create first Apollo Group for our group folder or group for the muscles of the arms, right? So new folder. And arms muscles. Okay. And then let's organize everything so it will be easier for us. Let me see. This one is the biceps. Biceps brachii is this one is the brachialis. And so this one is the tenon of triceps. Triceps tendon. This one is the triceps medial head. So triceps had this one should be the triceps long head. And this one the triceps lateral head. So let's put this into the folder. This is supposed to be the bones. So after we can better organize this, this is the extensor digitorum. Extensor carpi radialis brevis, carpi ulnaris palmaris longus flexor, pronator, teres pronator. There is let me see here. Okay. This one is the biceps up on our roads is this one's the policies longus pollicis brevis, flexor carpi ulnaris, and extensor digiti minimi. Okay. Good. So let's see. Okay, we have more over here. Okay, just missing the deltoids. Deltoid lateral, the toy, and tidier. And deltoid. Posterior. Okay. After you can organize this and separating by flexors and and the, the, yeah, let's do this. The region muscles over here first. So the brachioradialis, right? And the extensor carpi radialis longus. So this should be the deltoids and then biceps and brachialis. I'm going to separate them by this, the triceps now. So I will separate group like this and then, then Cognos separate piece. And then the extensors. Here we have the extensor carpi ulnaris. Let me see. It's missing this one, the extensor carpi radialis brevis. Okay. Digitorum carpi ulnaris. And let's also the extensor digiti minimi. Good. And so for the flexors, Let's put the flexor carpi radialis first. That should be this one. Okay. Not this one. I want the carpi ulnaris first because it's kinda the first one. And that part in the flexor so should be okay. So if we make this, we have hidden all the flexors. And if we make this, we have hidden all our k. Let's separate also the policies. So Policies group, flexors and extensors group and Kronos, triceps and biceps and brachialis, and then they'll doubts. All right, so that's good for for the arms muscles. Okay. And let's also organized in the others. I think it would be better for the project itself. I want, I'm going to make a group for this one, bombs, bombs and actually cartilage those on the trove. So just in order to remember, Let's rename everything spine. Ribcage, Elvis, scapula and clavicle, humerus, radius. And then I'm going to separate those. This is on the head, I guess. Yeah. And also this one this is on the head because are they are the neck muscles. Right? Yeah. So I'm going to separate then by front door. So muscle's going to start by adding the backs and the back. Muscles back there. So muscles. This is the most doors. Doors. Yeah. Let me pause here. Okay, Let's continue. This should be the teres minor. Remember that was almost not visible, very, very small. Let's rename this also. Pectoralis major clavicular portion at clavicle. And that's okay. Pectoralis major external portion. Let me show you that it will be better. If I click over here, I can disable the line. So just the polar group visible. Right? So the clavicular part portion, the external portion. And here what is this? Now this one's not the front door, so is the vector. So in the erector, spinae deny. Good. If I press Control W i, I can set our group visible. So I renewed the poly groups like that. Sorry guys. And this is the infraspinatus phrase, be Nader's. This one is the teres major. The pectoralis minor, pectoralis minor. These are the rhomboids and this is the trapezius. And this is the levator scapulae. Waiters to lie. This one I will live in the head because it also make part of the neck. Neck muscles. I guess. This is the obliques live at the front, front torso. Rectus abdominis. So this is the pectoralis major abdominal portion. Okay. And these are the separators and tidier that I will also leave here in the front front tarsal muscle. Jay, Everything place, right in place. And here we're going to have the torso. Torso on flesh and skin. So everything is better name id and better organize it in groups. So when you guys access this, you can always check each muscle and remember everything that they said. Okay, so let's continue here and let's start your block. Block out the torso. So Let's hide those tarsals, tarsal muscles like this, and turn on the symmetry mode. And let's start to do the blocking. Okay? In order to make the torso, I would do. Like there are several ways to start this blocking. You can always think this blocking step like first finding the landmarks in the shape, you know, the skeletal landmarks, like try to first find the ribcage. And then you're going to then understand the muscle, the bones, how, how they are made the pelvis. And then you can start by adding the muscles above that structure that you made for simulating the bones. So I think we would be better to start this in the next lecture. Okay.
39. Blocking Torso Sculpt: Okay guys, so now let's start to block out the torso. I'd like to use this method by starting from from our box and start by finding kind of like the, the ribcage. So if I didn't have like the bones over here, this would be the way I would start to block out this. And let's hide also those muscles. Those muscles. Okay? And after we can check the proportions and everything if the, if they are right in place. So here you can start by, by doing a DynaMesh on this. Let's see its density. I think. Yeah, that's okay. I don't care how how how, how much are the resolution, but just for knowing if the density would be a K or not, but you're going to feel that. So here I can start by creating like the first structure, doing the external, the clavicle and that part in the ribcage just marking the structure. And then I could remove some some volume over there and yeah, maybe it was too high for for the resolution because, you know, it's, it becomes harder to do work like the borders like this. So we can actually go back over here and start this. Even with this, this first, the first topology for the box, you know. So I can try to find the shape of the ribcage over here. And after we can better continue. So I is moving all the ads and the border and lets him lower down a little bit the intensity for brush. I do prefer to do this way. And now I can do DynaMesh. Maybe not to melt resolution 64 maybe. Yeah, So now I have to find those landmarks there if we said so, the external, remember the external should be like the same, the same high of the clavicles. And are the same the same size? The clavicles, the external and this portion here. So I'm just putting all the info and also on the back, I will drag an L shape for doing the, the the clavicle shapes, the shoulder blades like this. So let me grab this a little bit more like that. So here I can Find the S shape for the clavicles. Good. And then from this does everything. Very blocket. You can start by adding the muscles. And also let me add, append a cylinder to make the arms. So I'd like to make the arms and separate piece like that. And notice that the arms are like the same the same size of the ribcage. I'm going to make it very thin like that. So after we can better adapt. And here I'm going to do mu here and weld that you can always access here in geometry and go over topology mirror mode. So now I can enable the mirrored by pressing X button, and that's it. Now. Let's position it. And then here we have the blocking for the rib-cage. Okay. And Yeah, I can start by adding some pectoralis major muscle. So very, very blocket out, just mapping myself like this. And from here I can also start by adding some deltoids, updating the DynaMesh. Just the volume, nothing, everything right in place right now, just adding the marks for the structures. And here is missing like the and the trapezius muscles. So I do remember that the trapezius would start. If here we have the clavicle. We're going to have the trapezius starting by here. The last portion of the Iveco and also the spine of the scapula, the shoulder blades. Okay. So I'm going to start by adding some volume over here. And maybe one distance that we can try to measure is. From the base of nodes to the top of head should be the same we did of the head right here. So let me show you. This distance should be the same, this distance here. And this distance will be the golden number. Rachel, you, and also, you can then repeat this distance over here and you're going to have the, the first the first rib. And so we need to go up a little bit this torso. So let's position it better over here. More like this. And then we're going to have the same distance. The same distance we have here. We're going to have this portion kind of. And then the same distance for the external the external Stern and external bone. And the same distance for the clavicle and kind of the same and to this last rib here. And then we're going to be able to find the egg zygote, the pentagon shape for the pectoralis major. Remember the shape for the pectoralis? Because this point should be kind of in the middle distance from here to here, right? Good, So let's continue. Remember to leave the external very flat, flat position like that. And here you can start more. Deltoids, updates the DynaMesh, and then we can start by adding more trapezius muscle. Let me also add some some volume, the middle and this part I had to activate the back face masking because it was I updated here, but how this part was too thin, if I just use the clay buildup, it would grab from the back face. So I activated the back face mask that you can always find over brush, pallet and auto masking. And then this button over here, the back face masking that we will disable the way to, to grab the back face and work just on the front face of the geometry. Okay, now I update my DynaMesh. And good. So here we have the shoulder blades. Nice. And from this shape of the shoulder blades, we can start by adding the shape for. The trapezius muscle, as we, we have found over here, the trapezius is this shape right over here. If we have made, we have found the shoulder blades like that. We can then create the trapezius muscles over there. So let's add those, those volume. Remember the, the fibers, the direction of the fibers. So this will be easier for understand the shape. Remember that in the middle here we're going to have a diamond shape with the seven vertebra over there. So how now we are just adding the volumes and the forms just for blocking out the shapes. I'm not paying too much attention. And going over over the tailing on every, every shape. Here I'm adding some mixed sternocleidomastoid info just for getting doing for writing place over there. And the shape of shoulder blades should be more flat like this. And so you can always go there and correct the shape in the middle. We can push this a little bit more so we're gonna make kind of the shape and also an M shape like this. The shoulder blades, the top. So I can drop the middle a little bit more because we have the spine. Actually, my dem standard is too strong. I don't like to work like that. I do prefer. Now weaker, weaker re, good. And then from the back we're going to have also the, the hero muscle. In the front. We have the hero muscle, the pectoralis major, like this. And the back, we're going to have the teres major that will make, will be bread shaped like here. And then on the top of this here, just above the pictorialism, the teres major, we're going to have the infraspinatus by taking this shape in the, the shoulder blades and go in there. K from our, I think we can also add the rectus abdominis, so I mask it that part. And I'm going to grab it. Like this. And start by grabbing the rectus abdominus. You can think like two towers like that in the same, same size of the neck. First and then into this region. We can start by adding some information for the obliques. That will be the lateral part. So everything is pre half yet. So let's just save it. Yeah. While this is like saving, let me remember some, some parts there I am modelling right now on the reference. Let me find one. The front view. Maybe. Yeah, it can be those two. So notice that everything is pre half, but we just add the size for the external sternum bone and then the clavicle and the sternum, the clavicle. And then we start by adding the pectoralis major, the deltoids. And the front right. We added the rectus abdominis and we have no, no, the ribcage and the obliques, just the signs like that. And here we also add the trapezius and sternocleidomastoid like that. Okay. So let's continue. Good. So now in the back, Let's start. Sure. Correct. Some shapes over here, but we are missing some some some parts in the back. Here the ribcage should go more. Remember that that written for? For the spine. You would be more curved for the front of the neck and then the torso, the great curvature like that. And then I small curvature in the lumbar and then the sacrum. Okay. So let's make this the shape for further back this gesture. And here we can have first, find the ribcage. So the ribcage shape, right? And in the middle. We can make the spine. Okay. So once we find Let's update this. Now I have to find the iliac crest and the pelvis. If we find the basis that it will be over here, the anterior superior iliac spine will be the same distance here, like the beginning of the third part of the clavicle. Now I have the client calls separated in three parts. And then into this we can drop our line and we will have the here, the nipples. And here will be the a's is right. So, and here the lies, the less rigid. So here we have found the A's. And then we can go back and find the sacrum. The sacrum, we're gonna make like this. Right? And then we can start by adding the erector spinae pie shape, correcting a little bit the shape of it, the rib-cage that is more inclined it for the front view and the sacrum making that curvature. So by looking for from the front view, we're going to have to be able to find that this shape, not the front view, side view. We're going to have to be able to find the shape of the ribcage just as we mentioned, the blocking structure just break right here. This structure over here, okay, sorry, here. So we're going to have to be able to find this shape. All right? And imagine the pelvis over, over here. And then we are missing here the volume for the serratus anterior. That should be over this place over there. So let's add more volume over here just by simulating the serratus anterior volume. All right. That should be this volume that I can show you the reference. Right over here. This volume here. So this part would be more the ribcage and the latissimus doors. And this other part over here, the volume for the legitimate doors and also the serratus anterior inside. Not inside but behind that. Okay. Okay. So now let's start to refine everything. Here. He can have a better shape for the backs. Are going to start to refine everything in the next lecture.
40. Sculpting the Torso Muscles: Okay guys, So let's start to refine this blocking out that we have made. And we can start by refining the shape of the pectoralis major. Remember that it should look kind of pentagon. And notice that the ribcage should look always with this nice curvature. Even from the bottom view like that, you should be able to find this curvature. So not too much. Maybe you can think like those angles like this. If we make a plentiful, okay. Pay attention for the volumes of the pectoralis major. Pectoralis major, I want to move right now because it will be easier for you, for you to understand the volumes that I'm putting here, right? Remember, first, find again, once again the clavicle. So you can even add very septal the clavicle again, just to bear to better find yourself over here. So I'm adding the clavicle shape once again. And then I will start by adding pectoralis major info above the the clavicular portion. Then I'm going to create that fossa between the the clave vehicular portion and the deltoids. The anterior deltoid. And then by the end of the anterior I can create a pinch like that depression. And then I can start by adding the lateral head for the delta IDS. And then I can correct the shape for the trapezius that I remember. That is the last portion here of the clavicle. It will be the location for the trapezius muscle. Then I can mark the acromial region that you create. Nice. Breaking point, a nice landmark on the silhouette. And phi the trapezius. I going to have to have a line by separating the trapezius from the rest of the neck. This like that. And then here I can have the volume for the serratus. And actually, let's correct this. You can even go over here and with the standard brush, add more volume for the shoulder blades. And then we can start to refine a little bit the trapezoidal shape by adding the clay buildup of volume with the clay buildup brush, following the fiber's direction. Here we can create that diamond shape and add that that vertebra, C7 vertebra. Here is missing some infraspinatus volume. And actually maybe this is too big. Yeah, better right now. And the ribcage and then the obliques. Let's start to refine this. Pay attention for the obliques to not leave it too much volume like that. It's better to have flat silhouette just as I'm looking here, you know. And here we can add more volume for the ribcage. Here, if we start to move some parts, we're going to be able to better view the angles. One thing that is quite nice to find is the continuity of this gesture lines. From the acromial trapezius. You can find this gesture line. From all the views, you can find this look. And also from the front view you can also find discontinuity. Okay. Then here, Let's add a little bit more volume like that. Here. If we find the, the end of the shoulder blades, we can create kind of a triangle, triangle over here. That will be, maybe be able to find, to see the rhomboids. But, you know, like here we are not able to see the rhomboids. Yeah. Those yeah. This one here have the the scapula, shoulder blades and this little triangle that is supposed to be that medial portion that that fossil, you know, that hole that we have nothing because here we are going to have the latissimus dorsi. And here there is major infraspinatus and trapezius. So this part will be empty, just like with the home boys are peering should this, but behind the trapeze. In order to make this serratus. One thing that we can, you can think is the radius will be more horizontal shape. Let me show you on some reference like this one. The serratus will be those over here that will be more in horizontal or just very subdued diagonal shape. And I'm in the lines. And the obliques will be more vertical and diagonal shape k. So the obliques will be more ups. Like this, this kind of lines. We're going to have three or four appearing. Three or four N then for the obliques will be more diagonal vertical shape. So we can make like this. And in the middle, just in the middle we're going to make those zigzag. So in order to make the zigzag, let me first create this horizontal lines. Imagine the origin of those muscles will be just in the back of the scapula over here and go over each rib. So you can think like that, that, that way, you know. So if dem standard brush, I start by adding those separations like that. And then I go over here and I can create the obliques fibers like that. And then just here, I actually could raise it up a little bit, my DynaMesh resolution. So let's use this. I think will be, will be okay. And then I just need to continue that line until it reaches the others. And our vertical. So this way, we can have the digitations, interdigitation of the serratus. But notice that if we have the pectoralis major over here, notice that shape. For the pectoralis major. Then we're going to have this interdigitation like that. But be careful to not over, you know, over push the standards strokes is very subito and create kind, kind of cylinder shape. And should this, this serratus volume. So this is more round shape and this is more flat shape for the obliques. Okay? And this way you're going to create that nice zigzag that are called the interdigitation between the both the separators and Cheater and obliques. And then here we're going to have the legitimacy versus covering everything. Right? Yeah. Let me pause and wait quick, save. Good. So continuing here, I can add just a little, little very subtle line by separating those. Those shapes of the serratus and jitter, right? Maybe these are two strong, very subito. And being careful to not make this part to round. This is supposed to be more flat. I like to work with clay buildup in a very, very low intensity. And then I can continue this volume very subito like that. Now, refining this oblique shape, filling those empty holes like that. And now for the proportion, I can raise up this a little bit. Because you can think like this. Distance for this external bone should be almost the same for this distance to the last rib. So we have to remove a little bit of volume here and then kind of the same until the a's is born and then until the pubis bone k. And the same for the, the clavicle shape. So we can manage the proportions a little bit more. Over here. You can find this golden, golden number of propulsion. Right over here. My sternum bone, the clavicle, the, the head, top of heads from the base of nodes, base of nodes to the external sold in the external. The, the distance for the less, less rib. And then the a's is over here. And until the purpose, so you can find it. Let's make an green. We're going to have this distance, the same of this one. The same this one, and this one, and this one. But this one is just this region over here. Okay? So this way is easier to better manage the proportions of the torso.
41. Polishing the Torso: Good, so over here we can create like that. And I'd like to, to make this deal detail that we can see in some reference. Let me find one. Yeah, not showing to this this reference, but I like to add a nice separation of the end of replication like that by creating a literal depression like this. And then in the middle we can start by adding some some rectus abdominus. Here we can first find this and all. The belly button. Just a little bit lower than the last rib should be. Kind of hear a little bit lower. And then from this, we are going to have kinda of this shape for the drawing, drawing the rectus abdominus, you know, for drawing the six back. Right? We're going to have this. So we can go over here and mark this. And then you can start by adding more, a little bit of volume to create this six packs shape. And notice here that we have nothing. So we just add some skin by filling this, this region, but not too much because we still have to be able to see the end of replication starting of the rectus abdominis and also the obliques. Now phi is move. Here we can add more rectus abdominis, more volume. And here you can create this, this kind of shape. Pay attention to not over over add volume to that portion. The everything should look very subtle. Just the bags that can have more volume like this. Try to fill all those those parts that are not with a good surface. And then for the obliques, from the obliques we're going to have that that shape for the pubis bone. Here you can think this lower abdominal part like that. Pay attention to not have this too much, too much deep like that. So in order to make the nipple, the belly bottom, again, you can do depression like this and then add a little bit of volume in the top like that. And in the middle, some volume like this, okay. And this region, you can think like this volume, this general volume for the lower, lower abdominal part, portion. Some depression in the middle. Yeah. And then in the back before we continue, I think will be nice to have some info of the arm is I guess. Now let's continue over here. And then after we go over the arms. So this is too deep. Take care and imagine the, the spine gesture behind of this structure. All right. Always paying attention to the trapezius shape. Then we can refine the shape for the teres major, sometimes bigger like that. And here the shape for the infraspinatus. All right. Notice how deep I make those those strokes lines. Don't make it too deep into market because it will look unnatural. Sorry about the noise. Yeah, Now I think we can go over the arms. Here. This is too deep so it can feel a little bit with some volume for the transition between the sternocleidomastoid portion, the sternal portion over here, and between the trapezius. But I actually like to leave it this shape. Now let's start to do a little bit of the arms region.
42. Blocking the Upper Arm: All right guys. So in order to block the arms in flesh and bones version, what it can do here is to add a cylinder like that at all. Make sure that this cylinder is coming into the axils. Right? Right above, right under the deltoids. And notice that I've made kind of rotation. So two things that is also important is let me turn on the local symmetry. Center pivot, right? And I have to place this cylinder and to the same high of the lice. Let's read over here. And also this, this mark here is unnecessary. I guess. Let me use less intensity and just make some adjustments over here. On the chest, on the ribcage and those muscles and obliques. Right. Okay. They were just too much market and kind of where I didn't like it so much. But it's better now. Good. So coming back to the arms, you're going to place a cylinder. Just write until the less rib and the ribcage the same height. So after this, yeah, you have to make sure that the cylinder is going under the axles and under the delta is that we've made here and the deltoid, the thing that is most important is to make sure that we have the anterior head coming out from this last third of the clavicle. So if we divided the clavicle in like three shapes like that. And making this S shaped like that. So the deltas will come out from this one, which will be the same, the same third of the trapezius muscle. Okay, so here we're going to have the lateral head of deltoid. And from here, from the spine of scapula, we're going to have the The posterior one, posterior head, right up, sorry, it will be just like that. Here you have the acromial, which will be kind of an empty space in the silhouette. And it also makes a break. Nice break that we have here from the curvature of trapezius muscles and the beginning of deltoids, right? Yeah. So once position our cylinder, notice that this part will be the elbow and this region. So the elbow, one of the trick is to position the oven should the same higher of the less, less rib, right? So if once we have those ribs here, sorry, I've made too much. But we're going to have this point which will be the elbows. And here we're going to position box or rectangle. That will be the forearm, right? So let's do it. What would be the structured where we're going to build the forearm? So here, I don't even use an append will insert mesh. Let me, let me find. Are going to use a brush that is deforms the reverse on ZBrush, which is this. I am primitives and insert mode mesh primitives. So I'm going to choose cube. And I can drag and drop, drag and drop one over here. And then now I can position it and scale it just right as I want the forearms. So the trick here is to think the size of this box just in the same of the wrist. You know, you're gonna think this region as the wrist. And all those muscles are going to come over those this box. Okay. So position it and to the gesture. I think on the elbow shape over there. And then we've Alt key. You can always change the place of gizmo, right? So from here, I'm trying to create some gesture line to make the elbows more on the back of the character. So it's, it's kinda be most like that. So the elbow, you should think, should this region. If we have the long bar over there. So the elbow will be on the back, will be behind the lumber after the longer here. Okay, So this will create a nice gesture line for the character and yeah, for a pulse I think is a nice, nice way to don't create the characters. So stuck, you know. So let's continue by looking from the front view. As we could remember is, let me show you those proportions. Okay, so here in our pure have file, we're going to have this, this region where we can check all the proportions. And something that we can see here is that we're going to have the same height of the wrist. We're going to have the, the, the half of our character. And I'll just write all over. The pubic bone is the excuse. I schools. I don't know if I lick. Lick. Yeah, I'm not sure how they say that in English. But you know, this region. So let's try here. Good. So I'm thinking here in the end, almost kind of the end of the pubic bone. And I also going to duplicate this this box. So I'm going to push another one. And from these another one, I'm going to create the hand after. So let me better position it. In this case, I'm thinking already own the pose, but just starting to position it. Not so so careful. The show have a look. On the character's life and all this show and don't make it. So stick. Stuck. Yeah. I could actually make like this for the fingers. And let me hide are actually separate this into another subtour. And let me first start with the arms here we have different, so I'm going to do me harm weld and recovered the symmetry and the same here app's not with this local symmetry. Turn it on me Hearn, well, there you can always find mirror and well, into the geometry palettes. And going over here, the mirror mild. Okay. So here I'm going to turn on once again the symmetry. And yeah, this one, I will make it more straight line, a straight line. And according to the floor and all. And more like that. Good. So let's keep it visible like this. And drop a little bit. Oh, okay. So now we can do on DynaMesh on it. And then start to scope. So here we'll first start by adding the biceps muscle. And all the biceps going into the interior part of the character. Not exactly sure the front and you know, more into a diagonal shape. I add it with clay buildup brush. And then I can I can move this volume because let me recalculate the DynaMesh and then let me add more thickness on it. And thinking on more round shape for the biceps. So one thing that is nice to take care on the biceps is that it will actually be on the right, the right box of the anterior head of the deltoid over there. And so will, it will be actually in the same high, not overdoing the biceps like crossing this because it won't look. So static aesthetic. The better thing is to mark like this and all the same high of delta, the anterior deltoid. And also another, another thing that is quite nice to think on the biceps is that it could fit on a box like this. And then you're going to cut the symmetry, not decimal. You're gonna get the silhouette and to the beginning and the end. So we're going to make this corners. You're going to cut the corners just like that. Okay? So you'll be with this kind of shape, right? This is most of time the format for biceps. And then we can go into the WACC and start by adding the triceps firm. And the firm, the triceps. What are you going to have here is kind of an arrow shape. We can add the long head of triceps over this way. And then not, not the long hide. This one will be the lateral head. Lateral. Had this part. And then we're going to add this other, another part over here that will be the long head. Okay? And then we're going to have this last one that will be the medial head. I think on the media, everything there is closer to the center of the body and lateral, everything that is far from the center, right? And then here into this lateral head, we're going to have just little shape here as a tiny tail, just like that. So once you look into this shape, you can easily find a crab crab leg shape. So all the angles you can try to find this crab leg shape in. It will be the format of the triceps. Because writing to the center, we're going to have the tendon, right? Oh, I gotta show you better on some reference. And then you can agree with me into this comparison, I think, because it's also a nice way to memorize the shape of triceps. And yeah, look the way how I am adding those. The volume for the triceps. Here I have show enter into the solo mode because here I have to correct a sweep. Its shape is not so over like that. And let me raise up this form. So here I will sculpt on. So again, let me update the DynaMesh and I will scoped the triceps n, It's tendons. Let me add the tendons. Notice that the tendons won't go exactly into the direction of the head of humerus. It will be more. And should the, this direction, let me show you. It. Should this direction, Marian, kind of diagonal. So once you find the head of humerus over here, and here, you're going to have the base of the humerus with the two condyles, the lateral epicondyle and the medial one. And the middle, we're going to have the olecranon, which is the elbow. The olecranon is this region or on the owner owner bone. Right. So yeah. Let's quick save that and we can continue on to the next lecture.
43. Sculpting Lower Arm: Okay, So continuing here with the triceps shape. Firstly, we are adding the tendons. Yeah, After we can continue. Let's add this medial head. And then from this part we're going to make a tail. This insert volume like that. And right after with them standard brush. You can remove that volume and have the brachialis shape. So remember that right after this tail, we're also going to have the start point of the rigid muscles. From here. I can add those this volume just to make sure where the mass is going to start. But first, before we can actually, actually first we do the rigid muscles, I think would be better to first find it here. Those are the two condyles, the lateral condyle and the medial epicondyle. So we know that on the lateral epicondyle will be the origin of the extensor muscles. And so let's first make the extensors muscles being coming from this shape and going to this region, you know, going to the middle of the wrist and this part in red will be the head of owner. And here will be the olecranon, the elbow. So it's also the owner. And here will be the extensors and they also going to have some part being Show of the flexors muscle. Should this part. And and also from here we're going to have the region muscles are going to the side part of the forearm. Good. And from that, we're going to have the policies muscles. Okay. So in green, we can separate by three. And another one over here, which will be the minimi extensor digitorum and extensor carpi ulnaris, ulnaris. And also here we're going to have the anconeus muscle. Okay, so let's start by adding the extensor muscle. You're going to start by adding like it should this shape. And I will most of the volume, I'm going to add into this first middle half, the first half of the box. Because I know that in the second half will be more related to the tendons. So it will have more flat shape like this. Okay? And from this, I can start by adding the rigid muscles. So and remember that the lateral epicondyle be kind of over here. And from this part, let me update the DynaMesh. From this part, I'm going to have all the flexors. Notice that all those flexors will come from this, this part. And to take more the volume of this region like that. The first first half. So those will be the flexors. Here. I can force a little bit more the head of owner know this region, I can make it a negative negative shape. Okay. So notice how we have still have the box over here. And after we can correct this, but also from the medial epicondyle, we can bring out the pronator teres. The pronator teres is, we'll create this nice separation from biceps and the volume of flexors. And just like that. And right into the middle, you're going to be able to see is another arrow shape again like this. And as an asymmetrical shape, right? This one will be higher than this. And here we're going to have another muscle. And here we're going to have to, to policies. And then once we start show is move everything. Now, I can start to refine those shapes. First, we can refine the shape of the elbow properly. And then we can start to refine the shape of flexors muscle by adding the corners. Once again, because it's not show men Sean very, very well like that. Yes, So here I'm refining the shape of triceps. Notice how I really don't need too much resolution or subdivisions to make nice detailing or even the farm to make it into the right place. One thing that we could try is to raise up the clavicles and make it more into a diagonal shaped. More like that, I think will be better looking. Refining once again those shapes. Now let's go over the brachialis shape. Here for the biceps. We have to think on its tendons. More on this kind of shape. Let me show you here between the biceps and triceps, we're going to have a part that will be visible of brachialis muscle. And this will be the internal part of triceps. Right? Over the middle. Both. You're going to have the cortical brachialis muscle. And that is another one that we didn't make it into the shape, but it goes from the coracoid process on the scapula and it connects over here and the humerus. So try to remember this shape for triceps. The inner part of the triceps. Okay. Justin, a little bit. The proportions, the overall shape. And let's refine that a little bit more. This shape for the deltoid, the posterior head. We can create a nice marking over here. And better separate then over the scapula. This, a little bit. And this triceps should be good to have it go in right under the slides like this. And this delta J could be a little bit more like. So. Notice how the lateral head goes over the top of everyone, everything trying to correct the shape of a chromium and also this separation from scapular. Here I can cover better the clavicle shape with the anterior head of the deltoid. What is that? I think are not so yeah, we're not precisely, precisely symmetrical. But now let's change it and say, Well the local symmetry. Yeah, now it's right in place. Better. You can think the Delta is, I can do this three heads. And better blend a little bit more this shape. Here. Let me find some reference. We can take a look on those references I separated here. Yeah. Correct. In some shapes. And now let's continue with the arms. Let's go over the next lesson.
44. Polishing the Arm Muscles: Jay, continuing here, the arms. I think we are to raise up a little bit the volume for the flexors. Have some tendons. Here. We're going to have the policies. Now define a little bit more extensor muscles. Notice how I add the extensor digitorum muscle. Now I'm cutting the sternum. The extensor carpi ulnaris, extensor carpi radialis longus. And now at the extensor carpi radialis brevis. And right underneath we have the brachialis muscle, correcting the biceps muscle, and adding more volume for pronator teres. Here, the brachialis muscle, the triceps once again, and the flexors. Here we're going to have the separation of the head of owner would make it strong ray, it will look more like that. Yeah. I could have really septal separation here from from brachioradialis and extensor carpi radialis brevis. Sorry, longest name. Here. I could even maybe divide it form and refine even more this shapes. Maybe add some separation for two heads of biceps. And also for the biceps. One thing that is nice is show ad at the end. Some things. It's very good for biceps region. Triceps. And let's make it better. The olecranon or the elbow. Yeah, so there it is. Edge in some vertices photos, ops, wrong position, those details for those secondary detail zone. And then yeah, I'm trying to refine a little bit more of the shapes of Delta, add in some fibers definition. So then I can correct just a little bit the gesture trying to blend a little bit more. The shapes and all those curvatures. And all the farms are there. We can. Make it just a little bit smaller. So giant. Refining the form is a little bit more. Finding all of the shapes. Trying to look at the silhouette of the forms of true all the angles in order to make sure that the form is correct. And if not, we go back and check it again. Yeah. I think we are better refining just a little bit more of the shape of the trapezius. And then the teres major. Yeah, so from here I think we can also add the nipples. So if standard brush, I've made, I like to make this and I'll remove some parts in the border and keep the middle. If some volume are even use some Ziad mode. Okay, Let's carve this a little bit deeper. This is extensors. Now we are just missing the hand shape. Thinking big and I think is better right now. All right. And then correct the sacrum shape. Yeah. So now I can continue by doing the hands. Good.
45. Understanding Hands Structure: Okay guys, so now let's start to show and get into the hands. And, and under to understand the hands. Let's first understand its structure. So it bone, it's bones and also the proportions and some tips that we have here. Here I selected many images from protocol. And you can always go there and watch watch his videos, which is awesome, I've already said. But I've separated some images here that we can better understand the structure of the whole hands, right? So when it comes to the bones, we can actually separate the hands in 33 great groups. That are the groups in the wrist that we have some, some amount of bones we have, I think it's eight bones over there. It groups, it's called the carpus. So it makes the group for these eight bones and they are structured, very not so moveable. It's more solid, but it actually has great curvature like this. Because just in the middle here we're going to have plenty of tendons crossing there. So yeah, just as we are looking here, I have many, many tendons that is crossing between the hand, the extremities of the hands. So because of this, this, This bones, it makes a nice curvature there. A can see this way. And it, it, you're going to see on 3D when we block out the forms. But yeah, Is this the carpus group? And then we're going to have the metacarpals group that are formatted by those 55 little bones over here that are inside the hands, right? So are these ones over here and as we can see, there are inserted inside the hands. So and notice that they form kind of an arch, arch and its formation. And another things that are quite nice to memorize is by grouping these tree, tree middle fingers like this one, this one and this one. You should be able to see like the same way this off your wrist. Just as you can see in this image from anatomy for sculptors book. You can take a nice tip. Proportion measuring this way. So separate this tree, tree later fingers in the middle, and then you're going to have the same same size of the wrist, apparently. And then at least we're going to have at the end, we're going to have the fingers bombs that are the challenges and those fallen challenges. We can see in green over here. And they, they make parts of the fingers. And one thing that is nice to also memorize about the hand structure is that the whole hand is going to have the size of the face. And the face we know is the base of chin to the hair line over there. So this is, will be the golden proportion that we are read said over here. And structure and bonds, you know, will be the same size of the face and also will be the same size of the base of nodes to that until the top of head. And then this, this, this size here, the size of sternum, the size of Clive call. And then from sternum, the last vertebra and from that day is born. And so this will be like golden, golden measurement for, for the body. And also keep in mind this. And try to remember and when you are drawing their hands because not, not on running our sculpting the hands because it will be a nice tip to kind of measuring, make a comparison if the hand size is correct or not by comparing with the head size. Okay? So about the hands. Hence proportion. What you can see here is focus on the measurement of the half size. So, sorry. So once we know the total length of the hand will be one face. Okay? So once we cut in the middle and a half, we're going to have two parts, right? So the first part will be the hand structure and then the other part will be the fingers. And then we can cut another time, this size here. And when we cut into the middle, we're going to have half size for the force balance for language. And then we're going to have the half size for the others too. And then. Once we could, again, this size here to the middle, you're going to have another size of the last phalange. And at least the finger, not the bone structure but the finger. And then at the end, once we cut another time and show the half size, we're going to have this size for fingernails. And my start in the middle of the light falling edge. Okay? So the thing on the proportions of the hand, by measuring the middle size, they have sides. But notice that This is the size for the joints. So once you realize this, you're gonna, you're gonna see that this size from the top, the fingers will appear bigger from the back of the hand because actually the joint will be more into this region here, k and n. We also have these connections over here that are filled with skin. Okay? So you should not measure the finger by starting on this this region. No. You have to start from this part here. What are the, the, the joint connection, okay? And here we have another, another comparisons from by by the agent. But you can always check on an IMF for sculptors book, which is also another awesome book to learn anatomy. And then another thing that I can say about the hands is that those teardrops shapes, the hand is formed by those three teardrop teardrops shapes that are formed from by the muscles. Okay. So I have one end to the dump, another one overdetermined going to the finger, and another one to the size here to this part. And those are because of those group of muscles that we have here. And you can always think on these muscles by thinking on the chicken leg or something. I don't know how to say that in English, but yeah, is this and then on each finger we're going to have those fat pads located in this region that also broker shows, shows us. Try very nice assignment. And here we have some lot of angles to understand the fingernails and everything. So one thing that we can pay attention is that they form this curve by looking on the front view and they are more flat on the. On the tip, as you can see here, just with a little curvature here, but more curvature over there. Okay? And pay attention to the form of the fingers like this. And here we have more, some fluxes for the wrinkles that are formed on, on the hands. You know, some, some decrease. So here we have to pay attention on the form of the fingers. This one will be the term. That term. And those are the other fingers. Okay, So notice that the first phalange will be more curvy and then the second one more straight. And the last one, the third will be with this curvature. And for the term we're going to have the bone over here. And then we will have more curved one. And here we're also going to have another joint. So this will be the point, the, the, the, the tip, right? So you can think on this dog by view. Okay. And hear about the creases that Prakash shows us that we have some nice difference kinds of queries on by dependent of each joint. So here we have 1111. Here, we're going to have more spiral one. And then we're going to have 3332. And here more spiral. And then on the front of the hand we're going to have one to one. And here 22221111. Okay. Once again decreases and the gaps between the fingers. And notice that on the anatomy for sculptors we're going to have, have like these differentiations and all that are right by n comparison of this. That is not right. Okay? So when, when you're going to make decreases, pay attention should have this angles and not straight. So this will appear more natural. And when, when they are bending, there will be more curved one. Okay. Once again, the region, where are the joint? So here you can see I have half the size and then have the size. And then here about the tendons that we have in the hands. We're going to have those standards from the extensor digitorum extensor digiti minimi by going to the millimeter. And here from the policies, policies brevis and longus and all those muscles here. So you can think on this part and actually, you know, the tendrils are more visible in these regions, not into this region over here. Okay? So this is more flat because of this band that you have, the wrist K. And we also have to differentiate to make difference on the tendons and on the veins. They are different structures that also appears on the surfaces, surface of the hand. So make sure when you're sculpting then, Okay, and this will be the general block and for the hand parts. So this is from Michael Hampton book. So always pay attention and to this curvature K. And notice that the term region will be separated on, on its side. Okay? And think about the joint structures and the fat pads around them. Okay. Those proportions that we said. And also pay attention on the fingers structure. The, the top region will be more a flat surface as you can see it here. And the inner region will be those fat pads. So it will be more curved one. And this one is a nice, a nice explanation of the fingers structure. You can always think on the bones this way and notice though, the surface, the surface how it is. We have this fat pads over there and the joints in the middle. So you can always think on the joints like this and then make the middle by making the bones and then the fat pads over there making more volume. Okay, just like this. And here are another tip from another my first sculptors that I separated. That are the chips. How to scope the fingernails. Not so flat and also not flight like this. Curve and curve it like this. The tip here is that nice blocking structure for the term. So you can better understand the term like this. Okay? Imagine like a box and to this region and fat bed into the part, right? So this will be the term straighten it and this will be bent. So notice the difference on the volume or in, on the gesture when bent. It breaks the volume over here and makes this, you know, when a, it's straighten and more subdued curvature over there and continues with that. Okay. Here's some structure for, for the hand that as well. So, and also you can always pay attention into your own hands and take this as our reference, right? So now let's position here again, our period have just as a reference page to the side of software. Right? And yeah, let's add some some structure to our equity share and then we can go over the scooped in flesh and bone, flesh and skin. Okay. So let's go to the next.
46. Blocking Fingers: All right guys, So let's start to make the general blocking for our shape. And so I'm going to group this torso and this arms. So let's make a folder. Torso, separated by upper flesh and skin. So we're going to have the torso, the arms, and the hands along into this folder over here. Okay. I also will leave it here. So because this will be the general blocking for the hands and j, so let's remove its visibility and turn on our equal. She also will leave it here. What happen? What's happening here? Sorry. And this will be there. Yeah. And this will be also there. But this head here should be outside. And it should this folder Good. So now they are good. Nice. So let's turn on our right just like like this. And Just one thing that I don't like too much is this gesture, but okay, Let's first make the hands and then we can change the general structure after. So in order to make the hands, I will separate. Variability. Is this structure here? Or I can even just append a box. No, no, no. I'm going to add a cylinder. And notice the attention on what I gonna do. I will isolate this, this, this face and hide also those phase years. And then I'm going to delete hidden. So now with z modular, I will extrude everything like this are just even more, just a little bit more. Okay? And now. Let me do 0 mentioned just to have a better topology. And now it can bend this then are. And I think it could be more like this. Yeah. So this is structure will be the structure that is, we are going to use for the wrist region for those carpus carpals group. Okay. Okay. Now let's position it. Alright, so think on the wrist like this. What's happening? Yeah. There is like this. And then you can always think on the the phalanges and the bone structures. I will use some cylinders to add as a blocking. Insert cylinder. No, no, no, no, no, no. What's happened? Insert mesh and insert cylinder. Right? So from here I'm going to add 12345 on its size. Now, let's change the proportions and make that proper arch K. And also a little bit It's gesture. Good. And now let's replicate and make the challenges, right? So notice that we're going to have and all the size of the face. So we think the hairline like here, we'll have 1 point 2. Let's think here, almost this 1.1. And here I have one. Yeah, let's use 1.1 as a reference. We can change once again. Yeah, the hands should be kind of this size. So I could raise this more like this and to the middle from here. And from this part we're going to have the fingers. So let's replicate. We've controlled press it and the transpose on the move. I can drag a copy for this bond structure and I can make it just a little bit less big. Let's first replicate those three phalanges. And after we can manage its proportions. Right? So first thing that this, those two here have to have the same size of this one. Good. And those three here will have the same size of this region over there. Perfect. Now let's put better position it. Use the Move, Move brush without great size like this. Invert mask. And then I can rotate it a little bit more. So this way we can have better better gesturing. I'm not sure if the hand will be this big. After we can measure once again, and I can duplicate from its sides and make it less big. We've control. I can click and drag on each object. If I click and drag to another object, I will select only this one that I click it first. And once I do this, I can add to this selection mask by using the Control and Shift button and just click and drag to another object. Okay, So now I selected those three with control precedent and move selected here, I can drag and drop ups. Clicking on this little circle, I drag and drop a copy. So now I can position it into its right place. And better position the others here by making sure that we have that arch. Alright? Pay attention to its rotation. More like here. And also this one. We can position it over there. And then for the dump, just going to have the metacarpals and phalanges instead of three of the others, other fingers. So let's replicate just this true. And pay attention to its rotation because it will be more face curvature to the center of the hand. Like this. Here I am fixing some gesture. But always think on the hands by forming that arts that we've said. Alright, so this would be the general structure, bone structure for the hands. And always pay attention to weight, to the arts. Arches and thrown every angle. You can see these arches. And about the proportions that we said. This will be half, half size. And then this will be, let's make it another color. This will be the half size. This will be the half size k. So always think on the half size 4 for the hands. And now I do a mirror and weld so we can replicate to the other side. And thing that I will do over here is true. Turn on my symmetry and change a little bit on its gesture. Right? And actually I don't like too much the arm, so straight like this. I do prefer to make their homes more curved like this. But after, when we have everything we can we can adjust and have a better look in on our ACO share, I think. Yeah. Let's leave it like this because to change it, we're going to have to move every, every origins and insertions over there. So at this time, let's, let's keep it like this. So now let's go over the bones of the flesh and skin version of the hands.
47. Sculpting the Hand: Alright guys, so now that we understand, that we have understood, We yeah, we understand the bone structure of the hands and also its proportions. Let's make the flesh and skin version. So, I'm sorry, this, I will leave on the arms must solve folder. Right? And think on that. The orientation of the hands always by finding the extensor muscles. This correcting ups. Here, you can center the people and rotate it just a little bit. So I have the inner part of the hand located on the flexors and the outer part of the hand on the extensors. Okay. So yes, is this is this. And now let's hide everything and make the fresh version. And that was to be on this this folder and show the bonus folder. Good. Yeah, that's it. Yeah. Perfect. The size and everything. It's all there. So now let's, let's make the hands into the flesh and skin version. Just wait, just save here and we can go over there. Okay, so let's do the the flesh and skin version of the hands. And for this, we can start by using, let me select just this box and delete hidden. Good. So now I'm going to change it to another new box, poly cube this way. And I will remove those divisions like this. And then I'm going to position it just as the wrist. And now I'm going to think on that. Metacarpals group. No, sorry that carpals and metacarpals group. This region over here, the orange and the CN. So I going to make it bigger like this. And notice that I will add an edge loop over the medial border. And I will select only then invert my mask. So I can raise of, I didn't convert it like this. So I can erase like this, you know, and also think like this. So this way I start to have the the arches and also the curvature from the carpus bones groups and the carpus groups like this. All right. And then I can even use that from the bones. Like what are the hands? Let me see how this is the head. The bones. I could take one structure like this. Let me duplicate this sub2 and have just these three structures. Delete Hidden, okay? Yeah, I have the backup and this one that are just the fingers. So I can grab this for this group here. And I can use this for making the block edge of our hands. I'll make just one size 11. One time the general looking for the fingers and then I can replicate and chin. After this. You're going to place the middle one. Because this way you can compare with the hand size if it sits right in the proportion or not? No, No. Yeah. So on the proportion are good. We have to the middle size, the joints region here. Right? So I can then replicate, just just think as a base. Select only this here, and I will duplicate this side and make the same for the term. And just in the orientation of them. Always looking for the middle, the middle part of the hand. And let me just adjust this. Good. And then I can do DynaMesh on it. Better. Before I do a DynaMesh. I could make this, this part here bigger because this will actually be inside the hand. And actually this, oops, this cylinder here, they could be way bigger. You can think like a lining. This arch over here. It would be kind of so I can grab it more over there. Yeah. More like this, I guess. I think a little bit more. Should be good. Yeah. Okay. And from this I can do a DynaMesh. Good. So now I can start by thinking on those three teardrop shapes on the hands. And also the fat beds in today inner part. Okay, I didn't measure it. So let's move first. Merge everything. Merge down. Now you can find here all merge, merge down and recalculate the DynaMesh was again. Good. And now I can start by thinking on their hand. First, by thinking on its fat pads. Those teardrop shapes. Here we have some kind of, and now in the middle, we're gonna do this part. Alright. Now let's start to add the details on each finger in and all its structure. So in order to do this, we're going to have to start start to move those farms and add more volumes on some parts. And refine each, each finger is moving this parts. Here are going to add a little bit of fleshy just to feel the inner, inner part. And this way you can see, we can start to see some lines of the hands. You can try your own hand. Yeah. Here you can also use the brush with black face mask on to add more thickness on each finger. And this part is true. Too far. I think here we have not derived right, right proportion. Because this finger is looking too big for me. Maybe we got just the, the distance but not the real distance of each finger. So now I can start by refine those, those farms. I will actually raise up the DynaMesh resolution just a little bit more. Okay, that part in flesh and skin was missing. So now we can start by adding this. And also we start by adding more volume on the knuckles. But actually for the knuckles, we can start by adding this kind of volume. And then the connection should be almost as a flat surface on its silhouette. I can do all the fingers. Maybe it will be better because we're going to cover more, more content, more times. And the repetition will be good for, for memorizing better. Here we can add more volume to the term as well. Thinking on that box region. And after the flatbed, as you can see into this last note here, if we have decrease over there, we would have fat pads on yeah, let me isolate the term. So I'm adding that fat pad into the sidebar of the term. And now it's just refining the form. We need more fat bad over there. Because that was just like the structure. Here. You can suggest the drainage, but not too much. Make sure to have an ice volume but not over over sizing. The tip of the tongue should be very thin, then the rest will know. Here if I go to refine a little bit more the fingernail, you know, this would be the digital blocking. But now let's start to refine this by moving the surface. And now let's continue by refining the other parts and then may come back and refine it again. But let just save it in continent in the next lecture.
48. Sculpting the Palm: Okay, so let's start to refine hear the term. And as you can see, I'm, I'm following this blockage that we are using and find the anatomy first sculptors. And I'm trying to wait. Let's use with less intensity. So I'm trying to make this curvature and show the sizes of thumb here. Also, the best thing would be to isolate, only determined and using the solo mode. So this way, it becomes easier to to refine the forms and check if they are looking like Symmetrical, symmetrical shape and also start to move and refine everything. So for decreases of them here we have a double crease and then some simple ones. So let's start with trees moves. Let's move a little bit more. And I think here we still didn't have enough density for continuing on the tails, but just general blocking. Let's try to keep it symmetrical shape and also make it blend. In a better way. Here we don't have great reference, but we can make it just like this. And then I'll after when we we raise up the resolution, we can yeah. So let's leave it like that. Let's make this scheme for this little part in skin that makes the transition between the hand and the shape of them. Right? And in the back of hand, we can start by adding more flesh and trying to keep the angle that is more inclined around the middle finger. Because after we also going to add some, some tendons in the middle. So before we, we raise up the DynaMesh resolution, we should be able to have a nice blocking of the hand. And also the backup and here I'm filling the hand, maybe not to the right proportion. Let me, let me check the fingers. Let's start to move the forums a little bit more. Make a better transition between the fingers like that. And yes. About those teardrop shapes that we showed here. Let's add more volume into this region here. And from here we can start to add some tendons information. So we're going to have to choose cylinder is for the joints. And from the joints we can add those tendons. Tendons. Just like that. This tree tunnels will, goes to the end of risk, to the middle part of the wrist. And the minimi. We'll go besides on it. So here we can move it. As you're seeing, I'm not doing I will, I will do the same. The one finger for I will model each one. I want replicate as I am. I mean, actually use it to do normally. But it's better for us to train, to practice the farms and have a better understanding of everything. So here I'm trying to add those fat beds and actually they are not looking good here because they should look more like this. Let's use the same hand as a reference, the same side. Once we start to move everything, we're also going to have a better starting to make the creases in correcting the silhouettes for each finger train to make it symmetrical shape. And very clean silhouette. Really fit in. Really filling the fingers were too big. Maybe they are too thin. And because of this that I'm filling, they are too big. Maybe I should inflates then and give it more volume, a little bit more. And think of them most of the time, like cylinders. But then you can start to add those quizzes that we said. This will creates a nice separation from for each Farage. And also given a nice structure. And then you can go back and recover those great volumes here in the middle sides. Trying to recover. It may be the finger is too much on these orientation, you know, me could you could try to rotate this a little bit. So I'm asking this way and I'm going to rotate a little bit like that. And after we can fix everything on its connection shape. Here, we can see that we have some wrinkles, cross paths in this way. So we can make. At these marks like this, it will helps to add more realism. We could even reflect this and tried to use this as a, as a reference. But I'm feeling that we should put more volume into this middle part. Once we start to move everything, starts should became more writing to the place. And here this fed bed we could raise up a little bit his volume. Because we should be able to, to view this volume on top of hand. I like to keep the silhouettes for the fingers on this part more clean and straight. And the app from this, we can start to detail more. Each, each finger. Just trying to manage a little bit the proportions, general proportion of the hands. But notice that I'm paying attention to keep those arches there. He said. So here we have great arch for the knuckles and then for each joint. We also keep the arches. And remember that we also tried to keep this arches in to this this angle. And I'm still filling the term too much. Rotate trauma. Maybe like this should look more natural. And these joints, we're going to have two tendons that are that they comes from those policies muscles. Here, remember we're going to have that bend. And also we could try to make the hands relaxed. In order to do this. I think we could position it better like that. Now let's first start to detail more everything. So then we're going to be able to make any chance on its gesture and everything. Always make sure if your fingernails are curved or not. It should have this curvature. Yeah, so let's start to make the block has general for each finger. And for this we're going to follow this kind of volume. So where you'll look and where there is a joint, you're gonna make a structure more, more like this. Two to general volumes like that. More like this and this. And then you can try to add very simple volume. On the middle. We're going to have the feet, the bones structure, but be careful to not over over volume to give an over overlooking volume. So this region, so everything should look very subtitle. And also following those, those parameters that we said about the silhouette and the art of each finger. Here I'm trying to fix some silhouettes and some general volume. Now for this interior part of each finger, we could start to refine by differentiation, making it different. This structures. Let me see. Here, could even try to make little separation from the general volume of the finger and this region where it will, we will have the the bones exactly. So right in the middle. You can make it more sub-domain, round shape like this. And then into this region we're going to have more effect bed. Notice how actually on everything, I tried to never keep too much time into just 111 region. And I tried to be always traveling from all the model and trying to not overlook at just 11 single place. I tried to keep my my perception, perception always fresh just by alternating the the actual regions that I'm working on. And never stain too much time on just 11 part. Here could use the Move brush with Beth back face masking. So this way I'm able to add more volume between each fingers. And, and there it is. Let's continue on next lecture.
49. Polishing Fingers Sculpt: All right guys, So continuing here, the, the modelling of the hands. And let's stretch your clean a little bit more. All those shapes and transitions and continue to refine everything. This little finger here I think we could try to do to get a little bit like this. And then we can correct this shape. Update the DynaMesh, and rebuild everything again here. Try to keep the silhouettes very clean and with a nice separation from the joint. Remember the first flatbed will be more curvy with more volume. And then the second one, more street. Also. Try to remember that these beds, these creases, they are going to follow direction and general direction. Here I'm trying to fix each finger volumes. And once again, refining the joints. And from here I think we can start to make some fingernails details. Let's check if we have some nice and symmetrical shapes. Here. We're going to try to do this finger a little bit more for the center position. And this middle finger because we're fine like this. Those joints. This ring one month again trying to recover the information for the bones and the joints. Our stretch avoid this curvature in this silhouettes for each finger. Because that way the joints are like over, over, over model. All weights are working on this transitions between each finger, right? This should look like very thin piece of skin. Really just there to blend the forms. Always trying to keep this nice curvature between each knuckles. And also be careful to keep the knuckles into the right place. The tendons coming from between its knuckles and the fingers are looking too small, I guess. I'm trying to grabbing each one with a brush and raising up a little bit, is this each volume? So yes, they have everything very very shred and very well-defined. So make it everything into a more neutral position. All right. What happened here with our finger? It seems like our character or I could even some vegetables then we'll have an accident. And you have no idea. But okay, let's make a surgery. Yeah. We can recover its form here like that. And here we have too much. This foul language is too big. So let's fix it. And we're going to need some sticks. Good, better, better know. Always trying to keep the proportions that we said. Thinking on the halves, the half size for each part, that going to help us to have the right proportion of each phalange? So, sorry guys. I'm sorry again. And here we are going to make once again those quizzes for the integer part of it finger. We could also try to make more subtle transition. For this dome-shaped. And from this part, I think we could start to I'm not really sure if it will be good for us to subdivide or add more details on this DynaMesh because we will change it when we go to the polls. And so if we change this here, we're going to lose everything. Once we, we, we change the pose of the character. And I always try to think on neutral both for the hands when the dumps are inclined in a vertical vertical way. Here we're going to have a bone bone region, so and also this volume. Okay. So the middle line. And then we're going to have also another line over here and another one into the medial part like this. Then also start to add the finger creases on its sides. And also start to make those fingernails. I'd like to first draw the general format with them standard and into the standard in Ziad boat like this. So I can make it a little bit more reliable. Always check the orientation of each finger. In all the angles. Like from this angle I'm feeling that we could have more. Maybe rotated this part a little bit. This is finger is move the mask and centered pivotal. And then a little bit this finger like this, should look better. Yeah, so let's continue on over the next lecture.
50. Refine the Fingers: Okay, so let's continue here with the details of the finger. Here we have tilted a little bit more this fingers. So we're going to have the best way is to have like this orientation for the fingers. You know, they all going until the middle of the hand. So if they are not like this, maybe should be the time to start. Start by, by having these orientations like this, this finger that it's, it's really looking for there. And I would look into this, this angle, this direction so I can mask it here. Invert the mask, blurred the mask a little bit more centered. I will bring the people March to the origin like this. So yeah, notice how it becomes more harmonious roles and more natural, more natural-looking. So from this angle, I like to check if the firm is really right in place along all the finger. And maybe this one, we should tilt a little bit more for the middle. So once again, mascot blur the mask. I blurred the mask with this button here, the Blur mask, but I use it a shortcut for this. I've said Control plus e. And you always can set our shortcut by pressing Control and Alt. And then setting the, the hotkey control blurs out and click. Okay. So go over here and position it better. Try to make it very outline. Yeah, Let's see. Now you could try to isolate just this finger and make a better detailing for each Narcos. And fingernails turning to refine the shape and they can make all this the surface very, very on its place. Okay, For this finger. Once again, correcting the general proportions of each following. Remember that role of working with the middle size. The middle distance. Like if we have it this distance here, the middle should be disjoint, so should we, must bring it closer like that. And the middle of this distance will be discharged more around here, I guess. Here we are missing finger nails. And also the details on surface here. Check the curvature of the fingernails. Curve it like this. Here can try to make those two tendons. And then you can always look to your own ahead and check the direction of its foldings. Here. This helps to add more realism. A lot. Here actually exaggerate a lot. This bone, once again, this little crease on finger, just like that and maybe the fingernail is too big right now. Also tried to make the T of the term thinner than the rest. And also try to keep this symmetrical shape. Not that big the fingernail. So more like this should work better. Okay, good. And now let's continue to add those details and refinements on everything. Remember here this is reference. Always trying to have some nice include general look in general volume. And if you want to, to avoid this really thin and shred skin looking, you can start by adding more volume and make it more cylinder. A cylinder shape on this bone is regions. And all this. By adding more volume into this transitions, you're going to have more normal, normal finger. You can try to make this kind of details. We could even use the option of scope trees. So here in stroke and sculpture is pro, we could add more, more density to its region, just moving that form. And then we can disable the scope trees, which I left it here. And then I should be able to better scoped the fingernails without recalculating the DynaMesh. Because now I have more density. But you have to take care between the parts that you activated because you're going to have the best transition between these resolutions. I can disable once again and add the volume again for the fingernails. Other way you can just scooped like this and you're going to have nice, nice topology density for making the details that you want. Even DynaMesh with not too much resolution. Not enough resolution. Yeah, so let's continue over and the next lecture, the final details on their hands. And I want I want the detail much more because we're still going to pause it and start everything. So let's keep it like that first.
51. Finishing the Hand: Okay guys, so in order to finish the this this early details on the hand, Let's just make our IT. Let's just make some corrections. And also I'm filling the fingers maybe to think. And I think they could be just a little bit thicker, a little bit thicker. So I'm going to use the Move brush with the back face masking, turn it on. And once I grab it from its sides, I can add more thickness for each finger. This way. It won't be out of proportion and I guess so here I can add more or creases between each finger. And also on this last one, the minimi. And don't forget to add those crease into the sides in because they will be the Siri for when you look the fingers from other angles, you shouldn't have this nice separation between them, between each edge. Once again, check if everything is right on place. If they are. Well, yeah. That's it for the hands. And I think I think from this we can we can go over the pelvis and the legs muscles. And after we can go back on everything because we will pose everything. So it will be easier for us to keep it into different sub tools like that. And after we can merge everything, but just after we make the pose. Okay. Yeah, I like it. I just don't like too much Maybe the gesture I would change it just a little bit some parts. But as we're going to oppose it, it won't be so necessary right now. Trying to keep those tendons like in a straight line. And also one thing that I forgot was to make the veins. And we could add some veins, just like we see here in the reference. But not going crazy with this because when we go for posing the hands, it we made loss everything. So my advice would be to not over detail this step. This add unnecessary. But do you know the hands? It's all the time. It's it's this way. Very you have to do a double check on everything all the time and check all the angles in. You always will find some angle that something will not look right. But because I have too much, too much gesture on its form and its volume. So we need to take care and be patient to always go back and check again from another angle and check if the farms are writing place. Yeah, that's it. Okay. So now let's go to the legs, like structures, bones and muscles on. Let's go back to the Akashic, right.
52. Understanding Leg Structure: Okay guys, so now let's start to have a look into the legs anatomy. And to do this as usual, we're going to look first on this, the bone structure, right? So here let me hide everything that we have made in flesh and skin. And let's go back to our model, our squishy. All right, Good. So first of all, let's do quickly review. And so this pelvis that we have made, and here I am, I've separated some reference that I've got from Bronco bronco classes. So I, once again, I really recommend everyone to get get on his videos and his awesome. So I always watch again everything, you know, and because on his videos we are able to check all nice landmarks and some nice tips on sculpting of this. Part's, right. So yeah. Let's take our first look on the general had legs anatomy. So at first time, we can realize that we have the bone structure will be separated and should the upper limb and the lower the lower limb, actually the lower limb, everything but the upper leg and the lower leg, right? So at first, we are going to have the pelvis overview, which will have the one had unit size. And then we're going to have the femur that is the largest the largest bone in our body. And then the tibia and fibula. Right? And after, we're going to have the feet and ankles in the bones of the feet. Okay, so let me show you here. So by, by looking for the proportions we have here is eight head size character. We're going to have like just right in the middle of it, it's height. We're going to have the dispersion on the femur is the great trow canter, which is this region here on the femur. The femur, we're going to see that we have had the neck and then the body. And this will be the greater trochanter. Okay, so a lot of muscles from the glutes will attach here and also some other muscles. There we have. So yeah, the half size of the actual height of the character will be here on the greater trochanter. And then once we divide this, this size here into the half, we're going to have the base of our knee, the base of patella. Okay. And here we also have that golden unit dev comment. We commented already, which is from the top of the head to the base of nodes, we're going to have kind of a sphere because it will also be the width of the head. And this unit will be golden unit because we have the size of sternum, size of Clive echo from the base of head to the first, first vertebra, vertebra node, the first rib. And then from this region to this region, and this region, we're going to have kind of the same size. And from this to this, right? So I like to think about this proportional on the body. And also as we can see here, we're going to have three units for the size of femur. From the greater the top of graded trow canter and to the base of NI, here, to the base of the femur bone. And also the same size we will be four lower leg, but now including the feet. Okay. And yeah, we can see here another tip that we were going to have the same size for two units, two of these units for the humerus bone. So yeah, I really love to check his videos. An hour is make it fresh in my mind, in my mind of those those tips. Okay. And here as you can see, we have separated some prints about some of the structures of the bone structure that we are Going to try analyzing tomato. At first, at first place, we're going to have the pelvis, as we said. And from this we can reveal that bow is just block it into our character. And the first thing that we can see is that the pelvis is separated by actually four parts. Here we have the ilium, which is this region. All over here. We're going to have the iliac crest, which is all this part here, right? And then we're going to have the pubis region. And the ischium region, but also we're going to have the sacrum, right? So this piece will be the final, will be the end of our spine. And we'll follow that gesture that we read talk about. One thing that is quite nice to pay attention is this alignment on, on the the general male pelvis and also this line on general male pelvis. Actually the female will be more too tilted like this and all. But for Mayo, we kind of have this alignment from this point here that we call the anterior superior iliac spine. Let me show you guys here. This, this part here. It's the end of idea crest. And this will be a great land american on the body. Because as you can see it here is, it will be this region right over here. And we can see that we have plenty of muscles. Meaning from this region we have the sartorius vastus. Well, we're gonna, we're gonna take a look on everything. But this will be an important part on the pelvis and also in the whole body. And then on the back we're going to have the posterior superior iliac spine, which will be those little damp. Let me see if we can check it here. Yeah. Like this region over here. Yeah. Here this little depressions will be going to the region of this posterior iliac crest. Right? And yeah, as you can see, we have kind of nice depression where the head of femur will turn and to around. So we're going to have kind of all the movements for the femur inside this ball socket. And here we have more angles. This image I separated just to say that the external oblique will be on the males, will be above the iliac crest. So we are not so able to see this crest on male, on men, as it can. Check it here. Now, here you can barely see the ACS and here will be the iliac crest. But now we have the the obliques coming above the iliac crest, right? And also from the back we're going to have more. Pads are even the muscles covering everything. But in the moment will be some kind of different. Sorry. What is this? Some kind of different. Yeah. But let's let's continue with the male anatomy first. And yeah, so for the femur, we have this as I said, we have the head of the femur, the neck of femur, and then the greater, greater Cantor and all the body. And then we're going to have two epicondyle. Epicondyles, you know, that Nero reminds the, the, the arms on the humerus structure will be barely the same. And here, inside this we're going to have the patella forming kind of this shape here. And yes, this will be nice blockage for the femur, femur bone. And we start from this, we go chose some nice structure by making the two condyles. And then we can refine it even more to be sure this approach like that. Okay, so these are some approaches that broke draws for better understanding the form. And here are separated some, some sequence images just to show you guys some tips about the alignment of the patella. And by concerting on, on the legs rotation. And I'll hear some, some, some kind of the patella shape. Patella will be this piece, little little bone over here that will be over the femur. And it will be inside the vastus medialis. Vastus medialis rectus femoris ligament and the tendon. And between also this other other tendon over here, the patella, patella one. And, and then we're going to have the tibia and fibula. So at the end we're going to have four great bones here, the femur, patella, tibia and fibula, and also the pelvis and the feet. Okay. So here we have some nice gesture lines that we we are able to see when it comes to the lower leg. So we're going to have this nice C curve and also this S curve. And this curve will be mostly formed by the tibialis anterior muscle that it goes over here on the tibia, and may also have this orientation for the femur, we have this kind of triangle shape and for the TBI will be the opposite, the triangle facing forward. Okay? And here are some images showing the general volume of the patella over the two bonds over here, you know, the, the ligament. And here another simplified vision for the bones on the side view. And here will be the head of TBI. How it have the, the, these depressions for the condyles of the femur rotating and Tilton during the movement. Tilting but just rotating at all when we extend the limbs. And here another chips on the general structure for, for dn cos, you know, the the the end of the lower leg here until it reached the feet. So yeah, the first thing we can do it here is let me go out from live the full screen mode. And then we can correct a little bit the form of our pelvis. Right. So the first thing would be that the pelvis, it goes right over the border here. And then it becomes it, it starts to be covering on, by the covered by the obliques muscle. So we're going to have just this little border here. On the most extreme. The outer part. And another tip that I like to follow is actually this region here. Remember that we have separated the clavicle in three parts by forming an S shape. So from this part over here, I like to draw a line. And here I'm going to have the nipples. And also here I'm going to have the a's is the anterior superior iliac spine. So here I can grab it just a little bit more for the out part, right? And also from here, we can start to check its orientation. You can see that this region goes more to the outside. And these anterior, these interior part. We're going to change. Yeah, because here we can make kinda of sponsorship on on this region. Going to the sacrum region over there. And you know, once again, I want to go crazy with all these forms because it's just and are there to show us to understand those landmarks, shapes, and what everything what exactly appears on the surface. And now let's turn on the back face masking so we can add more volume inside without changing the outside. So this will be like that. Here. We're going to have that ball socket for the head of humerus, the head of femur. And actually this region here. And will be more simplified with just the ball socket. It can down this a little bit more. That are the the excuse. Then this region on the sacrum will be more to the down part. So this way we can have that kind of alignment that i've, I've commented with you as you can check it here. So the pubis bone, the excuse, ball socket for the head of femur, and then the sacrum. Okay.
53. Sculpting Leg Bones: Okay guys, so now let's start to make the general blocking for the femur. So in order to do this, we're gonna use a cylinder. And let's position it, make it bigger. And it will start by making a general looking like this. And then I will duplicate this part, this piece. If then standard brush, I'm going to remove some, some volume over the center like that. And then I can bring it closer. Just like this. I can also once again select this one, duplicate it by dragging with the Control button, press it, and making the next shape. But as you can see, the head is just a little bit forward. And this piece will be more pronounced over the back. Like this, I guess. Because are the two epicondyles. And then the graded to canter over there. And here we can add ball head shape with the insert mesh brush. I insert mesh, bring teams. So I'll know. Yeah. This as an ice ball. An ice cream. It is like that. And as I said, I will make it not so centered. I'll change just a little bit. The general. Let's position it a little bit further back and rotate. Just a bit. Let's try to do a mirroring weld. And then we have on both sides can turn on the symmetry. And yeah, let's do a DynaMesh and then start to refine it. So here we have made the general looking for the femur. And then from now we can start to block up. So let's move this region a little bit. Let's make the crest and the crater true Kanter. Look how is the actually this next should be smaller, like that. And then we're going to have this crest is motor canter and the greater trochanter. Here are going to add some, some volume over this region. And then into the medial border. We can add multiple cantor. Just like that. And this, as I said, the femur will have like triangular shape like this on the back. As it can check this shaft region on this Stephens Rogers back book, like this. And then from this region, we can create, we can continue this crest with standard pressure in the Add, Add mode, mode. And here trying to refine a little bit those epicondyles. Look how the bone has lightly curvature for the front. Integrated trow canter more for the back. Here you can also simplify these condyles, some curvature like that. All right, So by looking from the front view, we can see that you can make this nice transition shapes. Okay? So here we have a very general looking for for the femur. As far as understanding a little bit its structure, but not going, going crazy on every detail, on every every approach on the farms. Just making something very general, just in order to understand the structures. Okay. Here I'm trying to make how the epicondyles are made. Okay, so that's good. I think. And this way we can continue and go further. But let just before this, we have to check all the proportions and notice how the greater trochanter will be at the end of the wrist and the higher of two 0s here that the same region for the pubic bone. And for the proportion we have known that we have three. Three heads unit. So let's try to use the same. Here. We have one unit. Yeah, kinda fun there. And from this to here, we can have to have three heads unit. So 123, we can make it just a little bit smaller like this. All right. And then we can continue by making the the tibia, the fibula. The tibia and fibula will make the same. I actually going to try now, okay, Let's blocking in general from the rough. So I'm going to append, insert our cube and position it into the right place. As I comment, a comment, we're going to have this nice shape for the tibia bone. And it will be exactly the opposite. As the femur. The triangular shape will be more frame facing forward. All right. The size we can see that we have with the feet, we're going to have three heads unit, so it will be less than the size here. You're going to have kind of this. And then the feet a little bit more, I guess, like this. Okay. Then I can position it. Then I can move this region and pinch the front. Like that. I'm also going to use the pinch on this axis. And then the S shape that we said. Let's first do a DynaMesh on this. Here we have already some kind of s-shaped, but yeah, let me first raise up this region a little bit more and then do a DynaMesh. Okay? So here we can try to find these three shapes like this for the tibia. Okay? And as you can check it here, we're going to have this. This little tip that will connect into the ankles of our feet. And then after we can adjust some proportions. Okay. And I will duplicate this one and chen the farms. So this way I can, I can do my read is my train data in this way you can do the block I for the fibula. Also going to have a region for connecting into the ankles. And the head of that it will connect just right over the side. Okay. Once again, I'm one go. So fancy with these bone structure right now. Have an order for us to follow and better understand the general looking and the origins insertions. For the muscles. This will be more to the back. Like this. Yeah. So here I got to meet her and weld these two bones. And you have perfectly we have made the general bones for the lower leg. So it will just miss already the the feet structure. Yes. So if we make the half have they have sides, we are going to have the greater trochanter, the pubis bone does as I said it here. Dustin that meet the half size of the head. All right. So after we can make the block has four for the leg at the feats. Good. And now we can continue. By Al-Qaeda, we are missing the patella. I almost forgot. Forgot. So let's use an insert. Insert the cube. Once again, UPS, insert primitives and insert cubed K. And then as you can see over here, we're going to have pentagon shape for the patella. Yeah. So that's it for for k. Let's separate in second to another one. And actually it will be right above the femur, I guess more to this region. And then we're going to have some ligaments over there and the muscles. All right. So let's continue over the muscles of the leg.
54. Sculpting Front Thigh Muscles: Okay guys, so now let's have a look on the leg muscles. And when it comes to like muscles. And we're studying, we can think on it by separating in the upper leg and the lower leg. And first for the upper leg, we can separate them in for four great group of muscles. And let me get I have a reference. Show you. Yeah. I've, I've got one here, but actually this is kind of the same of this one that we get on the anatomy first sculptors book. And let me show it here so we can better understand the groups that I'm talking. The first on the upper limb. I know. I mean, I would separate. The first group would be this one that is called the quadriceps. And the quadriceps are actually formed by four muscles. The vastus lateralis, vastus medialis vastus intermedius, which comes, you know, hidden behind those tree here. And the rectus femoris. So this one will be the rectus femoris. This one on the lateral will be obviously the vastus lateralis. And this one, another one here will be the vastus medialis because it stays close to them. Medium medial border, which is the center that half of the body. And yeah, as I said, they are formed by pharmacists, but on the surface we are only visible. They are only visible those three, the vast rectus femoris, vastus lateralis, vastus medialis. And all of them, they reminds a lot the triceps because they have a big region of tendons over here. And now. And also we're going to have all those standards will connect into the patella, which is the bone that we have seen in the last lesson. And then the patellar ligament, which connects to o over the tibia. And this first one will be the group that I said, the quadriceps. We are also able to see the vastus lateralis from the lateral view. And all of this here will be the quadriceps. And then we can have the glutes. And for the glutes, let me do it in another color. Maybe red. So here we're going to have the glutes, muscles, muscles and. We can see that we have here on the eye lid, the posterior iliac crest, this region that the devs, we're going to have the origin for the gluteus maximus, which is this one over here and the greater trochanter. And also on the deep fascia. The fascia latae, iliotibial, forgot the name. Iliotibial tract. This region over here. Okay. So yeah, we're gonna take a look on everything, but this one will be the gluteus medius, which also connects here and to the greater trochanter. And then we're going to have the groups, the group for gluteus muscles. And now in blue, I'm going to make the hamstrings muscles are responsible for tilting the lower leg like this. And we're going to have the biceps femoris, the semi semitendinosus, and semimembranosus. Let me get that. Yeah, right over here. We're going to have the biceps femoris, semitendinosus, and semimembranosus. All of them making those hamstrings, tendons. And also the middle, we're going to have the abductors. And adductors are all of these group. Here. Comes over the middle, right after the sartorius muscle. Sartorius muscle will be this one which starts on anterior superior iliac spine that we are used to call the ACEs. And it go is the longest muscle that we have in the body. And it starts from the ACEs and origins. Sorry, it inserts on on the knee right over here. I don't remember where exactly. Should be. Fair. Our weight saving. But we're going to have a look on it. And yeah, right over here. This answer and I'm not sure. Yeah. It's region on the tibia bone close to the head of TV. Right. So this is the longest muscle that we have in our body. And yeah, it was just missing the sartorius and the tensor fascia latae, which will be the summer. So like close to the gluteus medius. It also starts on ages and it goes to a handle on the iliotibial tract, which is this fascia that goes over the head of tibia as well. Okay. So we have several muscles here in the legs as we can have this look, but don't think too much about each muscle. Think first on those. Great groups that are present. So I have the quadriceps just to reveal. The quadriceps have that doctors and we have the glutes and hamstrings, right? So besides those, vanish, see 1, 2, 3, 4 great groups. Just going to miss the sartorius muscle and the tensor fascia latae, two muscles that, that arrow starts from the ACEs. And we will also make a nice gesture line that we have here. Just, just under the, the aces. We're going to have kind of a V, inverted V-shape going to the aces region. So yes, let's take a look on everything and build them on r equals j. So here I can leave my full screen method. And just one thing that I was realizing here is that our femur could have maybe thinner region on this part. I'm not sure if this is actually duplicated. If I hide it. What is this one? I have duplicated folder, so I will delete this one. Good. Yeah. All know what happened? Yeah. Okay. Good. So let me first pinch. Yeah. I think let me correct here. Wave moved version, back face masking, turn it on. And just to make something closer to what you're going to have there. But yeah, that's it. So let's start by the rectus femoris muscle. To do this, we can go right over here and maybe insert some primitive against inserting a cube. Then another subtitle I can make this really acute. Make it thinner. Turn it on the local symmetry. And then I can make something like this that will be easier for positioning. So we know that the rectus femoris when start to the anterior inferior iliac spine. So it's not the easiest, but it's this region over here. So we can make kind of this shape. And then we can start to move to divide, subdivide this. And it goes right over the patella. So and then I can give it a thickness with the brush back face masking, turn it on. Right. So this is will be our rectus femoris muscle. And then let's go for the vastus medialis. Vastus medialis will be the same, but we will start right over the side. Anterior part, not anterior medial part. And it goes right over the femur. So you can position it. And it inflates a little bit more. This final part. Let me hide this first. Now if this one k, and now let's make the vastus lateralis. So duplicate this one and do the same. But first, a new origin. Let's position it right over here. Okay. But this one, as you can see, it has more volume over the sides view like this. And it connects over this region into the femur. Right? Okay, After we are going to have to rebuild everything, I think not rebuilt but reveal all of the muscles volume. Because now we have just kind of this R is in origin and insertion. The info after n may have all the other muscles, it makes more sense. Good. And so then let's start to make the, I think that would be nice because we can read, but on. So let's duplicate this. And I will use the Move brush so I can position it right over the region and the tibia and then make it rotation of and good in how it goes. And starts on the right here. And tedious superior iliac spine. And it goes right over, actually behind the vastus lateralis. And then it connects right over the TV. Move the muscle like this. And then I can make it very thin. I'll now go back. Let's first do something. Let's do a 0 measure and disable our DynaMesh. Maybe with less polygon count. Good. This is perfect. And then we can move it a bit, painted in red, and then we can make the gesture, the proper gesture. Good, Perfect. We can give them a little bit more thickness on this. And like this. And good. So now let's make the glutes muscles. For the glutes. Think it would be nice to have. Let me see. Yeah, let's do the glutes muscles over the next lecture.
55. Sculpting Gluteus Muscles: So let's go for let's go do the glutes muscles. Here. Let me correct that the contact. And also here, here, I have done the quadriceps. Hey, I'm just subdividing sometimes because after we going to make those those fibers definitions and paint also bent the tendons. Okay, so now let's make the glutes muscles for goods we're going to have, as I said before, let's before we start the glutes, we could make the tensor fasciae latae. Could start for this. So, yeah, for the tensor fasciae latae, we're going to have kind of a connection and insert over almost in the graded trow canter, but it's not on the greater trochanter is going to actually inserts in the iliotibial tract, which is this region that we're going to make. But let's make it separated from a strict on its origin. If almost not thickness. And then I can click on it and grab it. Kay, good. And let's position it right over there. Here. Can give a leader on inflate. I'll sorry. Let's go back there. Yeah. Inflate this move a little bit. And yeah, that's good. We're going to have here the tensor fascia latae. And this will fills this region here. On the sides. And I think here we are missing some vastus lateralis volume more into this region. Okay? And then I'm going to duplicate this and start to make the gluteus medius replicated. And then now I can connect right over the greater trochanter. And then I can grab it, grab it maybe two. And then I can grab it right into the right position of its insertion on the iliac crest. And then before re, review its volume, Let's wait. Let me grab it. Oops. Right, until this region. Good. On the iliac crest. And then we're going to be able to see the gluteus medius. And then let's go and make the gluteus maximus. Now, for the gluteus maximus will be the same, but it will starts on all the rest here of the posterior superior iliac spine there. Let's grab this. And then it goes over the sacrum. And it also connects right over the femur. But in all this region here. Okay, let's save it and then divide it sometimes. Now I'm trying to add more volume over the anterior view of the legs. So I'm giving more volume on the quadriceps. Okay, Very nice. Now let's make the hamstrings. And I'm also going to need to make the fascia lata dilute T-bill tract. Yes. So let's do the ideal T-bill, correct? First, I can duplicate this rabbit to the sides and make it very thinner. Also, thinner this way. And this will be this color. And this will go right over here and make right over there after we can, correct. But let's first make this. Okay, So here, let's correct the insertion point for the allele T-bill. Drag. This right over here. We have its origins in the tensor fasciae latae, and also this region of the gluteus maximus and the gluteus medius. I think it's going to insert on the greater trochanter, But yeah, just the greater trochanter. Gluteus mass moves. It goes right over the iliotibial band. Yeah, so it continues also in the femur in this iliotibial band. So let me know. Yeah, right over the femur, sorry. So let's grab it over here. Should also make parts of the gluteus maximus. And the tensor fasciae latae obviously will be one of the insertion points. The insertion point of this iliotibial band will be right over here and the TBL region. It's called the line oblique, I think. But right over here. Oops. Okay, and now I think we are able to make the hamstrings. And the hamstrings, as we have here in pure have. We can see that it's formed just by three muscles, the biceps, femoris, semitendinosus, and semimembranosus. These will be, these three muscles will be the hamstring muscles and makes the the the back region of legs. They are the upper legs. Yeah. So let's make Each one. So for the biceps femoris, we can think on all of this region of the hamstrings. We can think just as the arms and where the glutes would be, kind of the, the the delta IDS and then the biceps femoris and all the hamstrings would be the biceps and the other side here, the quadriceps, we're going to have some relation with the triceps muscles because we're going to have our, our big tendon region. I will, I will append after on it. And this would be like the, the owner. The tibia would be just like the owner versus our fibula. Let me find it. Radius and ulna, tibia, fibula. Well, I think we lost humans. Yeah, Maybe I think I've deleted. So let me try to recover it. Good. I just recovered from our previous quick save. And let's see here. Yeah, we can start with the hamstrings. And as I was saying about the biceps, the biceps femoris, just as the biceps brachialis on the arms. And we're going to have two heads on the biceps, femoris. Long head, which starts right over here. And the skills and the bone of the pelvis. The pelvis bone. And it will merge with the church had tendons and the church had its origins on the, this region of the femur, this double line as lateral, superior lateral cord, the lateral region of femur. Yeah, Does this region right over there and we're gonna make it origin there and all inserting on the head of fibula and the lateral, lateral condyle of tibia. All of those two points right over there. Right? Right over there. Sorry. So yeah, for in order to do this, I can replicate maybe some muscle here. Let's first group the glutes and the tensor fasciae latae. So I couldn't know, I could hide like this. And this way will be easier for us to be able to see where origins. So I think I can duplicate this one. So I'm going to duplicate this sub 2. I'm going to grab it to the back like this, and I'll try to move just a little bit. The over volume so we can better position it on the right place. So we can rotate it now. And position it right over here. Is move like this, in this way will be easier to grab and position it on the right, right insertion point. Here, the head of Chiba trivia, sorry, the head of the fibula, and also the lateral epicondyle of tibia. Good, so here I just make the long head first. And after I can duplicate this and make it let me add more volume with version back face masking, turn it on, and then moves just a little bit. And then it can also add more volume to this. This x is k. And then I can duplicate this CO2 and make like the discharge head originating on the biceps on the femur. Sorry. So let's first hide this one and position it right over the femur. Okay, perfect. Okay. So this would be the biceps femoris. And now let's go to make the semitendinosus and semimembranosus K. So the first one will be the semitendinosus and actually the semimembranosus behind, behind it. I think they are one above the other, so let's do it.
56. Sculpting Inner Thigh Muscles: So now let's start to make the semimembranosus semi tendinosis. First start, starting by the semimembranosus. That is, it's the more interior one. So I will actually replicate this as the origins is the same. I will duplicate the biceps femoris and make it goes to the other side. It could even rotate. And 08 Before. I cannot leave it on. Cross the medial, medial, medial region here. Because if not, if it goes over, it's going to make a weird way on, on the symmetry. K. As you can see, it goes over there and then it inserts on the tibia. Semimembranosus. It makes this turning around the condyles of the femur, condyles. And then it inserts. The same is for this one. And then we can duplicate it and make the semimembranosus. Semimembranosus, oop, kind of be the same. But it goes right over the semimembranosus, does as just like a bed size. We have the, the arms, we had the brachialis, the kind of lead for the biceps brachialis. Here we have the same. Let me use the pinch so I can make the tendons even smaller. And here with an inflate brush, I can give it more volume. Okay, so now we can, can show again the others and then we can feel the general volume of this back region of the legs. Here I'm adding more volume to those hamstrings muscles and let me see. Yeah, perfect. Now the one thing that is missing are the doctors and I'll wait, let me just correct this region. The rectus femoris. Good. And now the abductors. This is forming the knee. This is, would be the silhouette for the knee. And okay, so let's do the adductors here. Let me first just correct this region. We've moved version Mac face mask and turn it on or we can give it more volume for the vastus lateralis. Yeah. Now, just missing that doctors. So let's go and do it. Tried to think on this sartorius muscle with an S-shape. And then the abductors and adductors, we're going to have five. And I think you have five general muscles on the surface. But they're mainly visible. Those three in the, actually for, in the front. But on the surface we are just able to see three. I think. The big news, big genius, this first one, and then the adductor longus and the gracilis muscle. This will be the most on the surface, you know. The gracilis muscles. And then we're going to have the adductor Magnus that is only visible by the back. So let's add just the surface. One, go crazy on other parts there. I will try to focus on where it where it shows on, on surface because this is what in part for us. So I'm going to duplicate this one and position on its origin insertion. Make it smaller and less big. Move, I can position it and then rotate and position it on the right place. So let me hide first the crowd rises and some muscles there because this way is hardship to manage. Okay, so let's position the pectineus. So it has its origins on the pubis. Let's first hide the quadriceps here. Good. No. It's missing the vastus medialis. Yet now. It's properly hide. Let's rename it first. W's and rectus femoris. Vastus medialis. Vastus lateralis. Good. Let's hide it. And where was that one that I that I duplicated? This should be actually in the bones. Are okay. We are doing everything on the bones. So let's group everything to the upper legs muscles. This is the tensor fascia latae. This is the glutes, gluteus medius and gluteus maximus, right? This one is the pectineus. Once we hide rectus femoris, good. And also sartorius, let's hide it. And then the pectineus be right over the pubis where its origin. Like this. It's the insertion point right over the femur. So then we can duplicate and make the adductor, adductor longus replicate and make the, the outer longus. And its position, its insertion and grab it with the movie version back face masking. This way we can give it more worth thickness like that. All right, and and then the last one, the gracilis. The last one, I mean, on the surface, this bone surface, right. So I can also duplicate it and make the grassy actually the gracilis would be easier for us. I think it should replicate the the sartorius muscle because it will mix kinda the same the same curvature. So I will duplicate the sartorius. And where is the adductors? Here? These are the hamstrings. Well, sorry, the audios. So this will be the grass silage. Is it going to have its origins on right over the pubis. So let me position it right besides the doctors there. And let's recover it thickness with Move brush and back face masking. Just inflating to have an uniform uniform volume. But then I recover. And then once we turn on our way to lead me first, start to-do's here. Yeah, perfect. And then it actually will inserts on the same, same region for the sector this. So here, let's correct this one. Yeah, Let's see. It can give more volume for pectineus. And the only one that is missing is this one, the iliopsoas that I actually forgot. Let me just say it. Let me check. Yeah. Actually, this one is a muscle that starts on the interior of the iliac crest. Actually should this region here. And it goes right over this region and it will insert on the backup femur like here. So let me try first. I think I will make this muscle with this serve, this curved tube. Let me see very this curve to curve the tube snaps, so I'll grab it here and make it like a curvature. Let's make it smaller. K. So then applied and splitting it in. So this will be the iliopsoas muscle.
57. Sculpting Back Thigh Muscles: Okay guys, so before we continue, I forgot here we are missing the adductor Magnus. Is this one. There is. Is. It's possible to see it on the back backfill. And yeah, so let's first I think I'm going to duplicate maybe this one. I think the gracilis, I guess it's this one. Yeah. I will duplicate this and rename it to adductor Magnus. Let's remove. This one will be this semi semitendinosus. Semitendinosus. And this one will be this semi. Men burn knows. Let's remove its visibility. Also. These are actually into the bones folder. Let's also change this. So let me see. Let's bring everything out of this folder. So I'm going to bring everything right into the bones, folder. Bones, bones, bones, bones, bones. Another bone. And the pelvis should be over the bonus folder as well. So now here we have the adductors. This one is okay. This one is also the biceps femoris. Biceps femoris I think is the short head. And this one is also biceps femoris. Long head. All right, so let's make a group for this. And this will be on the group of adductors. And now but also the, the biceps femoris. Okay, good. And now is the adductor Magnus, this one. Let's position it on its origin and insertion point. And as you can see, we're going to have this. Let me show you again. Have its Arjun. You know, the Christ here, the, of the skills. Let me see. I gotta make one side first and after I can rebuild into the other side, this back face mask EI going to grab it like this. And then it's our its insertion point will be right over this region on the bone, the femur bone. So let me first position it. And then I can raise yeah. Do something like this. And then now I can invert my mask and do over the deformation. Use on is Marjorie sym. Symmetry is not found. So actually you can delete lower and delete hidden now. And then we can do, I'm Miriam weld without this local symmetry. So yeah, now it's rider on the other side. Now let's turn on the gracilis muscle. So we can see is this right over there? Yeah, let's turn on also the biceps femoris and the orders so we can position it on the right place. Okay. And now, okay, I think I left it here. Lv is the iliotibial tract. Okay, this one. So I'm going to leave it here right over the muscles. Bones of k. This will be the femur. This will be the fibula, and this one will be the tibia. And where's the iliotibial tract? Here? Iliotibial tract. Let me confirm the name. Tbl tract. Yes, perfectly good. So now I think it will be nice to start by adding some some fibers details on everything. So let's do it. And then we can I think the names are all our name it. All right. But yeah, let's start to do this. So I'm going to divide it sometimes. And then with the brush, I will create fibers, looking to make all the fibers. The attention to the muscles fibers direction. Okay, Let's go over this. The sequence gluteus medius. Here I think we could first do a 0 measure. So we're going to have a better topology density. And this way we can subdivide last times and have a better, a better approach. I'm going to add some lazy radios and lazy is move that if you can find it over to stroke region and lays mouse, is raiders, lasers move. So this way, it's easier for me for creating this, maybe less radios. But in order to create these fibers details, it's easier for making it look straight lines. This forgiven, find a better visual on the muscles, but not really necessary. This also nice to know the muscle fibers direction. As we have made in the whole body. Once again, I'll do the 0 measure and sub-divide it two times. I think it's good enough. It's close. Was not what I what I was intending for, but that's okay. You're going to need to divide one more time. Okay, So this is enough, I think for the glutes. Let me just position it better over here. Yeah, that's good. And then let's continue over the next one. Iliotibial tract. Also add some, some tendons, some fibers. Let's do a 0 measure. And then we're going to have more well distributed topology. I do the first general strokes and then after I tried to fill the medial parts between the strokes and I've made I tried to fill with more strokes and then this way I I complete everything with those strokes. Okay. So yeah. Let's wait this saving and then we can continue, I think are going to continue over the next lecture then.
58. Adding Details to Thigh Muscles: Okay, so let's continue here detailing the iliotibial tract with some fibers approach. Some fiber lines. Okay. This is the bone. All right, so which one is the next big genius? I think this is the only part that is showing is this one. So let's just add the fibers over this region. Then the doctors. And then we're going to have this one, which is the gracilis. Let's have a look. Where are the regions that it actually appears on the surface. So we need to really go crazy with this detailing part. Because actually our intention is not to make a really awesome looking at coercion. This is not the intent of this course, but have a great understanding of the general content. This way is nice to understand the muscle fibers direction, but we won't need are very awesome approach because it's best for us to understand the surface so that the other model, which is the flesh and skin, I think, will be better to spend more time by detailing because this is what we use on the industry, the flesh and skin, not exactly these muscles and you know. So I need to lose too much time on it. Let's go over those. The rectus femoris. Let's see. Then the vastus lateralis. And so just still detailing everything. Let's do also this detail over the vastus medialis. Yeah. Just this portion over there. Yeah. That's okay. Just one thing that I remember that is the rectus femoris. It has kind of yeah, this is not really being able to see but rectus femoris. This one, we can clearly see, that is not really this kind of muscles, this kind of fiber's direction. So we're going to have a tendon, Mei, Mei, Mei, more like this. So I'm going to actually move this middle part and rebuild the fiber's direction because we have made non-intuitive, right? Right way. We're going to actually have division does like we are able to see here. And then we're going to have muscles, fibers, more this direction like that. Let me show you. Coming from the standard region. I have some nice then tendons separation the middle, just like that. And then we're going to have the fibers are going these directions. Also here. I think we are missing some volume over there. Yeah. Perfect. Yeah, we're missing those in the back right now. This one, the biceps femoris, all coming from its origin. Okay, that's nice. Let's first bring this over there. So here is to have the biceps femoris, but now the charge head. And here the semitendinosus. Okay, let's continue over the next one.
59. Finish Sculpting Thigh Muscles: Okay, so now let's continue with the detailing the fibers that we are making. Actually, these, this one is this, this image is with the names. Change it. But here we can see the directions of biceps femoris. Not actually biceps femoris, semitendinosus muscles is quite different. Yeah, But actually, let's fence. So let's continue with this approach for the fibers. And after we can bend the regions that are more tendons and make a better visual for the whole, the whole absorbed. Sorry again. And then semimembranosus. Sorry. This should be on this portion. The adductor Magnus. Yeah, Let's first do the adductor Magnus fibers. And the semimembranosus. Yes, So now I have made all the details for the muscles. Let's just paint all this, this ten domes and differentiate from, from the muscles. And you know, actually this better to have like the muscles of the quadriceps kind of covering all the patella and being really such as the tendons. Okay, so let's given it less volume like regions. And then we can paint it on this color. This like this, and also this region will also be some tendons region. All those regions that are close to the bones painted as being such as tendons. This way. Look how how the biceps femoris will have this sharp the head more in the back. And then this region that is also tendons region. So yeah, and now just before we continue, as I said, I don't like too much this orientation for the arms. So actually we'll try to make transpose masters so we can try to change it. Here. I'm trained to fixing the sacrum region. And yeah, so I'm going to try to rebuild, remake this arms orientation and make it better. If a better visual approach. Yeah, let's do a transpose must buffers, I going to save it. Do a quick save that. So in order to make slightly yellow balls on it, do T-pose mesh like this. And then let's see if it's going to work properly. Good. So these are the actual transpose master. Look how I kept some, some muscles with too much loss of divisions. And I think we're going to need to delete some some lower subdivisions because this way it's impossible for us to manage, you know. So it's better to keep some form. So volume on it. And yeah. Sorry, I was working without subdivisions and we have a group for everything. I will first hide all the arms and then try to make CMS masking. Just like this. Remove the mask of every part like that, and also this region. So now we can rotate this just a little bit like this. And then correct the shape for the deltoids. So I put it more into the back. And after, I can mask this, this this, this, this, and this, and also the bone. And then from here I can rotate it. But let's also open a little bit more. The arms. Correcting some gesture. I bring just more volume, some parts. This is more natural. And I also think it would be nice to have the overall head a little bit more forward. Let's try. Every all of this. Can mask. Mask, everything like this. Like this. Yeah, more like this. And then here we can put it into the right place. And this will look more relaxed. I also will try to make sure these shoulders literate too long. Here we are actually missing some fat bad. Yeah, good, That's nice. Here I am fixing some silhouette, some gestures. I could also make this detail. This nice separation from the ribcage. The serratus anterior volume. Yeah, Now let's go back and apply this. First, a quick save. Okay, and now let's try to apply this. So suppose to subtotals. So this is the pose that we had. And then let's change it. This is going forward just a little bit. The head and now changing the gesture of everything, the arms and everything, I think we're going to need to correct some insertion points, but the overall look and move the better, I guess. Good. Yeah, Just as I thought. Now the overall looking off the model is way, way much better. Gestures and everything is looking way better. Good. And then now we can continue with lower like nice.
60. Making the Foot Structure: Okay guys. So before we continue with the muscles of the lower leg, I think it's really important to have first the bone structure of the feet. And because some of the muscles of the lower leg will be attached right there in the bones, the feet bones. So because of this, I think will be good for us to create kind of an illustration for the bones, just as we did here in the hands. But just thinking of the bonds, single cylinders and doing kind of blocking volume for general looking for the bonds, right? So in order to do this, the first thing that we need to understand the structure of the feet and energy. To do this, I separated some reference images from Bronco protocol videos. Just because here we have some, plenty plain nice images. And once again, I really suggest everyone to have a look on his videos. I think it's the best in the market for understanding anatomy. So here we are applying to the 3D environment. But for everything, I think Procore is awesome. So yeah. As you can check it here we have some have three options for understanding the blocking for the defeat bones. And here it has some nice images on a lot of angles to have tears it as our reference. And I think the most important, important things is shown to think the structure of the feet just as the same as, as the hands. But instead of having those carpals, bones, carpals, and metacarpals, we're going to have those parcels parcels of tours? No. So we're going to have this big group which will be the tarsals. We're going to have the metatarsals and then the phalanges. And this will be pretty much the same as the hands. As you can see the phalanges for the term TO, we're going to have the only two phalanges just as the term. And then the rest will be with three phalanges. Little ones. It will be like the inverted of the hands. The hands we're going to have some bigger phalanges and our little group of carpals. And here we're going to have a big group of tarsals and less size for phalanges and farther metacarpals will be barely the same. Yeah, The first thing on the structure of feats that is really important for us to understand is those arcs, arches that we have that are, that are farming by its structure, its bony structure. So we're going to have this nice arch like this, this angle also we're going to have this arch here and the interior part in this other one. In the exterior part. So we're going to have a look on it when we are going to block the general volume. But another chips that or we can follow is that. And the general location, the size will be basing on the half measurement that we have made on hands. We're going to have here. The half size will be exactly around here. So kind of the, the, the, the end of the tarsals, the tarsals distance. And now we're going to have kind of the, the half size over here. And and also we can position the general size of feet in thirds. And the same third. Third size will be at its highs, the feet height, height. So we can divide it in three. Also for its weeded and for its height, it will be 1 third and for its length will be those three thirds. K here, 1 third, 1 third. Right? Yeah. So starting by the heel bone, we're going to have the calcaneus. And just as we are looking here, actually to be the same of this angle, we can flip and we're going to have the same angle, you know, the same orientation. This will be the right fit by looking from the top view. And actually this one is from the bottom view. But yeah. So maybe we wouldn't need to make that flipping image, flipping to the image. But yeah, let's go back. And here we're going to have the, I thought it was from the top field, but from here we can clearly see the calcaneus at the bottom and all the rest on the top. So this is the bottom view. So the thing that I wanted to say is node. Note that the cocaine use is off-center. It's more over the exterior exterior part of the feet, so is not exactly on the center. And yet by heaven this, those things in mind, I think will be pretty much okay for us to make a general blocking for, for the, the volumes of the feet bonds just as we did in their hands. So let's just save it and then we can start your blocking. Let me pause it here. All right, so the first thing that I going to do here is to insert a cylinder. And there will be here. You're going to rotate it 90 degrees and position it right over there. So first, I'm going to try to create, well, actually at first, let's do this. This region that will be the connection with the two lower leg bones. And this will be exactly over here, just like that. And then the lower leg and the feed tube be able to rotate on its angle like this. And then we can duplicate and rotate it to kind of create the that you looking the cockiness, cockiness bone. And let's make it just a little bit off-center. Just as we saw it here. Right? And then we're going to do is to, once again, I'm going to duplicate this and use just one eye. I'm going to grab just one cylinder and I'm going to make this. Let me show you here. I will remove this and also are overweight. Remove this first part and then remove this. Also that point. Here you can also enable the double and then do del Hidden. Right? So here we are going to have this general looking and from this part I can then extrude them and kinda crashes. Okay, So let me recover it and then we can continue. I'm going to pause it here. Okay, continuing from the recovered. I love that ZBrush. Recover. Always save them about. Okay, so let's try again. I use the solo mode so it's not so stable. And then we have z modular, I'm going to give it thickness. So I will leave my mouse over some polygon to enable the face mode in the model. And then I can press Space, go over x root, and then select my target tool, all palindromes. Okay, so I can grab it over there and then I have added some thickness on it. And another thing that we can do here is to add some, some Arch, some curvature on its axis, on this axis. So we can go over here on the gizmo. Click over this, this gear and then go over bend, arch. Then you're going to go over this green arrow here and you're gonna grab it should the bottom right. So we're going to have made some kind of arch and then we can position just a little bit better, right? All right. And then from here, we can duplicate those cylinders. I'm going to duplicate it, isolate and delete hidden. I duplicated the actual sub2, right? And before I continue here, let me hide some somethings that because I think they are becoming so stable because of this. Good perfectly now we have just the bones that recreated. Just leave it with head as well. Good. And from here I'm going to try to create some of these bones, the metatarsals. And for the metatarsals, you can realize that we have one big one that is, is bigger than, than the others, is thicker, thicker than the others. But they are all of them at the same size. Not not so many difference up, sorry guys. And yeah, I'm going to make it small a little bit and give it some high. I will give it some angle. And then I will duplicate. Make it thinner. Then 1, 2, 3, and four, right? So we can leave it more over the back like this. And position everything more, everything more according to the reference that I have read. Then one thing that we can do is as I have all of these bones over the same issue, the same subdue. I can actually duplicate it just by grabbing with the move, they move up the move trend on this, this mode, the mode I can grab if control, control press it, and then I will duplicate and mask the originals. And then I can make it way smaller to make the first phalanges. And then we've moved brush and topological mode on. I can then position it better. And then I can duplicate it one more time and make it smaller. Position writing into its place. Right? And then at the end, we're going to have made, we're going to need to make the last phalange just for those four fingers. So I'm going to duplicate, make it smaller, even smaller, like this. Position. Everyone, every single one at the tip. And notice that we are going to have this this first finger here, just right off the toe. We're going to have it right on. On the front of the feet. And this one, we want we want need it so I can hide it and delete it. I hide it over using that mask selection and going using the visibility high Bt. When you select something. With this mask, you're going to have all the mascot parts like there. And then once you press Hide, pity it, we're going to hide the part that is a mascot. And then I hit with my shortcut, the Dow hidden. Okay, so now I'm Justin. The proportions. We can have, like the middle, the half size, right? This region. So yeah, it's kind of the right proportion. But the only thing that I need is to continue this arch. So I can go back and use my gizmo once again and then click over the gear, bend arch and make it just a little bit on its orientation like this. And then put it, actually we won't need this arch over this finger. It just going to need to make it touch the ground like that. And one thing that we need to do is this arch over this angle. So maybe we fuse it. Yeah, it works. Now disable the topological mode. And now we've moved brush. We can make some adjustments. One thing that is quite important is that this arch will not be really centered. So it would be nice to have this kind of angle just as we have in, over the hands, right? So let's make this adjust and try to make it follow. I think I could make it just a little bit smaller like that. And let's have a measurement for the height. So if we have like this one unit and you could change it, maybe keep, okay, it's half unit. So I'm going to need to have like 1.5 here. Yeah, just perfectly and a half. So and also let me see it should this, this measurement here, we're also going to need to have unit perfectly. So this will be a nice need to make this region or on the floor. So we're going to have this nice arch here. We're going to have these, also this nice arch here. And then we're going to have this nice arch here as well. Maybe the feet would be not so down. At the same the same height of the hill heel bone. Right. So this this can be a nice blocking for the feet. Let me hide it. Okay? And this is too big. One need this big. Okay? And I think we can merge altogether these two pieces for these three pieces, for the feet. I'm going to merge down and merge down once again. Here we have some flipgrid polygons. So I will select, invert my mask and isolated, and then I can click over the flip and flip its normals. The flip is always over here and show the display properties and in use this flip. It actually, I've made it flip it because I excluded with z modular over the center. So it's flip it all the the phases, right? Okay, good. Now note that the heel bone is out of the center. And we can make some, some detail like this over the heel bone. The sum is moving over the border and that's okay. That's enough for us for understanding the general looking. K. I like it. Now. One thing that we have to correct over the lower leg bone. Okay, let's, let's continue over the next lesson and then we can have a look on everything.
61. Sculpting Back Leg Muscles: Okay guys, so before you start trying to make the lower leg muscles over here, let's just make some few adjustments on the blockage that we have made of those. And actually, I will turn it all the tools. Oh, not that those sorry, the feet. Turn it just a little bit. Like this because I was filling the the the feature much for for the center. And this should look more like this. Okay? And another thing that we have to make is true. Actually make that diagonal. So we need shut down this a little bit more than all the diagonal for these bones. And I have it more like yep, and maybe not so big. And this one over here for the tibia bone, right? Don't forget that we have this this diagonal shape and this christ. Know that it'll be, most of time it will be visible. And here I'm just making some adjustments as well. But that's okay. Let's duplicate the feet to the other side so I will do a mu her weld. And now let's turn on the muscles. Let's turn on just the lower leg, the leg muscles. And this way we can continue with the equation that we are making. So yeah, let's start with the patellar ligament. It's not exactly a muscle buddy. You know, it will make the connection between the patella and the tibia bone. So I actually go, we'll duplicate this one and grab it right over. I duplicate it. I think I duplicate all the folder again. So delete, all, go over this one and then open the folder. And now the applicator contour shifts should be. And then I can grab it to the lower leg up her legs in here, I will make another folder. Lower legs muscles. Lower leg muscles. Actually without that S, but that's okay. I think here I grabbed the wrong one. This shouldn't be here and this patella should go where it's readies. Think I remove it. So the the folder disappear in. Yeah, I gonna make a folder again, so lower leg muscles. Great. And here I will make just this ligament, the standard where it is over here. Good. Let's make it right into this this color. Make it thinner. And position it right in place. Let's turn on this local symmetry. And that's it. I think it would be better to make 0 measures. Because here we have this star in the middle and I don't like it. Yeah, good, perfectly. So now I can make some fibers and some fiber looking wave, Greg's brush. And yeah, that's it. Make it connects right over the head of tibia. Tibia bone there. And yeah, for the bones, we can clearly see that the lower leg can be separated. Me show you can be separated in this part over here, which have this lot of muscles just as the the forearms, just like the extensors. And those one in the back, there will be the grass, the grass and the gastrocnemius muscles. And also the solos, which will be this one, kind of bad for the gastrocnemius. And, and also you're going to have the, the tibia bone, which is this part over here. Okay? So the trick here is to think the muscles not exactly symmetrical and more like off centered. Because once we have this transverse or curb cut, we're going to see that this is, this part over here will be the tibia bone and this one will be the fibula, right? So this would be all the volume, the general volume for the gastrocnemius. Here will be the general volume formula for the soleus. And here will be the volume for those front, front, and lateral muscles, which are those ones. So one good tip that we have here that Procore sales is energy to memorize the general looking for the muscles. Yeah, let, let me first do a general overview. So we're going to have the astronomers, as I said, just over, right over the soleus muscle. The gastrocnemius will be those CHO, here on the back and will be attached right there. Those condyles of the femur bone. And then we're going to have the soleus. The soleus will be right behind the gastrocnemius and we'll attach also ensure the calcaneus bone with the Achilles tendon right here. So both gastrocnemius and soleus will be attached on the calcaneus bone with the Achilles tendon. Right? Then we're going to have the, the other muscles. The first one on the front will be the tibialis anterior. The tibialis anterior is because it started over the tibia and it's more on the front of the leg. So it'll be this first one. If we have a look here, we can clearly see the tibialis anterior, this one, the front, right. And notice that this is the gastrocnemius. This is the solos. So we are missing. Just hear the tibialis anterior, so we're missing the external digitorum. And those, those two here, the peroneus longus and the peroneus. Brevis, which will be right over the center and they have kind of this double double locking? No. So yeah, let's start to make them. Yeah. Just have a look here. I have. Okay. Another thing that is quite nice that protocol sales is going to have this big one. And then I small one like B1. And small one, big one, small one. And B1. So the big, small, big, small, big. This by looking from the side view. So this is easier way to memorize. And tibialis anterior because we'll be the first one right over the TV bone. Extensor digitorum because it will be the second one will be we'll make those tenants for the fingers, then the peroneus, which will be those the two and the w1. The peroneus longus, peroneus brevis, and then the soleus and gastrocnemius, right? So let's start by making, I think the the soleus. Because once we know the solids will be under the gastrocnemius. Let's start with this one. Yeah. As you can see here, it starts on a gonna have its origin on the upper second, third of posterior surface of the tibia and fibula, right? So we're going to have this region has the origin and they will concentrate and attach over the calcaneus. Right? So let's, let's do it. I raise it this window. Don't remember, but I turn it on full screen by the charge cut Control F, but that's okay. So yeah, maybe I think we could use one of those, Those geometry. So actually replicate where it is. Duplicate the fibula. And I will position it right over that lower leg folder per leg and lower leg is there are grabbing right over here. Okay. So I can. With the Move brush, grab it more. Going toward the, the heroes, the calcaneal. And actually this is DynaMesh. Yeah, I think it's DynaMesh object. So I make a mesh with the lowest poly count. Let's see what we have here. Cuz they think will be easier to position it. Yeah, just perfectly this perfect. Now I'm going to work with Move brush and back face masking so we can change the farm. Maybe we're going to need to make some adjustments after we have all the other muscles. But let's start to make and position just a little bit this as the solo, solos. I'm going to try to just simply divide it may be. Now that's okay. After we can subdivide it, let's just correct the shape here. Yeah, and that's okay. So now let's duplicate. Now let's duplicate this sub2 Control Shift, Shift D. And then we can grab it, does as the gastrocnemius. And for the grass gastrocnemius, we're going to have to divide this, this object, this muscle tissue to grow nice, nice parts. So maybe if we position it here. And then it kinda makes. This is still this curvature between the two. The femur condyles. Maybe do another 0 measure. And then lets first position. And after we can, we can better detail this. Then again, duplicate and make this like this. So here you can position it. And then we can blend everything to the calcaneus. All right? And what do you could do here is start to sub-divide some times. And then we can make the general, the general volume for the gastrocnemius. And one thing that is quite nice shoe to have in mind is this region that is formed by the tendons. And always pay attention to make the inner part more the inner part closer to the bottom, to the floor. And the outer part more higher, null does higher, sorry. And also be sure that it is quite offered off centered. So also we can select it and tilt this just a little bit to the center. And do the same with this other part here. Co2 out. And position this part to the between the epicondyles. Here. I'm trying to do the same. And I think I need to turn even more. Make sure that we have that are going to have the same, the same insertion and they are not separated muscles as we are doing here. It would actually blamed first. But just in order to understand, Let's make it like this. Yeah.
62. Sculpting Front Leg Muscles: Okay guys, so continuing here with the shape of gastrocnemius and soleus muscle. I think here Solo's we could start to subdivide it. And this C, because this way we have not too much density. So I start to sub-divide it some times and try to make a better, better shape for gastrocnemius. Given a little bit more volume for soldiers and some views. And yeah, let's continue. I think it would be nice to make the tibialis anterior first. So I will duplicate this sodium muscles. Let me see where it is. Right here. So I will duplicate and will rapidly and position it into the right place. For the TPR isn't tidier. We know that its origin is the upper two-thirds of the anterior surface of the tibia, right? So it should be kind of this place around here, right over there. And with some more morphs, it should be the tendons. All right. So yeah, we have to take care and position it right over the CI builder. But we also need to left some TB or region appearing on surface. So the muscle itself is going to be like and T's draw. Here, the Soyuz is okay. And the tibialis anterior we can, we could try to add some little bit more volume, I guess, like in this region. So it kind of creates a nice silhouette for the whole the whole, the lower, lower leg region. And then I think we could make the we could duplicate this. And then make the extensor digitorum longus starts also in the top of TB and fever. And it's going to make the insertion into the phalanges right over there. So let's duplicate it. And as we see here, you know, it will start over this region and then goes right off over the feet. So I duplicate this. Let me see. I grab it to the side. And then I can rotate a little bit like this. So it becomes easier to position, I guess. Remembering that from here, it's going to divide this into 333 or four. Yeah, actually three tendons. And it goes over those those fingers in the middle just as the same left of the hands. And then the only one that is missing now are the, this one, the peroneus, longus and brevis. Then we are not visible in this view, but into this one. We can clearly see it here. So let me show you here. The peroneus longus will start over the head of the fibula right there. And it will do this kind of this turning here over the ankle bone. So let me duplicate it. And I will first make the peroneus longus. And after we can do the peroneus brevis, disable here the back face masking and make the tendon goes back, the ankle bone. Then I can add just a little bit more thickness on it. So I think it's volume. We're going to be more over the top like that. And then we're going to have the peroneus brevis right under this one. It's going to insert over this bone here. The first metatarsal bases here. So I can position right over there. And now let's make the peroneus brevis. Brevis will be right under the duplicated, the wrong one. So now duplicate it and let's mask the tendon and make it smaller. Let's use this as our reference, I think will be better. And both will do the same. We'll end into the same tendon inserting on the fifth metatarsal base of K. So we are just missing some muscles in this region between solos. They're actually be, let me see if we have some reference. Not exactly, but we're going to have some more muscles that is the flexors of the fingers. And I will just duplicate some. Let me see. Duplicate this peroneus brevis so we can make it closer to what I have it here. Let's position without the mask first. And there it is. So this will be kind of the same. We're going to have a tendon going around the ankle muscle, inserts right into the metatarsal. All right, and then now I think we can start to refine those shapes. Here. The solos looking from the front view is kind of weird. Let's also fix the tibialis anterior. This one, the extensor digitorum. Okay, now let's make some, some fibers. But first let me position better. Good, perfectly. Correct. This shape of solutes, by looking on the front view, will look more like that. In these gastrocnemius. Yeah. I think that's it. Yeah. Now, better. Let's make some of it was without symmetry. So, yeah. So now let's start to make some fibers in the colors on it. So for the gastrocnemius, the fibers will be more into this this shape. Let me show you. They will be more like this way. And this region that I'm doing now it'll be more like tendon, like this kind of fibers. And then let me paint this as tendons. And also the AKI this. Alright, so let's do the same for the other side. Let me first correct this volume. Yeah. So there it is. Let me do a pinch over this tendon. Yeah, that's better. I'm going to turn on my dynamics. So with some draw, then burst size one, maybe yeah, better. So I can make the same same size for the fibers details. Correcting some volume. Going back to make the details again. Okay, Let's wait it save, and then we continue with the deal in detail part.
63. Finish Working on Leg Muscles: Okay, So continuing here with daily trying to make the fibers following the same the same pattern that we did into that other, other part of the gastrocnemius. And you know, as I said, the gastrocnemius are just one muscle. But we separated in two of those. And I don't know because actually we're going to have two tendons on the top like that. So the preferred to make it separated then doing and DynaMesh and once again, you know, recalculating some 0 measure just for blending and merging all together. Here I'm finishing bars, that is standard muscles. And now let's paint and do the same. We did note the form. How I'm painting. The tendons are creating this corner, round corner to the bottom. So we should pay attention on it because this will be exactly the way that it's going to look on the surface. Right? So here I can stand on. Good. Now let's do the same with all the other muscles. Actually this part here of the gastrocnemius is missing some details. So let's continue over there. I think we're going to need more, one more subdivision. Too much hype polygons, but too much poly count, but that's necessary. Let's see. Okay, so now let's do the same for solace. Let's paint this already with the tendon color. Actually here will not be detained on yet. The tendon of solubles soleus will be more like this way. As you can check in the reference. Trying to have the muscle fibers, their action. I want to divide it one more time because we're going to end with too much polygons on, on it. So they prefer to leave it like that. Even that more pronounced. The subdivisions. A low-res. But that's okay. Just for visualization, I think so. I'm not really sure if the fibers will be in this direction. I think they will be more like this. Going for the top. So I was doing the wrong, wrong, wrong axis. Like this. I think it's more right on its place into the right direction. Once again, I will detail just wanted appears on the Echo Show because if not, we're going to lose too much time on it in as it's a course recording. If I lose too much time on this step, I think it will be too much borrowing. So after the side I can detail more this model in, yeah, so it is, That's nice. So here we can see, clearly see the soleus going under the gastrocnemius. Once again, just like the brachialis muscle on the arms and all. Let's detail the tibialis anterior. Tibialis anterior is going to have normal normal direction fibers. Going from its origin point, should the insertion point on the feet. And one thing that is important is to always think on the origin and insertion points of the muscles we are doing this course, you know, doing all this exercise just for you guys to memorize those insertion points. And when you think the biomechanics on posing a character, you're going to really exactly on this origin and insertion points for the muscles. Because once you think like that, you will easily be able to think which must saw gotta be on pump when, when you contract some, something when you are doing specific pose. So this is important to a nice way to memorize all these origins insertion points. But, you know, it's not the only way. Obviously. You can learn that from just spain, paying attention on, on the shapes are, are everything. But for me, this is what really, really make me give. And tremendous jump in my career. When I did this kind of exercise, I started to make this a cocci. And really understanding where are the origins insertions for each muscle. So I do really recommend you guys to do this kind of steady because it Just once you do one time in your life and you will learn forever, never forget, I think. So. It's really awesome. I really recommend you. And it's also because of this that I'm staying too much time into this exercise. Because I don't really believe that is an awesome changing, game-changing exercise or no. So here for peroneus, longus, and brevis, I think we're going to need to make that drawing for far the tendons, this like that into the middle. Let's do the same for peroneus brevis tendons, and then it runs over the top. In this configuration. Once again, all the fibers are going to the middle part. And also, you know, when you guys memorize the origins and insertion points, you're going to understand that the way that the skin and the surface will, will act, you know, when you know, the origin insertion, you know that the general volume will not have any too much bumps on the origin insertion direction. It will be more regular. And so on the surface, this kind of steady helps a lot to, to read the reference and really understand what is happening on, on that that you are seeing, that we're looking for using as a reference and trying to replicate on, on the, on your model. Right? So we're going to actually repeat this. But on the flesh and skin, flesh and skin version. And you realize that how much this study helps a lot to understand the forms on the surface. And once you, you study anatomy, you can do anything I think, you know, because for me this is the most difficult part in creating realistic character. And also for studying when you are cartoonish character artist. Studying anatomy is, is so and so necessary as if you are a realistic character just because, you know, the cartoonish art is just the same. But they are synthesis of the day, realism of the nature. And how is the nature the real one will be the best reference for stylizing your character and deciding which information you're golden. You, you're going to want to show in your character, and which one do you think are not necessary that you can you can hide it or not show at all at your character. But you have to be to have nice structure for making this synthesis. Because of this, the anatomy study is so important to all the areas in the industry when it comes to characterize artist. So I really recommend. This kind of steady and this kind of exercise. Because once you do one time, you'll never forget, just as I said. Nice. So peroneus longus peroneus brevis. Let me continue this detail over this region. That's awesome. And then the extensor digitorum. Finally, we are done. What is this? Okay? This is just a tendon, so it doesn't have to be like that. Just the tendon I think is the tendon of the biceps femoris. We did. So yeah, let's just finish with the extensor digitorum fibers. And then we are done. Then we can go over the flesh and skin version. And after pausing, we're going to take a look on the legs, the whole legs, the upper leg and lower leg. And then take a look on the feet. We need to think on the feet, on the flesh and skin version. Once we have to have understand a blocking for the bombs, then we can go over the flesh and skin version. That will be the most important part for us. Right. Now. Just detail a little bit more, Georjean. Think we are done. Let's just paint it. The tendons and the origin. So yeah, we made it. Let's check with alternate on their release. Nets are equal. She maybe we could add some details over those muscles that we didn't. Did. They just kind of illustrate but not with that, those details that we did. And let's do the same for this one. The temporalis, you know, we didn't we didn't detail on every every muscle right right there on the face, but we got the the general looking of everything. I really wanted to make everything perfectly, but it will be two hours on the toe on details. And it really would be so boring to watch on their own occurs. So I had to don't show, don't talk about many, many things in order to make it not so boring. But I hope you guys understand because there are some people that read a lot do and understand and steady this anatomy. But there are many people that want just the necessary. So just to make the best thing for everyone. I tried to show detail, just the necessary. Okay. So yeah. I think we are done here with the overall look of the ACO share. And hope you guys have like ID. And now let's go for the flesh and skin version. Good.
64. Blocking the Leg Sculpt: Okay guys, so now let's have a look on the version of legs and flushing scheme. Here we have done the Akashic mode, and then we will be able to use this as a reference. And also, I've separated some lot of images here that I have in my Pinterest, my my my folder, legs, feet, and I separated men of them here with some bodybuilding. But in building photos and but you know, any any research on Google, anyone can, can have, even Google or Pinterest can have many good reference today because this reference, I use it to target more many years ago. So I think today is way more, more images on the Internet. So you can always do your own research and save the files that you think is going to help you when scooped in the legs. So let's go over there. I'm going to turn on, turn off our equal share. So all of those here. And turn on just my upper and flush, flush skin. And now actually are going to create another, another group that I will call the lower flushes can. So I can start by by appending a cylinder. And this cylinder, I will group into the folder. Lower flesh and skin. All right, so this will be the legs. And in order to do the legs, what it can do here is let's remove the perspective. We can position the cylinder and the way that it going to be the legs. But you know, actually the, the high, the total higher. I will get this info. The distance from what's happening now. Okay. The distance between the pubis bone and to the line of nipples will be character with eight heads tall. It will be the same, the same distance from the previous. Should the nice. And Sudanese from the, from the knees to the. To the feet. Let me show you here. Look. I use my transposed line. The same distance from the nature of the pubis will be the same distance from the pubis to that line of nipples. And also the same, the same distance from the knee. Right? So this is a nice measurement. And we can understand this measurement with that. That rule of proportion. Delivery get like one hand from top of head until the base of Chin. And then another hand, base of Chin should line up nipples. Another hand should line up nipples. Should the belly, belly button available, and to the pubis bone. And this will be the half for, for an 88 heads character. So from the pubis bone until they almost meet all of the legs. And from this region it will be the base of knee and then the half of legs. And then here I have a character if 7.5 I think, because it got like in this way here. But yeah, it's a nice way to make this measurement. And it always works very good for, as I said, Nate, eight heads tall character. And let's turn on this way. Y is getting that. Okay. So once I know it's proportion, I can grab it. The first is to differentiate and give it some, some gesture. And then from this we can start to sculpt. Like I can turn out a little bit. Let it to the front enough that we can turn it out. That's okay. And here actually we will need to add also the feet. So for the p tag, I'm going to actually duplicate this sub 2 and rotate it. Very simple, not nothing fancy, just an urge position, something over there. And after you can make a better blocking for all of this. Let's just start, you know, so I have the measurements. I could read just a little bit. Raise this. Let me see. Back face masking. And so we can, we can start blocking. So let's turn on the DynaMesh here. I can make the connection. And yeah, let's start to DynaMesh it and start scoped. Dynamesh. Yeah. So from here, we learned that we're going to have the a's is landmark over here. The a's is should be that A's and T's superior iliac spine. Okay. So we'll be into this region over here, just right where the pelvis starts. And then the pelvis is going to be over here and pubis bone and do the same over this side and goes to the back, are out there and say Qur'an and everything, right? So from here, we know that we have many muscles starting and show this point that are the tensor fascia lata here and also the sartorius muscle. Sartorius will be already nice muscle to start to make. You locate yourself in the legs gesture. So I know it goes in this form like a teardrop shape going around the shape of vastus medialis that we're going to have here. And it goes over the region of the nice, right? So let's start with this. I started with them standard and a low-intensity. And I start to make this gesture, kind of draw this shape. I could even draw like this and after. Go back correcting those shapes, right? The volumes and everything. But here I already have the separation between the quadriceps and the directors. And here will be exactly the place where we're going to have the sartorius. And also another thing that I know from the AES region is that we're going to have that tensor fascia latae over here. Just like a piece of bread or something. And you know, the same high of pubis bone, we're going to have the great trow canter will be barely over there. So from here, I know we can. Start to make the glute around this, this region of the greater trochanter. So even the glue, the gluteus maximus and gluteus medius. We can do the same over here. And then the tensor fascia latae here as exaggerating the volumes. This far drawing first, the muscles here could, I could give more volume to the doctors muscles. And here, I know that we're going to have from the pubis bone, I can drag and drop a line. Should the middle of knee. In here. Like a diamond shape? It varies a lot. This diamond shape. But is it supposed to be the rectus femoris? Right? So we're gonna have the rectus femoris right over here. And just beside it, we're going to have that teardrop shape that are going to be the vastus medialis because it's closer to the medium, medium part of the body. And this region, we're going to have a nice gesture making this line where we're going to have the vastus lateralis. Just like this. But here remember that we're going to have like the vastus medialis, vastus lateralis over on top. So we're going to have this format for the tendon. And here we're going to have the patella. Actually, I think it should be a little bit more to the topic, but yeah, you can correct the proportions after in front patella, we're going to have that patellar ligament or patellar tendon, remember? And here the head of Chiba. In this part of Chiba, you guys remember that we're going to have a nice gesture line that will get this C curve. And from here we can start from Jamaica also the head of fever line all of the muscles that goes over this region, the tibialis anterior and everything. Okay, so let's continue over here. Here I can make also a teardrop shape, but it actually going to have a ligament over the knee. The knee, let's make it. First the patella. Yeah, So it is. And then here we're going to have that nice cut from this part. We're going to have the tibialis anterior. Let's get there over the back. So let me make very The force it lines first and after. You guys understand, we can make it more natural. So from here I'm going to grab this sartorius muscle just like a strep. Go in there and making the turn over the vastus lateralis. Oh sorry, vastus medialis. This like this. And let's make the posterior muscles over here. We also forgot. I have to make the impression that it comes under this glutes muscles. And we can make them like those two, Two Towers, two volumes. And it goes right over the head of fibula. I could use the train dynamic over here and make matters move for the forms. In here. I think we're missing some abductors. Okay? Then from here we're going to have like this shape. Let's move on a little bit the forms, so it becomes easier to make you guys understand. So here we can give more volume rectus femoris region, correct here. The fashion tensor, fascia latae. Right? Let's move a little bit everything. And then I can draw it again for you in a cleaner way. Turn on a little bit of lazy radios like this. And this will be the shape for the tensor fascia latae. Here on the back we're going to have the separation between the gluteus maximus and gluteus medius? Let me confirm, but I think it was around that region. But more like more like this shape. I think phi separate all the muscles like this will be easier for you. Here. I'm trying to recreate the strictures of ni over here. Here you can imagine that almost like the volume of the femur. You guys remember that? Let me show you over here. Just wait. Here. Given more volume to the overall of the legs. Just like if we could change. It, can open just a little. Okay, Let's wait and let's continue over the next lecture.
65. Blocking the Leg Muscles: Good. So continuing here on the legs, we can open it just a little bit and be better for us because we were not having enough space to make the doctors in. And also this posterior region. I'm just in the volume. Let me erase this a little bit because the initial be exactly in the middle of that distance, right? And now let's before, Let's make more definition. Back here. Once we find the head of the fibula over there, we can make the tendon of biceps femoris charged head. Let's remove that layer and go back to our normal soft, soft strong. And here I could even make it bigger, the vastus lateralis. And from this, we're going to have, let's have a look on, on the Akashic. So look how we're going to be, we're going to have the tendon of biceps femoris. And then the biceps femoris, long head, and semitendinosus, semimembranosus. All of them going. Over this is condyles of the femur. So here it was strange. Make this condyle like that. Yeah, I cannot grab this, but let's have a look. Let's continue over here. Here if I would make this very pronounced. So it would be more didactic, easier to understand what is happening. So this region and all the sartorius muscle, it's going to actually blends with everything like here. And it will goes over that the rest of the tibia. So here you can see, here we're going to have the gracilis and here will be those adductors. I'm going to do everything more, force it first and after we can move and make it natural. Here, the adductor Magnus and the radius. From this spot over here, we're going to have the lower legs and lower legs, as you can see it here. We're going to have the gastrocnemius. Let's first add a separation. It will be more. And should this line here and all the same line that the leg is pointing. So this will be the middle, this region. And from this, we can, Let's start by adding the shape of gastrocnemius, like to tear drop shapes. And the inner one lower than the outer. I'm just in the general volume as well. I'm going to add I'm going to first try to add this kind of volume. Let me show you. Let me just move. And then I can draw it once again. Time is you need to do is move the form and then rebuild it again and again and again. Because it's easier. Here I can remove all this volume. And this will be the volume for gastrocnemius. So actually, it needs to be more over this region on the front. And from gastrocnemius there we're going to have this soleus does like here. And here we're going to have the Achilles tendon. I could even use a pinch, for example. And we will make make the job doesn't exist this volume so I can remove it with my train dynamic brush. Just introduce around this region, we're going to have the bone. Let's make like this and it will become easier. Let's start with allison Tudor over the front. So this would be like, it's good. I'm just seeing the shape. I'm drawing this solid is going should the Achilles tendon region. So this is the tibia just with some volume over this region for tibialis anterior, right. And from the sides, what are we going to have? Is Let's make properly the Achilles tendon. Let's remove all this others. And let's position the feet in modern know is from the sides. Let's go back over that lesson here. And we know we're going to have this separation. The Achilles tendon. Here will be our red bone. And here we're going to have that little tendon that goes over, over the bone. And then the solos. And then we're going to have the video news actually be very, very Soto and thinner than that one from the head of femur, which is the news. Then we're going to have the extensor digitorum. And from this we're going to have also the bone. Let me add just some silhouette. Cafeteria just let's finish the bone. The bone you're gonna appears this region over here. So I'm going in and removing the extra extra volume. Here. They had a fever. Look how I'm trying to make tendon of biceps femoris, short head. Right? We are almost there. Just need to make some adjustments on the lower leg and also some parts over it, over the top and end up here and continue over the next.
66. Sculpting the Foot: Okay, so let's continue here with the legs. And here's conceivably have everything very, very draw all the muscles. And everything is not so natural obviously. But I think it's more didactic way to understand what are the forms all over the, the, the anatomy itself. Let me see here. We will now we are going to correct some silhouettes and some volumes overall. This will be like that region of tendons. Here we're going to have this semi, semi semitendinosus. In here. You're going to have degrees C. Lee's going under, right over there too. And then we're going to have the same member knows who's right over, right under actually this way. Kind of that. Kinda like that. So everything is, as we said, very exaggerated. But I think it's easier to understand and learn about the leg. Leg muscles. Here I'm trying to pay attention about the rectus femoris. And also you know, that this region is not so right. We should let this iliotibial tract insertion more subtle. Cleaning the silhouettes and everything. So yeah, we have everything very draw. And now let's start to move and make it better and better visualization more natural, not so, so shred. So once we move, it going to have structure here you can feel some parts with better skin. Skin. Just like skin under the null. Remember to give an over overall volume and also to pay attention on each muscle volume. So once we start to move some parts, it, they actually start to become, became more natural. And not that exaggerated looking. But we've an overall, an overall volume. That's very nice. This would be suppose, would supposed to be the semimembranosus that is located under the same semitendinosus right there. Okay, correcting some overall shape. And now also let's duplicate, I think, or maybe we could merge first and also do the the feet first. And after we can do the better position and check all the proportions of the body. First. Here. Some case we're going to have some positive of some fat. Right over there. I actually had a nice good reference here. Let me see, like this one, the adductors. And now let's merge with the feet. And maybe we don't even going to need to merge. Think. Now let's merge. I think is better. So I'm going to merge it here and start to make the feet that C altogether. But first, let's do quickly overview on the feet, I think it's better. So here for the feet, we're going to have that same structure that we have made into the Christian version, you know? So here we're going to have the calcaneus. And then those, those two bonds for the US. After we can blend it better, the connections. At this time. This is, I think it's enough. Remember that the cocaine use, it's more off centered for the exterior part. So here I start to place just as it was, the fingers the fingers region. And you know what? Here we're going to need to add finger, each finger at time. So let me first have an overall blocking. And after we can check it, you're going to use the trim dynamic it does to blend the forums like resize, move, everything. You're going to have this region separated from that other in the front, like this, you know. And here we're going to have that footprint. Footprint draw. Trying to clean some silhouette over there. And have a better, a better form K. And actually from this region I think we could start to restrict the fingers. So let me do it. Each one. You're going to first do like this. And after each finger, 1234. And then I'm going to need a higher resolution DynaMesh. Let's first cut some phalanges and after, we can start to detail each, each finger. And so here we're going to have those same FET beds, just like as the hand. And this, we're going to have depression over this region. And then let's start to correct some volumes on general. All know, I think it crashes. Yeah. Actually it crashes. So I I recovered here and yeah, let's continue with the feet they are doing. And then we can all eight, let me correct the intensity. Once again. Let me is as strong as move Burj, move brush. So yeah, now you have a higher resolution for DynaMesh. So we actually going to be going to, going to have more difficult to move the farms. So here you can start by doing the fingers. First, very separated. This as we are doing now. And after we can merge them altogether. But first, let's do it separated. Here are going to use a train dynamic. I can also use the term dynamic in with the Alt key, press it. So it also adds the mass and creates a nice, nice break on the surface. And then here you're going to make exactly how they have made over the hands with the structure of bones. And then let's go to make the fingernails. Let's first correct this region. And then correct the syllabus for each phalange. But also the overall shape. Well here I'm creating this breakup on the general volume. All right. So let's start by doing the fingernails like this. And then we can go over add more volume and going more to the sides like this. And after going, going inside, you're actually going to do this into all the fingers. Here between the fingers, I could use an inflate with Alt key presses like this, so we can distance more each finger. And then update the DynaMesh. Again to do just mark for for each finger nail. In this case this little finger here, the mini Mu, we're going to make it just a little bit, turn it like this, and add the proper volume like that.
67. Welding the Foot and the Leg: I'm trained to add more volume around the fingers, the fingernails. And this like this. And then the minimi will be more like an alternate way. Turning outward the known for the exterior part. The attention to that don't have this those bumps for the fingernails. So actually try to avoid and this volume close to where the fingernails grow, this base. So try to place everything at the same the same high into the floor. Just like it was touching the floor. And here, make a nice separation between the phalanges, these four lines. And Continue with the volume for the bones and the cocaine use over the back region. And correct here, the bone. I have to take care because the clay buildup main leaves too much noise. We could also add this kind of volume by using the standard brush with clay with a back face masking, turn it on. And through here it can bring some extensor digitorum tendons. And also the extensor minimi, correct? The silhouette of the footprint. You can also try to make this middle finger in the front like this. And more over the back. This is region. Notice that I, I add some volume and then eyes move. And after I tried to return this volume, so it all happens. It happens all the time and all. You have to add something and then smooth and then edit, edit again. And yeah, let's see. So let's wait to save it and then we continue. Okay. So continuing here with detailing the fingers, this part of the dump should be should have a little bit more volume. But it actually will depends a lot from the reference are the kind of fits your, you're trying to do. But I know they all should look like the same structure with according to the fingernails and and the bone structure. Here if the last math class, so I'm going to try to position the finger. Moreover, the, the floor just like the others. And here we've move oh, wait, move version, back, face masking, turn it on. I can correct the silhouettes and the general volume for each finger. And you know, I'm not going crazy with details here because after we going to merge everything and and to actually try to merge everything, we're going to need to do an another DynaMesh. And once we we add that together, we're going to merge. We're going to blend the volumes with a new DynaMesh. So I'm trying to keep it separated in and not needing to to add too much details because I'm afraid you're going to lose everything. When we do an, another great DynaMesh. Here I'm going to try to correct the days of the shape. Here. I think I'm going to choose the smooth stronger, stronger you, you can use it when you are using DynaMesh with too much resolution and it's with the normal is move is getting Too much longer, long for far as moving some part. So you can do it and use the Move stronger just by going into your lightbox and brush. Then you go over this move and you select this one. Then it's going to replace your normal brush and works in a stronger way. From this part, I think we can merge with the legs so we can make it better the connection between the feet and the leg. So let's merge it. But first, let me separate little bit more some fingers. So yeah, let's blend with the legs. Here. I'm trying to correct some some shape, some, some volumes over the muscles of the lower leg, gastrocnemius in and the overall shape of everything. So yeah, let's blend. And the sea. Now if I would make a personal projects, I wouldn't merge it. Everything right now. I would prefer to, to merge does only just only when. When I go to two the pose I would pose it first. But yeah, let's blame me. See, I think the term is not so good. All right. This is better. That's all right. And and need thing. I think we can merge it. And after if we tend too much the poles we changed there. Nothing, no problem. So I'm going to merge down this true. Good. So yes, so now we can merge, you know, and do a DynaMesh. And your DynaMesh. Let me just separate better each finger. And then we can do another DynaMesh. Let me see. I think this will be not yeah, not enough resolution. Let's see. This way. It's okay for the resolution, but we are blending this. Let me get more distance. Yeah, that's good. But I still want to add too much details because let's connect to this, this volume. As I was saying. Make too much volume on it. Because once if we blends altogether, again, when making the Bose, we're going to lose all this details. So they will be just four. Create some nice marks for, for us. Yeah, and now we can clean this is connections and make a proper demon. Here i'm, I'm refining the general volume for the soulless and also the gastrocnemius. You can do, you know, nice fat region for all over the feet like I'm doing now. This xu also helps to give that notion of contact with the floor. And here I will try to make some kind of the tendon of tibialis anterior and then on for extensor digitorum. As this, we have seen the tibialis anterior goes over this region. All what's happened. Like here. Right here is the bone, right? And I'm thinking the fingers are just small. Navy. Also going to try to make the diagonal angle of the ankles, the bones of the ankle ZnO. And now I think we're going to need to refining here that insertion point of Sartorialist and semimembranosus and semitendinosus. Now, let's try to, let me define a little bit more. The soleus right under the others like that. And then the news K. And after we heard the legs and go to the other side as well.
68. Refine the Leg Sculpt: Okay guys, So let's continue here with the model. And now let's reveal some parts in the model. Do you know also try to do a mirror world and have the both sides here. I'm I'm I'm trying to make the feet touching the floor and also in the right proportion and all between its length and, and also its height. So actually here we have also too much polygons. 4000000 million polygons is way too much. We don't really need to have this this much. So I tried to lower a little bit this. But for the Indies I think we're going to need to separate just a little bit. Those this This fingers. Yeah, more like this. Let me use DynaMesh around. I don't know, maybe half resolution. Let's see. 3 million. I still believe this too much. Let's try 340. Yeah. I think 1 million. It's good enough. So here I'm trying to correct the biceps femoris tendon, which goes over the head of TB is right there. Let me try to clean some noise information that is not right. Tibialis anterior and extensor digitorum tendon. I'm going to start to use these move stronger because they think it'll be better. Actually easier to work. Now if standard brush now put in more volume on tibialis anterior, correcting some silhouette, Cleaning the shapes and making very, very easy to read. Given some information that tendon that goes around the bone over there. Okay. So let's do a mirror around and let's have a try correcting some shape of the doctors. Here. The glutes. Good, So let's use the inflated brush. Correcting the overall shape of the glutes. Babies too much volume over here. And you know, I'm I'm filling that the head is maybe too big. So I'm going to use the transpose, the gizmo and use the scale mode and turn on to transpose all selected sub twos. So I centered the gizmo and i o raise, increase the various size. Without the head. I just unselected the head and move it back to the to the to the top. Yeah. I think this is better. Trying to correct the shapes of the rectus abdominal. And here, correcting the shape for the triceps. Correcting some shapes over the forearms, the brachialis. And also here the shape of threat of biceps. Deltoids. This hand, I think it could be just a little bit higher. I think that C and the rest we're going to need to do on the pose. The pose. During the posing. Because we're done, we don't need to add more details over over this step. You know, if I would make my own my for my own work, I certainly would not detail too much like this. I would make something more on the beginning. So and I would make the pose first because we're going to lose too much work on this Posen process. You guys are going to see it. I think I like the overall shape. So from this I think we can go over the the posing posing step and then we can double-check everything once again and give a better approach for the thing k. So, yeah.
69. Painting Landmarks: Okay guys, So let's continue here with the legs. And then for the legs, Let's first paint white, pure white. And then let's start with the muscles and it's shapes. Let's start with sartorius. Then the tensor fasciae latae. We forgot to paint a painting, a pure yellow. The easiest. It's also a nice landmark. And then over here we're going to have the gluteus medius, the nib paint another color, gluteus medius. Here we're going to paint the great trow canter and then the gluteus maximus k. So here in the front, we're going to have the IEP see how how was it called? I forgot. The iliopsoas. Yeah, the iliopsoas. And so yeah, the psoas major and, you know, and then you're going to have the pectineus in the adductor longus, right? Not so easy to remember all the names, but it's nice to remember the shapes. So pectineus, adductor longus, then grass CLEs. I think we're a syllabus will be more over here, maybe. Yeah. And on the back here. And adductor Magnus. Adductor Magnus. And then semimembranosus and semitendinosus. Then here we're going to have the biceps femoris, long head, biceps femoris, short head. And then here in the front, we're going to have here rectus femoris vastus medialis. Medialis. Vastus lateralis. What color? And then right over all of this, we're going to have the fascia latae, iliotibial tract. Right on the top of everything. Here in the knee. The patella tendon. Here. He also going to have the tibia. In some parts here that will be like femur. Here, the head of the fibula. And then here you're going to have the TV ad is anterior. Here we're going to have still the tibia. Then here we're going to have soleus and gastrocnemius. And then the Achilles tendon above everything. And let me pause and continue. So Achilles tendon blends altogether here because yeah. Soleus is quite true. Too light. Just soft the mark. So I'm reinforcing. So you guys are going to have access to this model. And then you can always turn on an off your body pinned the sorted. You can go over here and set a shortcut. And in my case I've said the Shift C. And then you can turn on and turn off and have a look on the actual volume and the form of the legs or any any part of the body that you want to have a look. And here I also going to paint the tibia, the fibula. And then here, Let's paint. The extensor digitorum, the peroneus longus, peroneus brevis. Here we actually have another muscle that we have not talked about, that we will have the tendon for the top. And another one that goes on this region. Just like this. Alright. So yeah, that's it for our motto. Going to leave it like that. I'll admit I forgot the ulnar head of owner over here. So yeah. I'm not really sure I'm filling maybe that we have had maybe choose mol now and big body. So I'm going to recover just a bit. Yeah. Like this. I prefer I think it's more natural. And this way you can have a check and then have a look on every, every muscle. Alright. So I'm going to save it as another version. And you can always use this as a reference. Nice. And after, Let's go for deposing. We're going to use this for making opposed for our character. And I, I choose oppose very specific one, but I think it's very dynamic and it going to be a nice, nice bones to, to, to train ourselves on posing the muscles in our understanding, the origins and insertions of every muscle and how it going to hurt gonna relates on each form and volume when it comes to the pose. Okay. So yeah, let's do it.
70. Project all the Details: Okay guys, so now let's start. Let's get started with the posing. And actually in this course, I made in this, this way the, the character because we had to go to cover all the anatomy. And, you know, because of this, I have made everything very well the tile detailed in and these apples. But if I would really do this project like in Nepal's like this that I'm, that I'm thinking to do right now. I would start not with Naples character. I think I would start with maybe the ZBrush mimicking and make the pose first. And after I would do, I would build, build up the anatomy over, over the mannequin, you know, because I think the gesture works better when we do it this way. But since I am, I've made this flesh and skin version in order to make, to cover the anatomy and everything, we're going to use this model. Suppose. So. Notice that we didn't measure yet the parts my left like separated so dues. So now what I'm going to do is copy all these fleshy skin version to another symptom. And I'm going to merge everything and reprojected details into one single mesh. So this way we will be easier for us to pose and yeah, so let's do it. So here I've copied the whole model to another subdue. Actually did that. I mentioned all those, those pieces here, but I gonna do, I do prefer to make other our whole unique mesh because in the post that I, that I'm looking for, there are many parts that if I do a DynaMesh after posing, I gonna, you know, I'm going to actually attach the parts like fingers if I make closer the hand and off for doing the punch. So in order to avoid this, let's merge everything together right now. And this way we can. We can easier either do the pose without, without attaching everything, right? So here, as I don't want to attach this part and the DynaMesh, what I gonna do, I actually already attached at the hands of the arms. And here I have another DynaMesh version, right? And what I can do here is I'll separate just a little bit the arms just to make it far from from the torso. And after we can correct it, you can make it like this. This will have an empty space between both of both geometries. So once we DynaMesh, we want blue. Anything together, right? We have an empty space by separating everything. And here in the legs I think it's okay and after we can rebuild it, so pay attention to the fingers if they're not too close. Let's see. Here is different. So let me first do a first. Yeah. And check if the defeats the feet, fingers. And that's okay. So now we can merge everything together. Yeah, Also the head is okay. So let's merge everything together and do another DynaMesh so we can merge altogether. Here are murdered the arms. So let's merge, restore. So and let's do the same for the legs. Good, so now it's everything on, on the same, the same subdue. So this way we can update the DynaMesh and blend it all together. So let me first do a quick save because it will be really heavy for processing that we have six million, six million Pauli's. So let's try to save it first. So yeah. Let's start with DynaMesh. Let's see. I think we're going to need more resolution. Or maybe we actually kept a lot of details. So I think that's enough. Let me just check here. At the head. Let's write it just a little bit more resolution first. So I undo. Let's try something more. Let's see. So now I have 44 million polygons. I think it's better, more resolution on face and everything. And now just what we need is to erase these connections points. Use very light clay buildup, light not I mean, soft clay buildup, brush. And also we can use a smooth stronger so yeah. So here the, the neck, I think it's okay, maybe just correcting this shape on the trapezius. And we are done. Take care. We've seen duet. So yeah, that's it. This region we're going to need. Just move just a little bit. Here in this region we're going to have kind of this shape. And actually here I will do an inflate so we can blend it better. Not too much because this region, I don't want to lend like this. So I can do a negative inflated in order to separate them better. This version, but there are 12, make it closer. As I won't do any genitals information. I will keep it like that. Just as a superhero. That it was colon. That's okay. And also here at the arms, we need to erase that info of the cms, cms, the connections. So yeah, this is our model all in one single mesh. And now what I think it's good for us to do is to duplicate this mash and use this as a backup to reproject the details right here, I'm filling this muscle too small. Maybe we could go more over there. That's it. It's nice. And once it's all right place, Let's duplicate the model and leave this one as a reference. Actually this Dinah at the 0 measures versions, I'm going to delete. I did it without recording just to test and we want to use it. So now if just these two Mencius that are just duplicated versions, we can use this one to project and the second one to do a 0 measure. So let's go a little bit the target poly count and start with 0 measure. Let's see the how, how dense will be our model. So this is the result. So let's see if we have everything. Yeah, maybe not so good for the eyes. But let, let's have a try so we can subdivide it and start to reproject. So here we have both visible and then hit projectile. Let's have a check. Yeah, not so many problems. Let's read it one more time. In heat project again. Let's see what we have. Here. We have a problem in the eyes and also in the nose. So we can bring it back over here and try to reproject. Also in the years. The years we have are in really big problem here. Let's try to make it go over all the mesh. And also on things that you can do is to use an inflated brush. And then sums move an inflater again. This is because I want do read topology on my model. But if you do or topology, you won't have this problem. Sure. So subdivided one more time. Try to position it all close to one when we went to reproject. That's it. Good. Here. Could even use some brush. I'm using the clay buildup brush. Just to make it over like that. This should be easier in your working. Trying to get a nice subdivision with some supervision model because it will be easier for posing after. So here we hit version of once again and let's have a look. Yeah, So let's have a look on the result. And so many problems over the year. Here I'm using the Move version with back face masking in order to make it cover all the region to reproject and clay buildup. But they cared to use glyburide up with back face masking. Yeah. That's better. Take care of the regions that are having problem. Is move that region and bring it back once again to the closed should do, should the source model. Okay. Then now subdivided once again. And let's try to raise up this value. And the distance. A little bit more and reproject. We almost have reached a nice result. Just those little problems that we have. But I'm not sure. I'm thinking that we're going to have too many problems. Yeah, maybe we're going to need to make another 0 mesh. Because here we are with no, no details at all. Let's write simply divide it one more time and have less chance. And inflate. And tried to make it goes over the model like that. So now we have 5 million polygons. This is totally out of control. It's not so good to have too heavy model like that. But I think we'll be the easier way to use. This way we have low topology, low poly, low poly model. Now let's write to reproject the model once again. Let's try to reprojecting. And while it's projecting, I want to talk about what I'm doing here. Please note that I am just doing this mesh because either I actually This model is not for production. So you never can do this in production, right? For rain during or even for games. It would work for production, for statue, for printing, but not for rendering and neither games. Okay, so I'm just doing this way because I went to do the pose and for another, to do the poles, It's better to keep the details that we have modeled. With a lower subdivision. Then with the DynaMesh, if we use the mesh, that version that we did in DynaMesh, we would lose too many details and too many informations on, on the poison because it will deforms a lot. So doing what I'm doing here is is because I am, I'm trying to keep some of the details that I that I have made before. But this sir Shirley wouldn't wouldn't work in our production pipeline. So just please pay attention to this k. So yeah, let's see. And that's okay. We just don't have too much resolution there. And the years, but let's let's continue with this one. I think it's okay. Here. I have some problem and that's okay. Let's check the fingers. Here has some problem. Let's move it. Sometimes like that. Or even isolate this. Ends, move that point. Let's turn on double. Yeah. Better. And you know, when you have this problems and all the subdivisions levels, you're going to have to clean and do another pass of smoothing. Yep, That's correct. Here we have another problem. So that's all correct and not this region, that means C. So let's move this part and that's it. Okay, Just the hands here we are missing. Yeah, we actually lose some details here in the hands. But that's okay. Let's suppose our model and do whatever you want. Okay? After we can do another DynaMesh or no, and DynaMesh we want, we will not be able to do because it will glue altogether. So let's keep like that. Okay.
71. Starting to Pose the Character: Alright guys, so now that we have unique mesh with some nice subdivisions levels, we can easier posers character, right? And in order to post your character, I think the most important thing, it should be attention on the line of action, the actual, the curve of action that they are, your character is doing. So. As I said, I am, I'm planning here to, to do, to make a pose that I remember on Achilles movie. When Achilles was fighting against our giant. And he put a knife into his, his neck. So as here we have just simple body without any costumes are those things are even white bones. I will change this bows for not a knife in his hand, but an action that the character will be preparing to do a punch on his open-end. Yeah. So the first thing I want to change here is as I said, the line of action. And yeah, I'm going to start how, how I would do this? I would start by, by making a curvature on this line. And as you can see, I start as in the first subdivision level. And you have to think actually on the move both masses of the body. Let me show you in the reference. Yeah, So here in pure have we had that, that charge here that I talk about? I talked about the movable masses, those presented by, I think it was, I don't remember exactly which, which was this this book. Now, Baldia, doesn't matter. You will have, should think on the rotation of each movement masses. In this case, we have the head, the rib cage, and also the pelvis. So you have should think on the torsion as V0 going to have on. Each axis for each movable mass, right? So you can think that the torso, the ribcage, is going to have its income anchor point around maybe the belly button. And you're going to have like this kind of rotation and also this kind of rotation up. Sorry, it's always good to place your anchor point in the middle. Middle part of the reason that you are, you are trying to two position. And yeah, you have this, also this rotation and also distortion is rotation along its y axis. All right? So every pose we're going to have its curvature. As I was saying here. Let me show if we have something, maybe like this one. We have kind of contraction here and we have apples more like in this curvature, even if it's an extended pose, read this other here. It's more like if you are like this. So we have a force doing this and this region we have an stretch, and this region we're going to compress, right? So let me show you others. Like in this one, we would have kind of always kinda of this curvature and all like force pushing the character should the front like this. So the pelvis would be more to this axis and the ribcage more to this axis. And this way you have to also maybe if exaggerate the gesture and after the, the anatomy itself is going to correct everything but the gesture should be exaggerated. Because the gesture is simply the attribute which will gives life to your character when, when it comes to posing. So every pose, even standing, we can see some kind of force that creates the derivative on the character. Here. I have not too many reference on posing. But it's more, I think on my mind are off what I what I thought about this both that I want to do and I actually tried to make this both on on my own. Homes, me her on the Miho at my home. And I tried to study some, some curvatures, sum rotations of each movable masses. And so this, I can add, tried to replicate this right now. So before I start to do the posing. Generally I prefer to make this one is the DynaMesh version. It is the 0 mesh version. I rename it just by clicking here, but I don't know I have a shortcut set control blows are in my case, but you can set your own by yourself. Right? And let me see here before we start the bulbs, as I was saying, I always like to say to store a morph target, market, target, you can start here and you're gonna, it's gonna leave us, give us backup for this actual situation of the mesh in this subdivision level so I can make everything that I want. And then if I don't like it, I can just go over here and switch again to the backup that we created. And once I switch again, it goes over the other. So it turns into between two tuples to actually states of the mesh. And yeah, that's it. Another thing that is important is when you make the mask, I do recommend you not to always not not change the mesh without doing a blur. The mask like this. I actually don't like this blurred when you click with the control over the mascot region because it will keeps on some edge here. If you look, keeps like crispy edge. And I would like more, something more subtle on the transition. So I always like to do a Blur mask. And also I set a hotkey for this, this, this button. So as you can see, there is a contra plus e button for me. But again, you can set your own Hodgkin. And also one last thing that I like to do is to make the pose over a layer. I didn't, didn't sad about it. But doing the pose into a layer, it's always good to correct some part. If you want to go back again to the normal a pose and changed anything on the anatomy itself, the proportion or anything maybe into their heads. And after you can, you can go again and apply the, the bows. So let's create a layer. In order to create a layer, you have to go over the, the last subdivision. This one, I hear my, my custom interface, but you can always go over here and go over the, the last subdivision you'll have. And then I'm going to create. Two layers. One, that is my default. The four or without both standing and I don't I don't care about the name, you know, just just show you to understand that is the initial pose, the pose. And then another one that I would call pose, right? So everything I do over this layer here, I can disable it. It's visualization after, and it will go back over the default, right? So I'm going to work on everything that I will do over the posing I will do in this layer, the poles, right? All right, so let's start with the pose. Here. You're going to low. Go to the first subdivision as we, as I read, I read said. And I'm going to grab a mask over the region of the beginning of ribcage. So I will center the gizmo, like you can always click this button here and it will go through mascot center. So once I click this, I will have the gizmo into the center of the mesh. And then I always, I also click with the Alt button here in the results orientation. Actually in this time I am with the mirror activated symmetry. So I will first deactivate this. And once again centered on me, her K. And then I'm going to position my gizmo around the less the last rib close to the belly button region. So after I going to blur the mask a little bit and then I will start to curve the model just like this first. And also, I'm going to try to do a little bit of this distortion as well. Maybe correct. The center a little bit. Maybe it was too much for the back. Can be more susceptible like that. And also, I'm going to start to position the arms are or not. Let's rotate all the character like this. Let me see. Here, I'm going to start to position the head. I'll wait. I think we pose with the format a lot, the head, so let's go back. Yeah. Got some some mask into their heads. So you can go over here and unmask this decision. And do once again the blur. And let's see if everything's right in place. Yeah. Hello, that's that's perfectly. And I'm thinking here. Let me see. Yeah. I will also try some. No. I think it would be more like this kind of Tertullian. And then the head make the mask do some blur and position. Position that gives more in the center. Make like this. And now let's raise up the arms. First. I'm going to place it more where I want to be. And yeah, let's start with the arms. So for the arms, let's see what we have here as topology. I think I will do prefer to make this mask. By doing this, look, I will use the select lasso tool and I will click over the edge. So because here I think we have an edge loop. Let me see. No, maybe not. So I'm going to start by here, think. Yeah. So then I can isolate removed from the visibility this region because I want you to take all the arms as a mask. So I first hide all these bodies and creates a poly group for the arms. So I am using the select lasso tool to isolate everything, removing the visualization of the region that I want. And then once I invert my selection control shift, yeah. Maybe this one here. Yeah, that's good. So you can do Control plus w and set a group for this. And I will do the same for the other side. Because the mask here, you know, not so good. Maybe if we do like this. And yeah, we can use this region, this mascot region, go over the visibility and height BET. So we're going to shows only this region. And then we can click over grow or use the hotkey control shifted by o. In my case, I'm not sure if I change it or not. And then you can go in and grow the selection. And after you can remove anything that you don't want. Too much, invert selection, add more, more region for the Delta. It's just to get an easy, easy way to get the mask. And then you can click Control W, two groups, group this visible, visible region. So now, once we have two polar groups set for the arms, each arm, we can position the arms. So I actually going to make kind of like this a think and click with the transpose mode over the arms and then blur the mask. Centered the, the, the, the before the gizmo. I'm using shortcut that I've said to this button, go to a mascot center. My case is counter plus a. I set this Hodgkin, but you can set your own. I'd like to set in the middle of the region that I'm, that I'm using. And also let me see, I think and it's a little bit more more blurriness. And then you have to go and positioning the arms just the way that you are looking for. Let's raise up this one as well first. So blurred the mask. Go to a mascot center and position it around the region where you have the ankle, ankle point for it for the arms. That it should be like the head of your humerus. You had to always, when it comes to posing, you have to always think with the structure. The structure, you have to think about, about the skeleton and all the structure. To be able to make the chain zone the pose in coherent, coherent way with the skeleton and the anatomy, how the biomechanics work and everything. Yeah, so let's continue over the next lecture.
72. Blocking the Pose: Okay guys, so continuing here with the posing for our character. I think let me see. I will raise the arms like this, and now I want to rotate it. Now let's first start to pose the legs as well. Because I actually want to see the polls that i'm, I'm thinking. So mask the region for the legs and then blur. Blurred. Before Blur. You can also set up a poly group for this. And maybe correct the polar group with more more polygons that you think is is on the region that you want to change. Yeah. So set value group for this and let's add those two also. Good. And now let's do the same for this leg. You can even hide these other and make an easier poly group for this. I'm using the lasso, this like this. And then let's go back and add those, those polygons here in the middle. Also. Ops. And then hide the one that I want and make a group for everything here. Okay? That's, it. Should be equal the both sides. I'm going to add also this one. Okay? Yeah, It doesn't really matter exactly the borders that we are creating the group. But just because we begin to blur the mask so you can click over the set. And then once you blur the mask with this one, and you can be less concerned about this. Border for the polar groups. Okay, so here I'm going to make like this. And I think the anchor point around the middle of this region, close maybe to the great trow canter. Let me see. Maybe something like this. All right, and now let's, let me hide, lead me mask also this region. Notice that I'm that I'm masking until the joint ligament, the region of Ni. So Gautam Haskell center and once again, positioning around to the to the knee. So check if it's on the middle and to all the angles. And place the gizmo into this orientation like the, the, the, the feet and the need should always have the same orientation k. So we're going to bend this like that. Let me see if I Yeah, I can use that and bend. And here we're going to have to correct. As you can see the format a lot this region. So I can move just a little bit. And once it has the form and too much, maybe I can set a polygraph four, this becomes easier. And this region I want to grow one more and set the polar group here just in the middle of the knee. And from here with Move brush, you can correct the thickness for the knee before we continue with disposing. Okay. After we going to have to correct more marred things over there. But at this time, like this is going to be OK. And then click, just select this, this mesh here, actually the mask starting here. So I'm going to invert the mask and do blur over here. And then invert the mask once again, go to a mascot center. And I'll click in here and position it. Place the gizmo and the right orientation. Look to the orientation of ne e to the, the feet are placed into the middle, right in the middle. And yeah, that's it. That's nice. And this leg, I am not really sure of what I'm gonna do. But let me see. I want to change a little bit more like this. I know if the character has jumped, maybe this region of the feet would turn. So sorry. I said Pauline group for this region. And then I can use this and blurred. Learn the mask. Go to mascot center on a goto, a mascot center. Now I want to blur the mask. I will just use this. First. Go to our mascot center and position it around the ankles. Those two bones that we have here will be the anchor point for this region of, of the feet. Positioning around the center. Check the the actual orientation took place in the same orientation of knee. And then you go into this y axes and bend it. Okay? Here we're going to rotate a little bit more. And into this arm at the back, I'm going to prepare a punch. And this other here. I will maybe close the hands just are I don't know. I would think on some some gesture. And after I think I got to correct some shapes on on the head also. And yeah, let's continue. Right. Actually this leg. And now so I have to unmask everything here. Let me position it into the anchor point. And thinking that this leg, it should be more like here, ops. Don't forget to do a blur to the mask. More like this. Yeah, and now let's start to make Let's see what you have in the last subdivision. Yeah. It's all very distortion. Very distorted. Correct here, the sternocleidomastoid. And I'm still not really sure about this head orientation. Maybe I will change a little bit more. And yeah, let's go back here. Position to the anchor point. Bar like this. I want to learn more, the body like that. And now I think the most work will be on this arm here because we're going to have to rotate this a lot. And it deforms a lot. Because I want the orientation of biceps very, very pointing to the top. So let me try to keep the maximum without distortion is starting too much. Let me see. Here I'm trying to correct the shape for the biceps and keep the acromial end. The acromial end to this this region. And here we're going to have less volume on, on the pectoralis major because it has stretched to the top. Yeah, Let's bend the forearms. Let me see. I create a polar group. Good. And then click over this region. Go to a mascot center. Place the gizmo right into the middle. Correct? The axis. Here, we're going to need some blur. But I will blur the mask into this side. Blur and then invert the mask again. So you have to go very subtle movements. You know, you tend some part and then you correct the shapes. Let's raise the the subdivisions so we can check if the building is working in the right position? Yeah. After we're going to have to correct every anatomy. But it's working good. So here I'm going to bend and 2. I think I want to sharp the mask a little bit, so I click it over the mascot region. Here. We've Control and Alt and then invert the mask again. Maybe. Yeah, Or like this, I think it's getting closer now we have a 99 degrees. I want even more. Maybe we can use very subduing flight. And think on the arm is bending, bending or like this are getting closer to what I want. Yeah. I think it's more like this n here. The forearms, you can mask the middle like that. Or even just a little bit more like this. And then you are going to blur the mask. So the forearms, when you, you're going to make any rotation, you have to blur it into a little bit more of the middle and then blurred everything. We're blur the mask and then position the gizmo over the center and all the axis. And then you can rotate it. We're going to have to correct a lot of this this volume like this. Okay. Here if Move brush and back face masking, we can correct this is overall volume by given thickness. Let me see. If we raise the subdivisions. What we're going to have. Yeah, here it actually stretch it too much. The tendons of triceps. Here we have to correct the glutes. And, you know, I think I want to bend a little bit more. The overall torso, more like this. And the arms should go more. It's Shamata for the front, one to bring more over the back. So we're gonna give some more force. Like if he was charging the punch on his back. Always try to have a clean, a clean middle axis. So here we are seeing that, that curvature that I said. Actually the legs. Think I'm going to rotate a little bit more like this. Maybe the head. Let's make up a group for the head. Yeah, better. So select the head. Do a blurb. And also if I if I do like this, I think we will have more strong feeling. You have to test. Unlike in more. But all this pectoralis, I want to stretch it. Let's mask the head so it won't affect anything. And here if the Move brush, I'm grabbing more to the back. Let's have a look at the vision. We're going to have to correct many things on that part. And you can see that posing. When it comes to pause. There is no other way. Especially anatomy, when it's a model vary with many parts shown like that. You're going to have to change a lot. The model. When you are doing this posing, Take care. Pay attention to not the form too much, the head. Because the head will be movable mass that it's stiff. And also let's close the hands to make the punch. So let's continue over the next, next lecture. Okay.
73. Posing the Hand: All right, So continuing the bows. And as I'm looking here, I have a lot of things to work on this region and correct all the overall pose. But before we do this, I think it would be nice to close or read the hands and tried to make the punch. So let's do a quickly, quickly pose on the hands and try to make the punch. This way. Let's start to bend each finger. Let's see. So here I'm going to start by isolating just the hands. And what I will actually try to do is to close it and each finger, like going through the center. So I'm going to Ben's each one, but being sure that they are all going through the center. So let's start let's start it. Yeah. Here are going to use the mask lasso. You can select it by pressing control and using the mass glass or here. Okay? And then I'm going to select all the finger, I'm going to mask it are the finger-like this. Invert my selection. Do a, just a blur and merge it is. Okay, I think we need to mask and all the rest of the body. And then once I use my go to unmask center charge cut that you can set over here. Then I have my gizmo on the center of their mascot bridge, right? So I'm going to bring the, the gizmo to the joints region and then starts starts to bend the finger. Make sure the orientation that if that's correct. And let's see, where are the fingernails? Yeah, they are just right here. So we have Japan into this axis at first, right? Whereas the second joint is, it will be like here. So let's mask it. Invert the mask and go to uncentered. Go to uncentered American Center, sorry. And then go over here and let's see 1 levels of subdivision higher. Like this. Maybe this gizmo should be more where the joint will be. So this painting is not working very good, so I have to maybe make the mask sharpen. So I invert the mask and with Control and Alt and click over the mask region. I can sharpen the mask. And then if I blurred it, it's going to record, it goes with less mass, is going to shrink the mask, just as I did in the night, can sharpen the mask once again. So every time you click over, over the mask with control, you will shrink the mask and then you can sharpen it. And you can go like walking through the finger and shrinking the mask along it. Here I actually blurred the mask. Now we're going to invert and then do the bend. So you can always check her your own finger to have a look. We're going to have kind of square region for the fingers there. And here you can use this kind of mask. Just make sure that you're the orientation. It's in the right, the right angle. And good. Try to avoid this kind of thing. Like so you can maybe do a blur. And then once you remove the mask, we've moved version back face masking. You can try to correct the shapes on the internal part just by pulling the fingers like that. Okay. I think actually for a bunch, we're going to have to bend even more this region. So go to a mascot center, place the people, and then you can build even more like this. All right. After we can correct all the contacts. Let's do the same for the others. Inverts the mask, go to a mascot sintered with the people. Confirm that you have that region. You want just the fingers that you were working on on the mask. So you can confirm that by by using this burden, you know, they go to a mascot center or in my case, I've said a hotkey. Position it well over the joint the joint region. And then you can bend it once again like this. And then in the region of the other joint, you can mask the rest. Go to mascot center, place on the joint region. Search 5, verify the angle, and then bend it. Maybe one blur and the mask. And bend it one more time. Now I'm using the mask with transpose. Go to a mascot center, search, verify the angle. And then we're going to do this with all the fingers. But notice that we're going to have to correct some shapes After we can correct it better. But let's go for the other. Sometimes you can even do that technique to correct using Move brush and back face mask, turn it on so it can recover some volume on the regions that have lost. But we're going to need to correct the context. So if the hands anyways. But first, let's try to make with the same with all the fingers. Blurred it one more, one more, just one time, once. So invert the mask, go to a mascot center, verified with the well-known on central region and tried to always, you know, almost see the structure behind it. So you can check your own hands and compare the, compare the silhouette and also the angles that each joint makes. My new art making now to do a punch, right? So from here, I can mask the rest here and go to a mascot center so it's better. Now on on center, please. The right the right orientation and placement in the region of the judge. Maybe one Blur. And then you can bend it. One time. You're going to have to correct all the highs of each finger. And to be sure that you are making those arches and everything, position it right in the middle and rotate it. The last one blur, invert the mask. Go to a mascot center and position over the region. The region rotated is because of this, I always say to two guys to take care about the angle. You know, it was here and was not introduced right angle. So like the finger will bend in this angle right here. I'm working with the gizmo always. Just by pressing with the, pressing the Alt key. Then I can change on the gizmo. I'm not sure if fie fie have said this. K. Here I'm going back because I was comparing the knuckles and we're going to have to correct this knuckles. I'll actually grab sometimes a little bit more than what I want because this way I have a more transition for the finger, for the mask. The first band is more like 90 degrees, and the second one will be like 45, almost between 90 and 45, I think. So here can invert my mask and I'm not able to select the other mask there. Maybe the joints Yeah. This region. So I'm going to make the mask over the spark center. And then it again can even move some part. Good. So here I'm trying to select just this, this finger. And then I can correct its size. Invert the mask like this. And from this part I want the mask starting here. So I'm going to go shrinking the mask by no sharpening and blurring. Sharpening and blurring. Sharpening and blurring. And then sharpening. Good. So I can blur just once and then I can position it better close to the other fingers. Pointed more to the center. And then I can use the same mask and make sure you make a better contact for the hands right there. So now I'm using my Move brush in big, big size and going, I'm going to correct this, right? So bring it more like this. We can use Move brush with back face masking. So let's drag in to make this mask and then invert the mask. And we can move this region a little bit just to make sure. The other thing you will be shown. You can even sometimes use a little bit of inflate brush. Use the Move brush with topological. Turn it on so you will be able to work just on one finger at a time. Yeah, so let's continue with disposing over next lecture.
74. Refine the Hand Fist: All right, So continuing here with the hands, I've got some, some reference for first to make this hand, hence bows. And so let's first bend the thumb. And then we can start to correct all the other shapes. So mask until the joint position, the gizmo around the joints region and tried to pose to place the right, right angle for the men's for bending the right. You can do like this. And maybe I think I also went to when to close the hands. So for doing this, I will try to mask just the term like this. And maybe I don't know, maybe position it around March around that region. I think the mask is not getting perfectly. Let's try to do Visibility Hide, BET. So yeah, the mask is solved. All right, so let's mask this. Now. Review all and then isolated again. Then you can blur the mask once again, invert the mask and then work just into this region. Here I'm using the Move brush if beak size in, I'm trying to positioning the position of the hands into the right position. Maybe to us too much. Then inverting the mask and trying to make a proper punch. Punch. Hence, you can even use the topological for work on each finger at a time. So once again, I'm trying to find those arches on each phalange in each finger. And I'm doing some quick it, some quick fix with Move brush. And I'm going through perception or observation. Always try to make the same pose with your own hand and get some gesture, nice gestures and nice details that we, we cannot see just by the reference there really are using. So when it comes to hence, it's always, always good to use urea or you're all hand as a reference because it's a free, a free source. You can go very easily to check that. Pay attention to the mask that we are, we are doing is move, blurred them, always blur the mask when, when working. This is a better way to have not crispy, crispy edges forming on on the border of the region you are working. Now we have them send the brush. We can try to recover some volume over this region of that we talked about when you were sculpting the hands? At first. I'm checking the silhouette of each finger. Oh yeah. I can keep. Trying to add more volume over this little finger there. And having the right. I think this term here shouldn't be little bit more. So I tried to make a mask, a good mask, and now I'm going to try to position may be here, the, the gizmo and rotate it more just to have enough space to make this stitching more reliable. So always trying to remember the structure of each finger. This like this. And now let's use, let's see the other subdivisions. And then we can add more details. Now we can also detail more of the fingernails and all of that. Always being annotation in checking if the fingers are with the right volume. Remember the structures first. And then we can add some, some pressure details like the borders just like this. And here we're going to have to correct that the shape for the fingers, Let me see. Maybe phi use the visibility high BT and then bring it back here. Trying to add some of that folding. And let's try to have the mask on this finger and bring it back once again, maybe the mass from here. Yeah. Then do some, some blurs. Using some inflate can also help you. And also I think maybe I have this and trying to bring it closer to give more tension, more, more force to the pose. Because of this, I think, I think we always should isolate the region that we are working on. And, you know, as it's a punch, it would be nice to have like a torsion. Maybe not so, so blur the mask, invert the mask and let's shrink a little bit. With that brew. That method of blurring and Sharpie. So now I can invert and blur one just 11 month and blurred it in the end it here you can have the breakup on the bone on the bone at the ulna. Like that. So yeah, now I actually have to to work on a lot of shapes here and the arms to correct the anatomy once it has, has been bolded. Both for the hands, we have already some some nice gesture. Let me add more volume on each finger. And also correct the silhouette here. In this case now I'm going, i'm I'm trying to make those fixes all by observation as I said. But always trying to make to keep this structure of the hands and everything. Maybe I'm filling maybe the hands a little bit out of center. In this view. Yeah. Maybe the arms, we could bring the arms a little bit more to the back. So again, it gives more force power to the pose. And I'm not really sure what. I'm still not liking. This, this angle. I like it, but this one, not too much. I'm going to try to have a look in the mirror and try to figure out exactly what is happening. Adding volume to those, those parts are, are good for adding realism. Because they are the regions that it's going to have. More volume will pop out because of the bending. So yeah, I think we are missing some volume to this finger. And actually maybe this region, I guess. Yeah, we're getting there. So let's continue over the rest.
75. Correcting Squeezed Muscles: Okay. So continuing, Let's see here, What do you have on the arms? Good. I'm not really sure about this leg. If I will want. Let's have a try. Maybe. Maybe if we pose this. I'm a little bit forward. And then this, Disney, always remember to place the right way. The gizmo. Go back and correct the shape. Yeah, I think maybe this way it becomes more dynamic and not so obvious. So here I'm correcting the flexors of the leg, the biceps, femoris tendon region, you know, and everything. Yeah. We can try it this way and after. If we don't like it, we can change it back. So here I'm correcting, trying to correct the shape of pectoralis major in this case. What I have here, as you can see, we're going to have a muscle that we haven't, haven't talked about, which is the coracobrachialis. It's a muscle which comes here from this region and it makes this, this kind of draw. So here as the pectoralis will. Will be stretched. It will have less volume into these regions that I'm sculpting. Here, I'm trying to correct the shape of biceps. And you know, biceps will have a contraction. So let's have a look. Here. I'm going to blur the mask just to have like this way the mask and then invert and use this high DPT. So now what we can do is actually masks some, some firsts, edge loops over there. And then I will make biceps less big and more contracted. And contraction in this square root, square root volume and no more something more round, round shape. So you're going to have also a beak over here. And I think even more better like this. And actually I'm going to make this biceps triceps tendon with less volume. Not so strong like, like it is right now. Because it has no sense revising their the brachialis. And yeah, let's give less volume to this region. Unless definition I think here I'm trying to correct the shape of deltoids, but I think in this case they're going to need some, some reference. Let me see. I'm not really sure, but I think maybe this arm now it's okay. I thought it was quite too high, but not so problem. Just one thing. I think that his head is maybe not well, positioning. Maybe it's too much for the back. Yeah, maybe something like that. Not so thing is waste. In here. Let's see how we have the biceps femoris tendon. Let's have a look on how are the things right here around the flexors and everything. Here. The nipples was too high. Here. I'm using the standard brush just to remove some volume to some parts. Always in by following the direction of the muscles. The muscles direction there of pectoralis major. Yeah. Let's see. Yeah, here the clavicular portion of pectoralis major. Trying to make the level of muscle fibers some suggestion that it's like stretching the muscles in this direction. Yeah, that's it. And now actually the hands, I'm not liking too much because I think there's something to the gesture. Maybe. Yeah, maybe that way was too strong. The curvature, this weighs more natural. Here. I'm trying to give more volume over there. Maybe this biceps is to to being yeah. Here I'm trying to make the volume for the flexors in the region, muscles. In this region. This region we will have the volume for reading muscles and this region, the volume for flexors, right? Yeah. Thinking taking care of with the head. I'm not sure. I'm still thinking that maybe this arm could be someway more more bent. Then I'm not really sure. Let me see. Maybe could be like remove this mask and let's change a little bit. Maybe if we blur a little bit the, the the mask in turn like this. So it's stretching. Yeah, This is stronger. Tools like that. Let's see. Let's have a look home. Higher subdivision. I don't know, maybe into this angle. I like it. But I'm not really sure. Here. We're going to need to make all this region for the tendons. Here, I'm trying to correct the shape of coracobrachialis. Coracobrachialis is a muscle that starts, has its origin on on the process, coracoid process that we talk already. It was right over there and then Clive co the the shoulder blades. Here we are trying to recover the acromial. Acromial, more forums and also correcting the shape for the neck. As it. In this position, we're going to have a neck very, very stretchy and very defined. Yeah. Correcting the overall shape of neck and all those muscles that we're talking on, the explanation, the anatomy, and trying to have a look on the model through all the angles so we can better understand if that poses working or not. But I still think that we have a lot of things to work on. So let's continue over the next.
76. Adding Details to Muscles : So yeah guys, I got so many reference here. So you can take a look on how the anatomy we're going to work on this balls. And as you can see, I got some money on the rear view and also on the front view. And actually I found a little bit of the gesture, the pose that I buy I have inspired, inspired by it is this scene in the Achilles movie, Troy. So when menarche is going to put the knife, the forward and the Giant. And I think this would be a nice, a nice expression for us to make in our model. Because as you can see here, we won't need to open the mouth and everything. And as we have made character without the mouth open, the mouth closed, it would be better for us. So we have an angry face and this way we can make our nice, a nice gesture for the pose itself. Yeah, so let's continue here. I think one of the first things I would like to change is maybe this region here and the pectoralis major, the packs. I think I have, I stretch it this region too much but We then it should be nice. Stretch. Very well, stretch it this way exactly how it works. It works more on, you know, you can see kind of this uj here. And here it becomes more flat for the banks because it's going to stretch all this region. And here we're going to have the also the pectoralis minor volumes. So let me show you and other reference. Look what I have. Over here. For example. We're going to have a more, more concentrate the volume, general volume over this region. And then this part, it starts to blend with all the, the, the abs. Right. So let's try to make something closer to this. And also yeah. So I lowered the subdivisions. So division level so I could move the form and give less volume into that region and then I can bring some volume. And should this portion, Let's make a mask, an average protect the head. Like this. And this way I'm positioning better the arms itself. And also in the back. Here we have so many things to correct. As you can notice here. In this region, we're going to have like more volume concentrated into this part of the trapezius because it's going to be our contracted variable contract. And also the deltoids. I think they are not the right way. Maybe everything we should pull just a little bit more or our out of the body like that. Yeah, so let's use some of those reference. I'm going to bring more this kind of volume for the deltoid and trapezius muscle. Nice. And let's try to make those tendon lines on the biceps. Let me see. I'm trying to refine the shape for trapezius. Trying to recover some some volume. I'm still not really sure about this position for the arms. Yeah. Once again, I think being good to mask the head so the form, the form too much this and now also this portion, this part here, and I think it would, wouldn't need to refine more on Pictoris. Look something more like that, I think would be nice. This is a very awesome job from Fabrice, Utah has very, very awesome artists which makes have made history in modelling, in scoped in industry. Yeah, So let's just wait it save and continue. Okay. So continuing. Here I am trying to intensify the force of being that bowls. Let me see. Yeah, let's have some reference here. For this biceps by subregion. Let's move this region like this. Yes, So this is more foreign place. And now look how Danielle has made. For biceps. You have made like the tendon going this region in here. It can make, can give more volume for biceps. Just like this. Here you could even suggest some separation of two heads of biceps, know, by doing this. And we could have name and bigger Biceps like this. Nice. For this region of forearms. I'll try to make something. Let me see. Trained to have more volume over this region, which are the flexors. And also I will try to choose move, this folding that is making there. Yeah, I think that's nice. For the tax. Let's try something like this. As a reference. Standard version clay buildup British are trying to correct some shapes on here. And also add more volume over this part here, which is the dorsal lunches most doors region. This muscle here is the coracobrachialis. I'm not really sure, but now I'm thinking that the arms are too too much on the back. So I bring it more for the front like this. For this bag. I will try to make this bulges in this. This details on delta IDS. And also on triceps. Here couldn't have Cornelius more with more volume. This I could also use some alpha on standard brush. Maybe this alpha 37. In order to make this Nero's fibers, those fibers, those secondary details on muscles. I can define a little bit more the nipples by using the dam standard brush. Here at, at the bags, I could make some fibers also. Add more volume on this top bar. And some fibers definitions like here, by doing this. Note that I'm doing this really, really subtle. Always trying to keep the subdue way of making the volume in general and not over exaggerating in anything. And I can lower a little bit the subdivision levels and have less volume into this side for the banks. Because it's going to stretch. Let's see. If we have some reference for the shoulders. Yeah, we have this one. And then I can also try to add more volume on the bags, correct. Some shapes for the deltoids. As you can see, the deltoids are not the right shape now they are, they're better than think. Let's do the same with triceps this side. And try to bring that detailing that we have on secondary shapes for triceps.
77. Adjusting the Muscles: Here I'm trying to make more, give more force, more power on the movie, you way more stretch. And so they won't be that market. Given more fibers definition on bags. On the test. Here I'm trying to imagine though, the volume, volume for, for the test. I'm trying to imagine the continuity of this, this volume that is more stretch and maybe I exaggerated. Here I tried to give some separation for posterior deltoid lateral had, and also bring some, some secondary shapes. Let's continue. For this part of triceps. We can have more volume into this region. Kind of like making that region like this. This side for the arms. And we have the triceps. All right. And all this region, we're going to have the flexors. Maybe we could bend even more the arms. I think. So positioning. Make sure you have the right angle and then bend it over it, I think. Yeah. With some some blur. Yeah. Like like this. Now maybe it was too much. Yeah. Like this is okay. And it's nice. Let's continue and triceps go in there. Let's cover some, some volume for the verso. I think I'm going to bend even more the head. Maybe three. Bend more and all the torso. Yeah. The prefer let's also been this feed this food. Let's see what we have to correct some shape over there for the food. Okay. Here I activated the back face mask so I can correct the shape. The abs more flatter. Flatter in general. In this hand, I think we can bend a little bit. Let's have a look. Namely the head. Here I'm trained to mark Mar this region because it will, it will be printed. And the skin this region will be have this folding, these wrinkles. And also dm's, we're going to have some nice wrinkles over there. Nice to correct some shape for the biceps. The teres major. Yeah, as you can see, the teres major, it's very pronounced. Working on deltoids. To look. In other views. Now I'm trying to correct the shape for the legs. So I can start with quads. Then the flexors, I'm trying to keep them in the right position. The glutes here I'm filling that are like wrong. There I was trained to make the filling of the skin stretching. I'm not sure. Having some breaks on. The form of abs also helps to adds more realism. And let's also add some fiber, fiber detailing. At Beck's. This other side. I'm using the standard limbs, the underbrush. No. Not any secret. Here. The surgeon point for sternocleidomastoid. And yeah.
78. Refine the Pose: All right, So let's continue. Here. I'm filling that this arm is maybe too low. I'll try to position it higher. Always remember to blur the mask. That will have better results. Here I am, I'm looking for the continuity of ulna bone here. And I think this is too much for the out. And also this region on biceps should have some some tweaks. And see if we have some reference refining some shapes in triceps. Here we can remember that we were going to have a nice region with tendons, which will create flight. Flat region. And then here we're going to have the coracobrachialis. Here it could even use some cracks brush. And maybe this is too much pronounced. Let's make it more subtle. Here you have this volume for the brachialis muscle under biceps, biceps brachii, this and then Right right after we have the triceps, the long head. Here, we can refine this volume for dorsal machismo dorsi. Let me see. Notice that we're going to have some kind of bulge in this region and actually less volume. And should that part always taking care of with deltoids? Deltoids volume. And overall. Here it has to think on brachioradialis going to the signs of the wrist, and then the flexors just All right, after I think maybe we can give more volume on trapezius as I'm doing it now. And I'm not really sure. I think maybe this arm could have been just a little bit more tilted. It wouldn't give more force, more power. Yeah. And the preferred it Let's check the highest. But it should be more out of out of the torso, I guess. Yeah, so he's charging the power here to to make the the the bunch on his front. And maybe this leg. I'm filling that this is not a nice silhouette in this angle. I'm not sure. Let me check. Maybe if we have something more around here, you always have to see it. It's better. If you have a nice silhouette. You know, the way it was like here. I'm not understanding what is happening. The fetus right over there, you think on the angle that you're gonna make. The final renders. And in this case are, you know, the, the most important angle of the poles. And for this I think is the way where the character is looking for. So if the character is looking like in this way, I need some more clean silhouette. So I do prefer something like this. Then this, you know, here I cannot I cannot read where where where are the rest of of the leg? And here I can see that the feet, the food around there. So I think it's better. Look how it looks like. Half-life. Half-life. So this is better. Maybe this could give more power. You have to think on the, the arches of the Bose. Always like making this curvature. It gives more power to the gestural over an overall. So I'm not really sure if this angle I'm fitting that something wrong. The shoulders and maybe the arms are a little bit to maybe like if we could have this and if we could rotate it like this. Yeah. I think it's more natural. Maybe the head. Let me see. You have to make some tests. Do you know when it comes to posing? You always have to test a lot and and check what do you think if it's working or not? And always thinking on the anatomy. All those movable mass is that with dog and a lot. Thinking on the structure, the skeletal posing, it's the most important thing. It's just think on the skeleton in the overall looking of the the rigid part. And the rigid parts are mainly the skeleton. So we have should think how would the skeleton be posted and how would it work on the overall pools? So I think to give more volume into this side, maybe this arm is too a little bit too low. It can be more can be closer to where his looking and also his hand. We could change a little bit his gesture like this and make the fingers we could make. I think this is a statue from the Nobel, has a really nice gesture. Let me see. I will try to make by my head at first. But after I will check the reference of his work, I'm going to open a little bit this. And two. Don't forget to blur the mask. Maybe not too much. Just enough to make this angle for pointing to the front. Yeah. And you know, when, when comes suppose you have to always check the pulls in all the angles. Maybe even tried to look on the first, first person, the first person looking. So this way you will be able to to verify if it's seeing is natural for you or not. Yeah, let's come to know on the next lecture.
79. Adding Details to the Body: Okay. Continuing. So let me see. It looks like this arm is too close and the other arms is too far. Here. I'm trying to correct the shape of the neck. In Heaven like the same the same distance for both shoulders. We all have to be. When you are rotating the camera and check in all other angles. We have to pay attention if we feel that any Bart is looking word. Here are going to mask the head. And try to have a better, better position for the shoulders. By looking from the top view. Maybe easier sometimes to realize that we have something wrong. Always thinking on the structure itself, the the shoulder blades in how would it know how would we work on what happened? Yeah, now if feeling that's more, more natural, maybe. And another trip is true. Always. Always dub, dub, capstone yourself. Don't think at first that everything, It's right in place. So always try a double-check. Because our perception becomes too. How can I say that addicted to the thing that we are working on? And we can, we cannot realize that we are doing something wrong. So always try to have new techniques for, for having a fresh eyes. When doing bows. Here, I'm hiding a little bit declared go over there. And trying to have more cleaner, cleaner approach for trapezius. Maybe this is too much pronounce. Car cobra cat is muscle. Latissimus doors. And let me see. The shoulder blades. Debtor is major. Maybe heavy, heavy more volume on the trapezius over the region. And trying to make some stretch. In folding on the back here. This helps a lot to give more, to give it more realism to what you're doing. Maybe with more intensity than the brush and not after some standard, Standard Version, normal, normal lines. It can create these nice foldings by simulating the skin. Like a very thin skin. Because the character has a very low fat. But this creates a really nice jazz realism details. You can create some secondary shapes. On the elbows, sorry, not the elbows, down the shoulders. And also on the trapezius. Once again, trying to simulate the skin folding. You can do the first the first folding with them standard, been given some volume with standard brush and another standard, them standards. Strokes. Here have some problem with the years. So let's correct the shape. Not really sure what happened here. Here I'm the dating The sternocleidomastoid. I'm not really sure on that detail ID to altarpieces. And also we have to change this orientation. I was forgetting for the shoulder blades. As this arm is raising. The shoulder blades going to stretch, stretch, I'm going to do it will be more this position like this. So all this volume. We're going to be around there. Right? Because this is the one for serratus anterior. And here the doors saw machismo dorsi will be stretched. And here you're going to have more pronounced that that hold the DNS, DNS shoulder blades. And beginning of trapezius muscle. Here is the infraspinatus, more subtotal. And then the latissimus dorsi, covering all the part deter pieces over every all of these parts. And here I'm refining a little bit more the shape of serratus anterior. I'm filling that they are true thing. Yeah. On the right, the right place. And here, what do you have to think? Is it going to have? Like, Yeah. So, yeah, I am going to explain this original on, on next lecture.
80. Refining the Character Pose: And also continuing here. What I have actually on this region is that we're going to have the teres major and we're going to have the latissimus doors. All the latissimus dorsi and teres major volume going closer. But you know, between the deltoids and and teres major, we're going to have the tendon of the, not the tendon but the triceps. So it is going to be on this order. Here, the deltoids, then the triceps, and then teres major and latissimus doors, and after coracobrachialis. All right. So this is the right order for those muscles. And here we could even make maybe some marks, like for the ribs. And then I can maybe scoped to drag in some parts to correct the shapes of the general volume of serratus anterior. And all that. Those volumes. You have to imagine the structure behind those volumes that we are sculpting there. So this way we can have a natural pose, literal gesture for everything. Always thinking on the origins insertion point and the overall shape of each muscle. Maybe I exaggerated. Yeah, this is better than all like the fossa is the region that I'm I'm trying to to increase. Yeah. Here I'm given more. And the grazing, the depression of the sternocleidomastoid. Yeah, I think that things are getting getting on the right place, trying to add some secondary shapes over there. And then I think maybe this region, I'm not really sure fixing the shape for serratus anterior there. And also for their major. Here I am giving the feeling that we have a t small doors over the the teres major. Yeah, that's nice. Finding the shape of biceps, the brachialis. Using the DEM standard brush, refine the shape of nipples. Always looking through all the angles and checking the anatomy of everything. Reinforcing the tensor fascia lata. And here we can add some definition for the A's and tedious superior iliac spine, refining the shape for the obliques. And now I think we are just missing maybe using the inflate brush to have better definition there in the hands. And I have to change the gesture of this hand. I think we could raise it up a little bit more and make some Arch, some spiral arch. With this hand. Maybe this angle, this leg is not just not so good with not really nice silhouette. So let's try to have something before. If we have something like this. This was the balls in the main angle. And this is still good. And this angle, I do prefer. This way. I think we have better silhouette and all the angles. We can keep keep working on. Here I'm trained to kindly separate the extensor carpi radialis longus, I think from from the brachial radialis. And also have more definition on the anconeus. Having more triceps, the Phoenicians, given some deltoid secondary shapes, once again, always trying to find the acromial process by looking on the top view like this. Yeah guys, keep it off. The next lecture.
81. Adjusting the Hand Pose: Okay guys, So let's continue here with the pose. And I was looking to the pose on this side view and I was feeling maybe the pose with not too much energy. It seems like. Okay, I'm going to punch, you know, not really a lot of force because what we can see if the character is looking for this, like, like this direction. I think it would be better if he makes like downside downside looking. I don't know how to say that, but, you know, when the head is turning for for, for the, the floor and the character is looking anger like that. So it would be better if the character was kind of should this direction, right? And once he is in this direction, he's looking for the 11 good thing would be for the character with this arm pointing into that direction because this left charm is almost like a guide for, for the, for the attack that he's going to do. So I think that would be good to have the arms upper and also maybe with more curvature on the torso. Because here we have just some, some little curvature. It's okay. But what I actually did, I've made this version and let it, let us check how would it look on the less revision and compare it. This is more stable, is more transition. And also it looks moral, more relaxed. I think with when MY compress some part. It looks more and more on how, how more curvature do have. More compressive will be. So more force, more energy, more power on the bowls, right? So maybe this is looking too much bent, but we can correct this. And just by just comparing the two balls, what I did was I actually have a look. I I lifted the arms a little bit and the torso a little bit more. And also when I had this, I tried to make all the, the character, I turn it just a little bit tube then the character more facing forward. So let's try to repeat this. And I can. Have a better bows, I guess. So I selected there with the mask and using my mass glosso. And then I blurred the mask with my shortcut. And so I inverted the mask once again and position my anchor, anchor point in the middle and then close the shoulders, right? Let me position in it matter. Yeah. Maybe something more like this. I think it would be better. And maybe like as I bid, more protonated, protonated shoulder blades. I'm not really sure. Actually had some reference where it was. Yeah, maybe this one. Okay. And that's been even more the torso. So position it the anchor point, once again, placing the middle of the body and then you can turn it. I'm not really sure about the arms on this side. And thinking this silhouette maybe too exaggerated. I'm not really sure, but yeah, this character is kind of standing. I don't want it. I wanted more facing. And also one thing that it would be nice is to have the character maybe on a side, side, side view and this view and this more like the front of the character. Yeah, I think the preferred like that. And also what you have to do is to change the pose of the hands. So in order to do this, let me see. I'm going to want a hand more like kinda spiral, spiral thing. So I'm trend should make the pose that I want my own hand. And let's see. Okay, so this finger will be more pointing up and the rest will be March the downside. Yeah, we can even open a little bit. So here we can mask it. I'm going to mask and two, that are the joints in the the finger look like has some part that was not masking. And yeah, let's do the same right now with this other finger there. Then. The last one? Correct. In some place in the arms. The tourist triceps and forearms. General volume. Yeah, So that's it. Now let's start to change a little bit the expression. So here we have no, no ice on the character, but after we're going to place. But at this time, let me check. Yeah, I'm gonna try some basic structures, some basic expression. Oops, not that strong. But I want to make some trying to simulate some some wrinkles over his head. So yeah, guys. Also it could raise this a little bit his nose. Now we can lift. Then. Say that instruction in English. Here. If I go back by filling some error. And I think maybe it will be really nice if we have the mouth open, but not this time. Yeah. So yeah, guys can go with this in continuing the next lecture.
82. Polishing the Character Sculpt: Okay guys, I think we are here almost finishing the character. Just this hand. I'm not sure. I think I was making some tests. I do prefer that the hands and makes more like preparing the punch like this. And it becomes a better silhouette, I guess. And we just need to correct some shapes and see. I always try to to check on the first view. Perspective because it's how, how I'm doing over here, you know, and try to look at my own hands and check how it would work on this bows. And I was looking at my my fingers are more turned over the center like this. And then we see in order to make more, to give them more power. I think it would be nice. Maybe this finger. I'm not really sure. Yeah. Not sure if maybe this this finger more like this. We always have to test, but I'm not sure if I move it very, very well. Let me check in other angles. The hands are not so so detailed. Detailed. Because we also have some restriction. We have 5 million Pauli's and once we, if we sub-divide it one more time to get more more details, we're going to have a very, very heavy project and These are more like for us to try to take some, some nodes on anatomy and how to pose the model. So I think I'm, I'm not going crazy with details on every part because surely we wouldn't need more poly count and also more referencing. This is I'm doing most, most of time by, by my own head. But I use it to, to search references a lot. So in order to study anatomy, It's always, always necessary to have good, good reference. Because when you are looking at the reference, you are studying and getting better with your perception. So it's really, really, really necessary. But, you know, in when we are recording a curse is not so so fast this process. And because of this, i'm, I'm trying to make my best just with some memories. But I, I always recommend you guys to make very, very good research first, before you start modelling and watched some lot of parts that you have to model and to give it a double-check. And then you're going to realize which kind of details you can you can add on that work? No. So here I'm trying to detail more fingernails and turning this just a little bit sharper than it is right now. But as I said, not going crazy with this detailing part. Right. And that's it. And also one thing that I that I think it would be very nice to add is kind of a noise. And overall, so we could try to go over this surface palette and then go to Edit. And here actually change it already. But let's see, 375 and minus. Yeah, I, I tried to manage to 10, this scale value. So by default, it comes like, like this. I think. And you can even use a very small scale like this, but I actually don't like it too much because it doesn't look like skin. So in this case, I'd prefer to use like a very low strength value and use a bigger scale like this. This way I feel, I feel like it's more some kind of skin. And it's also add some, some variation over the skin. In general. Look. This is like choose Move. And this starch looks more like some skin and gives more realism to the whole piece, right? And also, I think the only thing that is, okay, maybe we can work more on the expressions. And then we have some, some wrong parts here. And we have to correct this because it's not looking very good. So we need to move this and use that, relax and then try to recover the, the overall, overall volume for this part without losing the the Year Forms. So let's wait it, the quick save and then we can continue. I'm going to pause it here. Wait, wait, wait, wait. It's alright. So in order to correct this kind of problem, it looks that we have too much way over here. You can go moving this part. And I'm afraid that we're going to have to risk coped of this region. We can use this move, an alternate with the Relax. That you can always change the Iago rid of smooth brush when you and your press shifted button. And then like in this case, I'm using the Relax algorithm. You press the Shift button, you press that left, left Gleick, normal, normal click with tablet and then you, you, you, you don't press anymore. The shifted, you're just left. So yeah, right now, I need to inflate a little bit the volume in order to keep the the overall form. And here Yeah, that's good. So I'm going to raise, raise up the nose and force a little bit more the nasal labial fold. Like this. Let's check this. I think we're here, we're going to need to add some spheres for the ice. So let's see. Let's position it. And duplicated to the other side there. Yeah, that's it. And for the expression, I going to live like this, this under this under eyelid more straight. And the upper lead. More like curving. I'm not sure about this. I beg you. I think I'm going to leave it more subdued. Okay. And then we could try to add some some wrinkles over over the face. And try to add some wrinkles like in this direction. So it can helps to make a nice angry, angry face. Look how I'm note how I'm trying to alternate my dem standard brush and my standard brush. I do some volume with standard brush and then I I remove to make the wrinkle on around. Okay, and maybe it needs more stroke on here. The best thing would be for us to have more severe vision. But I want simply divide it one more time because. If not, we're going to start to enter in a whole new world of details that we are going to be able to do. And not for the instant. You know. Yes, something more like this should be good. Changing the location. Also try to add some wrinkled folding. This region that will be really compress it by, by the bows. Fine. Remove this. And let's see. Maybe Fayyad some wrinkles like this around the eyes. But once again, I am not going crazy with those details. Because this is more for maybe another Curse. Maybe here I could make this separation even stronger. And here it could have less volume. Here, could even try to simulate some abdominal portion. Upto know, didn't like it, would have to. Find some, some nice reference to make this. But for instance, is very good. Tried to add some compression over that. With normal, normal standard brush. We've standard brush to add some some details on the knuckles and also correct the bone structure. Standard brush, given more wrinkles. Okay. Trying to correct these structures over the hands. And yeah, that's it. I think on the next lecture, we can maybe try to add some veins. Or maybe here we have standard brush for reuse, some alpha and load intensity. I could also try to add some secondary shapes over this region. Yeah, but once we, we put the NYSE, you won't be very, very pronounced. So let's check without the nice. Yeah, let's, let's good. Now I just think that it is missing some things and choose some parts. And then we can, we can finish our character. Alright, so let's add some veins in the next lecture. Yeah, that's good. I like it.
83. Adding Vein Details: So you guys, I think now we can start to start to make and put some vents. Let me just check here. Yeah, I think you have this bows. So this Bose layer, we could kind of create another bows, not on other pose, another layer just for reading the wings. And let me see. Or maybe we could even try to add those, those veins. Already. The default layer, maybe. Let's, let's make a test and check how, how it would work. So first of all, I'm going to disable that noise that, but here in the surface, okay? And I'm going to disable that. And then I'm going to be able to just, just see what I'm looking for. That is the normal sculpting. So let's stretch to, to make some tests over here. Here are going to start with the standard, normal, standard brush. And let's see about the PTC. I think maybe we can crease a little bit then density. And then after we can go back and move at all. The trick here is to always move the forms of the veins and make it blends with the rest of the skin. And this way it won't be that artificial. And other things there is also nice to make is to rise its intensity and also it's the strokes. So you can drag it and you can try to vary it into Edit variations, nice variations on, on its size, and also the directions that it's taken on. And notice that those little bumpy is on. On the other side also helps to add some realism. And then is move at all. So everything needs to look very natural and not an, an artificial stroke. But in order to. To read that reached that you have to take care in order to be very careful when you're drawing. So be careful to not over overdo it. So good. And also, you know, if you think you have over did you over the volume, you can always go back and move more than the forms that we're working on. It's also very nice to play with the tablet sensitivity, sensitivity. So you can change the way it works in how these truths, the strokes we're going to work on, on the surface. So let's try this and let's see how do we have that in the Bose is to have a check. Yeah, it actually and that becomes very nice. But, you know, that's no problem if you guys have not done the right way in the layers and everything. Just didn't doing this way because it's easier to find some reference on this normal pose. But you can always do already in the pose and won't have any problem at all. Okay, so like in this way, can go over here and make her ready this one in the layer. Let me just correct this shape. Okay. And notice the regions that i'm, I'm dragging those, those veins and how I'm trying to manipulate my stroke and, you know, trying to add variations on the size and intensity. So it kind of creates this small balls in the shapes like this bicep veins is very common. So it's nice to keep in mind where it needs to be shown. And from this one we can drag some mother over the deltoids here. Just like that. Not so strong. And so we can avoid the artificial where. The official attempts. So let's see. I think maybe I want anything that's not too much natural. So here in this region, It's a nice region, tried some, some vain structures like that. And then forgot. And don't forget to them. Once you add those wins to move at all. And until you feel that is becoming very natural and not over, overlook it. Everything very, very subdural is the key point by doing this. And the most important thing is to always move a lot in the beginning of the veins, right? And notice how we have ln of, of things in the forearms. How the first stroke we will always look like too much. And then after you go over is moving the beginning and also some parts in the middle, it starts to blend it better and keeps more natural. Not really sure. Yeah. Here you have this nice vein that comes from this part and goes right out of the way. There. That's nice. Good. And let's add another name be. Yeah, This one. We have a lot of nice reference here. Maybe we could even make it stronger. And a little bit. This vein, because this is the main one, I think is the more, the most preeminent. So it's kinda nice to add this on the legs. I'm not really sure what it could be. Here. It can make like the bow to this region. And then then it can go right over the arms like that. K. Remember to maybe add those, those little bumpkins. And always is moved to the beginning and the end will always help to blend the farms. A lot. Here in the hands is very also very important to have those nice veins. Because it adds a lot of a lot of power, a lot of force on the gesture and the image itself. This, I'm doing like to be exposed to that vein. The main one. Nice. So always pay attention to add just not only those big ones, but in order to add the variations will have to make some, some order. All those that are lethal and not so expressive like that. And then blend it all. Here in the back. We can also add some veins. Everything very subtle. And some a lot of different size. Notice how we have also some some nice some nice working. The clay buildup brush that we have make and the, the direction of the muscles. So this way you will kinda kept the way that the muscle would work on on there. So it always helps to keep those nice filling of the skin stretching and being very realistic. No, no. Yeah, So let's save it and I gotta continue in the next lecture. Okay.
84. Review and Greetings: Okay guys, so I think we are, we are done on our model. We have made already some, some leaders can details. We added the veins details and everything. I have made the bows and hearing have made this in layer. So we can always go back and work even more, a little bit more and some parts if we want to. And notice that I presented to you two ways of doing the veins. Or it can work for many kinds of details on surface. Once you, you work on this way with layers, make sure that we are going to have one layer, which is the default for the base. Doesn't matter how hot the ONO you wanna call it. But this first one will be in the T-pose, the apples, right? So you can always start to require again and manipulates the farms. And then once you Record the posing on another layer, you're going to have this detail already applied on the layer itself. Okay? So also, I can have kind of blend shape bias in these layers. So sometimes you can even exaggerate some forms or I don't know, work with this value. But I like to work this way just for keeping me a copy of the original pulse. So I'd like to do this way. Also we could have also add the details in another layer. But in this case, as it's just work for this proposal without many, many other accessories or details. I think this is pretty good. So just remembering what we did on the course, Here's the final pose. Notice that all the angles I tried to, to have a nice silhouette on it. You can even change your model to flight color material. And then you're going to be able to check its silhouette. So it's always nice journal tried to get the action, the gesture of the bows on every angles. Just by looking on its silhouette. All right. So yeah, this is our bows. I also like to check the bows on the top view, our even and the bottom view, and check if it's working. This is a very dynamic, both. So we're not so used to look through all these forms. But always the anatomical knowledge will help us to understand which how do a, the muscles and also the skeleton will works. How is going to be its behavior on each bows and all? Because of this, it's always important to have a good understanding of the origins and insertions and all the living body landmarks. So because of this, we have studied on the model in a bows. We studied many shapes on surface. Many of the important shapes that we have to take care and attention on the anatomy and not only the muscles, but also the bones and tendons, right? The parts that are made. Many of the muscles like the heads of vectors major, the deltoid, which has the anterior, posterior and lateral, even the trapezius muscles and it's kind of separations. They can have their and men of them. So you guys are going to have access to this model like this, I guess. And also what I did here, here is the surface model without that Bollinger Band, with the groups. And then we also have the version that we have made. Me check with an equal share. Right? Not a complete shape because here I think we just miss it. Some, some little parts on, on face, some, some little muscles to be a complete complete one. But the mainly muscles and the mainland surface volumes and structures we have very good shown here. So let me show you with colors. I have made some very simple repent. And as you can see, we covered all the body of the muscles, origins and insertions. And yeah, that's it guys. I hope it has been a very nice course with a lot of new information for every one of you. And I hope you guys steady a lot. And I hope this can be a very how can I say that debtor can enjoy and learn a lot and makes the difference on your work. So that's it. Hope you guys like it and see you. Thanks. Thanks a lot for watching. See you guys.
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