Sculpting 3D Materials in Zbrush – Volume 2

1. Introduction Trailer: We are back with the second part of sculpting materials in zebra series. In Volume one, we went over how to sculpt ten different materials, specifically focusing on ancient stone walls, cliffs, floor tiles, and ground materials. In this volume, we will teach you how to sculpt over eight different types of tilable materials only using zebush. Featuring surface type like old castle walls, medieval walls, which will feature bricks, plaster, wood, cider blocks, pebbles, and classic rock walls. We highly recommend that you read the description of the course for more information. The general takeaway of this course is that at the end, you will have all the knowledge and know how to create exactly what you see in the image. And you can apply this knowledge to almost any type of material. Due to the time consuming nature of the sculpting, this course has been divided into a blend of real time narrated content and time last footage. This way, we can teach you exactly the techniques you need to know without wasting too much of your time. But as a bonus, we also have included an untime lapsed version of the tutorials, allowing you to follow the creation of all eight materials completely in real time. With a total of seven plus hours of video content, I feel confident that at the end of this course, you will have the know how to how to scub the wide variety of surfaces. Course will also come with auto generated subtitles in English, Chinese, and Spanish. We hope that you will enjoy this course, and it will bring a positive impact in your creative life. 2. 01 Sculpting Castle Wall Part1: Hello one. Welcome back to the Part two, like our Part one, we'll start with the blockout. If you have what's that course, do grab it out. I have a lot of information there as well. So we'll start with the basic blockout and we define our basic structure with these boxes. Right. Let me just grab it here. So we'll have our basic boxes as bricks laid out first, and then we'll start our sculpting. So I'm keeping this bottom part a big one because it's the support of the wall, and then I will start with this corner. Yeah. So we'll make all the corner pieces. Like usually in the Victorian architecture and even the castle, you have this design in the corner. First, let me fix these yeah. So in the corner, you have these criss cross, bricks or design on the walls. So I'll just quickly place these boxes which are, you know, scrub later on. And we can always, sculpt one and duplicate it and make changes, or we can have a few bricks sculp and then we can place them or replace them later on as well. But first, just to get idea what is needed, we can have a quick blockout of the wall made using these boxes. It's quick and easy and it gives you the idea what you want from the final result. So you can always use references and images, or you can quickly make a sketch or compose a photo to make it. But this is how you will usually make the whole thing. After this, we'll make our top slab, once we reach there, I just want there is a design on top and bottom, and in between, we want bricks, right. So I'll start with the top. I will try to make a unique design on top. Like the bottom is more simple, but the top one, I want to have more details like you see in the architectural pieces, you see the strings and everything, right? So I'll take this cylinder and maybe I will uh extend it and make a tiny arch type of thing, and maybe I will mirror it on top and bottom. So let's move it up there, select the bottom and extend it there. Yeah. So now we have a single trim, which okay. Let's dynamise and let's fix this. Maybe we can mirror this. Yep. So we have this trim. Let me join these two. And let's dynamic shade and fix this. Yeah. Now you have a basic trim. I'll ski it and try to play with it. It's getting skewed so mask and, you know, move around to make it shorter. Yeah. Dyna mesh is our friend. It fix some of the issue, but with a thin mesh it sometime, I will extend it or scale it to the whole Yeah. Looks good. Looks good. Yeah, so we'll just dynamic and keep scaling until it fat maybe more smaller because we'll add more detail on top of it. Okay. Okay. So yeah, let's make it wider. Let's duplicate it maybe to make a trim on top also. Oops. Yeah. So maybe we'll combine these to get more better design. I'm just trying to And let's just fill. So we have two trim design. Maybe you just scale it up and match it with it. It's all our design. We can experiment with it and how we want it. It's all up to us. Okay. Let's move here. And first, we can make the design and then we can scale it back to the width of the thing. Yeah. That's good. Now we'll merge it down and now we'll scale it to the width of our I'll make it wider first. So now we'll just scale it to the width of our keep dynamising it otherwise we have issue. Now we'll create the top part. Maybe we'll create this arch design here. We'll just put the slab here first. Let's dynamesh just mask out. We need to increase the resolution. I'll select this, make a circle, then we add the rectangle to make that arch design. So we have our arch. Let's unmask it and we'll move it inside. So we have our arch design. Simple. Now, extend this to have this tiny trim in the front. So just extend it. Maybe we'll just extend this front of it. Not the whole thing. Yeah. Yes. Just extended. Yeah, so we have this tiny trim in the front, which adds up real nice, really tiny detail, but it looks nice. We'll do the same on the top. So we have always the large shapes like these large, medium and small scales always help. I'll duplicate these. I'll make it flat. So I probably keep it adjacent so it don't look too repeating, right? So I'll keep adjacent arches on there. Maybe we'll add some design to front of it later on. But for now, I'll add these trims, same as our previous piece. Musk it invert it and just move around. So now we'll just Okay. Now, yeah, it will duplicate the pieces to fill the top layer, which will anyway, will duplicate to the whole thing. And, this in between the trims, I want to add more details. It look kind of empty right now. So we'll add some details. L if you even refer to the trims and architecture of Victorian One, they have so many trims, floral design, and different type of design. So I will try creating some thing like a chain or beads or a necklace type of design. So I'll add these spheres like pearls in there and try to um this design here, and I add this ring to surrounding the speed. I'll add really nice detail. Let me match the scale. Maybe I will inflate it underneath to make it thinner. So now I will mask said and move it on the other side. So we have dynamisd and mask it. Yeah. Move them around, so we have the exact design. Oh Okay. We just mirror it on the other side also to complete this to design. Maybe we'll add it to this slab and then we can duplicate this slab multiple times. Let's move it underneath. Let's duplicate it. We can surely scale it or match the thing. Let's match it to the corner and we'll duplicate these spheres also. Okay. Yeah. So we have our one slab. Maybe we'll add another row in there, but overall it looks nice. So let's just much down. Yeah. So let me first add this now. I look nice to add this detail on top, maybe just mask and fit it right here in the corner. Scale it down. And we can always remove it if we don't like it, but I felt like we can add another, like, three rows top and bottom, right? I will just mask it and keep it in the. And we'll match it to the area, we just duplicate it. Now we have more. And it's all up to you if it look too noisy, you can skip it, right? All right. Yeah. I will add this similar detail at the bottom of the trim, so it look relatable. Um, it's nice to have this type of similar detail on different corners. As we have duplicated these I said, we can just keep it. I will mask it and cut these in between pieces. I trim it, let me match it. Here. We just need it in the front of our tiny trims. Yeah. Let me move it. Same here. Okay, I miss this. Okay. And we can repeat the same thing. On these two pieces, let me trim this also to the width of our piece. And I'll scale it to match it. Again, you can repeat this type of same design on different areas and maybe change something a little bit. It's really nice to have something similar look relatable. Yeah. Now we can add the cube and we'll make another design. And We can have interesting shape in the wall. Dynamic shade and human. This will use as a mask in the bricks because we're going to make the bricks and then we can use this as a hole in the wall, maybe, right? Usually coastal walls have these holes in there to watch outside. Maybe we can do that or maybe we can, you know, just add it as a design. Yeah, this is what I was talking about when you have to closer mesh, it gives error. So be careful not to have dis plain maybe closing the holes first. I will just add these two and close it. So make sure you have closed mesh, not tiny. So we'll have this in here, so which will use as reference to lay out our brick accordingly, which will be really nice. And you can have any type of design. I'll duplicate on the other side. So now we have our base ready. We'll start with sculpting our um, largest piece. Okay. So we have same, we'll just chip off our edges first. Okay. Don't be scared to chip off them more. Uh, we don't want to see these sharp edges or straight edges and break them up as per your reference, your thought, and your planning how old and everything your castle wall is. I'm sure you're going to be using some references. It's always nice to use the reference. So we'll continue this all other pieces. So we are back. We have sculpted the almost all the base. So we'll now let's be look for the. Like, we have AJ brush, like we had she, you can use this, and we have, um, orbs, flatten edge, and we have AJ brush, and we have trim smooth water also, which we can use. So whichever works for you and whichever you have available, just use it. So like we have AJBush which works perfect to break in these edges nicely. So we'll now um, have some bricks and, you know, brick by brick, we start breaking them up and we can always make layers and then break them apart more. Like, mostly in the rocks, what you have is, um, layers in there in the rock. So that also we can do. But mostly most part the very first basic thing, you break up all the edges. And that's the very first. Okay. So we'll keep breaking these edges, and we'll try to be more free and more liquid at this point. And still try to keep it under control, all the sculpting, right? We don't want to overdo it. Now to add this we'll use we can use many things. We can use clay buildup or we can use clay tubes, right? And then we can, you know, add some layers or remove some layers on our bricks, which we later on, break apart more, right. So this will be nice to add that chip of layering on our rocks or stones and surfaces. It's really nice to have it. And we'll just be more crazy, but later on we'll, you know, settle it out more. From our side. So don't shy away from trying out on different bricks. We have multiple bricks, which we do the same thing. We'll add a lot of detail, break it a lot, and then we make it plainer, or on some areas, we make it calmer in some areas. So it don't look too noisy everywhere. So that's the normal composition law also. Rule of composition also say the same. You don't keep information everywhere. So now we are adding everywhere all the similar generic detail, and then we'll just control it with, uh, making it plainer. That's this plainer rectangle brush, and there or maybe we use trim smooth butter to, you know, smudge it out. So that's we're going to do on all of our we'll duplicate it and we go do it on all of these corner bricks right now and just enjoy the scull for now. Oh. So we are back. We have already sculpted some of the bricks and we are already started duplicating them. So what you simply take the corner piece, just remember to take the brick and offset it on the other side that is most important the corner ones because those will tile and in between, we'll fill them up with duplicating these bricks and moving them around. We can surely uh sculpt more on top of them always. Okay. And yeah, like we already saw, we have already made some corner bricks around our design, which was the attention, right? So similarly, we'll just keep duplicating and placing around. And just remember not to, you know, leave the street I just try to make this criss cross or maybe how to say, not aligning the bricks exactly. So wherever these we used to, we need to have this T shape or opposite T shapes in the brick. So they interlock basically. That's all. So try not to make them align perfectly. Okay, that's how bricks work, usually. All right. And yeah, so that's we keep duplicating them and place them around, and we'll use some bricks here and there. But remember the brick, we will duplicate on the corner, use it from the other corner. Left corner, duplicate it and offset on the right side. That's most important. In between, you can duplicate it anyway. Just keep in mind that interlocking. Okay. And like this, we'll keep duplicating and keep, you know, then sculpting afterwards, which is a normal process. And there's other thing much, just keep in mind these all points. Okay. And that's what you're doing, we'll just duplicate it and fill in the gaps where we need. And now, just enjoy the skirt. I I I. I h D So we are back. We have roughly scupted all of the bricks. Now we'll add some nice little detail to the wall. We'll add some chains, right? And those chains could be used for anything. Binding holes, slaves, monsters, or prisoners, anything, okay? So we'll add these to our unique design down there. I'm creating the base ring of the link of the chain. So just I like the half of it and just and just separate it out. So it is our, you know, lock. Basically, the first chain in the wood wall where our chain will So now let's make our So this is our first link or ring where the chain will start falling from. Let's append it here. Let's scale it down to add there and then we'll make the We'll make the base metal plane for it. But first, let's place it here. Looks nice. Now let's add a cube. Scale it down as well. A Let's look nice and let's move it back. Okay, so yeah. So we'll surely dynamitiate and merge it with that link. But let's just keep it here. Let's add another ring, and let's create a link of the chain. Uh take the ring and we'll mask the half of it and just push it. Easy peasy, right? And let's make it thinner first here. So this is our one link. We'll see if we need to make it thinner or thicker later on also. So we're just testing out depending on how thicker our main link is or how bigger monsters we want to keep there. All right? So let me append it and we'll just move it there. I try to keep the size of the thickness of the chain and the similar. Again, yeah, it totally depends on what you are keeping there, if you're keeping goblins or if you're keeping dragons. So use that way. I'll just duplicate and add few chains chain links. And maybe we'll add a corner or end piece of the chain. And we can leave it like this also or we can make a different scale chain on both side, or we can make a ring or we can make it. You know. Yeah. So scaling it down. I started to look a little bit too big. Maybe we can scale it back also likes our chain and we can a let's add another link. You can bring it from three software as well. You can simulate these chains easily or put it on spline and duplicate it. But if you are as crazy as me who like to do everything as zebra, this is perfect opportunity to have fun. So we'll just keep a line and we'll make the end piece of this. I'll try to make something really nice design for this end. 3. 02 Sculpting Castle Wall Part2: Okay, so we are back. We'll just keep working on our corner piece. So I'll add this corner detail. And it's just like this weapon on the rock corner type of thing, and let's add, you know, hook to it. Afterwards, let's move it here. My we need this connection from here to here. So add that. Let's ski it down here, and we duplicate it. Duplicate it from the top. I see this add this hook on the suakin basically or dart move. Good. We place it here. And once we are done with placing, we'll merge all of these and dublgated on other side, and then we'll start sculpting in more details. Simply sculpting once we are done with this, we'll sculpt each brick in more detail, and we add more details, even these chains will polish. Yeah, sometime, I think, like simulating would be much better idea. This could be you can add lamp or lantern also fire lamp that also will work really nicely. If you don't want to add these chains, you can add these fire lanterns. You know, that's perfect for this type of wall. So. Set some nails, so it don't look like it's not connecting. And it's just my three artist. The logic inside me, just saying, like, how those brick looks really weak. Unless there is a hole, another mechanism on the other side, someone can pull it out. But no worries, it's so. Who cares about the logic? It's a strong wall. So, yeah, just be creative. You can have lantern. You can have sword hanging there or you can have some flag pole, basically. Just to put flag there. You can have different type of design in there, be creative and do it. And now just enjoy my actual speed of sculpt. Oh. A I D. D. Don't do. Do The I that 4. 03 Sculpting plaster wall: Let's start with a medieval plaster brick wall. As a ritual, we'll start with our box, and based on our plane, we'll create some of the bricks. This time, we'll create a set of bricks which we will lay out later on. So we'll make some of the bricks, right? And then we'll start one by one. But we don't worry about the size because we can scale them up and down after our first pass of scull. So we'll take this and we dynamie our first brick to showcase. Yeah. An resolution is fine, but we'll try to keep a larger shapes, not to go in super detail at this point. We'll chip off these sharp edges first. Okay. We don't want to see these sharp laser lines in our say because it's more organic brick or old clay brick. So it will have more roundy edges or more broken up edges. So we'll be more free to add that much detail in here. And we'll keep adding the chip offs and we'll make sure all the edges are nicely broken up and with some nice little larger details. So not all the edges look same. We try to keep it generic, but still a little bit different from other brick. Pieces. And then we can, you know, once we duplicate and if you find some details are duplicated, we can add on top for sure. Okay. So like this, we have uh this and let's polish it a little bit more to add. So you see I'm breaking this shape more uniquely. And there is another thing we have shown previously also. So you shoe check it out. So now we'll just go over all other breaks and sculpt them. Do. Don't so we have our first pass of cut done on our bricks. And now we'll add the second layer of detail on our brick. You can use any A we are using or rock detail, which is nice little detail to add on the surface. And we can add as much as we want, but we'll still try to be subtle in some areas, and first, we'll just have overall go crazy on our bricks. Then we'll remove some details like we are doing in our previous ones. So we add overall generic detail, then we control. You see it's already start to look a little bit nice. And you can create your own alpha, also, or you can use any scanned ones or from online. So just we'll go over all our brick and we add secondary. And some places we control, you know, the intensity and some places we'll add it more, and in some places we'll add it less. But overall, we try to add similar detail with tiny small uniqueness to all our bricks. Now we'll just speed sculpt our bricks and duplicate it on our wall. So enjoy the speech. Oh D Okay, so we have made our wall. So now we'll make our mortar and then we'll make our plaster layer. So just to let me align these wooden pieces first. So to make the mortar, we'll just take this plane and then we'll just fill in the cracks, manually. What you can do, you can you can take the height map. You can take a snapshot, and you can just put the displacement inverse if you are lazy, but don't be lazy, practice it. Yeah. So what we're going to do, we going to subdivide it multiple times and dynamic it and then just simply do builder brush and then, you know, just start building in between the yeah, in between the cracks of the bricks and we'll remove it wherever we have the stones. Yeah. And we'll be back once we are done with over all the things just normal thing. There's nothing in there, but we'll continue after we have done it overall on all the areas. So basically, just the point is to just to fill in all this area and however you want. And we can just be quick and add some more details in there. So we'll back once we are done with all the wall. So our mortar is complete. We'll add some surface noise. The two ways like one to shift the overall mortar up and down. So some is more in or some is out, more out. And then we'll add another noise to, you know, give it this blobby kind of clumpy look. And then we can overall make it smoother. For sure, right? And now it look more alive and more organic. Make sure to save, keep saving. And make sure to remove it from the areas where we don't want it. Okay? And, now let's make the plaster ball. Yeah. Imagine you are making a material set, then it's nice to have all of the layers. So then you can hide the layer and you can bake them. We'll do the same thing with our plaster. Okay, first, we'll try to, you know, mask out where we want it because we don't want it everywhere, and it's all up to you. You can make a variation of plaster, multiple variation. I'm trying to keep it in the middle area, right. And I'll add the same thing. I'll add noise and keep it little. So we'll have some area. We'll surely control it later on. So let me first remove it from this pillar. And also from the corner. Let me remove from the corners also. Yeah. So let's smooth it out and fix it in the middle again. Yeah. So I'm actually adding multiple time noise. So you know what happens is, once it's displaced, so when you add the noise again, it pushed the geometry to the normals, right? So that's why it looked more blobby. We might need that type of organic result, but we can, you know, experiment with what we want. So let me remove it from here again. And and maybe scale it down. Yeah, you see that we have this nice little layers effect on our thing. So now we continue and we'll sculpt our pillars, the wooden columns, normally. Okay. So we're using Alpha map here. You can use any Alpha map or you can sculpt normally putting displacement map on your column A, that's there. So right now, we'll just add B crazy. We'll add it on all areas, then we'll control it. So we'll maybe clean erect it or maybe we'll, you know, manually remove the areas. But first, you can do it before also. Like, first, you can chip off all the edges, but we'll just go with Alpha first. And for the top, we have different tree knot alpha, which looks nice. Okay? If it's visible, then only add, otherwise, no point of adding it on the top, but we're adding. So we'll chip off the edges. And we can again, do it first and then add the Alpha and we can keep it little less. But we're doing going crazy, and then we're removing this. You will see once we do it. So we'll just chip off the edges on the areas, almost all the edges we need. And then we can easily duplicate it later on on the other side because we are now doing all the sides. Not all the sides will be visible, right? So we are doing it on one, so we can duplicate or rotator and use it in the other areas. So we will keep sculpting the edges. So we were a little bit too harsh. And you see on with the Alpha map, which make the mesh too noisy, right? You can always control it, but you will see we'll use the plain wrecked brush and we'll have really nice camber area also. It's just like trimming on the machine, you know, the lathe machine, not lathe machine. Mm. So there's a machine which carpenters use. So they uh, chisel the top of the wooden. So we'll do the same with our plain wrecked brush play rec tango brush. So so we'll just do our edges, and we remove some of the overall detail, the sharp edges, basically, which look odd. And yeah. So once we are happy with our overall work, then we can, you know, continue. That's what I'm doing. I'm just removing some of the surface, those sharp edges and sharp details on top of the surface. Now let's take the plane after this. Yeah. They're bit. So yeah, let's dynamic shed and now we'll look for our plain red brush, right? And now we'll just, you know, mark it. You see, we quickly getting our nice little plain surface, which is good for us. And now we'll just duplicate it on the other areas and yeah, just finish this. 5. 04 Sculpting a Cider Block Wall: Okay. We'll start with our cider block wall plus cider blocks. You can make model or sculpt them individually, use them anywhere. So we'll start with the cylinder to make the side of the block, basically. Like those ridges we have in there. We make it and we'll just duplicate it multiple times to, you know, get the side of it, easy psy. And let's get a few of these when we duplicate and merge them and then duplicate again. So otherwise we get pouring, doing it so many times. So amuch all and then then just duplicate it. Okay. Just dynaming it in between. So we have them marched nicely. Duplicate Keep duplicating, keep duplicating. And now we have this four hole side made and I will merge it down to make it. Let's dynam and I'll make the internal piece, let's just move and use the cube and simply we'll use this box to make the grid inside grid. Let's match the width of it and height also. And here we are this and now we'll just duplicate it on the other side to make the nucrid and keep a scale here. But it's complicated simple mesh, just keep in mind the width of it. You can again, like normal people, you can model it in three software and bring it in here and dynamici and just be happy. But if you're crazy like me, just keep following. Right. Now we just create maybe add eight layers or maybe eight sections basically in here because there are different type of cider block which have different walls. Six, one is also there, four, one is also there, and we can choose. Now we'll merge all of these. Now, let's merge down until we have all of these blocks merged. Then we'll just dynamesh it to make them one. Like they always belong together. Okay, so now we'll take the side and just cover it up like a blanket.'s the resolution. Looks nice. Yeah, now let's duplicate it on the other side. On the top also. This tiny gap over there, you can it. Like, I can know my responsibilities. Nice. So yeah, now, we'll just duplicate it on the top on the bottom, whichever side it is, and then we'll just merge everything together. Mm Making sure to delete the hidden. Otherwise, surprise will come. What this. Yeah, so yeah now we'll just merge everything. And then we'll just quickly dynamiate we have everything joined together. Why are you here? Go. Now, let's merge it down. Let's dynamih. We have our brick. Nice. Let's increase the solution. So couch. Now let's start sculpting the edges. Okay. We can make the wool. It's okay. This is number of pieces you can make, and then you can add different variations in there, like some you can have with crack ones. But for now, we'll have a very generic piece, which we can duplicate later on and sculpt more on top. So we'll start with breaking off and chipping off the edges. And that's mostly ritual. The very first ritual is you take our favorite brush, which is HA polish. Thank you, Andy, for creating this awesome brush, and we'll just chip off all our edges. We Those are our enemy like that. We just keep chipping them off, and so we have will not do it over everywhere, but some chip off we need everywhere on all our sharp edges. We don't want to see those straight edges. All right. So that's good. That's good. So we'll keep sculpting this. And then we can easily duplicate it later once we have a basic one, and we can, you know, create other variation and we can, you know, split it and break it apart and create the broken variation also, if we require. Yeah. So for now, we'll just keep breaking this and wherever we see our enemies, keep killing them. These sharp edges. And I'm doing a little bit overboard, right? So we don't have all generic one everywhere. So we give a quick pass on all the edges. Let's look for h. So this is flatten edge. It's something same. This is we used to create the layer effect and this also works the same as AJ polish Brush, and like the trim smooth bottle also which you'll use maybe to add layer effect, but this also can create the layer type of effect in there. So I'm just showcasing you that they all do the same job, right? You can use them, right? They Yeah. So you see, we get this, you know, eroding the whole lines in some places, right? And then we try to add this effect that there are layers so that it chipped off from some areas and some areas don't. No need to overdo it. Just keep it generic in the start and once you have duplicate it then you can do it one by one, go overboard, then generate details, like larger chunk, something in the middle, big cracks, all those stuff you can do or maybe just chip off the whole edge or the whole corner, basically. Yeah. Now, let's look for our smooth balm, trim, trim, trim. No, no, trim. Where are you now Angia Okay, here, so use it with Alpha square Alpha because it gives you more better results for these layers. And yeah, so this, then you get this layer effect. Okay. So you can do it, use it scrape it multiple times, then you get multiple layers in areas, which is super nice and we need some areas, some parts. Uh Alright. Yeah, so this we keep chipping off with these. And what's well I see, we have we get these really nice layers, where we are. So where we have the larger broken areas like it's broken up and we can get more crazy there, and it is really nice. So these each brush have their own, but they mostly to break up the edge. But trim smooth water love and it's prebuilt, and it's hidden. I don't know why this should be in the normal menu. But yeah, it's awesome to create this layer effect. This is perfect. Perfect. So now let's add some damages. We have this Alpha already. We shown it in our previous course how to create it manually. So you can create this alpha, and you can add those damages, and I go crazy with the damages. Like, keep adding the damages. I know, I know. People call people say all the time, why can't you be just normal? And I always scream while adding damages in zebra. Yes. Yeah. And yeah, so we just keep adding damage like this way, we'll have all our blocks made normally. And yeah, and then we just, you know, make them lay them up on the wall, normally. And, you know, what I just realized, this will be laid out by the sides. I don't know, if these uh, holes will be visible in the wall, right? So if you are making the texture from the side of it, where only lines will be visible, but you can use them as individual blocks as well in areas. So yeah, so don't mind that. So use them as a as a rubble also you can use. So they never go to waste. Okay. So yeah, just have fun and enjoy my actual speed of sculpt. Cheers. M. I. Thank the 6. 05 Sculpting Rock Wall: Okay, let's start with our stone wall. And we'll start with a simple shape. You can use sphere. You can use any shape with dynamesh with a roller resolution, and we just keep moving it around or keep, you know, damaging the edges until we have some nice, interesting shape, Okay. And we'll try to create these faces or sites basically, right? A shave which have multiple sides to it. If you see some rocks, they also have this shave. We do not worry about the details right now. So we'll try to create this basic blobby, um, polygonal multi sided shape, which is more organic, not straight from any side. So if we have a larger face, we'll keep breaking it and kind of beveling the vertices of the corner in the local image. And the locally rocks are really nice example of it. So they have really a few pulleys, and that's the same with some bevel. That's what we're trying to make using here. Okay. So we create these faces and we create these kind of faces and places. And then what we, you know, duplicate it around on our plane, based on our plane, same as our brick, maybe interlocked, maybe straight in the grid. Was the interlock is nice, you can put. But if you're using some mortar with it, it's fine. It could be at distance also. Yeah, so we can just simply, you know, rotate it and scale it here and there to, you know, place it around, so we get some unique. That's why we sculpted all the sides so we can rotate and use it from different angles. We can surely scale it at this point, but later on, we can still change it if we want to. But we can do it later on also. Anyway, we have to do it again because once we have detailed it and then we'll duplicate it and change the layout again. Okay Yeah, so yeah, it's okay. You can create the whole wall just to get the idea how you want it to be laid out and then replace later on. But for now, it's fine. We can duplicate it later on. So we'll take the one and we increase the resolution, not too much, but more than our very first block one, and we start adding damages. We'll use you can use any brush. Like KJ poliura you can use trim smooth power or polish brush, right? So we're using same our trim smooth bottle with a square alpha. So what we're gonna do, we're going to make these faces more chisel, right? And wherever we see we have more bigger phase, we're going to break it and add another phase. Okay. So we're going to keep doing it until we are happy with. So it's like uncut dimer. I look like that, right? In the low poly, basically. So we'll just create these faces and we'll break these edges later on slowly. We don't worry about it too much, but we can defining these faces and these layers is important. And we'll start with a little bit, adding those sections like these multiple layers. So if you see the nature, there are rocks which have layers. They usually in one direction. So that also keep in mind to follow our reference if you have, because sometime in a wall, they use different type of rocks. Like they sometimes use stones and rocks and different type of, um, pieces, right? So it's nice to use different references and sometimes all also. So we'll keep defining these faces and some really nice shapes from the silhouettes, right? That is more important for this wreck and we don't need to make many pieces. At least a few pieces uniquely made, which look different from each side will be fine, and that we can duplicate around. So we'll increase the resolution on this later on and then we'll add more detail. So don't try to add details at this point. You see this is more detail than our blob, basically, right. And yeah, so we're just using our brush to add that much detail only. So then we'll add maybe more resolution afterwards and then we'll add the details that we need. Okay. So here, once we'll keep defining these faces, as I said, if you see this even the straight thing we have here, we do not want to keep it. We'll add some extrusion type of detail or layer one step up, so we now see these flat edges, right? We don't know if those rocks are carved or not. So we'll increase the resolution and we start adding more details. Let's increase it more. Yeah. So now we'll add more. We'll break these edges even more, right? So we don't want to see these straight edges in this also. So we'll not damage it too much. But slight hint that we see these sharp edges. Okay. And we can create more tiny layers now with this, as long as we have, you know, all the faces covered nicely with these organic layers and details and surface. Don't get too crazy about the surface detail because once we texture, we can add that micro detail. So only worry about large medium and some small detail, but not too much because we can, again, always add it in the texture and we can control it more there. The microdative. Like if we need to change it. Imagine if we want to change a different type of microdative, we want to add on different rocks that we can do, always. So try to keep it in control with me on. And depending on our reference and type of rock, scrub those layers. But these facets and these layers and sides are must that give a rock a rocky look. Okay. So we'll keep adding and keep removing some areas and where we like it to add it and total free to change it and try to make multiple pebbles and multiple rocks, and then we can, you know, duplicate it and rotate it around and use it. So it's okay to spend some time on single piece. We'll keep doing it on all the side. Like this side had little bit low resolution or we just keep sculpting. Like, see, this pace was a big triangle, right? So we'll break it up with more tiny faces, and so it's just like the composition rule. So you have the spaces, but some broken up at some areas. So that is the main purpose of this. And trim smooth water is perfect. To create this layery effect. You can add more resolution and add more crisp layers. It will show up there, but it's fine for us. It depends on how big the details it will be and how uh how much it will be visible in the big. Okay? So if you go in and add those tiny crisp layered chip offs, and if we don't bake that much of level in the map, it doesn't matter, right. So keep that in mind how big this object will be and how much we have to. So yeah, so you can always use this or brush. You can use it later on. Or first, basically, to define these sections of the rock. Okay? So this helps us more to define our areas, right? Now we can use, again, our trim smooth or any brush to, you know, chip off. So now we'll get these type of sections extruded around our simple piece, which always look nice and give its unique shape in the silhouette. Okay. So it's really nice to use this as a tracing mark. Okay. So you can use Dame standard also. It's okay. So you can just trace. Okay, I want to add some layers or some different sections here, here you mark. And then you just simply sculpt based on that and trim smooth border work really nicely. When you have some shape and some angle, it chip off really well. So flattened surface, it might not chip off that well, but you can add crack. So yeah, we'll just continue sculpting our other pieces, okay? So just enjoy the scup. Okay. A Thank 7. 06 Sculpting Paddles: Okay. Okay, so we'll start with our pebbles River bed surface. So we'll start with our simple pebble, which we'll do which are mostly smooth. So but have really nice shapes. Okay? So they're mostly smooth because of the erosion because of the water, right? So they mostly smooth. But they have really nice shapes. Sometimes they're bent round and different oval shapes, basically. So that we'll try to create in our set of pebbles, which will scatter across our river bed. Yeah. And yeah, so we'll just making it a smooth surface with some thickness and some area some matches, thin, right? I didn't damage, but we'll smooth it out, after it. So not issue. So we'll not keep it like this. Then it will look odd because it's the pebble pebbles are mostly smooth. Yeah, so we'll smooth it and then we'll duplicate it and create more variations of that pebble. Okay. And I think he will just quickly smooth it out, and make a little shape of it. And then let's just quickly smooth and create a variation afterward. Okay. Looks good. And let's just duplicate it and create a variation. Quickly move around the shape and smooth it out, maybe adding on the side, different shape. But nothing to worry. You can look at images and references which works for our specific pebbles. Like we're adding it looked like potatoes, basically. Yeah, that's true, right? We can just scan our potato and then we can call it our pebbles or use the potato from your kitchen and put it on the table. I say, Oh, these are our pebbles, but thinner. Scale it down. Alright. So all up to you. We are crazy, right? So now we'll just keep duplicating and create some variation of our pebbles which, uh, it can be based on an image, going with the flow, creating a shape erosion. And this men damage so I can have side and then I'll zoom it out. So which can mimic our erosion, which is fine, right? So that also can do the same amounting. I'll smooth it out, so we have. Nice shape. Not too leg get into sharp edges, but lesser than that. Now, we'll keep duplicating, keep duplicating, keep duplicating and keep making simple shapes and different shapes with it, which is basically I said it multiple times. I'll try to get this thing. I cannot get out potato in my head now while working on this. I hope you also do. You should also suffer with me. And, some unique shapes. Experiment with this. If you have some reference, you can do it from there or you can take a sphere or put some pearl noise, and that also fine. And I knew this could be really simple shape to scult, but you know, we love doing everything in zebra. And now we make more variation, duplicate it, have like eight to ten variations of pebbles, and then we just Se quickly if you move a shape around and add some thing, it start to look different already. There are broken one also. You can create those if you want to. You can create a broken versions of these pebbles. But we are trying to keep it simple and we'll keep it duplicating, keep changing shapes until we have our set of pebbles. Let's duplicate this one and do it. Alright. So we have our eight pebbles already. That's good. Nice. And now we'll just start placing them on our surface, right? From this time on, duplication and this gizmo is your best friend. Okay. I knew when I started this project, I'm going to suffer while placing this. Okay? And uh but this is not no, this is not the best optimal way. So I'll just explain the multiple ways you can do. In our previous course, we explain how you can use nanomsh. Okay, so you can take this and use nanomsh. You can export it, simulate it in the 30 software, bring it back, and fix the corner meshes. That's the best And, but, you know, I love to do everything as Zbrush and my ego came in the way and I know I'm gonna suffer, right? And I thought why I suffer alone. So welcome, everyone. You also suffer with me. Go ahead. Enjoy. H. A and D. D. D. D. D. D the Mm. Thanks n I I 8. 07 Sculpting Medieval Wall: So we'll start with the wooden block for our medieval wall. So basically, this will be similar to stone, but this will be wooden planks with motar. So we'll start with our main column. We'll simply create a box and decimate it. Sorry, dynami shade and then we simply start sculpting it. So it have the same workflow as we have before. We'll sculpt the edges, and then add some secondary relatives. And then we'll add, refine the details or remove some details, make it calmer, and then Yep, and take it as far as we can. So I'm just damaging the edges, which is the very first important thing you might have got it by now that we don't need to see these laser sharp edges which are our enemies. So we just damage all the edges around. You can look for a reference or sometimes the medieval wall, they have this nice pattern, they chip off these in the corner. So you can do also. So they usually use this tool to, you know, scrape off the edge really nicely. Okay. And you can do that as well. But overall, we like to see a damaged edge, yeah, right? And what we'll do add, we use wooden Alpha, right, and you can create your own or use a scan or use even displacement to put the wooden surface detail on top. So we are using the Alpha. So for now, as per our last video, we'll just go less crazy this time, but add the Alpha almost all the surface. Right? So, so we just keep adding it on all the areas and we'll just camer it up later on. Well, you know, reduce the details in areas. We can use plain rectangle tool or we can manually use trim smooth bottle to you know, you can press and, you know, press the information. So the peak, it make it plainer. But if you do it on the valley, it try to chip off from there. So you try to get these layers, so which we will do afterwards once we have overall. And also keep in mind the fiber details they usually follow the length or longer side of the wood. Okay so if you're confused, which side you want wood. And now we'll just look for trim smooth border, and we try to chip this off more. So we try to get this layer effect because with the wood fibers. We know more about this crack because later on, we can use dime standard or orb crack brush to make these cracks more refined. But what we want is this layer effect. So if you can follow these lines, right, which we got from the Alpha will add up a lot. And we try to keep some edges more damaged or these corners, more damaged. And these edges, we have this chip off type of effect, you know, the wooden sometime chip off in diagonal side, right? And that type of thing adds a lot in the wooden scalp detail. So we'll keep making this better layery effect with trim smooth border. And you can use other brushes, also. There in all brushes, there's g brushes. There is a tool, you can do it. And you can use overall spacemen map from any texture, textures, tillable texture you can assign. I give you a stencil to where you want to sculpt these things. So it will give you these faces. Okay. And yeah, so then you can sculpt on top. Where you want to the crack, you can refine the crack, where you want these layers. You can refine the layers. Okay. And basically, this is the basic fundamental of the word also. You can create it from scratch, everything. Some people, what they do they use clay buildup. Okay. So with the clay buildup, they create these layers and the top they make the flatter so that it, you know, add even they use clay buildup to add this layer effect, and then they use history brush to, you know, remove some of the detail. So then what you end up with these, you know, chip off sharp chip offs, right? So that is also the nice technique to use. So you can keep doing as much as you want. And then what we're going to do, we're going to, you know, afterwards, you know, remove a lot of details. Okay. Okay, so look for our plain deck tool, and we'll just, you know, remove you know, bunch of make it flatten, basically from up to a certain point, we'll make it flatten. So we'll you know, kind of its same like the chisel tool of the carpentos. So it's something like that. So we scrape off the top, and what we remain is really nice detail in some areas. And we'll use, again, Alpha to add some areas, which we think have small trusting. We'll add Alpha there again to make them more interesting. So let's take different woodpa and add it in some area, not everywhere this time. Only the area which have chipped off more. So we'll just add there. Okay. And we'll head in some area because you see there is some chip off in there, so you can refine it based on that more an after this if you want to this, see this one even if you use the same Alpha at different places, it gives you the similar detail in places. So make sure to remove this or blend it with other things. Otherwise, the same type of Alpha mark will be visible. And then as I said, we'll refine this cracks. You can be creative and put your own, but you can follow the one which are already made using the Alphas or the sculpting, right? So you can refine those cracks and try not to keep it everywhere again. So keep it in areas which have more information, bigger crack, which have lesser, smaller cracks, otherwise it will again start to get noisy really quick. Okay. But also, even if we choose to do it, try to, you know, reduce it or remove it or make them calmer later on. And more on the corner and lesser on the flatter, maybe smaller ones. So these fibers and things will make it look more wood. And you can add knots type of detail also if you wish to. If you have Alpha, you can use that or you can make it manually. Other than that, yeah, so this is almost there, and then you'll use trim smooth water to, you know, again, make the areas flat and calmer and add more details, which is, again, you keep repeating this process on multiple areas and multiple times, which, which make it more personalized and how we want it to look like, because we are making one and then we will, you know, duplicate it around and maybe duplicate it to make the horizontal planks, which we will keep it generic in the start, but then we'll, you know, add more details to make it unique later on. So yeah, so you continue with this process and yeah we'll finish it with the motar and our textures will be finished. So enjoy the skirt. 9. 08 Sculpting Medieval Door: We will start with our medieval door, which will be covered by this stone arch arch or simply wall, basically. You can make the arch if you want to. But this is basically will make one block, uh try to make it fine, right? And then we'll just duplicate it around to get the feel of what we want. So once you have a block and because it will be a unique piece, we don't worry about tiling, and we'll just place it and we can have a unique size. But later on we'll make a wall also that will try to. We can make it asset also, we can make it tlber texture also. But if you want to make it a tillable thing, then make sure to duplicate these blocks on the other side as well. Okay. And try to keep it inside inside the shape. I'm trying to guess the size of it. We can change it later on also how we want it, but it's good to have a rough idea of how we want to keep it. And if we have a reference, wonderful. If we don't, then just experiment a little with the size of blocks and these boxes and place it around and see what works and whatnot. Okay. And these are mostly carved stones. Basically, they chipped into these block shapes and used rather than the organic stonewall which they take any size of rock or stone and place it with the mortar. This one, they have basically mostly carved the stone or cut the stone to the size and more flatter side, which is good. Yeah, so once we have this thing and then we can make the wooden planks. I'm just taking the same thing. We can take a box, new one. Quickly just taking the one anyway. So we make the side flat. And we just scale it up, and then we dynamih it again. Whichever works for you. So this plank, this is a frame of the door. Okay. And let's just scale it Okay. I'll add it here. And this is a frame, which, you know, will be here on the top also, and we'll add crown plank also kind of which is on top of the door, which stop it to going, I believe, inside or outside, right? So it swing only to the one side. So that also add the we have a basic frame of our down. We can always place them around. And as I said, this is not a tlable piece, so you can be, you know, free to change it as per your needs or requirements. And if in some places you need 2 stones, you can break it and have 2 stones. Okay. Me match this width of all the stones. Yeah. So because it will be sitting on top of it. So you can make the plank longer, and so it sit on top of those vertical ones. I act as a resting one for the for the stones, but it's all up to you how you want it. So then we make the plank of the door just figuring out how wide we want it. Okay, you can make it arch, as I was saying. So then those stone on top will also arch on top of the door, but we are trying to make it simpler, so we'll keep it simple only. So once we have a plank, we'll duplicate it, and we'll add some variation, for sure in the door. But we'll duplicate this same piece to just get idea how it looks. And surely, once we have sculpted it, we can add more variation and play around. But yeah, so this is I'm trying to make it more wider so it fit more. Now you can add another one to make, you know, five of them also, which I think will be better for our Yeah, there is enough space space there is space for everyone in the family, right? So yeah, so this nice little door is there, and Yeah, so this from there, we'll add the crown column, which is normally, again, this can have multiple purposes, but I believe it is to it act as a crown also. It could. Or we can add it in the front of the door to stop it from swinging out outside, right? So it's all up to you how you want to use it. But it's a nice little detail as a crown of the door. So we know what is inside and outside of it. And and make sure to fix the other side also because if it's a unique set that it will be visible in exterior and as well as in interior areas. So make sure to fix the other side as well. So we don't want it to look odd. Even the door will have different detail. We can push the door on the back end of the frame to make it work, depending on things. So make sure you fix the both sides and all the columns are looking good or blocks looking good from both side. And we will surely add variation to the door planks also after this. But what I'm trying to do, I'm trying to be a little bit of creative on how to add variation in this, which surely you can do later on also once you have sculpted few pieces, but it's nice to, you know, do it early on, so we get the idea how it will look from both side with this variation. Or imagine if we want to break this horizontal block, then we can, right. So just remember to do it from both side, otherwise, we'll get this gap. Okay. So once we have it, let's flatten this force. Yeah. So this is what I was talking about, basically putting it on top of the plank because it will give it more support to the stones to sit on. It's like, without any nails or any work, we get it. And we are adding some variation to the plank to the door, which will look nice. And then after that, yeah, the idea is to polish the stone block like we have already done previously and then polishing the wood, which we also done, and then add some metallic piece and designs, like the hinges and some metal strips in the front, some handles, stuff like that, and then finishing the sunset. That's the basic rundown of how we will to how we will finish the sets, this asset. You can same use the same analogy or same methodology in creating variation. So we'll add basically we'll add some blobby shapes like we have shown in the previous one, and this is some organic to give it some organic I'll say shapes in there, right? And we'll surely use strim smoother or AJ polish brush to give it some calmer areas. But this is nice to get these shapes. So what it will happen, you see, it will, you know, the blobbiness will go away, but we'll get these cracks and crevasses. Okay. And surely we can top up with our alpha, which give us more stencil type of look, right. And yeah, there are multiple ways, and you can use orb crack to define those cracks as well. So there are multiple ways. Make sure to clean it up and use, only only in some areas, not everywhere, details and high details area. Again, you don't need to go to micro details again. With that, we can always do it in texture. Just keep looking at silhouette larger shapes and the medium details in the rock that those are most important. And you can make a few set, and then we can duplicate, and then we can simply, you know, get the add some uniqueness to each stone and each piece of it. So this is basically it and I want to repeat myself more. This is something similar, we'll do on all our stones and scrub them and duplicate it scrub them more to make them look unique and finish our toe. So enjoy the scut and happy sculpting. A do. D Mm. I I things like that things like things like that I 10. 09 Sculpting Medieval Wall 02: I C. C. Oh It H Uh a I Do. The no