Sculpting Expressive Creature Bust in ZBrush

1. Intro: Hi, my name is like oxygen and I'm a senior guy. I said I would do it in characters since almost eight years now. So in this course, we'll learn how you can create expressive burst of the characters with some character. That means it should show strong emotions. In the project section, I will be sharing the reference that I'm using to create it. You can follow along, or if you want, you can create your own character as well. But it should convey that strong emotion that I want to teach you. Whoever how basic to intermediate level of understanding of zebras can take this course, I will be teaching you the concepts as well, which are useful if you are coming from any other. Start things off here such as blender or you can always apply this concept and create your own boss or the expression for the strong, especially by the end of this course, we'll be able to weird expressive characters with sure that strong emotion. Or during the lessons, I will teach you some techniques and some tricks that you can use to create your own character in the future. So without further ado, let's get started. 2. Building the head shape: Hello, and let's get started with the class of creating expressive character Boston ZBrush. So for this, we have started ZBrush here and started into this sphere. For this one, I'm gonna be starting the character with a scrapped. So I picked up two sphere. And by using new brush, we can shift the objects according to our need. In this case, it's a face. So for creating a feast, all you have to do is shape of the sphere. So that it looks like an egg, landed egg, which is an ordered. And right now I am masking the UDL beard. I can pull out the neck from over the move, inward, the mass with the move, and we can just pull the knockout. This way. We can have a basic shape of the head, which should look like something like this, and a little neck. And from that, you can just shake up the neck and everything. So I suggest you in the beginning, keep your subdivisions, all your dynamics levels on pretty low side so that you have a better control over your sculpting. Like this. Here, I am trying to shape up the neck, how it shouldn't be in real life. And trying to help. Shape of head, how should we ship open head? Shape of a head is somewhat flat from the side. It's not circular and it's curvy from the front. So protruding the laws. And I haven't used any external object or have not added any other sphere for nose or mouth. I will be creating them from the single mesh. Since I'm using I'm trying to shape up the skull. You should also keep in mind that you have to put in some work while shaping up those codes are ahead in the beginning because even if you see skull daily, It's not something that you create. So keep in mind that our head is something that wraps around the scalp. So keep your skull in mind. Imagine that skull inside the mesh and then start creating. Since it's a creative, I am creating the ear as well from the same mesh by masking and an orienting, inverting the mask and pulling out the year. Using clever to detail though part of the ear and some part of the model as well. Also, once you build up any radial and if you want to smoke, you can just press Shift and smooth object if you find it not pleasing or if you want to smooth it. Also, whenever you want, you can just Control and drag on outside of the canvas to DynaMesh it again. So that you have an even among those polygon distribution. For a face which have a beautiful expression, you need to focus on the areas which expresses more mature eyes and around the eyes. As you can see along with this in the course, I will be focusing on the eyes a lot. I will be touching up all the parts of the face, but I will be coming back to the eyes more and more because I need my eyes to be very expressive. So in this one, I have just carved in the ICE table. And I do not work on one object at a time. I keep switching parts of the face. Like sometimes I work on ice, sometimes done again on the nose. Right now I am carrying out simple area or shape. Mold can be. For sculpting anything. You should have a lot of references with you. So for this one, I had some references with me. All the other monitor, this portrait of genes called erudite do that I am creating. So keep in mind if you have something new or creating a new character, collect most amount of references as much as you can, and then start working on it. Here. I have just offended ball, sphere for eyes and mirrored it so that we can have a better understanding. Without an eyeball. The ship was looking freaky. We do not want that. And also it helps sketch the eyes better. And that's what we went for. Bed now, it is looking a little bit weak, but it all comes. It will come together. If you keep working on it. On the lowest subdivision level, on the first, you're going to have to be too high. Otherwise it will look muddy. Clay, which we don't want on any stage. You want it to be controlled. We should have full control on at all. So for that, start with the low and your subdivisions along as you move forward. I am trying to create the cavity for eyes, also the area below eyes, eye bags and the eyelid. The bag on top of the eyes aspirin, everything around the eyes, which is a very useful, I know. It is not reflecting any emotions or anything, which is fine. Later on in the course, we will see that how we can develop the emotion fees. First, you have to focus on the basic blocking other parts which you have to create. So first we will create the pipe, then we'll make those blocks and loops like that, that they are expressing something, they are expressing anger or excitement, etc. In this video, we basically, we build the proper forms and some areas of the eyes. And the next one will be taking a look at and moves and how to build up that font. You can sculpt along with me. And you can also start with a sphere if you want, which is the best practice. Also, since I am building expression, I have started moving the face according to that, which isn't in anger expression I wanted to create. That's why I've been with the mouth shape like that and and shipping a hold or areas around the eyes right now. I hope you got something useful from the video and I will see you in the next one. 3. Sculpting Nose and Eyes: Hello, and welcome back to this lesson where we will be working mostly on the nose and eyes part of this Grecia. So I am using Cleveland of mostly to build up my forms. And the character that I'm creating have a very broad nose from the side and it tapered down. As it goes on. The eyes areas. I am really performs on the sheep and some forms inside the mold to give in to have an idea of how the expression will be. When we'll put the deep for the next lesson. And the huge, huge screened that's going to come. That's why there's huge role. And you have to understand or study some expression that when somebody screams, the cheeks can go inside no matter how chubby he or she is. Yes. You have to keep certain things in mind. That certain expression, if it's smile, smile, it's a screen of angular in our case. So the expression or the facial features changes drastically. So keep those things in mind. Something like what we are trying to do here. I am trying to emphasize that expression by creating a Ford or a follow that goes from the nose to the bottom of the lungs. Also, you will see mostly I'll be working with the xlabel and this one because that brush gives me the ability to build forms very quickly and smooth them on the go with this small brush. And as you can see, we are back on the eyes very dealing the park, making it look more believable. How the ice can be drilling the eyelids. But I was carving in some of the areas but the dam standard brush. Here, I am trying to bridge the gap between the eyes and the nose, creating a bridge which which is there for the faces. If you look closely, I will turn it down later. It's very drastic right now. I will turn it down and make it smooth. Now, Let's start with creating a body. I have appended another sphere for that. So it's not gonna be full body. I'm just creating a bus so some vital shoulder and chest wouldn't be there. So there's just a basic came off the bus. I will merge them down and animals them so that they are one mesh, the head and the shoulder bag. Then I can just blend them all together, make it feel like it it's one body instead of two separate tools. Oh, this looks weird. Again. Sooner or later we have to do it. So why not build it on the neck little longer than he is a character works out or who does a lot of physical activities. He is Jake from Avatar. So why not have a tender neck and a little muscular body? Trying to fix the neck, some part of the face as well. Building and moving. Mostly, you will be using brush a lot if you are creating any character orbits from scratch. So keep in mind, have a habit of practicing the doze brush. More, such as labor, love, smooth. These brushes are very handy and very useful. These are just basic block of ZBrush. If you're creating any character, you can turn a vaping tools brushes. Here, I am going to create smooth some of the bytes which happened, some artifacts comes when you see DynaMesh it. Trying to shape up the ear a little better. Right now, the ear is in standing position, but now I will change it. While screaming. The year goes down for this creature. It looks very cool as I am adapting to my references and trying to build up the form as as I go forward. Also, I keep on diner machine the object to get a proper resolution all around. So yeah, that is the basic workflow that you have to follow. Also for male and female bust, make sure your forehead. You keep a close eye on your forehead because for me, a full head is flat and slanted. For female. It's good. Yes, here I am back on the laws trying to do with my brush and goes at the bottom of the lips. Mouth. Actually. Which gives afford. Good for that, happens when you scream. Which is important. Yeah. Building up the forms for eyes. Again. Because they are again, when you DynaMesh it lose some of the regions. So it's better to come back and build the eyes would cheer, which looks better if you are dynamics, you can get on a little bit higher value. So here I am building the form which will create the eyes more appealing to your references. Keep a close eye on how the forms are looking and build up the forms. You can carve in the details, even if you're using standard or clay buildup brush, that way you can add or decrease the forms. On the go. I suggest you spend most of your time on the eyes because as you have heard of, most probably the gates of your soul expresses a lot of expression. All characters of any arc that you're creating. But if it's 2D or 3D, so spend some time on your eyes and you will see the result. So, yes, once we have some basic eyes already, we can apply the same amount of detail all over so that one area, Dawn Club, very detailed, and others are very black. So I am applying the same formula here as well, trying to shape up the cheeks as well as the periods around the mouth. And you will see that I am again, my primary brush is clean build up, building up the forms of cheeks here. Building up those, which adds up to those expression that I was talking about. And it's looking pretty good to me. Also. Usual as well. Skirt from every angle. Keep rotating your object and sculpt. Move an object from all the angles so that you have a better proportion all around when you create any tall table or even if you are creating any work in 3D, skeleton, every angle grinder to build up the forms for the head shape. Eyebrows as well. It's angry eyebrows. I'm going for that iris, which looks angry. Middle and create some little folds are included for that. That is believable. And trying to add the details or folds over the nose. And I hope you are also sketching something. By watching these lessons, you have started something. So that is it for this lesson. And I will see you in the next one where we detail more for this character. 4. Putting in the Teeth and Gums: Hello, welcome back to the lesson. In this lesson, we'll be adding to our model. For that, I will be using an existing set of teeth and gums which is present in ZBrush. For that, you have to go into tools and select this next human model. Double-click on that. It will add as subdued. And you will find at the bottom that there is a peak with gums. So all we have to do is go to our model and append that sub tool, that tool in our model like this. And you have to search for it in the ghettos. My pressing F, you can locate that object, which is a very far from our model, since we started from a sphere. That's why our sphere is at the center of the grid. But the amount is on the top of that header, which is already present for that model. So all we have to do is pleased that gum, those gums and teeth. And yet our head, scale it accordingly and and place it inside our jaw. That is what we are doing. Carefully, trying to place it inside the jaw and then I will be opening it up. There's a little trick of opening it by using isolation with him. For that, what we can do is we can auto group everything. I know what part of group does it gives you excuse me. It gives you I'm just trying to see what these handles are doing. They are just handles which moves, certainly guilty of that five. So my auto grouping, what you can do, you can isolate the part of gums because they are one mesh and the teeth are different meshes. So I am isolating the teeth for now. And in what select them and group visible. So whatever is visible, group as that, which is Control W is the shortcut for that. And I will do the same for the bottom teeth as well. Just Control Shift and click on each beat boot so that it goes in hidden mood. And that way I can control shift, drag on the outside of the cannons and group visible deck so that we get two groups of those teeth. Now, what I can do, I can just mask the area which I want to move smoothly the mask and make sure the teeth are also asked, but just the bottom part. And then I placed my gizmo according to my need and rotate. I have said the transparency shortcut to control T, which you can do by holding Control Alt and clicking on any button. Or you can go on the bottom right corner, they will find the transparency. And if needed, you can use more brush. Simply move them in places. Also, move them accordingly. I am using symmetry. You can do it later on in the state will be holes in the mesh. It looks weird if you don't pose and it's all too symmetrical. So posing is necessary. Even if it's so bust, It's important. Just pushed the mesh of the mouth but inside so that it looks natural. Non-blocking of the mesh. Now and grind to a place. What a better areas moving here and there. And building the inside of the mouth using clever though not visible so much it's not going to be. But still, if you want to work, you can do more work on that. You can also build up the forms of muscles which are inside the mouse and inside the cheek areas as well. For me, it's good. And all I can do now is a refund the shape more and add more of the details, build up the forms as what I'm doing trying to create the muscles. So what makes a face? And building up the form, straightening up all those lines which needs to be straightened. Not too curvy because the skin is stretching in that way that the screen is happening. So the line which goes behind the nose till the bottom of the mouth needs to be straightened, or even called pinworms. Doing that using my brush mainly and shaping of the chin. I eat my shim gene to be sharp. And that's what I'm trying to do here. So that's for tactic for this class. Will little further in the next one. So I'll see you there. 5. Detailing the expression: Hello, how are you early? Welcome back to this lesson. In this one, we'll be creating details for all over the body, also detailing a bit more of this expression. Also, I will be matching more tool the reference that I'm using for this one. So right now I am carving in the details for the chest area, also adding the bone that is required for clerical and the neck muscle. The vein which thumbs behind the ear to the center of the neck. Doing that. And moving as I'm doing that, moving towards the neck. Scorpion, some of the ideas of making the form looks better and retelling a little bit of the back as well. Some shoulder park. Building up with the clay will do mostly building smoothing. Remove in the form that a little bit. Are you finding it? That's all the process there is to it. So spend some time doing that. Also save your file. Now it's time to match it to the reference. For that, what do you have to do is go into texture and loading as a spotlight, you have to import the mesh that the image that you want to match and then add it to the spotlight like this. You can scale, rotate, whatever you want to do. You can do that in this way. So I thought that I was not too long from the reference that I was using. It. I made it fairly close. So I just important to reference what do you want and match your model according to that, just have to move In places here and there. It's a little bit hard to match the reference. So take your time matching the reference. That is what I am doing. Once I'm happy with the reference, I found that some of the eagles are the fees little bit narrow if rent and broaden the part of eyes. That's all everything else was looking better. Tomb. Yeah, putting the eyeballs, little bit of fire from the course. Also pulling the head as well, a little bit faded out on the ice and shaping. Changing the shapes a little bit near the eyes, thickening of the neck and the shoulder areas. Once. Yeah. Trying to set up a little bit of more accurate here so that I can match little bit of my ear. As, you know. You have to judge it with your own eyes. What do you wanna do? So I just simply change my poles. Here. It was very scraped. The lid lot convene though, angle that I wanted to express my character. I changed the shape of the year a little bit. Too much, like drastic change was there. But that's what made it more believable here. Once you are done and happy with your shape, you can press Shift Z to the reference image and start working again the model. So fixing the eyes area, burning up those eyelids. And you can use **** standard like I'm using to create that shape and a refund the shape using equilibrium. Again. Small, two more clever lockdowns, Jagger, these are my four main brushes that I use. And they're very, very helpful. Trying to build up the form of ice. Moving back to the back. Plus more than we ever Somali effects on the back. Retelling them, smoothing them out. And we are back on the eyes again. As I have said, detailing eyes is one of the main parts for bust. Eyes expresses a lot of details. So make sure to put some effort around eyes. And here I am putting that fall and the lungs that builds up on the eyes here is smoothing them. And shipping the eyes around that sphere, which is eyeball a little bit more. That looks more natural. And still I am on a fairly low subdivision or the value on DynaMesh rich. Oh, I will be changing. Again. Detailing it here and there. Some neck bar, some body part. They are gonna be partially visible for the still image that I'm going for. But yet still I have to detail them a little bit. Also detail your character in all angles on that is important. I'm trying to detail the ear a little bit better. Equals just a basic shape which was put there. So yeah, trying to make it a little bit more believable here. It's folded, so not much of the detail is visible still. So whatever's visible, I will be treated with them. Shipping them the ear, putting them altogether, the dam standard carving in the Beatles. Bring some work on the scholar area. I'm trying to make it more rounded. Overall. This as well inside the mouth, mouth. Very important. The chief Syria that V-shaped that is happening to the cheeks for anger or screen that is important, that, that happens when you screen. In case of difficulty, you can create this face, look at your mirrors, and see what is happening to the fees and you can copy that as well. So here I am trying to isolate those two teeth, which is going to be Chennai or longer, a little bit more than the rest. So that is what I am doing. I will just be due to other people and we tell them apart for this lesson. And the next one, we will put in some colors for this model. I will see you there. 6. Coloring the eyes: Hello. In this lesson, let's put in some colors to the eyes that I'm just turning on the RGB and removing the Ziad from Standard. And setting the material for eyes for toy plastic. Toy plastic gives the best result for eyes. They just have to click onto our plastic from your material section and click on Fill object from the colors. Why just selecting m? Yes. And you can go back to using that gap. Like so. Now picking up the standard fresh. And for that, I'll be using on RGB mode to create eyes should be, the base, should be black, and then whatever color you want. And then again, the I restrict black. So that's what I'm doing. I am starting with an off-white, something. I am picking the yellow now, but then again, I will be first putting in the black. I was just looking at the yellow color, was behaving for the eyes. That's what I did just now. Okay, I got an idea. Then again, the black goes to black layer like this. You can turn it off the lazy moles if you want. If you're having some difficulty putting that in late, me, I just did it. And that way, it'll be easier to put in your colors using standard brush now comes to yellow. So again, at the center, it'll be black. And then you can go ahead with their blacks are darker yellows and put in on the outline to give it more depth and shading. And for blacks to put in those little intricate details which is on the eyes. And I just have to give it a parcel that it looks more believable at a distance. It's not gonna be any. I close up, shot soap. That's fine. Now, somewhat looking like eyes, but again, I thought they are protruding out, which is not natural. So I went ahead and got it. And the of week four, eyes, the middle part is going inside. That's what I did with the brush. More than four Smooth, make sure your z is on. Only know RGB should be on for smooth, otherwise you're already paying really good smoothing, which we don't want. Also, you can put in some shadows for the eyes. I just kept the blue color for my character. It was a small lesson. I will be revealing more of that expression in the next one. So I will see you in the next row. 7. Putting facial details: Hello and welcome back to another lesson. In this one, we will be detailing this character a little bit more. So, again, clever. I wondered what the cheeks to be a little bit thinner. Rigid dictates the physical activity of our model. Yes. That is what we are trying to achieve. That's what that big dent the cheek and just refining them a little bit. But the clay buildup on a low setting or on a very low pressure so that it is not very drastic of a change. I just want such details, subtle changes at this point because we are getting towards our results very quickly. And we don't want to break anything at this point. So that so do avoid rework. Trying Two, pushing those cheeks a little bit with two of controlling too much. So as I said in earlier lessons, that you have to work on all the angles. From the bottom, from the top, from three-quarters every angle you have to work on. And putting in all those details, I am just subdividing it further. Guarding some of the folds using dam standard on the eyes, on the lips. And that is what is going on right now. And for eyes, again, look at the references and trying to match up to that, right, the larger with the real life for real person. Or look in the mirror. Here. Some unevenness which happens for the eyes that I'm adding and shaping up, trying to make it a little bit more few years. That's why that angle is important. And also the tear duct, which is important. So constantly zooming in and zooming out a model, it helps you create a better understanding of the shape that you are creating. Gives you a good understanding of an overall picture of your model. To not just focus on one area. Do not zoom in too much on the eyes and focus on that or for that matter. Yeah, zoom-in, zoom-out your model constantly to get a better understanding of your work and the quality that you are trying to deliver. Here. I am adding a little bit soft veins that is on the forehead and working on the MT area more, trying to make it more pop out the lips from the shape a little bit. So **** standard helps me with that. But those little wrinkles, all the little details, transgender is very useful for detailing the character in ZBrush or putting all the details. We will have to use any fancy brushes from the internet. The New Deal. The brushes that comes along the ZBrush is sufficient enough. Like dams triangular, you can do so much with the pressures that we have. Clay buildup, flattens. All those brushes are very useful to run for brushes in ZBrush and Internet. You can make use of them. It's the practice that really matters. So I guess putting the work in practice and building up the forms, create those organic models. These types of creatures, some faces, some anatomy practices, which makes you better at using these brushes. Or you hand will set properly. If you handsets properly on these brushes, you can create anything, whatever you want using these. So right now I am just trying to detail the forms, the fold that happens when the characters angry. Yeah, trying to put in all those **** standard work using that the fold of those eyes and eyebrows AVR happens. Yeah, so once you Garvin with the dance gender, you can go ahead and shape. Using clay buildup that I did right now, you can use a little bit of smooth. Sometimes movement is necessary to move brush is important when you feel like the shape is not going well according to your need. And just move it all along. And at one point, you can just break symmetry and create your folds like I did right now I'm working on the left side of that face, creating the veins a little bit different from right. So for that you have to be the symmetric. Then, then again, if you want to work on the bigger parts, bigger shapes, you can again onto symmetries and work on it. That's it. Keep saving your file. Do not forget to Save As if you want to save it as tool where you can go into File and Save As a project. That way you can see it. I don't want, I seem as zinc. And again, the character, the age, you have to keep in mind that each of your character, whatever you are creating, the benefits creature, it ages. The age should show in the model. He is not a kinase or somewhere he is in, although forties or something like that age. So some more wrinkles can fall along the eyes. That's what I'm trying to create. Some wrinkled below the eyes. We choose the anger mixed forms, even if you are of no ages, it forms a very subtle manner, but a character like this one, they can be a little bit enhanced. Going back to the nose, the area of the nostrils, and using dance gender to cars and the detail for the nose, the nose and expression. As you can see, you must notice that DR. highly inspired from from the real life, anyone like lion or tiger. So yeah, every feature, you can have multiple references for that. In this case, I am trying to create a nose which is similar to dog or a tiger. And then again, it also depends on the personal preferences. Sometimes every detail is not visible in in the reference, so you have to adapt and it's subjective, whatever you like, you can put it. Now. Just putting it a detail or color so that it stands out from rest of the face. Doesn't blend. Which is very helpful. Polly, painting on stages if you feel like doing that. Because helpful mixture model more believable and more close to the reference that you are going. No, I just gave a little bit of shadows for the eyes, which gives some depth to the eyes and makes it more. I'm not sure. Trying to observe the model from all angles, trying to figure out the errors and putting it to work and didn't use a little bit. So yeah, I rotate your model kit from far from throws. Not only a minute errors, but the larger details you can find and you can correct them if you do so. So keep rotating your model and look at it from all the angles, details from all the angles. And you will find that you have to move a lot, used more brush and fix the shape. Now I am trying to detail the lips a little bit better. They were just a basic shapes in the beginning. Now, putting it all those little quizzes, putting it the clay buildup and then smoothing them. Then in the end, the closer drop-off, standard experiment with whatever works for you. You have unlimited amount of, I lose, you have a new slider. So don't worry. You can go use layers if you want. You are too worried about you object to do that. Expanding when put in the radius, like I'm doing here. So these again are going with clay buildup, smoothing them and putting them the details, the lips. That's what I wanted to go for. These are tough and rough guy type of guy. Yeah. That's the aim, is here. Not fake or not natural. It should look like we are doing some creature and it should look natural, not fake. So that's it for this one. I will see you in the next lesson. 8. Adding hair for the character: Hello, and welcome back to another lesson. And this one will create hair for our characters. For that, you can use masking technique. Just hold Control and draw the area where you want to mask or you want your scalp to be. Because from there we can extract hair. This hair is composed of two parts, making two meshes for the hair, one for the back, one for the front. So that's why this is the front section or the first mesh. To make your hair just mask out the section on the head where you want to hear from. And then go up to click on extract, set the height or smooth and whatever you, whatever you feel like. It can change anytime. You can use, inflate or move to change it. But to make sure you extract something which is kind of similar to what you want. Not very weak or very drastic change. Then once you extract it, you can just Start. It's called ticked straight ahead. So we're using clay buildup here and smooth pushing in and pulling the hair a little bit in. Mainly the h part because that's how it is conscious extrude out in all directions. Just have to sculpt it a bit so that it looks natural. To do that you can use any kind of brush which which is strong like clay buildup. So here I will use clay buildup and move them inside the scalp so that it looks natural. Also, don't hesitate to move around things. If you want, you can DynaMesh the hair part as well. Be free to do that and make sure you decide where you hear like it. Because it is a tricky part. Sometimes it looks weird if you hairline it is to back to front. So make sure you take your time and put your hairline. You want it to be. It's a subjective, it's something that makes opaque the character. Yeah. So since we are moving the hair stand up the front, so long, we will be done at Michigan. Excuse me. Here again, I am using clay buildup to build up the basic forms of here, how it can be at the back, on, at the front as well. And I'll be quickly just blocking out the hair, this one. And then we can go ahead and refine it. The crane to zoom out the character and polish the hair, smoothing it. Then if you see that your hair is going to ten or any meshes going to think you can just use include pressure to inflate that object. You can just reuse got that part, and you're good to go. Just adding a few details for the hair that so that I get a basic understanding holder here is and that's how the hair of the character in the reference photos. It's just quick, quick kids got nothing very major. So in some parts when I DynaMesh, there were some little holes, some, some artifacts. Welcome to fix that again. Inflate brush is our friend. We can just include the part and animus you can, it will re-emerge everything and everything. Really good backup this, you just have to push it or clay buildup in negative. And that'll be fine. If you observe, again, this is the area that we are talking about. So what I did, I just select all the mosques, the inside part and then push them in like this, inflated them. And then DynaMesh it it was good to go. Then just friend, but it needed some attention. So I did that again, inflated that and then again clay buildup inside part. Once you are happy with the block or you can start detail. So if you start something from scratch, you'll face some difficulties. Like what I'm doing right now. I'm just fixing some of the mesh which was going out or trying to shape up overall material of the hair so that it looks nice and better. The boy character caught the hair, which really can make or break the character. You know, if your eyes and your eyes are already used to seeing characters and hair, certain character like this 12 famous character. So it can be veered. Have patients when you are creating any characters you can put here or anything which is lacking at any point. But I tend to put here in the end, I don't know why, but it's supposed smell preferences can put at any point, I'm creating another part. It's a long hairstyle. Another mesh will go on top of that here, which will cover the back. By a look at it. I can just move around and make the silhouette how I want it to be. For creating any character, silhouette plays a very important code. So make sure you have that in mind. That little window, black and white is they're that small window. Keep a look on that and try to break the monotony of the current. In this one, we just basically blocked out the hair. What we wanted returns the breed or the character. And along here, let's detail it further in the next lesson. See you there. 9. Polypainting Jake: Hey guys, welcome back to another lesson. In this one, we'll be putting on some colors to the skin. To do that, select the color you want to put standard brush and put it on RGB. Experiment with the colors. It can be tricky because it's destructive of flow, unlike painter. So you have to keep in mind also, your message should be sufficiently subdivided because we are painting actual literal y axes of the one. We are adding vertex color for this one. That's why the model that should be how do you sub-divide it? So to have this kind of spray effect, I have get rid on spray. And you can play with the flow. If you want to spray to happen closely or if you want them to be separated and you can select different kind of helpers as well. You can mix and match techniques. The techniques of standard brush. You can, you can switch the Draw mode to two dots or spray you like, and you can also pick some of them are cheap. So final pods as well. This one, I doing good for long Alpha, which is very sharp. And going with the dots. For now, I'll be painting them. And I'm just trying to match the colors with whatever colors to really bring some life to the body. So once you are happy with your scope, you can begin this process. And but Moscow, because they're not finished, I will be tweaking and doing some jumps later on. For now, it's fine for some colors. Also, while doing on spray mode, you can choose the flu as well as colors for that so that you can get different kinds of colors. And this time I am just showing you that I'm labs for this one because it's a fairly simple process. It's a waste of time to just go with the one, each and every strokes and waste of time. Waste our time by watching that. And the back part. It's not going to be covered with hair, so I'm not worry about that too much. That's why I'm just keeping the butterfly effect there. But incase here doesn't go the bite from the back or some part. You can just break symmetry and beat the left and the right side so that you get the better results. Also, it depends on the shot of the camera angle that you're going to take from your final image. So make sure you have that in mind. I am something that I will be taking from a heroic point of view. Something a three-quarter, not fairly front or side in perspective, three quarter view that I have in mind. As well as just trying to paint the bytes. I actually like it's matching the character who increasingly them. You can also try to put it online so that you have some better control over your paints. Keep changing colors, keep changing the intensity if you want. You can also press Shift to smooth some part of the colors. If you want something. Once I have all these basic guidelines set up, this is the base color that I'm going good. I will be putting on the spray later on. And then Blake here, I have just switched to spray answers to the minute dots alpha. Now I am going crazy. This spray so that it covers up the model. More blue and purple was standing too much apart. So I'm just trying to blend both of them with color. It stands on the middle of books on spray. So dark, it gives me an astral feed. Because nothing on creature or human can be flat or single color stripe, whether it's tribe or just the color or any kind of pattern can be flat. You have to add some variations to that. So make sure you add a lot of variations to a character. Put colors to ellipse. Put colors to the area where the lights are passing. Fake your subsurface. That's what I'm doing right now. I'm just adding a few bit of skin tones, which adds a bit of naturality to the character. Already looks good. Make sure you paint the inside of the mouth as well. And your team, as well as GMS as well as dunk on a different color sheets. Go crazy with that. You will have a better result. We have some yellows, hint of orange and the yellow on the forehead. That's what I am trying to paint here. Which was looking very great at which was breaking that blue tone of the character. And it was really striking. It made the character feel alive. Also, the expression. You have to work on expression. It can really break your character. Work on eyes, more. Color your eyes, the inside part, the pupil area, everything, eyelids. I just change the document size a little bit so that I have a full document on me. You just have to go into document and new. Document, select New. And you will get a dialog box. Say no. That's fine. You can just drag and press D to go into Edit. Here, I saw some I saw something was break, so I started changing the forms a little bit. That's why I kept on rotating the model. Because whenever I feel like changing, I just do it. And if you see that your new loss, the paint, you just go ahead with a standard brush and create again. I'm just fixing the hair a little bit. I found some errors fixed. Going to detail here on little bit more. First I go with that **** standard brush. My carbon, the area or detail there. My hair's going to flow like and then I go with a clean, damp brush and detail or build on the form are all those lines which I haven't made from **** standard brush that I can get the forms that I'm looking. For the sake of this tutorial and the video. I have not kept a lot of details on the here. Otherwise, I would have gotten a lot more strands and a single strands as well. I just kept two meshes. So you don't have to do that. You can put whatever you want. You can break symmetry at any point for the hair. That's important. It shouldn't be symmetric. Just to give you the idea, I have kept it symmetrical. And for the length of this course as well. You can go ahead to creating here as symmetrical as possible and create more variations. Make some wind or something. I will be adding a force to this character, which will come later. Just detailing the front part or back part. Wherever I see, I keep rotating the model ideally. By using dam standard, I gathered the region and quite best thing called, I can just put out all the details. I can pull out the mesh by using dam standard as well. We've been tried playing with the brushes, try it and see what you get. Lasers can be happy. The results can be good. So I'll meet you in the next one. 10. Adding microdetails: Hello and welcome back to another lesson. In this one, let's put some of the micro details for this character. To do that. I'll be putting them in the layer. So make sure you do that as well. Put them in the layer so that in future, if you don't want them all, you want to change the intensity. You can do that. For my gradients. I have some alphas. Since so many years, I've been collecting them. I have some and also I created so by myself. I bought some. If you don't have any of the microliters of our skin alpha as you can. Go ahead on the ZBrush guides and you can get some for free. You can look at the Internet. Whatever you find. Three, you can you can get it or there is a flip normals can get as well that you can use. The, I don't know, it's a little cheaper than texture XYZ. So whatever you feel like you, if you don't want to add them, that's perfectly fine. This class is mainly focused on the concept of creating this character. This course was based on that of how you can create an expressive character. These micro details or the last part, these are tertiary, which can add just a minute bit of a difference. The main thing we already discussed, it's not that important. If you don't have it, you can totally skip it. It's not a necessity for learning. When I was a student, I didn't use any of these, my goodness. I didn't have so much money to buy them. Like pictures where there was not much alphas alone. So what I did, I used and why starting time I use standard rush in combination with this spray and some other, you can find dots are alphas that you can use them play with the flow. And that's how you can just create a simple looking skin details. It's not that important at this point. If you have some, Langer, can go ahead and use it. This video is in real time. So I literally spent 5 min doing this. I did not spend so much time. If it was a professional world, I would have gone through so many details and I wouldn't have been provided with other alphas, which I can use. I have them personally, so I used them very roughly. But you are free to not step. That's fine. I just wanted to show a video. I did not want to skip any part on this course. I just wanted to show you that this was a technique that I use to create my new details. There are other methods of adding details as well. So it's just saw above that you can use by dragging them. As I said, don't and-a-half. So let's speed up this process now and I will see you in the next lesson. 11. Posing the Character: Hello, and welcome back to another lesson. In this one, we'll take a look at how you can pause this character. If you have been following along, you must have a character which looks something like this for bust, you can pose by clicking on people's, which you can find under Z plugin. If you are not using this interface, you can find on the Z plugin transpose master. Now you have all the meshes, all the tombs subgroups combined in one mesh. Whatever you make changes here. And once you paid all the changes, you will have it with the changes. You just have to click on T-pose to sub d, which will transfer all your changes to dump that into mesh, which was maybe come from, came from actually. So now I am I have created a mask from the neck up, unmarked that area blurred the mosque a couple of times so that I can get a smooth movement of my head that I can pause so easily that you can do, make sure you mosque first carefully. Otherwise, some of the ED has been left out, like eyes or something else. If you plan to click on any object, do not do that. Must manually. Mosque lasso or something like that. And mascot and blur the mask. Then rotate it. Please. I just have to rotate in such a way that it just breaks the symmetry and it's a little bit tilted. It's not a friend post or something like that. Just adds a little bit that drama to the character, which is very important for presenting your iBook. They were creating for your portfolio or anything. It's just breaking that symmetry and breaking that silhouette. So once you're happy with your boss, you can click on this T-pose to sub d, which you can find at Indian side transpose master. Once you click on that, you will see that all of your changes will reflect on your mesh. 12. Final Touchups: Hello and welcome to the final chapter of this course. And in this one, we'll just talk about how it was and everything else about it. So what I'm doing right now, it's just doing some final touch ups. Some minute details. These these, these edges, just to make it a little bit of difference to the character. And I hope you like this course. I hope you learned something from it. And I hope you will really show the work that you have been doing in the project and shared with me. Now also, if you have any questions you have been asked here, I will try to get back to you. I hope you had fun. This was a fun one to create. Honestly. It was my first course on Skillshare. Let me know how it was. How was your experience? And everything else. I will see you later. Maybe on some other tours with some exciting character. Just some final touch ups. It's something if you haven't been unexperienced or you have a couple of experience or if you're even Newmark is to, you know, the feeling. Even if you have completed your piece, you'll see some things and you will try to fix it. You are never happy with you if you are passionate. One. And yeah, that's how it is. That's how it's gonna be. Though. If you want, you can do these changes are I'm sure it wouldn't have made it completely like I did. It's just if you want, you can just go ahead, do your personal changes, whatever you feel like. Here, I am doing some things which I feel like it should be present more or it should be enhanced for changes that can be done. Or we can make the character better. At this point of time. It's not necessarily, but if you feel like I'm missing something, please go ahead and add it. Don't have to be shy and listened to. Like, you're lazy mind can play tricks on you. But if you feel like it, please go ahead and do it. Save as maybe so that you can go back to the file where you started. If you don't feel like the changes are good, it's just just model that I wanted to do. I hope you like this course. You learned something and it really wasn't amazing experience for me as well. It was a quick character. The bus. Let me know or any suggestions if you have for me, I tried to do that. It would be really awesome to look at some of your work. So I haven't been looking forward to that side, just basic minute, minute changes that I am doing something wrong at the end it will be the final render that you will see. I just composed the render. It's a basic compositing. I rendered out some two passes from ZBrush and compose it in Photoshop. It's one of the videos that I made on YouTube. It's for free hallway composited them. If you want to have a look, you can visit my channel from my profile. There you can find the video where I composited this one and I kept it there. I'm not including that five in this course since it's something that you are paying for. Yeah. I'm just saying that it's present. If you want it, you can have a look there. I don't even have to think, what am I doing? I'm just clicking here. That is how it, it can be any, it's just the minute changes that can satisfy. Maybe maybe I saw something for the eyes that I wanted to change. So yeah, I wanted to change the eyes direction. It was not looking directly on the camera or something. And I just wanted to make a little bit of difference to the eyes. By roads getting the eyeballs a little bit. You're born. You can do that as well. Also, I will be providing the reference, the main difference that I used for creating this one, I will be writing. You'll want to create that directory. You can go ahead and do that for you to look at what we could do. So go ahead and create your own character. I will be happy to see that as well if what you did with that question or that on that note, let's end this course. I hope you had fun and I'll see you in the next one.