Introduction To Sculpting In ZBrush

1. Welcome Home: Hey there, Ryan King's line here. How are you doing? I hope you are enjoying Z brush and really getting into all of these features. I'm really hoping during the next you know, Let's say week of your life. However long it takes for you to go through this, I'm going to introduce you to as many of the features of zebras as possible in all of the ones that are really relevant to you that really make a difference in your sculpting life. One of the really beautiful things about Z Brush is that people come to it from so many different places. Now it has a solid footing in the film and the game industry. It's done amazing stuff in the toy industry, the action figure world, right, being able to sculpt something, send it off to China for manufacturing and not dealing with shipping and molding and all of that stuff. It's done a lot in these industries, but I think what you're going to see in the coming years is Z Brush is going to start moving into a lot of directions. Product design being one of them. Uh, I can see engineering starting to use this gets some of the cool things happening in terms of engineering are, ah, procedural architecture, generative algorithms, things of that nature. Fine art. We're seeing it kind of work its way into people are creating sculptures in Z brush. I've actually worked with sculptors to recreate their pieces there. Clay, please. Pieces digitally and then expand upon them and render them out. Ah, and then people would just start from scratch right here. And this image that you're seeing in front of you, this fully three D image I should say sculpt is just a tiny example of some of the cool stuff that can be done. Now, I've done what we call a best preview render. That's something I'm going to explain to you in this series. Uh, and this kind of gives me this kind of illustrative look, But this is full three D and with a little bit of work, this is something I can print out as a sculpture or a pronoun as a painting. The idea and the really important thing that I want to stress here is that Z Brush is for the artist, okay, really highly focused on the artist, and this is important to start out our conversation with because there's all kinds of artists, right? There's designers, there's production artists. Okay, there's illustrators, there's visionaries. And they all have certain rules and processes that they go through that they require. When you get into production, this is going to require certain rules, certain kind of specific work flows to get something done within a period of time. Designers, they have their own rules. Illustrators, visionaries. They're breaking rules. No matter which area you're in here, zebras is going to really be focused on the artist, the visionary. Okay, the designer side. This is where most of its tool base is going to be. In production, you have to design something for goes to production. You design it in Z brush. If you're going to be an illustrator, you have to work with the concept. You have to get the sketches and all of that stuff you're going to be inside of Z brush. If you're a visionary, Welcome home. This is where we're going to live. So in the next series, I'm gonna walk you through module by module, so to speak, the features that are really relevant to you but we're going to be doing it, activating the artist inside of you, making sure that you are connected to the artist and growing not just your skills and your zebras. Now we're not just going to teach Z brush here because learning Z brush and this is really important. Learning zebras I'm writing this down equals learning to sculpt or paint or have visions and work with your imagination. This is really learning art. Z Brush is its own art form, and that's what we're really going to be focusing on is learning the art form of Z Brush and how we can use this to maximize our potential as artists in the world, as in as part of a production team as part of a design team. As part of anything, Z Brush is going to be our home for all of the parts that are really at the core visionary artist side of us. So welcome home. Let's get started 2. Moving Around Zbrush: All right. Are you ready? We're going to focus now on very first steps that you're gonna take inside of zebras. Now, you may have already taken these steps, and this might be news for you. So let me get tell you a little bit about what I'm gonna do, and then you can decide if you're gonna move forward or not. So right now, what I'm gonna do is just kind of focus on the interface. We're gonna talk about light box. We're gonna talk about this stuff over here, these guys over here in a little bit about, um, the interface and navigation. So if you already know about this stuff, skip to the next section and I will see you there. If this is new. If you're completely new to Z brush, I'm gonna break down this interface in the simplest way possible and just focus on the stuff you need to know. Not the unimportant stuff, the need to know to get started. So we're looking right now at a Z brush screen. Everything is It's exactly like you. Yours will look. The projects may change depending on what they what they release with. Um but This is a fresh install of you brush. What do we do? Right? So first thing, let's get ourselves in a position to actually be doing some theme Instead of learning about the interface. Let's learn about the interface within the context of sculpting. So there's a lot of projects that air here and again. This might change based on what they release with. I want you to go to this one called Default Sphere. That's gonna be the one I want you to kind of jump into. Its gonna be there no matter what. Right? The defaults fear not the Dina wax or the wax. That's a different rendering thing. Um, And then over here there's a queue mash thing and don't sweat that defaults fear. Please keep our lives simple. Once we've done that, just gonna double click and everything will have changed a little bit. Ah, but your screen should look exactly like mine and you've got this little ball in the center . So before we jump in and we start doing any sculpting, let's just orientate ourselves right? The basic core concepts This is our three D object. Hello, Object. This grey space is just our virtual space or virtual studio. Why don't we get specific and kind of cool about it, Right? You can call it whatever you want. This is our virtual studio. This is where we're going to be working. Everything that is outside of this box. In fact, let's do it. This nice white line here, everything is outside of this is going to be interface. And that's going to include tools, materials. What kind of material? Air sculpting with your sculpting with clay or dying, you know, or some red wax or something like that. What do you using your tools, your brushes, things like that. Okay. And then properties and modifiers. And we're gonna get into all of that. The basic core concepts, but interfaces outside our virtual studio is here, our object, the object of our desire. Right there in the center. One of the first things you're gonna want to do is just get in and start sculpting. And so everything is set up so that you can get into the brush and start working without learning interface without learning interface. And so that's what we're gonna do. We're just I'm walking you through what I would expect you to do as a beginner, just totally on your own. So we have our virtual studio and we've got our object. And look, if we click outside of the object, this thing rotates around and we can tell because of this floor plane, Right? This is just a grid plane that's there for us. You sculpt outside or you move outside. The thing rotates. You touch the object itself. You start to sculpt. Simple. Is that outside Sculpt? Right. But everything's a little bit more complicated than right than that, right? What I want to do, take your eye and I want to divert it down here to the corner. You can see this button called Move, Scale and rotate. Please keep in mind that it is not the same as the ones up here at the top of the interface . It's on the side here. This is how you navigate around. So I'm gonna walk you through these guys move scale in roti rotate. You might notice. We've already done. You just click outside. But what if you want to move this sphere over here or what? If you want to zoom in and make it larger so that you're seeing more of it. What if that's the case? Well, this is where we need to go. Move. And this is where we need to go. Scale. So first thing you need to know about these buttons is that they actually perform the actions. So let's just click on this move button and knows I'm clicking with my wack. Um, tablet. I've got a sinti here, 24 HD. Something like that. Ah, if you've got a tablet, you're just clicking on the tablet and you move left, you move right down in each corner. Okay? You want to scale it, you click and you drag up. You dragged down, right? You can drag left and right as well. It doesn't really matter, but up and down, left and right. Then you can move it into position, and then you can even rotate it so that you can do a little action onto the site. One thing you want to notice, the last point you clicked that becomes your pivot point by default. So watch, I'm gonna rotate. I'll click down here, I'm gonna rotate around. And that's my pivot point. No, we're rotating around this point. If I click up here at the top. That's my pivot point. And just like you have a sense of where that comes from, that's this little button of your called local watch. What happens when I turned local off? I'm gonna click down here in the sides, right, and it doesn't really care about that at all. It's just using the center of this model to determine whether this is going to rotate around or which direction things like that. If you have local on, it's going to use the last point. And so this is on by default because most of the time when you sculpt something, you are then focused in that area, so you don't want to lose it. You want to stay in this area so we can kind of start to move stuff around and play with some basic shapes and do all these bad mistakes like lips and basic forms. The idea now you saw I started to use hot keys to get this a little bit easier. So watch this. I'm I'm working in Z brush. I'm moving on scaling. I'm rotating all of it with just a bunch of hot keys and So what you need to know about the hot keys is that they're all down here in your keyboard. So your hand is down in this bottom left corner. Right? There is a shift. There is control and there is Ault. Those are gonna be where most of the hockey's we ever are concerned with are located. But how do you know what your hot keys are? Here's a trick. You're learning your first Z brush trick eight minutes in hover over one of these items and press control control on the keyboard. If you do that, you have a description of it. It will describe it. And in that third paragraph, it says you can also move the object by holding the Ault option clicking and drag. So I'm holding Ault click and Drag scale. You can also scale the object by holding it and then releasing it. This one's really crazy. So I'm gonna press old and now I'm moving it. So I'm in the canvas pressing Ault, moving it and then if I let go of old but keep my pin down now suddenly I'm scaling. So it's Write this down. Okay. If you click outside model this is a rotate if you click, plus old ID equals a move. If you click, plus old plus release ELT. It's a scale, and this is your first introduction to the ladder of Z brushes logic. You will find in many examples of where Z brush is really focused on condensing everything into these small, discreet units where all the rotation happens with just two keys to actions. Will two keys plus three actions. So there's press old and then release Ault. It's like a It's like a extra dimension to your hands on the keyboard. Kind of interesting. So click Ault, Click Ault and Release or just click. You're going to see this repeated out See Russia's structures really important to get this ? Because this is the logic of zebras you're seeing over lawns mind at work here, spend some time with that. We're gonna actually switch over to the next video, and I want you to just kind of play with this with the rotation that navigation and getting yourself comfortable moving this model around. But before you go, I want to make sure you know how I pushed form in, and how is pulling form out So you're gonna know your hot keys for what I'm doing right now where I scale can just alter click release old And there you go. Now, the standard brush is a sculpting tool. This is how I'm actually sculpting on the surface. It's this this little area right here and it's called a brush. Really cool, cause it kind of merges sculpting with painting, which is what three d really does. But you notice that I pushed form in here. So what I did is clicked Ault on the keyboard, the key ault, or option, And that allows me to push in. And then if I don't press all that's pulling out Now, what this is actually doing is referencing this stuff. Appears e ad and C sub. But I'm not gonna get into that. Now we're gonna We're gonna get into all of that later. I just want you to be able to sculpt, move the model around, do something funky, see what you know. See what? What, you feel how things were going. And then in the next section, we're going to get in and start talking about sculpting a little bit more clearly. But before you go 111 less thing you'll also see. I've been increasing the brush size that there's a hot key s you click it and it comes up and down and you'll notice that when I do that, when I just it it also highlights it up here. So have fun. Move the model around, start to sculpt something, see what you can come up with and then in the next section, let's get in and start seeing what we can, what we can do, how we can make this thing seen. 3. Blocking In Structure: All right, now we're going to get in and start sculpting, okay? I'm assuming. And this is really important. I'm assuming you have studied hot keys by holding control, right? And going through that ladder of logic that they have. You just click to rotate, all to click to move Ault, click Release Ault to scale Get yourself comfortable cause we got a lot of work ahead of us Now I'm gonna completely start over from scratch. I'm going Appear to this little light box. I'm gonna do another default sphere, but before it just replaces it, it's going to say, Hey, you didn't save this, right? So let's let's cancel this out. Let's talk because maybe you want to save it. So to save it, you come up here into the file menu Little tiny thing with the small font cold file, and you hit save as so again you're coming all the way up here, little done anything, and then you're gonna come save as there's no save. It's always save, as so we're going to save as and I usually save these things, and I you usually move it off to the screen. I just save it as delete during these demos. So if you ever see some weird title appear like delete, that just tells me to kill it later. Let's come into light box. Let's go. Looks like we saved it right in that Z project folder. So isn't that neat? You can just save it right in that folder and you're there. But that's not what we want. We want the default sphere gonna load it. What already saved it. Okay. Is he burst? Has some oddities, you know, little tiny thing. You're just getting introduced. So kit ready? Ah, we don't need to save this. Would you like to save changes? And no, it just gives you this warning all the time. It doesn't have a checker. Eso I'm gonna zoom in, right. And now we're going to get in and start sculpting. So we need to know, you know, what are the tools? What are the tools? So let's zoom out a little bit and I'm gonna use this as a kind of a divider. So let's stop traditional and then z brush or digital whatever you wanna call it. If I'm going to start sculpting traditionally in clay or I'm gonna start painting traditionally in oil, paint or acrylic. Right? What's the first thing we got to do? What's the very first thing you gotta do? Okay. Is it start sculpting the eyes? Some people do that. They'll start, you know, painting eyes. But even before they do that, they still do something else. You still block in really important. You gotta block in, right? And then once you've blocked in and let's say you've kind of established the general shape of the face in general proportions off it, what's the next thing that you've got to do? We've got a block in things like the features of the eyes. And then no. So you start to establish some of the planes of the face, and in some cases, we call that structure. Do you put in lips? Well, most of time. What I do is I put lines in. You'll see. We keep this real simple, right? So then we start to put in some structure, and then once you've got structure, you've got the you know, the under plane for the I. I call it structure. Because structure involves planes, it involves lines. It involves forms, you know, it involves all kinds of stuff, much more than just planes, because we're also gonna put lines in there that are, like, these two D visual notations for us. I usually put a line in there as well, and ah, and then I'll add some bulk in here. Um, but you're gonna see all that. I put some lines in there for the zygomatic zygomatic major things of that nature. But once we've got those in, what's the kind of next thing that we got to do gets to be this gray area, right? It's like, Well, you know, you just start sculpting. Can you go from there? Okay, we want to do a little bit better than that, But let's leave it at this point, because this is really what I want to get you at Is the block in and the structure. So what would you use if you are blocking these in? So in this particular case, I remember and block in with Clay. Ah, might want some of my teachers had me use a two by four. Or you use like, a paddle or you're the palm of your hand, right? And then when you come down here and the structure and planing. This is when you start to use a tool that looks a little bit like that. In some cases, you might use a wire frame tool of the specific edge to it to kind of gouge things out. And we're gonna find the digital equivalents for all of that. So I'm gonna label them right now and then we'll just kind of keep revisiting them. First thing we do is we kind of move stuff into position. So we move this digital clay around and there's a brush called Move. Second thing we do is we started establishing the structure and so there's one awesome brush for that clay build up. That's what we're gonna use. So these two brushes, we're going to set us up with almost everything that we need accept. We also need this brush the smooth brush, because when you start to kind of build form up digitally, you need to have what in digital were in the traditional world is basically this kind of scraper. So it's his would little scraper that you grab, and you kind of drag around the surface to kind of unify things, or you'll use this and you'll just drag that edge around to kind of just unify some surface . But digitally, we use smooth. That's what we're gonna do. So we're gonna focus here and maybe a few other things to get ourselves going. So now we've we've got that. We open up the brush, pop up, right. This is just called a pop up and you can kind of see a lot of brushes, right? Too many brushes. So I'm gonna press em on the keyboard. That's m for move, and it highlights. Highlights all the brushes that start with M and you can see it right there. I can click this or I could just press the V that little V right there. So let me switch out to a different hot key and I'll show you that again. I press B as in boy M as in Mary V, as in Victor. And now look, of course, it doesn't say the move brush because my drawing tool does that. But keep your eye up there and now he see it. So we've got move active. But why is it doing that? Check out large my draw sizes. So we need to take our eyes up here. We need to increase draw size or you press s on the keyboard on. Now we're going to zoom out a little bit, start to pull things down, rotated and then pull things forward. Start to establish some structure. You don't look at it from below on. We'll just deal with that. This is a very loose, really loose and noticed that symmetry is turned on. But I want to show you one way to make this a little bit more efficient. So right now we're rotating this around and it's just going wherever and we're kind of in this freeform space. What if I want to look at a strong through ah, profile view. So I'm looking just at the profile. Well, you rotate it and then press and hold shift and then you lift the pin and you let go of shift two part process camera. Write this down. You ah, start to rotate. Okay. And then you get it. Ah, close to the to the view. Then you press shift right? Then you release pin and then you release shift. I've taught this thousands of times hundreds of times to thousands of people. People always forget where they'll pick, shift up before they release the pen. Things like that. Just do this. If you already know this, this is kind of a no brainer. But follow this process. Life will be easier. All right now, I'm at the side view, so I've got a little bit of a clear view of what's happening. I'm in a press and lock into the front view, and there you go. Why don't we pull out? But of that jaw? And when your first sculpting tricks when you scold, you really are trying to control whether something is a hard edge. Whether it's a slightly beveled edge or rough edge, you know, there's there's, there's a mile, there's a lot of difference there. So when we sculpt, we need to be able to set that stuff up. So with the move, brush the way you do this way you take a form that's kind of or again, let's be nice. Ah, and we start to make that a little bit stronger is you Grab clay from appear and you move it down. You grab clay and you move it down. The conversion of those vectors to use a digital term will sharpen the form there. So watch that happen. Well, uh, nice and sharpened. And that's exactly what we wanted. So we've got a basic shape established for some kind of head. And now what we want to do you start to establish some of the structure So I'm gonna press be on my keyboard B as in boy, see for clay build up and then I look clay Clay build up play tubes, Clay build up. See, the bee isn't boy So it's gonna be be for the brush pop up see for clay and be for clay build. And now I'm gonna lower my draw size and I'm gonna press on the surface and notice I am adding form. So what do I have to do to push form back in? What, what key or what Feature Z sub and the hot Kiefer's isa is Ault. So here I am, just establishing front plane of the face. And what I like to do is pull down like that. So I pulled down for the brow down for the mag zilla down for, you know, the, um the teeth plane of the teeth down to the chin, and so this just very naturally becomes what the front of the face right? It's pretty cool, keeps my life simple. So I'll push in and then I'll make sure you know, I can get some depth in the in the eyes and just really draw that down. 4. Blocking In Perspective: So in the last video, we just established some basic form, and we learned that our proportions were potentially off. But I stopped there because I want to make sure that you understand perspective a little bit. So perspective is off to the left. Sorry, the right of the palate. But it is also up here in the draw power. So we're gonna get up into the draw palette and start to learn about that. So let's just open that up and you can see down here. We've got a couple of things that are relatively important. Let's just walk through these two, the auto adjust what we can walk through all of them. But the 1st 1 that's really important. His angle of view said to 90 and I have found foreheads. It gets quite dramatic. So, for example, let me see. Turn that all the way up. You can kind of see what's happening. You know, there's a lot of perspective distortion, so I like to turn this down to, like 25 or sometimes 25 to 50. It's in that range. You can see there's not much, but that is still better than 90. So 90 to you, let's say 35. Quite a range of difference. Okay. The other thing that I want you to notice is this a lying toe object? So notice how when I move a model up, in fact, let's it's better if we're we have more perspective distortion. Notice how, When I move this up shoe that thing darts off into space. Or let's move it to the other side again, darting off into space. The camera is looking right here at the center of zebras. There's no way to really change that. It's just looking at the center of zebra, so anything that's to the left, the right above below, they're all going to You have certain distortion as though they are to the left, right top or bottom of the of where you're looking. So sometimes you want an object off to the side here, but you don't want this crazy perspective. So you just come in and you say aligned object. And what that does is that says Okay, see Brush. I want you to look at the dead center of this model so it looks at the dead center of that model, no matter where that model is it's always the same dead center. Yeah, we don't need that. But it's good to have it there soon as we set this to 25. Or let's say 35 things get a little bit easier. And now what I'm realizing is that my perspective is further off than I thought or my halfway markets further off than I thought. So this is really important for you to kind of have in your mind right at the beginning is also wise to check your perspective or you're halfway mark from a side view. Okay, this is when you're gonna get a truer statement because this little dot up here, that's just mask that I'm using control. It disappears from this front view. You just don't see it because it's hidden. But it is literally the highest point. So check measurements, like halfway from the side. That's the best unit. So Okay, now I fix this if I want to, I come up here and, you know, let's just adjust that, get my measurement a little bit more accurate. Okay? Sculpting it and pressing old and then not pressing Ault and building form up checking the measurements. Okay, within range, and we have our basic set up, right? So I liked established the down plane of the globe Bell on, and I'll establish the super Salieri arch. Then I established the frontal eminence, just anatomical terms. You don't need to know these. This is just a just structural elements that I'm establishing gonna put in some notes, like the temporal line. So I'm gonna just carve that out a little bit, and then I'm gonna establish a little bit of the brow Ridge and the important thing to know about the brow ridges. You know, it has this distinct. So make sure that there's an offset from the Globe bell on the super silly arch order what they call the external angular process of the frontal bone. Okay. And then I'm going to do use a Bridgeman tool. His is really cool concept cheek brown forehead. And then this kind of comes down fortune zygomatic major on from there. Right? So I'm gonna just kind of put a little bit of extra form right there in the cheek, and I'm gonna push in to help establish the dominance. The hierarchy. All right. Something simple like that. Now you've got to do measurements and there's there's a lot of there's a lot of different ways to do measurements. Some people will take the halfway point of the eye, and then you go up and down roughly the same measurements. But, you know, with a slight cubic form slight, uh, angled downwards. I mean, imagine the I kind of in the center of that is actually not the center, but slightly up. And then you can say, Take this measurement. Let's call this a and you double that, and that gives you the bottom of the nose and the chin these guys line up. That's really important. There's a line that goes from the bottom of the chin to the bottom of the nose. And then from here, you can say Break this up into thirds, and that will help you establish where the lips are. Maybe the lips are kind of up in this area in your lower lip, and then your men Tallis real basic measurements. But that's not what this course is really all about. It just wanted to put stuff in, so you kind of knew a little bit of where I was going, So we're gonna cut that nose off of touch right there at the cheek. Um, and we're gonna put a little mound in for the mouth. We're in a check. Our profile of you are side view because we've gotten a little bit out of control. So we've been working from this one dimension, you know, And we need to do we need to be able to think of it not just in front of you but side view and this view, looking at it from below or above to check the relationships of things. So there's a nice little device that I use orbited the eye cheek massacre, and then that, technically, that should go back to where the year is. So it's roughly at this angle, and that really just helps establish where the cheek is gonna be and help establish kind of the front plane and the angle of it. So right now, this is a very, um, it's even. It's not even accurate, actually. But Asian face is going to be a little bit straighter in this area. Largely this is the mag zilla kind of straightening out or in a Caucasian face, this whole thing kind of is gonna bend a lot more. So let's go. Kind of generic Caucasian, and I'm gonna switch over to move and just pull it back. Um, yeah, try to get that. So I'm gonna pull the orbit. The I back pull everything back notice. I'm adjusting topology and I'm in a pool back like that. So the way I was able to kind of that's see, I was able to create this kind of plane. Well, the way I was doing that, it was I was grabbing geometry. That was up in this area, and I was pulling that backward. So it was helping me establish a cleaner plane. So I wasn't just se trying to grab here. I was grabbing a touch forward, and that helped set me up quite nicely. Get that frontal own. And what we're at the sight of you. Why don't we just grab that knows, Give him a little character. Let's give that chin a little bit more prominence. Let's go like that and see what happens. Right. So now we switch back over to clay, build up, and so far we have only been messing with clay. Build up and move. But this is getting messy, so I've got one more brush to introduce you to, and that's the smooth brush. So we activate the smooth brush by pressing shift. You can actually see it here. There is a smooth brush so you can select this. But it's used so often that we have a hot key, a shift key, and you can see it. It's now no longer clay build up. Keep your eye appear. Press shift. Now it's a smooth so we press shift and now that fix elation starts to go away. But see what it does turns them into the one who shall not be named. So you gotta be careful where you smooth. And you also want to be careful how much you care about smoothing. If you find yourself focused on smoothing, do you think you are focused on the expressive potential of your piece or you focused on making it perfect? And if you're focused on making a perfect do you think you're going to creep be able to create a powerful piece? If you're focused on making this right, is it going to be powerful? Maybe Maybe I'm not going to say no. But odds are against you. And what I want to emphasize is with Z brush. Our goal is to experience as much creative freedom as possible and to maximize our expressive potential. Because in the digital world, you can do anything. So now I'm gonna go into clay, build up, I'm going to start working on establishing volume. So let's say zygomatic major, And then that's gonna lead into the infra orbital triangle, which is really just the, um just Thea infra orbital margin zygomatic major and the nasal labial fold. You know this as we get older, this drops down, but it's a nice little triangle to help me establish form. Okay, again, we're not gonna focus too much on the lips at this point, but it is wise to get some of this basic structure intact and then integrated with the rest . The only other thing that I will probably really emphasize right now you probably just get the down plane of the lips 5. Adding Clay In Structure: All right. So we've made great project progress in what we're doing here so far, but we're going to need a little. We're gonna need a little bit more of the interface to be able to take this to the next level. For example, we're gonna need to be able to start to articulate the mouth. What about the eyes? What about this nostril? How are we going to do the nostril in the sign that separate that from the aylor cartilage and then the lateral cartilage? And you know all of that stuff Start to establish some cheap that we're gonna need to divide the model. So this is going to take us to the tool palette to the geometry sub palette. We're gonna open that up and you can see we're already at three subdivision levels. And what the subdivision levels are, it's just turned poli frame on. That's the level one. Level two is divided a little bit more, and then level three is divided even more Now. The key thing to understand about this is how the division works. You see, that's one square, and this is essentially that same square. And then that same square right here. So we've got one polygon. How maney polygons do we have here? Two polygons by dividing it, Are we just going from 1 to 2 or 24? So every time you divide, it increases by four. So that means that if we're at four and we divided again, where do we get eight? Or do we get 16? Because every single polygon face becomes four. So now the next time that's going to be four in there. Which means it's going to be 16 times for this kind of adds up quite quickly, but that's good. We need Mawr geometry in here. This is a good level for us to do really big changes. But we need to get a little bit more than what we have here. So I'm gonna press control in. And if you're wondering how I did that, how I dropped to the canvas, there's a, um, interface item called snapshot object and you can see the well. It's hard with a drawing tool. I can't do it, But look to the left of the description. It's a snapshot Objects shift Plus s, that's the hot key. But once you once you've done it It doesn't tell you how toe undo it s Oh, you gotta come over your the layer and click clear or just I press control in as in Nancy Gonna divide it. And now one of those polygon faces became four polygon faces 444 So there is now a lot more in that one little space. And the way you tell is this active points appear at the top. So I'm gonna undo that. You can see we're a 24,000 now you're gonna take 24,000. You're gonna multiply that by four. And that's roughly 98,000. Okay? And I'm gonna turn Polly frame off and let's see if we can do some more sculpting. See how much detail were able to get still very pixelated in there. So I'm gonna divide this one more time, and now this is getting much better. But it's still pixelated, and that's okay. I want this to be fixed later, so I don't kind of get too much in the beginning. Um, but I want to introduce to another brush, okay? And this is called slash three. So really hard to find it in here. It's hard for me even though I've been doing this forever. Impressed be s as in Sam. And then look right there in the number three. This is a really cool brush for us to go in and start to kind of create some annotations, some little lines that just kind of help us kind of drawn the surface and get a sense of how much trouble we're in if we're on target, things like that. So I'm gonna try to draw that crunk yola measure the distance between it and we need to close it right there, Right? And then we can kind of pull in a little bit for some nostrils. And if we get anything wrong, don't forget you can just go b m the as in victor for the move brush, and you can adjust things down or, as you see fit. So we've got our little notations on there. We're ready to kind of go. I think b s and three Let's just double check. Then I'm gonna press shift, smooth that out a little bit. Here we go a little bit better, but it's also a little messed up because it's got such a strong curve right there is not set properly. So play with that loosely. I've got the corner of my mouth and I just kind of pushed that in a little bit and dive down this called marionette line. That's the plastic surgeons call it on. One side of this is what's called the depress er angrily can. The other side of that is the or the O Bic. Alors, Oris basically the mouth muscle. So we kind of separate these things out. There's the men, Tallis. There's the depress her angrily inferior Oris just kind of hidden in crossing that off. Um, but what it basically does is give us a really strong lying right here that we end up calling the marionette lying so we don't need to do the sculpting right now. I just need to do the indicators and then I want to introduce another tool to give us the ears. So we're gonna look at this from a side view, and we're gonna press and hold control. So remember, it's down in the keyboard and there is control and shift, and you're down here in control, and we're going to circumscribe some shape for the year now. our proportions or necessarily accurate because the face kind of grew and we didn't really check things. We played it kind of loose and fast, but we're also playing. And so I need you to kind of keep this in mind that there's a difference between play and really getting in and studying these hard parts. There's a really cool book called Talent Code that you can learn a lot about what they call flexible circuits. These are what soccer players would used verse consistent circuits, which is what a violin player would you. So a violin player would focus on doing the precise, absolute correct movements soccer player would be focused on being learning all about the grass and how the ball moves. And if somebody's coming. And so there's a lot of interconnected masses, the flexible circuits look like a briar patch. The consistent circuits look like an oak tree that starts from one point. We're flexible right now we're playing, so all of this is going to just got to keep that in mind. Even the position of this year can change. I'm gonna drop the subdivision level and impressing control doing this and then I press control and click outside. But if you want to know more about how masks work, you can also come here to tool palette masking. And there is hot key for it. You can turn view off. You can do clear. There's a lot of things you can do. But if we're using the brush, it's just control. Click and drag control clicked, invert, and then we switch over to be in the move brush. We look at it from a back. I kind of pull that year out, out and up. Lower lobes don't really kind of overlap much upper lobes. Definitely control, click and drag. And do we need to move this stuff around? Probably right. There's a really cool measurement I like to use. You can do this just checking reference. Take your eye and then expand that out. So is that rough that's roughly accurate? Where is it that the ear starts? Is it right there? Did you put your year so it was really close to the side of your eye. If you did, and your perspective settings were correct, the sculpt would be wrong. Unless you're sculpting a model that has some pretty extreme, Um anatomy instead. Nine times out of 10 that's going to be really on the outside of this halfway marker. So half of the eye out, that's where you're gonna see the year start. Super easy indicator for you. You don't need to study anatomy. Just gotta remember, I I And then it's, you know, 2/3 of the way out, or more than half and really far back. Right? So we're making mistakes a little bit, which is exactly what I want to do because you're going to make him and we got to learn how to adjust. Okay, lower the draw size. I'm gonna switch over to clay, build up, start to put in your whole. And as I do that I start to establish, you know, the the con shell of the year Switch over the move brush, and you'll notice Now I need to do a little bit of division. So in this case, without going to the geometry, politicians pressed D as in dog, and that went up, shifted t is down, D is up. And so now I can go in and start to sculpt some of that individual form. Really? Get that going inside put your whole in there trade giss and the anti trade gives kind of all set up and some chicken, the back making sure I'm not sculpting accidentally. And if I do, then I just smooth it down and start over. But if you're doing it the way I'm doing it right now, you should be fine. And then now we adjust the back. Don't go nuts here because if you go more nuts, you're going to start to get the interior. Things are gonna go bad, so we want to just be mindful of it. But we don't want to go nuts. Then we can sculpt the Mastoi process right there behind the year and then kind of start to shape it. But wouldn't things you'll notice is now that I have a ton of geometry, the brush is starting to behave slightly differently. All right, 6. Adjusting Topology: Hey there Now, In the last video, we modified the topology here, and I just showed you really quick, so I just wanted to give you a sense of it. But I'm not gonna use those exact same settings. So we're gonna go back to this what we call topology, and that's really just it's these lines. It's how the polygons, which are basically the Adams of our digital clay, it's how they are moving around. So in this particular case, these polygons become and this size differential, see how long and stretched that is verse, how small and compact that is. That is a problem. That's the primary problem we deal with when we're sculpting and we need to be able to get around that. And so that's where this feature Dina Mesh comes in and really helps us. It's a very important feature for us at the stage, and it works in competition with subdivision levels. So earlier, we divided the model to be able to sculpt and put detail into the lips. But all that does is just add detail. Ad um, Adam's into an area, but when the area itself is compromised, when it's a really long stretched form like this divine ing. It will not work. This is compromised topology. We need to fix that. So even though we subdivided this and we did all of that stuff, we're gonna largely have to redo that. Um, Maybe so, let's look at see what our approaches and how we want to handle it. Model is just saving itself. And right now it's saving a lot of its undo. So it took 22 seconds for it. It's just on auto save. Um, but that's because up here at the top, we've kept track of the entire history of our sculpt all the way back to its origins as a sphere. So let's put ourselves back up here. We're at the top. We're gonna undo that dynamics one time, and we're going to rethink this. So the thing that causes, um, confusion and competition are these two distinct sliders. Resolution verse, subdivision. Let's ignore subdivision for a moment. Focus on resolution. You can see if I dina mesh this model 128 is my resolution. I get polygons that are roughly the size that they were before. That was that's just luck. That's not actually any code, but they're all now the same size. Now let's take this number down to 32. Totally different deal. Now they're larger, much larger. Right? So what we want to do is a little confusing. Okay? Because what we're gonna learn about an introduces this thing called Freeze Subdivision levels. And so this creates this kind of handshake that we've got to get our head around. Basically, we're going to take this first subdivision level and we're going to Our goal is going to be to adjust the topology of this first subdivision level. What we want to make a note of is, what are the size of these polygons? What's their general size? Because that's gonna be the aim for us in resolution. That's gonna be what our primary goal is. But look, what happens when I just click Dina mesh Note. It's giving me this like, confusing option says, Do you want to freeze? You know, one of freeze, I'm going to say no. And all my subdivision levels go away, they're gone. All that sculpting that I did is gone. Any sculpting above and you can see now you know, I did do sculpting I put little notes in there. They're all gone. I have to redo that. Unless unless we freeze subdivision levels, that's really important. So let me turn Polly frame on again, and I'm using the hot key shift F As in Frank, we're going to mentally keep an eye out on the size of those polygons, and this is getting into some complexity here. So, you know, depending on how much experience you had with the brush, this might throw you. But stay with me. This is just a tiny introduction to some of the cool things that weaken do, and it's really important for me that you just kind of get yourself in here. Spend a little time slow down on the play. Let's start building, um, that consistent circuit size of the polygons. But do I want to Dina mesh at this subdivision level? I don't know. Let's try it. I'm just going to say it's even 32 I'm gonna undo and let's do 16. Dina Mash No. 16 is good. I'm gonna undo and redo. No, it's not. Let's do 24. Yes. What do you think? These were roughly the same size, and you can see how this is a much better skull sculpt herbal topology around the neck. Got some decent typology behind the years and things like that. So we've done one thing. We've established our resolution. Now, we actually have to implement this. We have to do this. So I'm gonna undo, Okay, I'm undoing. So I'm back into the corrupted or the the, um, the topology that's been compromised. And the trick here is that we don't want a dynamic this level. Okay, What we need to do is we need to go to the highest subdivision level frieze, those subdivisions, right? And you can do it in any subdivision level. Basically. And then we're going to set this down to 24. Dina, mesh it and then unfreeze. And there we go. We have the new topology, but we have managed to keep the old sculpt. So let me walk through that again. I'm gonna undo all of this. We're back to the bad Topology were here, and the topology is wrong in the neck. It's compromised, so I'm starting over. Are you ready? Are you focused? So I have your eyes on this screen right now. Because this is really important. Write this down if you need to and spending extra time here because I don't want you to get lost. I'm gonna proceed from this point. So I have sculpted my model to this point. And now I need to just the topology. That's the word. The phrase we use adjust the topology. So we're going to take our resolution levels and we're just gonna say, freeze subdivision level that drops it to the bottom subdivision. So this is now s div one. But it has taken Esteve five and has put it into memory. You don't see that because it's in memory, right? It's NZ brushes memory. It's just remembering this for you. So it's remembering Subdivision five. That's what freeze means. It could also mean remember, highest subdivision level. They could put something like that in, But that's all it is, has taken Subdivision Five and put it in memory so we can do things to this subdivision level and then have it propagate through or effect subdivision level five. But here we froze it. There are no levels were going to said our resolution properly. We're in a dynamic shit and then just turned down a mesh off, just Onley, using it for this one thing and then return free subdivision off. We're waiting and there you go. Let's turn poli frame off And one thing that you notice right away is that it's kind of grayed out. They have this cool feature where they mask everything. So a mask is basically something that's on. You know you can't affect it, so it masks everything that is done correctly. And then the areas that are not done correctly, like say it right there in the corner of the eye or corner, earn the in the mouth. Sorry, that knows that's unmasked. So we can just say press shift and smooth that out. And then we can re sculpt that later or in here in the eye something's a little wrong. And then control, click and drag. I don't It's got a little assist. So I'm just pressing shift in removing that and we have a problem. Mary in the backs. I press shift and I removed that This is this is common. Don't sweat it. Why we do this in an early stage, switch over to clay build up, which I have set on a hot key. And look at that beautiful neck topology. We can now go in and let's say go down a subdivisions in prison. Shifty. Start to separate out the Adam's Apple established the hired bone. You know, all of these parts of it that are relevant. Fulsome form down, start toe. Indicate the trapezius. And, um, you know, put in the C seven if you want, but definitely put the spying in there. Wrap. That's, uh, sternal cleaner. Master it from the Mastoi process. Okay. And then, you know, we just kind of keep working the forms, smooth them out. I'm going to smooth them out for you, but I would leave them rough like that for longer. Now, we've got to use, move, brush and just kind of expand that neck a little bit and maybe pull in the jaw. Cool. Side view. Crazy. We haven't really pulled this back yet, and since we're doing the neck, we probably should give him that cranial space that he deserves. I'm smoothing this out and he can go back quite a bit, actually. Yeah. Check your 3/4. I always check. You know this angle Is it right? Isn't a my doing. Okay? Something wrong? Where is it gonna keep it focused on the cheek? More than the brow. Do a quick contour test. I look over here, but I sculpt over here. All right. Lots of crazy forms like you can see this. Okay, Not a big deal, because you just come in with clay, build up, press old, and then build back up on top of that, and we just crossed the surface of the model hundreds of times like this. That's our job across the surface of the model and make something happen. But that's all stuff for another section of this. So we've looked at adjusting your topology. Now we got a look at getting the lips and things like that and the neck and all these things, a little bit cleaner in their form. 7. 07 Circuity: Hey there. How are you doing? How's the sculpting going? Starting to feel excited about the potential for everything that you could be doing and all the cool stuff. I mean, this is just ahead, but we can be sculpting characters and creatures and dolls and all kinds of stuff. Stuff that goes into bronzes, stuff that goes into paintings, illustrations I would love to hear about what you were going to be doing with this and where you can kind of take this because the world is a brush is awesome, really glad to have you part of this. And now what I want to do is I want to show you how to take this kind of rough block in. You know, we've been doing a block in pretty much this entire time. What I want to do now to show you how to get more control over your sculpting. So by more control, I mean, I want you to be able to really defined the lips, get all of the nuances of everything in there, make sure that the nodule decided the mouth. That's a volume. And then the muscle fibers are all flowing in the upper lip is over the lower lip and that the depressor angrily comes down and that the mouth muscle itself is this dominant thing and all the stuff and going on in there. It's all about Finn Asset this point, which we haven't done. This is the meat of sculpting. Now we're going to get in and try to get some flesh. So what do you think? Or the next steps? What are the next steps when you're sculpting or your drawing? It's really important to connect this to the creative process you already have, because the tendency for people are it's really to just get in there and say, Well, you know, this is digital. It's just like Mech this and then we're building. Then let's say pool and then, you know, are next and then smooth. And then and you just start working because their sole much you conduce NZ brush. It gives you the sense of freedom. But there is no true freedom without some measure of control, some measure of craftsmanship on your part, so we can't just jump in there. There's a next step, so I don't know about you, but I find often when I'm dealing with fleshy parts of the face that have so much mobility that what I really want to do is start to define the areas around them and start to lock in their positions or anything that's bony. So what do we have up here? We have the mag zilla. What we do have down here we have the mandible and the chin, these air bony, they don't move. Nothing really goes over them, their obvious in all areas. So let's lock some of that stuff in and start to really get the contouring of everything here. Before we do this, though, I want to introduce you to a concept that's become really significant form, especially because I teach. And when I teach, I teach how you go from Step 12 Step two to step three and everything is linear, right? And this has one really big problem. Especially when I'm doing demos like this. That air started the flesh and there's so many things because now my brain is gonna have to open up. I'm gonna have to be mindful of this point, that point this point that point this point, I'm gonna have to be thinking about all of that at the same time, it doesn't work. Linearly doesn't work linearly. We require a much more adaptive. Okay, get rid of that. A dynamic, adaptive approach. And there is some biology behind this. I just love to do this kind of stuff because I wanted number one. This is knowledge that we actually have as humans. We know some of this stuff, so if we know it, it puts us in a position of power. So what I'm gonna talk to you about right now is this thing you confined in the book talent code. And in there he talks about flexible circuits, verse, consistent circuits. Basically, what this book is saying talent code is that there is a biological equivalent for skill. Skill exists in your brain as a very specific type of cell that they call Mylene. Pretty cool. They figured that out. The more skilful you are, the more Meiling you have around a nerve fiber nerve fibers is like one activity. You bundle those nerve fibers together for more complex activity and you have a circuit so you have a fiber. This is like, let's say, let's just say something generic like this is I hand coordination, right? And then there are all these other fibers and things that need to happen in knowledge that needs to get connected. So this is some part of anatomy, right? And this is the nodule. And then over here is going to be the, um ah, the depressive Ganguly. There's all this stuff that kind of fits together and has to be thought of together and all kind of woven together as we sculpt. This is a flexible circuit, something that's really pieced together in this way. The other alternative is a skill. Like it's a violin plane where first you have your your how you hold the bow. Okay, so this is just holding the bow. That's it. And then from that branches out, you know, maybe how you move the bow across strings and then from that IHS fingering and all of that and then it branches out. And you have all of these things branching out in this. What? What is this? This is largely a linear, also called an L system, but largely a linear system of skills. It's like a tree branching out. This is a consistent circuit. You're the way you hold the bow and with the violin. If that's not right, nothing else is right. You will be compensating for that. It's not the same when we sculpt when we sculpt. It's not a linear step by step. It's a flexible circuit like plain soccer. You got to get out there, you gotta play the game and then you gotta adapt and lose and watch what your opponents are doing and watch what's happened into the surface and the layout in the landscape. And there's a 1,000,000 things to start to be mindful of. And you got to play the game and you got to play the game and you got to play the game and you got to play the game. So when your sculpting in this particular stage, you and I are gonna diverge, and that's why I'm bringing this up, because I'm gonna do some sculpting and I have. I've built a flexible circuit here. Sometimes it works. Sometimes it doesn't, but it's a flexible circuit. You are a learning you're going to be thinking consistent circuit. You're gonna be thinking, What was it that Ryan did? What was that step? What was this? Did he press Ault and was the intensity a 25 that's going to stop. You don't do that. If you can help it, relax that Get in there and play the game. Work it. That's all I can say is if you're focused on consistent behavior What was the Z intensity? What were all these little things? It's going to slow you down. You're going to stop all the time. I'm going to blend this for you. I am going to say this is the consistent stuff I look for. And then this is where everything gets flexible on mushy and adaptive. The consistent thing I'm gonna look for is the bone. I'm gonna look for the kings, the bone underneath really important to find some consistent because, you know I'm not over your shoulder. I'm not watching you play. I need to give you tools, so I need to give you some consistent circuits. But you ultimately have to play the game. So if your sculpt diverges from mind, that's fine. You don't It's not necessarily going to be the exact same sculpt. Mine isn't the exact same sculpt every time I do it. Let it diverge, but keep playing the game. So in this next video, we're gonna move on because this is about eight minutes, nine minutes to explain the circuitry in the next video. We're gonna talk. Put this into practice. We're gonna actually start the work. We're gonna play the game. 8. 08 Mouth: all right now, we looked in the last video about circuitry. Flexible, consistent, and how we can kind of work it now in this video when I'm going to show you Is that stuff in action to remember? I'm gonna show you some consistent things, like with Clay build up. I'm gonna press Ault and ah, let me get my settings yet. They're they're normal. I'm gonna start to find bone. I'm gonna try toe, make sure I understand. Where's that mag zilla? Try to find a much bone as I can, and then I'm gonna try that to make sure that this John the mandible has the distinct shape of a mandible on the distinct shape of a mandibles. This kind of number one, this horseshoe that then has these little wings. So you got to keep that in mind. And this is this is pretty decent. I could kind of bring that horse shoot in a little bit, and then it'll flare out again right before the massacre. Yeah, I'm kind of OK with that. And then I want to check the width of the chin because these tend to get a bit on the wide side and mine is. I'm gonna have mine be roughly one eye wide. I can add to it. But that does mean that I gotta come in here and use the move brush to start to get that right to start that curvature a little bit quicker. There we go now, having established thes consistent pieces of information, consistent pieces of information. Then I can go in and start to play the game, play the field here a little bit. So this is my annotations. I'm gonna just start to play him and established the down plane of the lower lip. I'm gonna separate the lip from the nodule, the side of the mouth, and I'm going to start to establish this lower lip and the up plane of the lower lip and just kind of fix all this stuff. Um, add to that. All right. And check my teeth. You know, my curvature. I'm kind of cool with this. Ah, but we could get more, and I'm gonna separate the nose a little bit, and then I'm gonna start to flow this the muzzle of the mouth. So the lips air kind of Okay. I mean, there's some things. Do adjust but I'm okay for, like, two minutes. Now, I need to get the entire muzzle of this mouth kind of established in all the parts of it. So the first thing I'm gonna do is just long strokes to establish that this is this is consistent. Always establish it. Do some long strokes. Always try to get long strokes in there so much as you can and try to get things. Kind of you don't want a ton of volume, you know, Long strokes down to the chin. Integrate that back in so that it's not like a big, boldest form just integrated back in. So it's clean, as clean as you can, establishing some of that cheek there just so I can kind of Kenny navigate all of this topology. Is that a lar facial juncture? That little triangle and then nominal. Kind of separate out. It's looking a little bit like enemy mine. I just dated myself, though if you haven't seen that, then ah, don't look it up so you'll know my age. Putting in some little little details, You know, those air kind of unimportant, but as we kind of go back, it's already working right It's a little thin, but it's doable, does it? It's totally doable. We can use the move brush if we want kind of expand it, Make that lower lip a little bigger. Okay, Switch back over to clay, build up, have that said on the hockey and just long strokes. And then I'm gonna do one more final thing. I'm gonna take Theo Bic, Alors, Orris. And I'm gonna start to really build the volume of that thing by itself all by itself. So, uh, there's two parts to that one. I'm gonna really just start toe outline this, and then the other one is I'm gonna use this donut hole shape. This is something I learned from William Mon. You kind of pull this donut hole shape here. Doesn't beautiful, wonderful things for establishing the right volume. So first thing we're gonna do standard brush. That was be essence and Sam t. As in Thomas, just like to push the corner of the mouth in back in with clay, build up, and we may come in and set our depth in bed to something like nine. Because there's gonna be subtle volume. We do. So again, it's brush depth in bed to see what this does. Just set it to 100. You see, Boom goes crazy. Set it to one, and it'll take forever to get there. We're gonna set it to nine, and we're gonna use a smaller brush. And we're gonna basically stroke along these lines. Everything moving from out to in or into out. Okay, let's undo that there. Do that again. Minute, Yes. Delete us. I'm gonna focus like that. Here we go. I'm at a lot of volume right there, cause that's where the nodule is, so you can start to take away some of that volume. Okay, this gets its a little nutty, and it takes a little bit of experimenting, but and we'll also come through and start to kind of build up this lower part to really start to establish its cause. I'm gonna create, like this guy's gonna have some healthy. He's got a really large mouth. He's a very powerful character, So we're gonna build that volume up a little bit, but notice how I'm tapering the top while building up the bottom. Do you want to show you how far you can kind of go with this stuff really dig in the corner of that mouth. This guy's just got, like, massive. I'm going pressing, all letting go of all pressing, all letting go of all pressing all. So I kind of go back and forth between a plane and volume Really emphasize that nodule and then I gotta cut between the nodule on the lower part, and then I gotta build that lower part. I met him in a flat in that lower part, a little bit, flattening a little bit, growing some volume, paying attention to, like this little extra bit of volume that can kind of spew out Sometimes if there's a lot of volume there, you know, I'll start to lose some of the volume appear and really outline that lip. Let's check the side view gun nuts get. We're 10 minutes really pushing this and I'm just checking a lot of stuff. There's a lot of variety happening here. - Okay , pull this stuff down. There's a neat little trick you can see. Take this nodule on. You start to create this triangle, and this can help define if you pull a lip the line straight down. It can really help you define what's happening here. So I'm gonna pull a line straight down and really make sure that there's some good form in there round it. And I am in essence kind of creating this this form that's being taken over by this form this and then we're going to merge them with this little triangle here and notice the words I'm using this and that and this and that. And sure, you can learn all the words to everything here you can and, um, you'll find a lot of it is actually just kind of, you know, made up, you know, to some extent, like the marionette line or the facet or that fast it's done here. The tip defining point, right? These are made up by, um, doctors because, you know, they're doing surgery on patients. They got to be able to communicate, you know where they're doing their cuts, things like that. We don't have that same sort of need. Nobody's life is in danger. We're trying to create a beautiful sculpt, and that's really driving us can, and there's a lot of ways to achieve that. So how are we doing there? I'm going to give this this guy really deep. Like I want to get all the way back to that mag zilla. Just really emphasize almost to the point words like, you know, just skin and bone, except for this massive jaw dive in right there. Watch me take this form and I'm gonna dive in and dive in. This is what the bones doing. I know this is the ridge, and then it dives in and dives in. Then the massacre comes in and connects to that. And so now I'm gonna pull the master, but the massive her then kind of dives back. It dives back. We lose form here. This is a very significant line, front of the face. And then everything starts to dive back in because it's everything is diving underneath the year. We don't realize that often, but everything's diving underneath each year. A lot of times, people think it's diving to the year new new. It's diving underneath. The year that years sits on top of all this, all this craziness. And then I'm gonna put this little bit in here for the, um for the zygomatic, this little nodule, it's really kind of one of the high points of the face and all of this craziness just plain over the surface of the model. Leave some of the crazy in there. You know, I'm I'm really enjoying how, um rough this is. Look at that stroke for the for the nostril. Super rough, right? But it has formed. And then I can come in and press all pushing this, and I can start to create some of the more nuanced form nostril. A large cartilage facet tip defining point. Alright, How crazy can we get with this nose? A lower column? Ella, move that back a little bit because we were playing so kind of lost sight of the position of it. A bit still, really rough, right? But it's there. We've got form intact, and I've chosen to kind of exaggerate this. I have chosen to kind of really make this quite, um, extreme. But that's because there's so much possibility that we have at this point so much that we can kind of do that. I want to kind of experiment first and see, you know where where does this all lead? How far can we take all of this? So we treated rough and loose I do anyways, for as long as I can. And then once we've got it, you know, we can go in and simplify all of this stuff. But we've got it, you know, kind of rough sketched in, ready to go simplifying. It's not hard. Let me show you going to show you on a portion of it. I'm gonna divide it. So this model is now just hovering over the model. Come on. It's now 2.2 million polygons. So what we can do is with clay build up. You can set your embed 20 and you just go over the surface of this pressing ault. It's going to integrate things. You let go of old when you have to add and go around the form, Remember, press old if you want to, But you have to be careful, cause this can really start. You can start to lose a lot of good stuff, but I'm showing you this to give you kind of a complete pipeline on this. But don't sweat it. I mean, this is the same thing, you know? You get sculpting in clay and then how do you finish clay? Well, how did you start, Clay, is it really gonna be that much different? All right. And now we've got our basic form, and now we've got to do what Poor's, And you know, all that stuff. And then a lot of that stuff can be done a 1,000,000 different ways. So we've kind of simplified that that behemoth you step back and it starts to fit. That's just one way. You take clay, build up, you set clay build up down to one, and then you just run over the surface of it. One of many ways that we can kind of accomplish this type of work. But if you don't put the structure in this smoothing is not gonna work. So I want you to play, get used, that flexible circuit. Look at your reference. Look at it from all angles. Move it around. Check it. Where is it? What's going on? How can I How can I just this and just see how far you can take something like the mouth. While discovering all of the beautiful parts of it. You'll discover as you as you do it. You and from reference. You'll just find things to be like, Oh, there's that is actually there. You'll make a mistake in a big Oh, that actually exists. I learned something new. You or you developed or invented something new. Have fun. Play the game. Get in there. Let's see what you can do. Because this is where your sculpting this is. I've showed you the block in and some of the basic process. But all we did was move and clay build up brush. We didn't even smooth, and we did all of that. Have fun. 9. 09 V2 EyesMovie: Hey there. How's the mouth sculpting? Hope you're really enjoying is getting a clear sense of how awesome zebras can be and how really freeing it is to sculpt inside of the computer. Now, what I want to do is approach one more problem. But I'm gonna do this problem differently. Remember, the last video talked about treating the mouth and sculpting the mouth like playing a game of soccer? You know, there's a lot of variables you're moving from one part to another part checking things, adjusting the eye area. We're going to do differently. We're gonna do this much more like you're playing the piano. We're gonna set everything up. We're gonna set the form, build on that form overlay and add stuff to that form. If the forms on in stage one's not right, the form and Stage three is not going to be right. So we're gonna build this much slower. It's one of the beautiful things about sculpting and really about painting and art is there are so many ways to approach it that it really is just this wonderful exploration of of you as an artist, your temperament, and in what you can do So we're gonna do this differently a little bit more hard core and, um, let's get started. So I'm gonna switch over to the move brush, because right off the bat, thes eyes are not kind of accurate, But actually, before we do that, I've already done this. So why don't we just jump ahead and see what What's waiting for us? There we go. I'm gonna just come up here and clone that, that we have got it up there is a separate tool, and I can go back and forth Now, this was a methodical process. If one part was off, everything kind of suffered. So we're going to kind of go through this process and let me show you a little bit of the way in which this was kind of done. I've got what we call an undue history movie. So it starts here and goes through the process of me sculpting the eye area, the orbit of the eye, ignoring anatomy for the most part, focusing instead on simple, plainer constructions and notice how much of this video is really just plainer constructions? Just arranging it. We can move this forward. I'm still adjusting the orbit of the eye trying to get everything right because everything flows from here. It's harder to adjust this form once you got the I in there. There we go. Now we're starting to get into the eye and we just lay the strips of clay down for the eyelids, start to adjust things. This is what we're gonna talk about right now. This is what we're gonna kind of proceed with. So let's pull this all the way back. I've already saved it out with all the undue history. So I don't worry about losing that or anything like that. Um, I'm gonna just move forward. So we've got the move brush active. I'm gonna pull this in already. Know it. And it's a saying, Hey, you're gonna lose 690 steps. Cool. In this particular case, I'm not gonna freak out. That was expected. Okay, make sure we get our Bridgeman ISC flow there, and let's look at the side view and let's switch over to clave buildup. All right? I'm gonna start to unify things. So impressing old and I'm really just trying to number one. I need Teoh closed the gap with the Bridge of that knows it's quite quite large. Um, I also need to get things a little bit more unified's all and and then press old. The set are brushed. Depth twenty's fine for now. I'll use pressure sensitivity. Really, though need a strong down plane in here, so I need to get a clear sense of some axes. It's kind of a cool little trick. You kind of sculpt a box in there corner, and then you can kind of ad to it, take the cheek and make it dominant. But then I'm really going to start to open this up. I don't want a lot of hard transitions in there. When things to be as open as possible. Start to cut that. I back that Give that a little bit. Okay. Cool thing about the nose. Kind of add a little volume right there, and it just does amazing things. We always come back in and adjust this later, but right now I really want to make sure that I'm getting some cleaning form. - Separate that super silliere Iarge. Separate brown, Separate the temporao. Alice. Just going to establish some of this there and see him playing a little rough this isn't guaranteed to come out. This is 100% not guaranteed to come out. We could crash and burn. It could be ugly. Very ugly because everything depends on your structure. But that's cool. This is how we learn. We need these problems we need for something to suck for, to not be perfect so that we can figure out how to get better. When did suck if you were just awesome and you didn't know how? You just I just had this talent. And you have no idea. You didn't even know if you could depend on it. It might be gone tomorrow, right? Might be totally gone tomorrow. And what will you have? Because you know, you didn't know how you got it. It's like being as beautiful as I am. And you are what happens when we're older. We're no longer so beautiful. All right. A lot of craziness in there. And now we need to start putting some maybe the orbit of the eye. Let's start playing with that. Okay, I see what we can do now. One trick that I'm going to use right now is I'm gonna delete history because anything that I'm going to do at this point, I would just kind of sculpt over the top of it. But this is a really good way for me to say create a stopping point. So I'm gonna go up to edit. I'm gonna say, delete a new history. Now, I can always just zoom back and say, uh, redo, redo. So we need to put the orbit of the eye and we need to put some kind of shape. And the question is, where and how far and things like that. So if we do it with that measurement, then another halfway another. I gets us there. So there's a lot of room in between these guys. Do you want to get them to be a little bit closer? Is that what we want to do? So we would say, Come in a little bit closer. What happens when we do that? Because that's pretty accurate right there, Right? In terms of that, I let's do that. And then we're going to do it real quick and see if we can kind of get into any trouble. Add the orbit of the I cool and I'm gonna do this real loose because I'm just gonna go back in that history of things don't work out. I'm gonna then mask out, pull that out a little bit and then mask at I'm doing this riel week. This is, like, super horrible. But what I want to do is just check this view on a check it from this distance. Does the does the I sit in there? Well, where is the It's still sitting too close or what's going on. Well, the eye is actually sitting okay from a distance of eyelids. Look like it's been mauled by a pit bull little bit, but we're going to kind of work that so this might work for us. Let's go back in time. Isn't this an example of us kind of work in a problem? We need to move forward quickly, see if it's going to kind of work for us. We're working this problem. I like this, but I'm going to kind of go back a little bit there and I'm gonna build this a little bit more carefully. BCB Yeah. Cancel 34 steps. Cool. Now grab a little bit and pull that out to the side. And first control all do you can, unpainted. And let's just see if we can get that with a certain genesis. And I'm going to use clean buildup embedded 20 especially since we have a soft mask right here. Then we can always press all too clear that up a little bit, Get more precise. But this is going to do for now because what we're really doing is emulating approach where they just put a little bit of clay in there. And I'm gonna smooth space out between this because that will cause problems. Okay, Now, grab a little bit of this, pull out. And remember, you're creating the shape of the I now, and I'm gonna pull down, cover that entire lower eyelid, a little bit of distance, and in this case, we can use the move brush located from below. Make sure we get some nice death. That's kind of nice. Okay, clear that. Ah, check it. That read from the distance? Yeah. Still reads right. Okay, but now we just need to do a little cleanup. So one thing to know about that lower eyelid is that there is a portion that hugs the I and there is a portion that bridges to the bone. Make sure to check out. I have a facial anatomy video that kind of goes over that in more depth. But all we need to know is that we're gonna have to sections of that. So this part that's kind of clinging to the eye right there. We're gonna try to keep that form intact. If not, give it a little bead right here to just capture some light. Topology is not really set up for this, though. So this is one of the issues that we face. And then we're going to grab this section below it and start to bridge so I can mask that out. But I don't really need Teoh. I'll just mask it out now so you can kind of see some of that process. So go lightly. And in fact, brush in bed should probably be set to, like five or nine. Pressing old, not pressing old. And we're just bridging. Okay? Straightened. Blend that out. Right? Course, there's work to do, but but we wanted can keep that to a minimum, because there's there's some distinct sculpting that kind of needs, um, to be done. Some reference, but this is actually gonna work just fine for now, the next thing I want is fact. Sorry you can't have it. Be so rough here and so smooth There it's driving me nuts. Is that, uh, Clay. It's a depth in bed, so there's gonna add some form and this is with the embed. It's really cool. You can kind of get this really need staccato kind of pattern here. Subtle cross hatching. It flattens forms. You gotta be mindful of that, but it's still pretty cool. I put a little space in there. All right, now, next thing we got is a little bit of fat right in that section. And so, just like it is we did before. It's really kind of quite convenient to just painted in like this. Build up, increase my embed to let's say, 11 11 is totally arbitrary number, and it comes because it's very easy to type 11 so I don't think that's a special number or anything. It's just easier to type 11 than 15 when I'm not really wanting toe move my eye from from the screen, build that up, and then this would give us a chance to kind of Excuse me, gonna integrate this. - We need to. Artists bring a little bit any to move that brow down a little bit, and I need to kind of pull it in. It's not so much distance in bed. Let's go. Little Michelangelo on it put a crumb killing there. Lots more to do. But for a bit of a linear workflow and 20 minutes, we're going to say we're on the right path, right? And that's what we need, cause I like to do this really time with you. So my chances of errors are kind of exponentially larger than if I'm doing this in the flow and not talking. Um, talking increases my chances of screwing up quite dramatically, but there's a massive benefit to doing it. Talking when I'm doing this just takes time. Okay, check it. You know, we're on par. We got something We could put some eyebrows center in bed. I'm just doing some fake eyebrows, right? Not fake, but some quick shapes should see Johnny Depp's eyebrows start really low in the brown. Then come around just using clay build up. Nothing significant pressing all here and there, and we've done something. We're we've pulled it off from a distance from a distance. Which one was better? The one where I didn't talk and I just did it or the one where I'm talking. I kind of like the one where I wasn't talking. Mawr of my brain was devoted to the actual activity. Um and so it looks a little cleaner to me, but the process is the same. And you can see in these guys that some of the differences in this case this form was much more refined. And I spent a lot more time on it than the form that I did really time with you. And that's cool. That's a lesson in and of itself in a very important lesson. I spent probably twice to three times as much of a zoo, much time on the forms around the eye in number, Project A. Then I didn't Project B. This is done rial time and kind of haphazardly. So you see some of its not as clean as it could be. So if yours isn't as clean as it could be, what does that mean? Does that mean you sock? Does that mean you shouldn't be a sculptor? like these are the kind of things that have gone through my mind before. And the answer is real simple. Absolutely not. Does it mean that there's any problem with you at all? It means you need more time. End of story. If the sculpt isn't working, does it mean something's wrong with your ability? No. Absolutely not. Never. It means what you need. More time. That's it. That's all it means. So I hope you enjoyed this. Thank you so much for being a part of this introduction to Z brush. Look forward to seeing your sculpt posted it. You aren't the person of Facebook email on whatever works and have a fantastic time Happy Z brushing all the best to you.