Sculpting Materials in Zbrush – Volume 1

1. Introduction Trailer: In this brand new course, we will teach you how to sculpt over ten different type of tilable materials using only zebush featuring surface type like ancient stone walls, cliffs, four tiles, ground materials, and leaves and branches, and much more. We highly recommend that you read the description for more information. General takeaway of this course is that at the end you will have the knowledge on how to create exactly what you see in the images and how you can apply this knowledge to almost any type of material. Due to time consuming nature of sculpt, this course has been split into a blend of real time narrated content and time laps 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 have also added an untime lapsed version of a tutorial, allowing you to following the creation of all ten materials completely in the real time. With a total of nine plus hours of video content, I feel confident that at the end of this course, you have the know how on how to sculpt a wide variety of surfaces. This course will also come with auto generated subtitles in English, Chinese, and Spanish. We hope that you will enjoy this course, and it has a positive impact on your artistic life. Thank you very much again for watching 2. 01 Sculpting Damaged Tiles: Guys. So we start with creating the base mesh for our floor tiles. You can use any three D software to create the base also and bring it in zebush. But sometimes we lose some data and have scale issues. So if you are comfortable and making it in three D software, Blender, Ma Max NE, and then bring it in, and then you can sculpt on top of it also. Just for our Es, I'm doing it in Zbrush yourself, starting with it. So give me a minute once I align these here. And yeah, so this is important. So you can start with simple shapes like I'm doing here, I'm using simple cubes, which we will simply bevel later on and subdivide and, you know, re mesh anyway to sculpt on top, we don't need to, you know, subdivide it in three software, but it's better you bring it. So see here I dynam meshed it, okay. And I will show you one on one tile how I'm doing it, and then we can, you know, simply duplicate the tiles. Yeah. So this dynamish will just keep sculpting on top of it, and then we keep dynamising it to keep getting the good geometry overall. Um, yeah, this seems less resolution, um, so but we can, you know, always subdivide. But you can start with the higher resolution subdivision, surf subdivision on dynamish like higher resolution. So but not too much, okay. So it will get too heavy. So here, I'm using J Polish, which is by Andrew, you can check it online. Search J Z brushes, right? You will find it. And what it does is going see it you know chip off the edges. Let me increase the resolution. Yeah, so it use, yeah, so don't forget to use Alpha with that. It is same as your trim smooth border. We have automatic already in the Z brush. It's same as that, but have some custom settings. There is another brushes by, like, or brushes you can find, and they have the polish brushes which do also the same thing. Like even you can use trim smooth border with this square Alpha will do the same thing. So these brushes, what the benefit of it is, we do these chip off and the edge damages, which look more organic. And if you ever worked with the clay and the knife with the clay, you know, what it is. Like, you know, peel off the clay from the sharp edges. So that's what we are doing here. We are breaking off the edge very organically with these nice, um, crisp, um, you know, chip offs. And we can keep it a generic level of damage throughout all of these edges like you're doing, right? And then all the unique details we'll add later on. For now in the start, try to keep the details to minimum. Do not spend too much time on all the details. Now what we can do, we can simply, um, we can take this piece and duplicate and polish also, right? So that also work. If you put a little bit of detail and then duplicate and add more detail unique detail everywhere. But there is one little um, technique what you can do. You can duplicate this. Let me, you can duplicate it and place it on the side, and then right. Let me delete this. Yeah. So once you have duplicate, what you can do is you can remove the history. You can go back, you can go all the way back or up to a point where you have a little bit of chip offs and then, you know, start sculpting again, like I will do. And this way, I will get some more unique details in here. What I'm doing, I'm trying to do a little bit of experimentation also. Like, I have done it multiple times I'm doing it by my thoughts. You can find references also. And if you find references, then you can go with it. And and then create the details accordingly. You don't have to make all the details by yourself, right? If you're doing it first time, better to use references and replicate the details from there. And also, you have to keep in mind the amount of details you need on the on the surface. If it's very less, right? Or if you need to be more. Like, it depends on what type of texture or what type of environment you are working on and how old it is. So you add the details as per the um, as per the references concept and your idea, how old you want to make it. So the chip off also depends on where it is and what type of environment and what type of weathering it go through. If it's outdoor and there is a lot of rain or other type of things, right? I will chip off more. If it's an inside and there is not much of things impacting other than just wind, right, it will be more intact, y. So just think all those things. So now I have this second piece done, so I will do the same thing. Uh go to subtle duplicate it, place it on the third, and then I'll go back and, you know, remove back in the history. And yeah, start sculpting again. Again, yeah, you have to go all the way back. If you have a stage where you have chip chipped off very generically, very small details, and then you can start from there, right? And then you can keep sculpting on top. But it's also good to practice from the start and do it multiple times then you will get a hang of it, right? So it's better to make the practice these chip off when you will have all these worked on multiple these tiles, then you will have better understanding of the amount of, you know, damage you need on your assets and also the amount of details you want, right? And sometimes you are working on your third asset and then you feel, Oh, yeah, this is a nice retail and you can add it on your previous tiles. So yeah, so just play with it and work on multiple tiles, if you can, right? Don't be lazy, right? And do multiple tiles. And yeah, so if you find, oh, yeah, this is a nice technique to chip off or this detail look more organic, and then you can, you know, go back and do it on your other types also. That's why I suggested don't overdo any detail on any type, keep it generic or similar level on all those things. And that's what we'll do in the first pass. We'll keep everything unique and we'll add the you know, unique details like cracks or larger damages later on once we have build our basic level of damage here. So now we have here, right? So now watch me doing the Cook sculpt. Okay, so enjoy the music and sculpt. Okay. So we have sculpted the general level on a tile, as you say. So what we'll do, we'll create some unique details now. So what I'm going to do, I'm going to, you know, you know, break the tile. So there are multiple ways you can do. You can simply mask the um, tile, right, in a certain way, where you want a crack. Then simply, you can create a poly group to split the mesh by it. There are multiple ways to do the same thing. So what I'm doing is I'm creating a mask where I want a crack. You can use clip brush also. You can duplicate and use clip brush and then split the mesh. But what I'm doing. I'm masking it off. I'm making this, you know, sharp edges. So I'm not creating it super smooth because when you see, so let me first, create mass and create the polygrap, sorry. And then what I want to do, um so yeah, so you see here, let so the mask is very soft, so I will create a polygrop from it, and then I will split it by the polygrop. Okay? So I come down in the split menu, and here you will see group split. Yeah. So yeah, so this is it could have been better. You see the steps, right? It could have been if you had more resolution beforehand, we wouldn't have seen these steps, right? So just keep in mind to have more geometry before, you know, masking or splitting. So have a large geometry. But it's not a biggie also. So we can easily fix it, you know. So we dynamic with the high resolution. So now what we'll do well curve these also. So here, first, we'll remove these pointy teats. Yeah. So same, uh, using HA polish, which I also call it edge polish, right? So it's not polish, it's edge damage, but H polish edge polish. Yeah, so we'll keep breaking the edges, and then what we'll do, we'll try to fit the other piece, also. Yeah. Yeah, so you don't have to do if you already have a resolution in the start, you don't have to fix. So bear in mind to have a resolution for doing it. Now we have damaged edge overall around now see here, one thing I wanted to show in the brush is you can go. And we have where to go. Mm. Yeah. So planar wreck brush. So what it does it, you know, take the normal from the surface and, you know, make it plainer, simply, right? So from the surface where you want to make a planar surface, and you can make it. And again, why I did it because the cracks usually happens in a straight line, not exact straight line, but somewhat straight line, right? So they break straight, right? Even if you see the large rocks or cliff rock, you see the cracks are very much, straight or they are not too organic or curved. Okay. So this is why we, uh, make it plainer, so we have this mesh. And also, just keep in mind to not overdo it because otherwise, you have to, you know, match it to the other side. Like, I will show you once I'm done with this. Okay. So what we'll do well first make the surface detail of inside the broken one. Okay? So it's too much. Let me reduce the density. Yeah. So there are multiple ways. You can simply mask and do the noise thing on here. I'm trying to, you know, you know, use a spray to add or remove some of the organic. And don't put too much also because it will look noisy, but we'll fill some of these areas anyway. Okay. So in the trim smooth boter you can all click and press. It will, you know, fill the gap, the cracks to the plane or mesh. So now we're cleaning up the noisiness, so we don't want it everywhere, right? It should not be everywhere, right? So areas should be calm and some areas should have too much detail, not too much detail, some more detail. And yeah, this is how it should be everywhere, wherever you add detail. It's shown to be too much. Otherwise, it will start to look a little bit fake. Again, this was a bit too much, but you don't need to add this much detail and also if it's not visible also. If it's a debris, if this edge will be visible, it's okay. Add as many details you want. But I went a little bit overboard with this. So as you say, it's not matching. So what we'll do we'll match it simply using Move tool. Okay. So let me get the move p. Okay. And I will move these edges. Yeah. And we need to make it a bit straight also. So I'll do. So when we sculpt it, it will go a bit off again. So we'll have to might have to match it again, but make sure to match it because otherwise it will look odd. Where did the cap came from. Okay. So now the other side piece will do the same treatment as the other one. Okay. Let me. So it'll do we do the same planar thing on this also. You see, it show in a little bit of straightness, the mask inverted and just planar react. Nice. I like that planar thing. Again, you will break it up, also, put some noise in there. So again, you don't have to because if it's not visible, what's the point of adding? I'm showcasing you the technique, how you can do it. So now we'll just start sculpting the edge damage and other details. Okay. Yeah. And cheese brush. So here we do the same treatment. Here. Okay. First, should I maybe we should Oh, no. Let's do the inner part first. Okay, we do the same thing. We add some noise, and then we will, you know, remove the tails. Again, I'm going a little bit too overboard. You don't need to. And then we just fill some of the tails. It's not that strong. So removing some of the tails and filling some of the tail, again, we don't want it everywhere. We just want some information, nice details, not everywhere. So yeah, so we have made the inner damage tails. So now we can continue damaging the tiles. Okay. So yeah, so this did not match again, right? So first let's bring it close to the other crack. We can move the other piece also, but it looks fine. Okay. So let's start adding damage to the piece, okay? Okay, I need to fix it. We accidentally moved it. Apologize. We can, you know, quickly dynamesh, maybe. Yeah. That will fix that. Do also, but it's okay. Yeah, we have it. Yeah, so the dynamics can fix those geometry mess ups. So not issue. Okay. Sometime if it's thin and it might give more bigger issues, but, you know, watch over these things. No, we'll just keep sculpting this same as the other one. And so it also have the similar detail as the other pieces, right. So by this time, you might got the hang of it, like how much detail you want to add overall, right? And yeah, so just add that much detail only. And from here, we'll keep adding the details on other pieces. I will create the other pieces and speed up the scut right? So that's not my actual suit. I wish that could be my actual speed. So now watch my glory superpower adrenaline sculpt on. B. So D. D. D. D. Don't do. Don't do. Okay. So as you saw me doing the sculpt to my whole glory, right? I hope you'll like it. So we added almost sculpted all the tiles. Now, what we'll do we'll create, you know, the displacement map for the surface detail. You can use this displacement as a gravel also if you're creating that type of texture. So I'm sure, let me just create this thing. Okay. So we have enough resolution. Okay. And what we're going to do come down when we see our surface, and then we put noise. Okay. And we can use displacement map also, before we create a layer, so we can record it and put the amount of detail we want. So we create the noise, and we put it. So you see this is like a dirt, right? You apply math and then come to layer and we can control the amount of how much we want on our surface, right? So this much is fine. So yeah, so now we'll just remove some of them. We can use that planar one, plainer brush to remove it overall. But what I'm going to do, I'm just quickly, you know, add or remove some of the places and make it plainer. Okay. So this is you can use as a base dirt, also. If you have tile ground, um, texture you're making or sculpt you're making, you can use it as a dirt or concrete in between the bricks, also, right? So this is a really nice way to use it. And then we can move it around. But we are using it to add surface detail on our tiles, stones, okay. So now we're going to grab doc. Okay. So which go to give us displacement map. Okay. Let me resize and redraw. Quickly, I'll zoom it fit in the view. And now we're going to do Grab Doc again. Yeah. So here we have our height map. Okay. Now we go back to our tiles. Make sure to keep saving, otherwise, we can lose a lot of data. So yeah, now we're going to use this Alpha in the drag, right to drag. So the brush in the Alpha menu, we're going to make it fade on the corner, right, and put some reduce opacity. Yeah. So yeah. So we're going to feed the corner so we don't see those sharp edges in there with Alpha. And we're going to add the details surface details. And don't need to do too much. And this spray can be also helpful, okay? And just make sure the amount of you know, the intensity, how much you want. Like, sometime I believe we don't need this much details, right? So we can add these details in texturing also if it's not big ones, right? But having some details is good, right? L some erosion happened on top of them, right? So some detail for the love of sculpting, add those other than uh, don't add too tiny details. Like medium level details are fine, but two small surface details is a waste. Imagine you have to change something later on, right? Then you can change. With this, if you add too much surface detail in the scalp. So it might be difficult to change, and it might start looking noisy. Okay? So you can control the noise in materials. That's what I'm suggesting. So don't do too much of these details. Some details are good. They look good, right? But don't do over. Now we'll just go over this thing and we'll add some of the details all over our tiles. Okay. So see I will not add same detail on all the tiles. I will try to do something different on each tile. Yeah. So as you saw me sculpting on my actual speed, I will slow it down for you guys again to show you what's happening, right? So what I'm doing is adding those as you see, I added some of those tiny pores and these tiny cracks around, right? So I'm just continuing adding those cracks in there. That's the beauty of cracks, right? They could be thin as hair at some places and could be eroded or white at some places. Go some references, how the cracks are on concrete and rocks. It's so much fun, right? To see all these details. I'm telling you you will never be the same once you start observing the things around you. So just watch the references, and as I have done multiple times already, I'm adding it um, by my creativity or my observations. So just add this type of detail, keep adding these details around. We add these cracks and these tiny pores around everywhere, right? So no need to do over overdo it on every tile, right? Some of that I just keep it as per the composition. It should not be everywhere, but some places, okay? So, yeah. So like I have made this one crack in here and I'll add some of the props and add cracks and some places also. Maybe some places have tiny ones, some big ones, but keep it in check. Okay, don't overdo it and keep it. And also, we can use the dime standard to, you know, make these edges look sharp, also. It's not like we can use it to make the cracks, but we can use it to sharpen the edges also of the cracks or damage. Okay. So I'm back to my normal speed of sculpting now. So as you saw, like, toward the end, I added some larger cracks on some of the tiles. So that's what I'm doing. I'm adding another crack, large one on one of the tile. So we have a little bit of variation over there. So try to save it for the end. You start adding larger details or very unique details in the start, and we don't want very unique details, to be honest. So because it will tile, if it tile too much, then it will be visible, the same type of crack or larger detail will be visible. So we don't want to overdo it also, but still keep it in that generic area, right? So I added this crack, and I'm using the same plain wreck tool to, you know, chip off some of the details like the noise reduce the noisiness or make it plainer, there. So this is overall how you, you know, make all the small cracks, big cracks or mainly the damage on the edges, which is more important. Okay? And do not worry about surface details too much, larger and the medium details which are more important. Okay. And you are free to use creativity or references to add details where you wish to. And again, once you have done bunch of surfaces or elements, you will get the hang of it. And then you will, you start doing it by your brain. So yeah, so just keep having fun with the sculpting. So I am flash. 3. 02 Sculpting Rocks With Skulls: Okay, so we will start with our skull rock cliff, right? We already have the setup, which is very user friendly for the cliff. I have this plane with all the subdivisions in here, and you can sculpt all the things in here, right? See? Like see here, it have subdivision. Make sure to turn the wrap on in the brush here, turn on the wrap, and you will see. So it tiles properly. And then you can start with sculpting anything. It could be any type of material, right now we are making cliff all right. As always, watch a lot of references, and before creating this, I would say, you need have good understanding of shapes, larger and medium shapes, it's more organic. So what we'll do, we're going to do the clay tubes. Okay. So you can use clay buildup also. And if you're not sure, then you can use the noise also as a stencil, I'll say. So just add some shapes, remove some shapes, make organic shape. Overall, in the larger sense. What I'm doing, I'm adding quickly adding all these larger shapes, clay buildup. Clay build up is nice because you kill tubes because it adds as layers. So what you can do, you can get those layers by defold. You want to keep building on top of it, layer, layer, layer, and then you will get multiple layers of rock, which you can surely add anytime. Okay. So yeah, so I will keep sculpting these layers quickly, right? I'm going quickly with the floor, right? Not thinking too much about, like what I need wear, I'll go with the floor. And if I like the shape, I'll add, if I don't, I will remove things. Okay? What I'm trying to get is a nice organic shape with large and medium and small formation. Like you said, like, I have made a medium body. There's a large body, okay? This is like medium, and then I will fill in some corners to make it look more organic, okay? Then a big shape. Okay? These are the small details. And see, we already have something to work on. So then what we can do, we can use again, multiple uh, brush trays. Okay let me. So what do we can do? So yeah, so benefit of using this first, let me make it square. Okay. Let me redraw quickly. So this shape is handy because what you can do, you can zoom in. I'll using this. Just press F, and it will, you know, uh, make it, focus it on that area, particularly, which we need to focus on. So bit slow. Let me zoom out. And let me hide it again and focus it again. Yeah, I'll make sure you have rap mode on. Otherwise, it will, you know, break the tilness of this thing. So what I'm I will use the crack brush. You can use any. I'm just trying to, you know, make these, you know, shapes on top of the rocks, which I will, um, build more on top of, right? So I'm just using these as guiding line. Okay? These are not the final cracks, but guiding lines and some of the crevices which we have, which will help me. Okay? So I'm again, going with the flow to define some of the shapes, which we can always break and improve upon later on. Yeah. I did a little bit overdid it, but we get shortly when we'll start shaping off or creating start creating the shapes and then it will vanish it. Okay. So don't be scared to add, experiment with it and add some cracks in there. So now, I'll take the um you know, trim smooth bottle brush, and go to brushes and trim trim, where it is, trim and the fine. Trim smooth water, okay. So I use the alpha with it. It works much more better. Make sure to turn on the wrap mode, right. And yeah, and then, you know, start building shapes. And with this, like, you can break the edges, you see, how we get these shapes, and you can press all to, you know, fill up the area. And then you get these nice little sharp edges. So now we'll just go with the flow and start, you know, making the area planers. And I will, you know, keep building these faceted plains of rock because it's it's not that organic. There are some rock like sand rocks, which are, like, bit organic, but we are trying to make, you know, more solid and strong layered cliff rock. So we'll add these faces some places, right, and, you know, keep building it. Yeah, you can use that planer brush also here as well to make some area plainer, but we don't need it everywhere. This trim smooth boer works really well to define these faces. Okay. So now we'll just see we already, you know, broken all those cracks and shapes, so it's handy to, you know, add some markings and use. You can use image as a reference also then do some markings or a reference to, you know, put it on your second screen and just keep punching over it and keep doing this curve. And after a while, you have to, you know, get on with the flow. So just don't be scared to add too many tails, don't be scared to break them apart, also. So yeah, so just Okay, so we already Okay. So we already we have rough shapes of this thing. So what we'll do, we're going to start with the skull shape. Okay. Which is pretty much straightforward. Okay. We'll take a cylinder and we start making the skull shape. It's. You can use already pre built skull in zebrus, but if you want to learn and practice, you know, make your own. And you can find references online, and you have three models or sketch five, which can rotate around and see how it look. Okay, you can do that, as well. So what I'm going to I'm going to, you know, start. I have one of the reference like that on my other screen, so I will just start sculpting it. Okay. So what we need in the start is the shape of the curve, okay? So you can use you can use sphere. You can use cylinder to build that shape. So what I'm doing here is going to build the shape of the scale. I mean, and we have dynamesh on, which will help us, you know, recalculate the mesh because we're going to make a lot of changes in this. So in the start, I'm keeping the resolution low, so I can control the overall geometry. Easily, right? So now, uh, yeah, I will just quickly, make the shapes. I'll use a move tool to make some shapes, right? So these are your friend. Like, you move things and use, Dynamesh it and then build the shapes, right? Just repeat. Okay. Okay. Do watch over the references and watch it from all the sides, right? Yeah. Then watch watch the reference and makes the detail as put the reference in here. I'll keep it. I'll push a little bit more here, right? All right. And now let's subdivide it. Before let's make the jaw first, okay? Okay, and fixing a little bit of shapes of the head. Yeah, there is not much like this. Basically, it's a good way to practice anatomy, okay? So you have roughness, then it will be great. And this is skull is pretty complicated, like if you look into the details, right? There are many details. So now I will, you know, extrude the jaw from here and move some shapes, right? Uh, yeah. So if you have more reference, and as I said, sketch five is best, there are some scans are there. You can look it from all the angles. You can snip the screenshot out of it and keep it in the pure rough and then keep looking at all the angles. You can put it on the back in the Zebush also, right? But same as sketching, if you do live sketching, you learn a lot, right, rather than tracing it. So you can trace it in the start. If you're new, then slowly try to practice it from looking at it. Okay. So look at the reference and then keep sculpting. And here. Let me, you know, extrude the jaw. Move the shapes here. Okay. And don't be scared to change the shape a lot. We have skulls of all the shapes and sizes. Okay. So there's no hard and fast. You have to make that exact skull. Yeah. Experiment with it. It will be really nice if you follow one and try to make it skull of certain human on a certain place that will be good for anatomical study, right? But don't stress too much. Just go with the flow and try to practice the basic skirt. Yeah. I'm making the jaw, the teeth line. Okay. Keep working on the skirt. So I keep sculpting, so don't mind me, and I'm trying to match it as per my references, trying to create the shape more realistic, adding those curves, these tiny dents and other things. And Okay. So once we have our base shape ready, okay, and we will, you know, increase the resolution to add more details, okay? So I'm pretty much happy with the overall shape we have here. We can always change the shapes, right? And let's dynamic, increase the resolution. And yeah. Yeah, so now we have, and now we start adding more details to the skill, like in more detail, right? Here, upskill sculpting and adding all the sharper lines of the skill. Again, go with the references, go with the images or three D reference you find on it and keep improving it. Okay, so we have a nice little skull here, right, which we can use to scatter on our geometry. Okay? So what I'm going to do, I'm going to make nomesh no. Okay. I accidentally created insert mesh. Okay. So we'll create the nanomsh brush. Okay. And this we can use to, you know, put on top of our cliff. So let me load the file. So here we are cliff, which we made previously. What I'm going to do. I'm going to load the plane again. Okay. Let me find it. Mm hmm. Here. So this plane already have subdivision, right? So what we'll do we gonna, you know, you know, subdivide it and project the thing. So let me bring it in the main. We have the plane here. Okay. And we can append plane smooth it here. Okay. So we can use this to project on the base. Okay. So we'll put the W. We already have subdivision, I believe. Let me check. Okay. So yeah, so we already have, so we'll reduce the subdivision from there, we don't need to bring in from there. And yeah, the amount of resolution is because Nanomsh will work on each phase. So we need to define the amount of phases we need. So it depends on the things you need. So now, Okay, that the subdivision. Okay, so now Mm hmm. Let higher also. Yeah. So now we can insert the nanomsh. And it no need to be scull. It could be anything like small pebbles or small, even leech in type of thing you can also make. And we have the skull example in here and it can be anything. It can be the gravel, right? So you can make gravel using the same nanomsmetry. So let us so you come down to the nanoms setting, you see, there is a lot of settings you can, you know, do. So first let me randomize the main mesh, right? So now we can randomize the basic distribution, right? But we can randomize all the settings like location, which we'll do. So here, we'll just play around with the settings, right, which I find will be better for our use case. You can play with it as well. So I'll add some rotation variation and some location always already there. So I'm trying to get it like more variation. I'll reduce the count, but let me first get the orientation, right? I'll be reduce it maybe 0.25 or something like that. But we can rotate, change it anytime. I see. Okay. There is no hard value, but I'm just trying like what I feel right for the orientation. I'm trying to get it should not be like all of them looking up, like some of them should be from the back also, but should not be in the very odd rotation, right? Like, these, if the more of the top of the skull is visible, then it will not look right, right? So I was trying to get some, right. So I'll reduce this. I will reduce it more later on when it's still too much. M Okay. Yeah, so you can spend more time and see what is right for your scattering, this somehow not getting the perfect one, what I want. All right. Um, let me go back and test it. Again. Let's reduce this first, and then I will put a little bit of rotation, not too much. Hmm. It was too chaotic to manage the previous one. So let me just slightly add again getting showing up too much, yeah. This would have been better. We change a lot of settings and then it was out of control. Don't be shy away from doing this. Then we can come here in the nove entry and then we can make it mesh, right, from Nanomsh and then we're going to extract it from the Okay. And we have our skull here. Okay. And now we're gonna author them a little bit, and we need to make sure they match with the cliff. Like they blend well. They are no poking out. So it's also important. Here's our clif and our skull, let me move, skull. Okay, so we'll move them to match a bit more. Okay. We can do them individually also later on, how we want to match. But this overall color there, we have to check if it matched the tiling thing, we have to check that also. Because Names might have put it randomly anywhere. So if we have it on our tiling plane, it will go. Let's check. We'll take our zooming plane and let's change the documents. And we says let's redraw and Okay. Let's focus on the area plus F to focus. Okay? So what we are looking at all the skulls which are cropping in the corner, right? Those we don't want because yeah, because it will be tiling, right? So that's what we need to do or remove also. Okay. So what I will do, I will, you know, hide the skulls. Okay. Using clipping tool. Here. Okay. Let me get it. Mm hmm. Okay. We need to bring the clapping tool from inside, so I'll make the box, and I will invert it. Okay. So yeah, so here you can clip in this control shift, right? And from outside, don't work. So focus in. So we find in which skulls are in there, and we'll just a press control shift to make a clip mask and press T to invert it. Oh, no. I accidentally did not cliff mask it. Select the skull. Yeah, now the click Control shift with the clipping and all to invert it and then remove the selective ones, which we don't want. So that's hidden now, and like that, we'll hide all the you can play space but to move it. Okay. Do Yeah. Sometimes mouse with it will sometimes it's easy. So yeah, so you remove all the one on the edges because those will not tile properly, and then we can split hidden, okay? And right now, we hid all the thing. We'll Okay. And let's see if there is any remaining. Okay. Um, I'm I don't know. So we can blend them in here. I'm trying to blend them and put some variation. But let's first delete the hid them first. But, I'm trying to figure out, like how we can blend in. So maybe we have to merge these two to get the perfect blend of these two geometries. Let's change the blend wet care to see if it, so I'm trying to get this gradualness because something inside the dirt will have this gradual blend with the shape. So that's what I was trying to get in here. So let's first, uh maybe delete the hidden one. So we come here in the split, and we split the hidden. So we get all the skull which we hid before and we delete it. And now we have only once. And next we have individual skull, which we can move around and place it as per we need. Okay. So Let's see. We can rotate. So it's more manual work. You can mask it and do it also if you wish to, right? But yeah, so that is also the way. Okay. All right. Here, and we place it with wisdom, trying to, you know, remove the intersection of the skulls as well, because there are some places where it is intersecting two skulls, so we make sure we remove that so it don't look odd. But yeah, so keep authoring it as you like. Keep moving. Because some of the skull might not be right in the cliff. They might be in the corner. So also keep in mind to not put skull everywhere. So they might be it might be in the corner where the dirt is, right? Not in the right in the cliff. Okay. So now we'll check once again if there is any anomaly, then there is some skulls which are in the corner. Uh Yeah, so you can remove, whichever you find are not working for us. Okay. And now we can, you know, um Let me save it first. Okay. Yeah, so now we have once you are satisfied with this thing, we can merge it down, like all them, and Sonyrg merge down. Okay, we press. Okay. Okay. I merge it with the clay butter. We can, you know, merge the skulls together first, and then we can decide if we want to merge it with the main mesh. It doesn't matter anyway. So we keep merging. That's why I pressed always okay because otherwise you have to keep pressing O on the dial up box, so do always okay. Then we went one step ahead. So we can undo maybe, so be careful because now we cannot undo it. Now we have to when we undo it will be deleted. No, it's okay. Then our main mesh is not deleted. So we'll merge it with our main mesh also now. Okay. Okay, we have our one main mesh. So now we'll try to, uh let's see first, try dynamesing it. If it was. It will be better if it. But I believe adopt it, because it have this high and low, we don't have, you know, the base properly set up because the border is very up and down, so it might not get dynamesed properly. But let's how it goes. So because we want to blend in the skulls with the cliff properly. So if it get dynamise then we can simply, you know, smooth out or fill in using smooth boter, we can fill in those sharp edges where skull and cliff is. Other than that, we have to find a way maybe we'll do it manually. Right? So let's see. Ah, yeah. So now, so dynamic didn't work. It will take time. So let's just do it manually. Some of the cliffs, some of the skulls, which are visible too much, right? So we'll just try to blend in, not. Uh so you just, uh, just pressing all. But you can do, you can use, let me remove that. Oops. Let me go be careful, yeah. So, if you cannot undo the merge one, so you don't get the mesh. Yeah, so I will try to blend these here. It's too much. Let me try other brushes which are a bit light. And we'll make sure our lab mode is on. Yeah. Don't forget about it because we are working with the tailbtextures. Yeah. So yeah, it's not exactly what I want, right? So she is giving us this weird geometry. It's not blending perfectly well. I don't know. Maybe it's a try Um, it's getting a little bit too noisy. I feel this blob thing, and it's distorting the mesh, also. So I'll maybe I will undo it. N. It's not coming right. I feel it's too much organic, right? And I forgot the rap mode also. So let me undo. I was not happy with no. I wish dynamesh would've worked fine. It would have been an issue. But we'll try different brushes. Let me remove this first. Ops Yeah. So let's try different brush. Okay. Yeah. So Oh, thank you, Zebras. Thank you very much. Um, so yeah, um, we have back and nope. Uh huh. Yeah, so make sure to turn on the crap and zoom out and focus. I I look weird. Yeah, so focus. Zoom in. Let's try with the cleavers. Yeah. Yeah, this is not too heavy, like blob brush. So I believe this might be good level of, you know, blend. Now we are you see we are getting a little bit of that corn or thing blended properly. Yeah. So you can use trim smooth water also, press salt and see if it works. If we don't, we try different brushes. It's just better try things out. Okay. And yeah, so we'll just keep blending them in. Mm. I, Can. 4. 03 Sculpting Acient Wall Part1: Okay. So we will start with temple wall design, right? Same as our tile floor, right? We will make it in Zbrush, right? You are open to choose any TD software which you like to make the base model of the wall, like all the details you need. So I will start in Zbrush, same at cube to add the slabs. So you can think about the anchor temple, what I'm planning. So I will go with flow and my imagination to create something. We have some references gathered already. You can look at from your side like Ancor temples or Indian temples or Asian East Asian temples. They have a lot of, you know, details like this. So what I will do, I will just try to replicate something like that where we'll have some slabs, some pillars, some details, some trims, something like that. So around the corner. And you'll see in so many temple it repeats in detail, right? So it could be that. So it could be a trim also. So what I'm doing, I'm just making the simple boxes, a simple different blocks of details I want to add in here, right? And so that's what I'm doing. I'm placing different boxes to defining those areas. And then I will add more details to the area which I feel need more details. So let's try something out. Okay. And I will add to trims in here. Okay. So let's see. So what do you, again, you can do it in three D software. You're free to do. I think it will be much quicker to do it there, but once you're happy, and then you can bring it here. But if you are very picky about doing it in here, welcome. So what I'm going to do is basically beb all these corner of it. Okay. So simply using clipping brush and, you know, other side. So I will take the circular and then scrap it. Maybe a bit larger weight. Mall bigger Yeah, that will do. So something like that. So it's basically making the trim, beveled edge of it, right? It's not perfect, right? But we'll do the job. And then we can, you know, we keep dynamising it. And we can have similar mesh below. Okay. And this is maybe on. So we have, you know, something similar design. So I'm just experimenting with the shape and just going with the flow, what comes to mind. And once you have practice a little bit, you have made a structure. It happens, then these things come naturally. Okay? So just try out shapes. Okay. If you are not very strong in design, and pick references. Look at a lot of references, concept arts and try to replicate the detail, and then you can improvise on top of it to add your own details if you like. Okay? So this is just keep adding in there. So this what I'm doing, I'm duplicating the same trim and add a smaller one underneath it, right to support this larger shape. And maybe we'll break it apart later on also. But for now, I'm you know, making the larger shapes, we keep it here. So matching the edge. We'll do let's scale it so it have enough width. Again, we have this plane on the back, which we'll use to bake the thing. So so it's okay if we little bit overflow. So these are the larger and the mid level trim. Trim like trim alike detail. I'm trying to add. Like you see in all the Gothic church, you see the trim around the gate and the door, something like that, there's in the straight form. And it's really keep part of these walls, you know, all those temples, they have really they're really rich in detail. Okay. So I'll keep slitting. I'll much these four. Okay. And let's see. Scale it down to see. Okay. Let's try this out. So so we can split it horizontally also later on. But what I'm doing, I'm going to make the bricks normally. So what I'm going to duplicate it and then, you know, place it there. And then you scale it to create the different brick alike formations in these streams. Okay. So basically, it will look like like those stones or those bricks are carved in here. Those are not like one long, because they might not have concrete. They might have carved the stones and then placed it there. So actually, the actual those the craftsmen were really skillful in that time. You know, imagine we have zebush now, we can undo. They cannot. And I was recently looking at the temples in India, which was really great. And they had the whole temples carved out of the mountain. Forget Petra and forget about others. This is, like, the whole 1 kilometer long mountains, carved into this temple and the details. So I was really inspired to, you know, sculpt this from the temples. So I will just, you know, make it. And, you know, so when you have one to make it exact on the other side, you can, you know, offset it one. So, you know, it's 1 meter or one unit on the other side. I is good. So I'm just figuring out if we need to keep the tiling ware, so just keep in mind. So that's why I duplicated that corner piece and then moved it here. So it detail matches on that. Okay. Now, I'm just trying to match. Anyway, we'll sculpt it, then we'll see the bible a lot, so don't be scared to, you know, let them intersect a bit or touch to win. And now let's try something else. Let me save. Okay. So Like saving is important, guys. Keep saving. We don't want to lose our hard work, okay. So make sure you keep saving, although it's quick saving there, but sometimes it still crash, okay? So keep saving whenever you realize. Okay. Okay. So I will try to make this slab or stone detail in here, in between the trim and the bottom big stone slab. Yeah. Okay, it will be much easier if you already have concept or you can model it out in the software and bring it in here. It's much simpler. But if you want to experiment around and have one, then this is the way. Okay. I'm making a flat rock tempt t. Let's see. Should I match it or should I keep it different unaligned one. So let's see. Okay. Because like the brick formation, sometimes we have those variation where these horizontal lines are Not aligning, but sometimes it aligns. So that's what I was figuring out. Should I keep it the count of the slabs more than the trims or less. But let's see. In the future, if we need to, we'll make it more. Okay. So for now, I will keep it same as the upper trim. Then this piece also just scale it up and match it. I'm letting it go overboard because I will duplicate it. Okay. So we have the same thing on the other side as well. Just moving it slightly here. Yeah. So we'll duplicate it. And then we'll offset it one unit, okay? Bit differentation. Yeah. Oh. Okay. Yeah, so this is long we have moved two units, so we leave the other box. Where did it go? Okay. Mm. What epen. Yep. Match it slightly. No, why? Okay. Okay, so there is no slab in there, so that's why it was. So moved the plain now we'll just duplicate it or maybe scale it up. Okay. Let's duplicate this one. Okay, let's move it here. I'm just matching it to the upper brick. It's not visible, but the brick is there. Okay. Let's see this one. Yeah, so this is matched. Now, we'll hide this maybe. Yeah. Okay. So there is now we'll try thinner trim one, the brick, you know, the thin bricks laid out in a row. Let's try that. And again, I'm going with flow and my thoughts. If we want to change it later on in the future, if and feel like, we'll change it. So, we'll have it, and then we make a row of this brick. You know, I was thinking about it, doing it in three D tool first. Then I thought it would be fun doing it in Zbrush, or the whole thing because I'm really fan of God of War, right? As it is they do everything in Zbrush, like all the details and everything. So we have our wall almost complete, right? With not the wall, the row of bricks is almost complete, and we'll now plan what to do with this lorow maybe we'll keep the larger ones, the same kind of in row. But we'll add some details do this maybe. We'll add more details in here. Let's append something. Let's see. Okay, too big. Okay. So because so we'll create this shape and we'll try to, you know, carve out of it also, like we have inner arch type of thing. Okay. Let's say how it goes. I'll move it fit in here. Okay. Less dams. Yep. Yep. We'll change it to and we crumb. So we'll try to make the shape in here to add more detail. Okay. So like you can manually sculpt it also when I'm trying out to make some shapes, I will split it, and then I will try to, you know, make some type of design in here. Dams, I scaled it. So rather than just spitting, I will just duplicate it on the other side, right? And I will try something out and maybe break in more. And maybe we'll sculpt on top of it. Okay. So, select the centro fill right in the center. Oh, let's do it other way. Okay. Okay. Invert it in there. Yeah. So now we have maybe we can click it in maybe. Let's try it out again. Okay. What's one more time? So I'm just keep looking at some images or some references in case just to get the idea. Okay. So yeah, let's try this and we'll create another more layer of this same row maybe if, uh, the clipping do work. Yeah. So we'll go and subt duplicate it, and then we create the upper layer, maybe scaling it down. Let me remove this box first. Okay. And move it in the front and we will just scale it smaller than the other rim. Yeah. So, we have two layers in here for the same trim. Okay, you can be more creative, like making you can add more layers or bull in it or just keep the frame or add more details in the center. But for now, I'm just keeping it. Okay. This way, Okay. Here we'll keep dynamising it later on, so we have good geometry. Select down we have. And then Yeah, I keep referring to the images on the side. Yeah. So this is cool. So we have some design in here. I'll move it to the wall, and maybe we'll add more details to it. Now, L first align. Yeah. I feel like I'm just going with my thoughts, like if it looked good and how it looked good. So I'll just keep making changes in here. And once we have this thing, and we can, you know, uh, duplicate and make a whole row out of it of this detail also. Yeah. And now, let's try clipping the top and then maybe splitting the. So we'll split it apart, so it feels like it's made of different bricks. I'll split it from the top, clip it from the top. Yeah. Then we have three little different pieces of the same design or we mix Let B try other side and move it back. Okay. Yeah, this is just do it here. So we could scale it anytime and we could have done it other way. I did it again. So here. Yeah. So now we have three different pieces of this design. You know, right now, it's not visible, but we'll sculpt it. I will look good. We did that part. Okay, so now I have to split this also from the other side. So the left side is here. Okay? So yeah, so now we have three pieces left right and the bottom. Here we have this design now. And what filter? Of course the resolution. And same to all the meshes dynamesh. Okay. All right. Let me smooth this corner out first. Today, I forgot to Oh, yeah. So I forgot to turn another dynamesh. Yeah. Now you can simply curve. Let me do it on the other piece also. Have dynamesh. Nice. This piece? Yeah, let me here also. Subdivid it and now look good. Okay. It looked like a tiny little window, right? So we'll try to add some details on the side of it. So as it looks like a window, let's add some rivets to this. Why not? So let me scale down this sphere and bring it here and we add some sort of design. We can add we can go crazy, right? What you can do, you can, you know, make a flower or swirl or something like that. You can add it on this place or twisting rope, twisted rope type of detail. I think. It's your piece and you can be fully creative what you want to do with this. So I will simply take this sphere and duplicate it. Before less much everything. We can keep it also. But let's once we sculpt, then we'll split it again, maybe. But for now, let's keep it much. So we have easy to see the details. So I will And what I will do, I will focus on the placing these beads on the border of this our window design. Yeah. So let's Let me increase the resolution. You should keep the dynamic, you know, around frozen, stuff like that. Everything I bring have the same level of dynamesh. So I don't have to, you know, change it every time. So uplicate Okay. I will try to space it out a bit more precisely. Okay, it is much easier in steer but yeah, we'll have fun with this. Yeah, I was telling the story, right? So this the God of War guys, they're super crazy. And they add so much detail in their sculpt. I'm very much fan of their thing. So if you are thinking to apply at Santa Merica Studio, that's the one thing you need. You should be crazy with Zbrush. You have to make so awesome sculps in Zbrush, like basically everything. I think Ivana had a video long time back. So make awesome sculpts. And you can see some work on the Rtan. Which they have done, they put crazy details in their assets. Basically they make all the structure in there. So we have our beats complete. Now here, let me bring it down and add here caps type of detail in here. Oops. Yeah. So we have detail here. So this is don't be shy to add more details. Okay. I'll move it here maybe duplicate it and add another one. Maybe four. Three and four. Maybe we need to scale it over to match. Let's scale it and fit it first. Duplicate it from here. Okay. And here's let's use the other one. It doesn't matter anyway. We can see the other one also. But it matched properly.ce we have all these we can, you know, carve it out as per our circle.'s take this. Yeah, so we'll just carve it as per the shape. I believe we'll I think we need to make it a little bit archer. Ah, yeah. Let's try, this c maybe a little bit larger. Yeah, you can use a curve press is much more easier than circle to guessing what is where we can use move tone also later on if we need to fix the shape. Let's try once again. Why curve. Here, Smath it. Okay. Try once more. Maybe smaller step. Almost almost. I forgot the corner now. Okay. So once again here in the center and then in the corner, make a ice little arch. Why? Let's it back. Smooth it out, maybe. We dynamise it later on also.'s fix the shape. And we'll do the same with this also. Maybe we'll just sculpt it and move it. Okay. We'll just match those edges on these two, so it matched the curve of that Rame Oops. Not too hard, the smoothness. You could have messed it before, but it's okay. It's almost there. M I'll be mismatched. Let's try to. Anyway, it will be sculpted and that actual an will look more organic. So let's just merge it for now. This one. Yeah, so this whole did, restrict. Okay. Let me remesh it. It's not on. Oh, no, increase the resolution. Imagine the whole thing. It's okay. We made a smooth mesh we Okay. So look like nice little door now. You can slowly forming it up where quantity. Okay, so we will mirror the other side of this thing and move it slightly. I'll just look good and keep it slightly on the surface. I'll dynamic more bigger one. Let me smooth or some details. I carve out these details. Let me increase the intensity maybe. Okay. Okay, so maybe we'll add some details in here, like, some emblem or some sculpture type of thing. Okay, let's try that out. And I'll use clay buildup. But first, let me make extensive. I will quickly sketch something out and we'll just, you know, build upon it. We'll use clay Builder clay tubes to add the layers to it. It's just like clay if you ever worked with the clay, you add layers or remove layers. That's why I'm talking about that in there. So what I'm doing, I'm just making a quick design. Let me try something. Okay. And these nice little elephant tooths you can use some utensils also if you have use image, which you can replicate in the design. And if you are making some certain locality, surely they might have a lot of stories and sculptures there. So you can replicate some of them in here. I'm just going making my own design in here. Here. I will make these lines and then we'll just fill in the shapes in there. So now let's take the Clay Builder too and then just add the shapes. You see it start to get the shapes of that pattern and design. You can surely improvise then add, keep adding and removing tails. I see a lot of things out of it. These could be swans and that could be Satan on top, alms and there could be a monk doing meditation also with horns. Yeah. Now let's make these. Now it looks like armor, someone sitting in samurai suit, right? Yeah, it literally looked like someone sitting on the Japanese style on the knees and hands on the thighs and these arms. This is the helmet and the horns. The tiny little head would be nice now adding that surprise in here. Yeah. So when you try something out, and then you get the ideas. So just keep doing stuff, you will get you improve things along the line. So if you ever feel stuck on somewhere, and just start, do it for 5 minutes, and then you will find a way. And you will figure out multiple ways how to get yourself stuck. Yeah. And overall, good. In some details here and there. Okay. Maybe this here maybe something a little in there. Yeah, don't mind me, I just getting lost in the details. Okay. You can have your own design. You can make your own design and look at some of the images. I'm making some weaves in here and you can have fun in there. So I will make these crevices. So it's like so it feels like it's made of different rocks and brought in together. Okay. So, that's why I'm adding these lines. It's better we had the previous. So I will add maybe here. Yeah. So so it totally feel like there were different slabs of rocks brought together to build this, you know, sculpture shape. I will make it prominent with more thickness m. I will, you know, push the other side to the back so it have some thickness. Yeah. That's good. It's good. Okay. Now, let's add a little bit more layers to the design. It's so much fun going with the flow, adding these designs, improvising, changing things. That's the part of the journey, part of the work. So don't be scared. Like Babos say. We don't make mistakes. We always have happy accidents. Why am. Okay, I should have wore the wig also. Okay. So yeah, so this is overall, we have, um, we are making it more permanent. This is like the weaving of, like, robes typos or these curves intertwined. You will find it in many sculpture and even Indian temples in ncur temples or even, uh, you know, in the churches, you'll see these nice little intertwined lines, snakes in there. So I try to capture a little bit of that, right? Not too much. Okay. But it's your own design. You can have as much as details in here, okay? You know. And be free. If you feel like this data look good, add it. If you feel it's not working well, remove it. Add something else. Practice. So as we spoke before, when you do something, you figure out something Oh, this is nice. I could add on the other area. So it's a learning part of the journey. So we learn a lot while doing other things. Yeah. So I smoothed it out because it was looking too sharp in there because if the old old structures, they erode with rain with water, right, and with other weatherings. So they erode. So they will not have these crisp details as they might have when they made it new, but now they don't. Okay. So again, go with the history, like how much detail do you need. Okay. Just keep that in mind that is solved. Okay. Let's try to maybe add a little bit detail in the hatches. Okay. So what I'm doing, I'm breaking the symmetry a little bit. Yeah. It's always good to break it because that will have, you know, we use it. Now we'll just break it. A different details on the boss side, so they both look different. No need to overdo it, but some variations. Okay. And let's keep damaging it. I know this design does not make sense, but look at the Satan head. I hope you can see it. I made the horn so beautiful. So those that's a hidden design. Okay. Long live Cathol. So now we have this design. We can duplicate it along with this. But let's, we should have, but let's just sculpt it anyway. We could have kept all the slabs differently. Then we could have, you know, sculpted the middle line more better. But let's just sculpt it, the damages on the edge. Same as our floor tiles. We need to be more you know, add a general level of details in there. So by now, if you have made those simple tasks, you might have got a handoff. We can mask it, maybe. First. It's just keep doing it. It's nice. Keep the level of weathering same as I said earlier, if it's outdoor, it might have more indoor, it depends where it get more touched, if it have more exposure to the weatherings, then it will have more damage. Imagine in the rain. So I'm just merging with all these beads first. Then so we can dynamic and it look more blended rather than just, you know, odd sharp looking balls on the edge of almost there. Yeah, I believe all the beads are there. Okay. So now we can dynamie it. Okay. Save, remember. Increase the resolution and dynamite. Oh. That's what I was saying, right? We should have certain level of set always. So we have equal level of dynamics everywhere. So let's just do it with my proper speed. Yes. Okay. So now we have this thing, okay? And we can duplicate it. And this design let's fix it. It's good. You know, get you feel of it. Everything is floating. And let's bring everything together. Let me say it. So let's try another slab here. What we add maybe larger details because we have the smaller one and the medium one. Okay. Das our friend to do it. Okay. Let me try clipping a large chunk in here. Oops. I always forget why Yeah, perfect. That's weird. Oh, come on. Why? I should trim maybe sumetry That's weird. You see. Finally. Okay. Let's smooth it out. So we'll make this again, more stones, and then we'll, you know, try to match the same of things. Let's try out this here. Maybe the upper part can match. Let's just match everything. Here. Et's put it in the bottom out. I'm just reusing the details in here to add the add something similar details so it look relatable. Not everything need to be unique. Let's move it down where we have our trims. Sure. So we have this one piece. Not the one piece that everyone is looking for. But this one piece. Here we have I'm trying to match, and we can match it to the upper trims also, keep it same as them. But these slab can be their own also. Maybe we can break them apart more larger, not this large detail we need. Yeah, I'm trying to match it with I'll do the same thing, I will just, you know, offset it. Do the ritual. Yeah, now we have a duplicate fit the slabs in here. Perfecto. Yeah. So we have our design. What we'll do, we'll just split it split it. Yeah. Split my mask. Okay. You can do the polygroup by control doublu also. Okay. So polygroup by masking and then split mask and cool and you dynamesh it, and then it fill the holes. So no need to worry too much about it. Let's do the same to these. We can duplicate. Let's see how we get the ideas. And later on, but we can do that. So you can do the vice versa, whichever you feel quicker. You can ask and split it into the filling using this or you can duplicate the previous piece and keep it here. Okay? Scale it, whichever. It depends how lazy are you to do these things. Just do it. Yeah, this is my actual speed. Don't be jealous. Just practice. You will be also there. Okay. A little bit of variation is okay. Okay. It's not iness. We're adding a variation. Yes. I mean it. Only one remaining. W one we duplicate. Let me just put this in here. I will duplicate it again towards the side. Let's duplicate. This is perfect. Okay. No need to match it perfectly again. So anyway, we're going to sculpt it. So it will look a bit off from there. Let's align these. Properly. A lot of them. Just keep swimming. Just keep swimming. Yes. We have to move in. That's why I need Zep so we can select multiple subtols and do this thing. I don't know when they're gonna make it proper outliner. Why, this is offset. Okay, so we'll add the last one. A need detail we need. Put this jokey boy over there, and here. Let's get to that and let's duplicate it. I can match to the upper slab, like we did to the trims. The upper design, which I mean Okay. In order to match it perfectly, little bit around the same lines is fine. Okay. Let's do it. Here. Okay. Nice job. Saving. We don't want to lose our work. Okay, so now we have our most of pieces. We can select move in todine maybe match it to the upper slabs. It hurts. We just swam with them. Okay. It's just like we redoing things. It's just like we forgot the wallet. We walked all the way to the market. And then we make the changes again. We're like, Okay. Now I mean just quickly do this. I will just make all these pieces and then we'll just start sculpting. I'm just fixing them one last time. So once we have all the shapes and all the gaps are filled, we'll just go preserve with the sculpting. Okay. I hope you have read preserve. Go watch and read it. Now, let's duplicate this one. Ritual fill in the gaps. Just lightly. Okay. Let's do the upper one also. Slight variation is okay. Try to. We're almost there. We're almost there. Okay, we just duplicate the end piece for that. Selected. Maybe we duplicate it on the other side. Maybe just sculpt some of these details. And this is same as your tiles, floor tiles. You just keep sculpting, okay? Just the same procedure. Nothing too much too heavy. Okay. We'll sculpt the edges. We just don't want these straight lines, okay? And look at some reference like go for be inspired and just break these edges. We don't want to see these laser lines, what we call it, these highlighted edge look like a laser line, right? So we don't want these edges straight edges and intact edges because this is not new. This is the old specimen. So we'll just break all those add all those lovely damages, right? And, yeah, I'm that fast. Yeah, blink of an eye, you could not see, right? Yeah. So we have these pieces, we sculpt it already and pause it, it's the same. And we added details in there, added cracks same as tiles, okay. And yeah, and some places we added some unique information, which you can also add some unique rains but don't go overboard, right, because if you add too much detail, then it will be visible in the in the tiling, right? So don't add too much unique detail, but add. Yeah. So spend as much as time you want to. Okay, so this piece, I'll show you again. Yeah. Uh, one more time to do it. Okay. Okay. So then we can, you know, have fun, more fun. So yeah, so this piece, let's sculpt. Okay. So the same same ritual. You take the j polish, trim smooth border or edge polish, right? Just use any brush you like. Okay? Use square Alpha brush Alpha with this brush, it works really phenomenal. So just damage those edges, add some beauty, which we need for this. Okay. And keep for on it. And that's pretty much what we need on overall, all the shapes. Okay. And we'll add something similar. I'm adding this type of surface require we don't need. Okay? I'm just smoothing it out now. So we don't need it in the surface because whatever don't contribute to the seal out of the piece, we don't want it. So mostly HDH is what we require unless it is a hole or a chunk fallen off from it. Okay. So yeah, so we solve those faceted lines smoothing it out. Okay. And yeah, we have this piece also maybe we sculpt another piece, but it's the same ritual and u. So same as you can duplicate, you can sculpt it or you can duplicate these pieces, same as the tiles. But if you practice it more, you do it on more pieces, the more better you get the more faster you get to sculpt it. Okay. Just quickly saving it. And then we'll just scurb and then, you know, we can fast forward. Okay. Then I can go back to my actual curbed, okay. Ah, man. So yeah, so let's just, you know, add those damaged beauties to this also. Yeah, so again, you can look for references on the temples. Already, there are even, you know, Greek ruins, Greek temple ruins. They also have some nice little damages. So you can look at any sculptures or these type of architecture, and they have these damages, which you can replicate if you're struggling with what to do where. So just find some good references and stick to it and add that many details to all areas. Keep it generic in the start. Again, don't overdo it. Like, I'm keeping I'm doing it from a long time, so I have a habit of it. I know how much I need. So keep it little in the start and then slowly add as per the requirement. Okay. So because it's harder to that is like a lot of rework, cleaning up, all those things. So just add these damage, add cracks. Add post type of details and all those things. Okay. So pretty much it. Just enjoy the scope and enjoy the process. That's what I want. And this piece is almost there. Okay. I'll show you a little bit with the smooth border also. So you see it do something similar as the polish and edge polish. Okay. Try out different brushes which will work for you. Use it. And we're almost there and now enjoy my actual speed. Y J m. 5. 04 Sculpting Acient Wall Part2: It a To. The and 6. 05 Sculpting Historic Wall Part1: Okay, we will start with our historical wall, and same as our previous one, we will start with our base plane where we will keep adding our trims, blocks, and sections as per our need. And I will start with a simple box for my first slab here. Hey, it's simple box, and I will, you know, move it on the top. So we'll start from top to bottom. Here is my very first slab. I will fit it to my thing. So we'll try to keep it matching to our plane because it will tie, right. Otherwise, we'll get the tiling issues. So um, adding my slabs. So I'll first design the layout, what I want we like our previous ones. So what we can do, we can look at references and bring it in here, and you are free to do it in your three software as well. If you feel like this is more easy for you to do in there, do it. Okay. Otherwise I will keep doing it in here. Try to design the design the part and different trims or slabs as per my planning or thoughts or creativity, and it's best to have some references for it. So I'm just moving it here so we can have this one little line in the center. All right. It's pretty much steer forward at this point, right? We'll have our slabs, then we'll design them how we want to with simple blocks like these cubes. And as soon as we have our simple block ready, and we'll offset it, so we can make our tilable part, right. So make sure to set it up that way. And I'll make sure my slabs in between are fitted properly, right? They can intersect a little bit, but not too much. So they can be touching each other these boxes, but try not to leave too much gap. Now we have let's quickly save our scene. Don't forget to save your scene. Yeah, and we'll keep adding our other slips, I'll duplicate this thing and think about adding some unique details on the the next parts, right? And this blog. And I kind of shade and try to sculpt some details in there. And so we can cut it and if we want to, you know, make some unique shapes in there, we can. Okay. And here I'm moving it in there, so we get this ledge type of trim. Okay. So you're free to make the trim like these architectural molds, right, which have more curvy design and everything. So it's totally up to you how you wish to make it. Um, doing it like this. So because it's look good. Yeah, S that's why we are doing Dynami so we get geometry I drat it quickly. We have our trim, so I'll go back and clip some part from it. It just to test out the detail. If you like it, we'll keep it. Yeah. So let's see how it goes. I'm going to invert it. And wait. Yeah. So we try to chip off the detail. We will continue adding more details. Let's create more trims below. So add this maybe shape to this trim we have. Cylindrical shape. Scale it down and match it to the trim side. Yeah. Make sure to making it as wide as our type of thing. Yeah. So this is what I was trying to do. I was trying to add a spherical shape. So it's okay. We can add another cylindrical shape to it. Like if you are good with TD modeling, and if you wish to bring it from there, do it. Okay? So you don't need to struggle doing it in here. Only if you want to learn and have more control over your skill than do everything in Zebush. Everything have their own, you know, good and bad. So merge it with this and then, you know, dynamics to get this shape. Thanks, I need to turn the police here, dynamesh. Yeah. Okay. So we have our circular shape with that trim that slab. We move it. So it's not intersecting. So we have this trim here. So similar will keep creating the next slabs. Were there. There it is. Okay. So we might convert it to the brick thing. So what I'm doing is I'm duplicating. So I'll match it to the overall. Okay, so we're back with two rows of these streams. Okay. So we can decide if we want to keep it similar or not, right? So you can be creative with the design you want with your and we'll go and and we'll make another design for it. Yeah. So I was looking for the basic settings. So we'll scale it down and try to create another design for the next slab or trim or row, right after this. I'll try to keep the different shapes into different design because, yeah, you can keep it similar and try to make different designs with different type of details and I have. So I'm planning to add another one here. So let's try out with this multi layer type of design with this disk, and dynamish. Okay. Yeah, so because we can duplicate it let's try to add another shape in here or add whole. Let's try it or stuff. So clipping brush, not always work as we expect, right? So I want to flat the top, maybe I will mask and just scale it down. I will be much easier. Increase our resolution, maybe. So now I will select the top and just scale it down to get the half circle. Okay, nice. I will dynamic shooting in. Yeah. So we have our flat surface on top. And I'll try to maybe duplicate it and get another layer of this disc. Maybe scale it evenly. You can be totally creative with your designs, and you can go to Petest It is a rabbit hole of references and inspiration. You can upload image and visual search it as well. But our temples and all the monuments are full of I think. So maybe I will just widen it up. So I'm turning on the symmetry, right? So I'm smoothing it out on the edges. Maybe we'll just make another shape out of it. Maybe different shape. I'm turning on the symmetry and making the edges smooth. Okay, we can do it before night only before we turn into dynamesh, we improvise, right? I will bring it down. So we have and we can bring it here, and we can dynamic to merge these two pieces together. So it's totally fine. So they will look too. And we'll add another design on top, maybe some spherical shape where it go. Where did it go? I add circle I will add sphere Yeah. Scale it down to match the design. Small. Okay. Here. Try to match it to the other design, and we can remove the top as well for this to match our design. Maybe smaller to not hide the. Let's do it this way. So we have our sphere. Don't forget to save I will move it. Keep the half here also. I always forget here, the top half, I'll keep and keep it here. Yeah, so we have this nice little design. Maybe it look too bulgy, we can reduce the thickness. Yeah, that's right. We can always control this or we Okay. Nice. Um, we scaling it down. Now, we can actually merge it with the thing. Yeah. We merged with something else, I believe. Let's march it. Okay. Now we have here safe dynamo. Yeah, this was a circle, actually. We accidentally merged it. So safe and let's split. March again. Okay. This time, we careful not merch the circle. Yeah, lastly this one. Okay. Yeah, we always have these type of tiny things. So be careful. So we merge it again and try to Oh, yeah. So let's try to improve this design. Let's check our dynamesh is on. If it is. No, so we have to turn on Yeah. So we can now play with this design. We can test it out if we want to polish it or if you want to make a design on it, and so we can make these markings to define what type of design we need. And then we can sculpt like our previous chapter. We have made a design with a marking. We can try that out. I'm not liking it. Maybe let's just bring it here. Scale. Actually, actually, I like it. It looks better than super roundish. See, we don't make mistakes. We have happier accidents, right? Like our legendary Pabo says. So now we'll duplicate this design around to make a full row. Okay. And yeah, we're back once we finish with this row. Okay, so we have finished our two trims. I will make another trim. Make sure to place those corner pieces, right? So we don't mess up our tiling, right? So I want to make another trim. I want to look a little bit different than our other album. And I also want this to be more detailed one like our middle layer. Maybe I'll add those diagonal bricks, two of these and maybe it will add the different look to the overall look and feel. Maybe we make crisscross one or maybe we make it parallel like our upper ones. I'm still figuring out how much we should scale it. Maybe we'll make it like pointy arrow type of shape. Let me see. Let's need to start a few things. Yeah. So this is one diagonal, Let's try out. Mm. Yeah, so this seems right. And I will scale it on this side, maybe and then place another one on the other side so it don't look odd. This should look fit also. No, this should not look odd and not going well with the overall design. Move it here, and then let's try duplicating it. Yeah, so like we try to make this arrow like shape, not particularly arrow, but like this or Yeah. Maybe like this. So we have another type of feel comes in here. So again, we add two rows. We can maybe keep them diagonal like criss cross, like bricks, or we can keep it similar like the D shaped row and we'll, you know, ublicate. Okay. So we'll just continue placing them around. Okay? So we come back once it's finished. Oh No. I I that Okay, so we are back with all of our slab. This is our last and the largest slab or trim or area, which will start a little bit sculpting with our mano damage, but now I'm trying to figure out where it tiles, right? As we have made it a little bit larger, right? So withrab, we can just test out where the damage. Maybe you'll check it the other side. Yeah. Basically, so we know where the end is coming. Okay. So what we can do, we can start sculpting the simple damage and generic ones, not too much. Okay. It's the same as we have done in the past on our other towels and organic shapes. We'll start with some larger just breaking down these laser lines. These laser lines again, are these highlighted lines which you can see on the edge look like laser. So we need to break them down into different just some shape, organic. And you can use again, AJ poli shrimp, smooth butter, right? Or geamie brush. Anything is fine. So we'll just remove these highlights and try to add some general details over. And keep in mind and just make sure your brush wrap is on, right? You see here, we got our nice little trim with this brush wrap on the left, which is free, right? So brush wrap will take care of it. This damage, it might not tile. If it's tilable mesh, proper placed on the one unit, it will scalp the same thing on the other side as well. So make sure it is there. We'll keep sculpting these basic shape over all the mesh. Okay. And we'll keep the generic pass throughout. Okay. Nothing too much because we can always add these details using Alpha maps or displacement map we made. Or in the previous one, we can make it again to add overall damage to the surface and add cracks and other details as we want. Okay? So we'll look at the big picture while doing that. Okay. And I will keep moving to add some generic pass over the edge and keep breaking down. Let's try. I know it's very generic. I know. At this point, I love procedural system where we can get this overall generic damage overall, like masking the edge highlight and then doing this damage like sups and designer have on materials, breaking down those sharp edges, and Houdini also have some edges you can break down. So something like that, overall generic one we get, and then we improve it where we want and control it. We want. Mm. Because after a while, it starts to become a chore, and then you start to feel a bit lazy and maybe you don't want to keep doing it. So those procedural system comes in handy. Blender also have really nice token OCD, one click destruction or damage, I believe. And yeah, so this generic level of thing, damage is required overall. If it's a older set, again, it's definitely required. Otherwise, it will not look that organic or that much weathered, some information is good. And then we can later on, we can keep adding, you know, more like I want to crack in here, I can add improving these details everywhere. So this type of pass will, you know, give overall all the different shapes, right? So there is nothing new in here. We have already done in the previous assets, and this is the same we'll keep doing on our on all the elements on all the slabs and and the trims, okay? So just make sure to give a single pass to everything and then add unique details. If you know what you're doing, you can start with these unique details right away on each piece, which is fine. But if you are not sure about it, keep it a bit more details and then add more unique details to some pieces. Okay. Try to keep it in control because if it will be too much, then it will start to repeat or start to be visible in there. If it's tiling texture or tiling surface, then it should be in the control and you should add it where it's needed, not everywhere. So yeah, we will continue with sculpting this and you watch me at my actual speed of sculpting now, and enjoy the sculpt. It So and T D the I I I 7. 06 Sculpting Historic Wall Part2: A and Do. So the Mm. Is that I 8. 07 Sculpting Historic Wall Part3: I 9. 08 Sculpting Damaged Floor: No. 10. 09 Sculpting Large Brick Wall Part1: Okay. So in this one, we'll start with large brick or stone wall. Okay. So we'll start with creating the base of the bricks. You can use many different ways. Again, you can use three D software to create the base of the bricks. You can use many three D tools like in Bind for example, there is a wall maker add on already in there, so that also you can use to create the basic one. And yeah. So if I'm too slow and I sculpt too fast, that's my actual speed. I can multitask really well, right? I have this special ability. Yeah. So yeah, so you can just keep making this basic shape. Okay? And then you can just make the basic layout of the brakes, and then you can start sculpting one by one. Now, what you can do is you can sculpt it all around, right on all the sides. Then in the later on, what we can do, we can duplicate it and rotate it and show the other side. Try to keep the details generic at this point because we will duplicate. Right later on once we have our layout ready, we will add the unique details or break that repeatedness, right? Because we'll scale down the brick also and we will rotate it also and then we'll add a little bit of sculpt and damages on top to add that extra level of details to remove this repeatedness. Yeah. So try to, you know, I went ahead and started making the whole wall brick by brick because don't worry about the layout because I know I can scale up or down or I can place the bricks later on also. But if you're confused about it, you can make this layout first. Or you can use a image reference or you can use generator. Even in substance designer, you can have this 22d layout made of brick. Okay? Once you're happy with this formation, you can bring it in and make the boxes on the basis on based on that layout, and, you know, then start sculpting. You can always replace and make few breaks and duplicate and replace those boxes, but it is handy to have that layout, which we which we require at this stage. Okay. And because I know what I'm doing, I already practice it multiple time. So it is, uh, easy for me to define and break at details and make the brick stripes. But always for you, it's important to find references and follow some guidelines or art style or what type of damage you want to add on there. Okay. So keep that in mind. Right? You don't need to go by your creativity. Always. You can use so many references and other tools to speed up your workflow. Right? And once you have practice multiple times the same workflow, like this damage is, of course, you might, you know, be proficient by now because you have already practiced on some of the elements. I hope you have created the tiles and simple blockout before. But if you haven't, then just practice at once. So if you are at this tutorial, just make the whole wall and each brick, practice the sculpting or practice how to add damage. How to chip off the edge, how much detail you need. So once it's finalized, it's easy for you to make the whole set because this will be a part of a big environment. And if you have some pieces which have lesser information and some pieces which have more information will be difficult for you to you match them. It will look odd. Like some pieces have too much damage and some pieces don't have damage. It will not make sense. Again, if it's interior or exterior or is in different type of scenario, then it might have different type of detail, but imagine there is a floor tile and wall and pillar next to it. And then you have too much detail on the wall and less detail on the tile, and then a different type of detail on the pillars will look odd. So make sure to maintain that consistency in the detail and how much we want to, you know, add the details or how much detail or damages we need to keep. And like that, we'll keep making bricks and this brick have have all the crag and damaged one, and keep it single, and then next one will make a little bit different from this one. So we just making a set of bricks, like a few bricks which we can dublicate and place it around to complete our layout. Okay. And yeah, again, as you can see, I have, uh two bricks made. I'll make another one, which will be again, custom made, right? I'll start scouting on it and add some unique details to it as well. And as you can see, I have a custom UI down there, which you can also make, you can check online. And if some of the tools you're using again and again, you can pin it to the UI. Like some brushes I have added, some dynam settings, and like that, you can add multiple settings so you don't have to scroll again and again in the UI. Okay, it's a little bit of pain to do that in the UI, like clasping and unclasping it. So by now, you might already have a set of tools you like to use, and then it's really handy to make a UI out of it. So you can always customize your UI. Now if you need this UI, then let us know. Send us an email, we'll be happy to provide the UI, okay? And we'll keep adding details to the bricks and we'll make a set of it. And this one, I'm just making a chip of detail like it's been sliced some detail from it, right? So, same as some drills, yeah. So we have layered effect over here. Okay. So this is you can plan what type of bricks you need and how many bricks you need. Okay. It's also what you can do, you can make a few breaks independently, like a diama. You can take a few pieces and you can sculpt them just to practice this. Okay. So practicing the scut and damages is really important because this is what we'll do most of the time and get your hand set to the brushes and how much damage they put or what type of damages do and what damage you require and if you can achieve it using that. Okay. So make sure to practice that a lot, which is more important as you might have seen from the start, we are doing something similar. We are making a box or simple shape, then we dynamise it and we start damaging it a little bit generically. Okay? And then we add second level of details like cracks, some more chip off, like smaller faces chips. And then we add a details using displacement map. So we create on displacement map. You can use Alpha from the Internet and from other libraries, you are open to use anything. But the most important thing is consistency. That's the most important thing, and you're not getting bored out of it is also important. So make sure you love it and enjoy every part of the process. Okay? Try to learn it. And I hope you enjoy the sculpt as much as I do because if for inspiration, you can again watch God of War sculpts on Art station, it's gorgeous. Okay, everything they do in zebrus in very high detail. So look at those as inspiration if you'd like to. So if you have aspirations to work in that type of game, then sculpting by hand is really, really important. So make sure to, you know, how that craft. Right. And it's not like you have to make the same type of rock, try to make different type of rock and detas because rocks from different places have different type of damages and different type of formations, right? Like, some are soft, some are layered and strong. So make it according to the references. Okay. This is the generic damages which you can give to your rock, and it will look nice. But also try to study different types of rocks and damages, which will again, make your skills more better and strong. Okay. And just watch me now and we'll sculpt the rest of the breaks and make the layout, so enjoy the sculpt. M. 11. 10 Sculpting Large Brick Wall Part2: I so as you can see, we have our wall finished. So we can add more details to them, and keep improving our normal bricks. Make sure to keep it again to a certain level, not overdo it, okay? But a medium level of details are okay. Like I'm adding this layer and adding a bit more chip off to the straight lines. Another thing is we make the other side of the brick walls, you we have left some corners so that we just simply duplicate these corner pieces and we duplicate it or offset it to the other side. L we have done previously multiple times. So in like always, watching references is one important thing and it's okay to add details overall, right? And you can go crazy, but try to make the subtle areas also. Do not add too many details and leave it. Otherwise, it will start to get noisy and will not good overall, okay? And that's what I'm doing here. I'm improving brakes, uh one by one, you can see I'm keeping the faces and I'm also breaking the straight edges. So it looks more organic. I do add a bunch of faces with clay welded and clay tubes brush, then I, you know, smudged it or damaged it or remove or added some details to make it bit calmer. You went from the first and this variation, there are a lot of variation. So you see we have larger details overall on all the things. Now we're adding medium details. No need to go to the micro level details, medium details are fun because micro one, we can get it using detailed textures or detailed map or also when we add turb textures, those will have micro details. And if we are making uniu textures for this, then we can have it in those texture as well. So no need to go too super crazy about these details. I'm adding details in this area also because we will duplicate this piece on the other side. Okay? So we'll offset it there. So I'm adding it, um, extra love to this particular piece on this corner. Okay. But it's all up to you how much love and how much detail you want to put on the piece. It's your work and go crazy. Don't do too much overwork on this also because there are a lot of things to take care of, right? There's a whole environment in here. So to the learning side of it, you can practice and try to find out stuff like I'm doing here. I quickly added a slash, so I could make it crack and I can make it this chip of layer effect or I can add damage to this place also. So it's all up to us. In the start, I will quickly do the scub and like all the sketching artists they do a rough sketch. They quickly go over and then they refine it. So that's what we are also doing. So we are quickly moving our hand around and try to get a shape. And then we refine it. This is also another example is when we look at clouds. When we were kid, we looked at clouds and we try to make shapes out of those clouds, and that's what we are doing. So right now it's a cloud and we try to make shapes out of it. So we'll remove some of the details, make it calmer, or smudge it place here and keep it in the area. So as a brick by the composition law, right? And by the point of visual point, it'll look good. Okay, I don't look noisy overall. You see, it's very much calmer and we have that one point in there where we have more detail than overall other thing. And we have areas which are super calm. Okay. So it's very much important. Okay. You can check out this composition link which give composition idea on the color and depth and details. So it's something principle applies here as well. Okay, so don't don't leave it all those details, add it and experiment with it and add all the even, I suggest sometimes even if you don't know how to, okay, then you can make a tilable textures. Using subset designer or use online, or you can make it in Zbrush also. That table texture you can use as displacement map on top of your breaks, or each piece, and then you get this stencil or trace marks on top of it. Then you just try to find a shape out of that cloud, what I mean to say. Okay? So if you're not sure about what where to do, use that as a stencil, or you can use any noise mask. For example, you can add it overall, and then you will get some noisiness in the shapes and the refine those shapes. Okay, add some more organic shape like this damages layers, chip offs. Okay. And the faceted look added to those will be you know, super love and beautiful. Like chef's kiss, basically what I want to say. Yeah, so this is basically overall what we have to do. And if we feel like we need to add, like I'm adding a unique detail, adding a crack, and then we can make it a layer or refine the crack and the other things as we want. Okay, so this is the same thing we'll repeat on all of our other bricks. If you have any doubt or anything, just watch over this part again, listen to me what I'm suggesting and watch our previous part. So for now, enjoy the sculpt. And I 12. 11 Sculpting Large Brick Wall Part3: H. M. A 13. 12 Sculpting A Rock Material: Okay. Let's start with our leaf material skirt. Okay. With this, we'll start with the rock sheep, Okay, which we will duplicate multiple times to create a surface. Okay. And so with this, you can start with any basic shape. Okay, you can start with a sphere that you can, you know, move around to get this organic shape, which you can break apart, or you can use a cube or even, you know, the low poly model, you find online. They have really nice shapes. Okay. So you can inspire by that. There are so many scans on the sketch fab, which you can use at reference or as an inspiration. But overall, once you have this shape, okay, we can always push and pull this thing. We will try to get these areas. So these areas I'm marking right now, you can use Dime standard. I'm using crack to add these areas, which I will facet. Okay, facet means I will make them plainer, basically. So these are only for the references, this line, and I will keep turn all these around surfaces to faces, like you can see here. I'm adding more larger shape faces, okay? So in the starting stage, keep the dynamesh, resolution high and keep adding, low, I mean, and then add these faces to the surface. So once we are happy with the shape, okay? And like for now, I feel like I need to make some changes, we can simply push and pull and keep making shapes in there. And if you feel like, okay, this area do not look good, and then you can surely move it around and do this thing. But it should have some interesting shapes around from all the sides. Okay, we should not see a straight curve or straight line. And you can for this better example of this type of thing, you can see all those rocks which are standing out of the sea, okay, the standalone rock cliffs. To have really nice slats. So you can see it from all the sides. So that's how we need the shapes. I'm just duplicating and placing and making two partons so we can get nice little shapes. Okay, not little but seal outs, basically. So we can get some sell outs and borders. And yeah, so we'll keep improving the shape. And this is not not the end of the thing. You make, move it around, add those facite dyna mesh, and keep repeat until you're happy with the shape. And again, having a reference is really helpful because you can work toward it until you have control over how to sculpt and how to make faces or you have a sense of the shapes of a particular rock. Again, there are thousands type of rocks on the planet Earth, and then and then you can just pick one and try to find reference of the same areas. And yeah, sculpt it. And there are so many 360 images on Google map, and there is three Sisities and even HDRI, they all have these three t images of places which you can use. Normal image is also good. You can find, really high resolution on, uh on different places. And sometimes on Archon or other market places GameronETC artists give these packs of different rock surfaces. Okay? So they go visit a place and artists being artists, they collect a lot of images, and then they make a packs of those references, and then you can use those. Sure. Try to credit them because that's their livelihood, our livelihood. So try to credit. Okay. So here we have our overall, you know, shape and then, you know, what we'll do, we try to break these faces more. Like Trim smooth, I'm using trim smooth boer to add those layers effect, okay. You can use clay buildup. I see now I'm breaking the larger shapes into smaller shapes. So we'll keep continuing it. Mm. Thanks oh 14. 13 Sculpting A Ground Material Part1: Okay, let's start with our ground material. Okay. What I want to do, I'm going to mark the flow of the surface, like organic surface because with wind and water, these organic shapes might have met. It could be field, it could be forest, but I'm just basically making the markings with the strap to mark. Then I will, start sculpting and forming these areas of the shape. And again, you can use noises and some other resources to get this base shape. But what I'm going to do, I'm going to, you know, sculpt these from start. Okay, so this is basically I got the shapes. Now I've broken up all the lines, same as our rock thing. So we don't have any lines visible, but we start to get these surface. Like there is lower and higher surface, and which is tiling really nicely around. Okay. And I will add a few more line to define these areas more better. Again, these lines will be not visible when I will, you know, define our sculpt when we will scup. So from this line, uh some of the parts will be defined like lumps or it could be because of some rocks underneath or some roots or some grass spurs. So we'll have these areas. Now I will add and remove some of the areas to form this better. Okay. So now I'm just filling in those areas in between, okay. So just to get some formations which we will break slowly, again. Right now, it looks more organic, like tissue thing. Maybe that you want to bend but just wait for some time. Once I'll start breaking this apart, this will no longer look like this. These lines will not be visible. Same as our rock. I'm just defining these small sections of this ground. Okay. Okay. So now we'll start breaking up these corner areas and start blending these different formation together. Okay. And once you start blending, it will start to look like a muddy surface, a muddy or sandy or more organic surface, which we are trying to build here. And you can increase the intensity under keeping, but you can increase the intensity, then these lines will start to break up. Okay. And don't hesitate to go a little bit overboard and try to make this form of surface going up and down, which is more organic and yeah, breaking up this area and blending these where it is cracked. So we don't need to keep it. So basically, these cracks, the water flowing. And even on the sand dunes because of wind you get this formation because of the same thing. And if the water flows somewhere because of the root, you get some areas are more eroded. So you can go by that example if you have something similar, but I'm trying to make a generic muddy organic ground. So you see this we are now almost blended all the areas. So I'll continue with this curve, and once we have overall and surface, we'll come back. So as you see, we have made our surface overall, and we have added noise in the end, just to add more variation. So what I'm doing right now, I will create a set of pebbles, which I will scatter across the surface of the ground and will create other debris or other stick leaves and other part. So for now, I will make the pebble easy for you now, I believe, because you have worked on a large rock. This pebble is nothing. So just look at some shape. Okay, and make the different type of pebbles and rocks or small stones. Basically, that's what we need. So you just look at some images and references and make some of these debris pieces as per your reference or locality. Imagine you are making some river bed which have more roundish stones. Make those stones. So you can scatter those underneath the surface on top of the surface and on top of each other. So it's really important. You go by the reference. Okay. And once we have these pebbles, we can sculpt or scatter it using many different methods. Again, one of this is you already know. Okay. And I'm adding more details, and I will remove this. Okay. So it is, I think the straightforward for you now. And what I will do, I will scatter them manually by hand over the surface where I need because we don't need that many. But if you feel lazy, you don't want to do it, you can use the same method as nanomshes as we did it on skull clip video. Okay. So you can use that one and scatter across the pebbles. Because that have more control and more it's more quicker. So you can use that as well. And here I'm having another pebble, which I will, you know, duplicate and change the shapes and try to find a unique shape in there. Okay. Nothing. Okay, so we have made a bunch of rocks and different small pebbles. So we'll start with making our leaf. Okay. So same it's easy. You can use the thread software to create this also, but I'm making. So I'm um bending it, rotating it. So it's also depend which type of leaf you are making. So again, gov references, what type of trees you are placing around and make the leaves for that. It's really important. We don't want to place maple trees and then put burch leaves on the floor, right. So make sure you have if you have already made the leaves for those trees, use those same and import zebrush after adding thickness and use those to scatter around, which is totally fine. Okay? You can do it as well. And we will do the same thing here. We'll make a leaf. Okay. And then we use it to scatter. We add in thickness, otherwise it will not dynamesh. Let's make this thin. This could be any type of leaves again. But we need a few variation of leaves. It could be dried ones, and dried ones will be more crumbled up and more organic. But the fresh one will be autumn one or fall one will be much straighter. It's also depend on which type of species you are working on. So again, look at references. We'll add these veins on the leaves, which is the detail of the leaf, right? And we don't need to go to overdo it, but some details are good. And we'll fill in some of the in between parts and chisel these details of the vein, and you can add details more to it, more smaller veins you can add. If you have already made it, you can use this as well. There are a bunch of resources also available on the Internet. You can use those as well if you are not feeling comfortable but practice it. Okay. Try to make, sculpt and all type of surfaces, rocks, leaves, bark, stone, ground sand dunes, all type of things. It help you understand the surfaces. The more you watch surfaces or observe things closely, the more better you get as artists. Okay? When you use actual to sculpt something, texture something or model something, it will be in your head, it will be easy for you to make it again if you practice it or make it again and again multiple times. So we are I sing it again and we'll crisp the thing. It's all up to you how much time you want to spend on it and how much or what type of leaf it is. It also depend on that. Even when you work on foliage is something similar, we do. We create the leaves individually, sculpted. I'm adding final touches to it. Then we'll move to other pieces. So let's duplicate it and add some rotation and variation. Okay. Yeah. Simple as that. We'll add some variations. So it's a totally different leaf and we'll move to our twig. Okay. Okay. And now we'll start with our twig, which again, is nothing too complicated. And I will, you know, use this and make this Y shaped branch. Again, you follow your reference and what you are working on, what type of tree you are working on. Okay? For me, it is making a generic one. Okay. So we have this Y shaped make one branch long and small. So it's like bifurcated branch. And then we start sculpting and make sure you dyname it, and then we put all the organic shape on top of it and try to make it look like a branch. Here, and again, you have some of these branches in mega scenes and some of these resources online, check there if you want to find inspiration. But mostly, it is straightforward. You take a cylindrical shapes, and then you make um organic surface on top of it and give it undulation, not super straight and taper it out for sure, skinn and then chip off the edge and add it really nice broken detail. It's totally depend on how much detail you want to add in there. But these are the general thing. Yeah. And for sure, you can use Alpha map and use a displacement to stencil out things, and then you can sculpt on top to make things better and remove and add details as per your requirements. So we'll keep sculpting in there and we'll add some nice little damages so it don't look like simple cylinder. Okay. And we'll make a the damage is visible. This should be visible in bake also. So make sure you had a nice little edges. You can make those broken branch pointedge but dry branches usually don't break as fibers because they are dry, they just break. 15. 14 Sculpting A Ground Material Part2: Okay, so we have our twig, with some dt. We'll just polish it a little bit more. So like you see, we use dam standard to add the knots in there, and we are tapering it a little bit down over the top. And uh and let's add these cracks in there and fiber details, which is add a little bit of nice details in there. Okay. So once we are done with this, we'll gather all of our pieces and start placing it on the surface. Again, as here we are with all of our thing, all up in the branch scale it up. Make sure all the pieces are properly scaled. Okay. Okay. And we can use the nanomes to scatter around. And we can manually place it also. It's all up to how you want to if it's very few pieces of elements and then do it by hand. But if it's like so many of these, then doing it by Nanomesh is better, okay? Use nanomesh to scatter it around the surface. For now, we are doing it by hand. Okay, so we can showcase. But it's really straight forward in both of the processes. So we place the pebbles here and there and leaves and twigs and then we'll just follow along, how it turns out. So enjoy. 16. 15 Sculpting A Cinder Block Wall Part1: No. M 17. 16 Sculpting A Cinder Block Wall Part2: [No Speech] 18. 17 Sculpting Rocky Ground Part1: [No Speech] 19. 18 Sculpting Rocky Ground Part2: A so Don't do