Term 4 - Sculpting the female bust

1. Female Bust - Introduction: I'm fine view and I work as a Senior District sculptor at and workshop in New Zealand. In this class, I'll be using ZBrush to sculpted female bust. What of course you can use any other sculpting program. Don't worry. Building upon previous classes, we can now take with his sculpting subject that it's usually a bit more complex. I will show you in real-time how I do it and I'll do my best to share everything that's going on in my head. It can follow step-by-step. Regardless if you're just having fun or you want to raise your professional sculpting skills. This class is for you. By the end of this course, I am sure you have the knowledge to finalize a beautiful meal. Just have fun. 2. Part 1 - Blocking out: Welcome to e-mail bust sculpting course. You're gonna beautiful previously seen concepts. We have seen some theory and assemble applied theory on the humans coal, but also the male bust, which is the most complete volts so far. If you're going in order, there's a good place to be. A good place to be. Now, as always, I'm starting in a different way, the way I block out my base mesh. In this case, I decided to use three meshes roughly in the shape of the human. Head and neck and upper body. Even though we're just I sculpting the head portion. Mostly. That's the name of the course here. I think it's interesting too. Since we're doing it anyway, to include a bit more. This piece is not two. Not for production. For any type of production. Really. It's always, there is always a change to practice, composition and design. I went to sculpt more than just the head. And that's why I'm doing the providing as well. The transition from the head to the neck and the shoulder and chest. They all help to give a sense of the figure you're building. The good chance to do a bit more. You could even add. Hence, even without sculpting the whole arm, you just cut off at the wrist and the hand appear. And it's part of the composition. It could be part of this study. I will not be doing this way, but it's a good idea if you want to do it. Just think of composition. Now that I'm not gonna viewed in a other pieces other than her body. Well, including the hair as well. But you see what I mean? And I will mention more about the hair when we get to it. The idea with this first part here is two. If possible, not even to use references. You can do it as a test to see how far you can go. Just with your embodied knowledge. It's always good to test it as well. And I'm sure you'll see development over time. That's a good thing. And why I say without references, at least for now, you may have picked your references already. Like I have there on the side here. At this stage, I usually prefer not to use it just to test, as I said, but also to see if actually I am using more of the intuition that I have. Instead of being affected by all the references, you may come something special. I started this piece with the idea of having that portion of the upper body and her shoulders a bit tilted forward like that. You can see in flight right now. Since I had this idea, already, really need a reference to develop that much because it's gonna be really rough. At this stage. As we've seen. In the other classes. There's no really one way to start out. The way you block out on the shapes. What has to happen and will happen regardless, is that you slowly have more information available, which in turn will help you make decisions on what to do next. Just keep in mind that we're always trying to, the same story. Always trained to represent things here. At this stage, maybe difficult to really represent anything other than circular, circular shape for the head. Cylinder for the neck and all that. When we are still representing something. As I've said before, you could use just square shapes and planes. I tend to like to use curves more than the plainer shapes. But when in doubt, planar would be preferable. Just because it's more intentional. It's actually like, you mean it align starts and ends. There's no doubt to what's going on. When in doubt on how to develop the shapes. Try to develop them. With planes. That's a good way to go if you're having a hard time with curves and move sources like this. I'm spending a bit more time on the shoulder area and neck just because it really matters on the overall field. Few of the piece with the same idea of not using references. I know I'm doing a female burst. I'm trying to imply some forms and shapes that helped me see that it's a female. But in the end of this class, or I should say the end of this video. Right now, this is how you can do. That's fine as well. I would push, push a bit more. But if this is all you can do with a references, then he started using references from this point forward. But don't define things too much. Both in the resolution of the mesh that you're using, but also the design of the features. You'll see by the end of the video how simple her features are and they are open to be changed. And this is something we were doing. We would do some studies of different phases and pick one of those and develop a bit more. We will develop expressions as well. Maybe I'll be doing this to a WIC to defend face designs. I'll pick 12 expressions. From there. We'll just pick my final model. It's a little bit of repetition. Both the concepts, things that I can say here. It's useful that you're seeing the same concepts being applied to different sculpting styles or sculpting objects. So far we have not done any female form which special, on its own, has really unique features and other things to be mindful of. We usually can get away with less definition, less details. They implied overall form is usually what's expected from a female figure. But again, it's open to you to decide how much you want to push. Notice again how how much time I'm spending on the other other areas other than the face. I'm working on. The neck and shoulders and everything else. And already use like at least for me, already feels like her. That could be a female bust. Lot more to define whether that's the idea. Really like how with low resolution meshes we can imply so much in ZBrush. That's why sometimes you see me going really far from the camera. Just because not only I went to see just the bigger forums, but also the size of my brush is gonna be really small in comparison to the object. Notice how it's really low. Low resolution DynaMesh that I'm using. I've said many times on the other courses. I'm always looking for how to represent each part. How I'm looking for curves. Nice flow of an, a nice flow of those curves, which is easy to see on the silhouette might also, it can be seen everywhere. Internally as well. Student or using any references for up to this point. But of course I'm all this knowledge and farms that I'm building. They're based on anatomy because it's human. I've said that many times. It's not about the precision. Just know roughly the muscles that I'm building. I don't know other names, but I know they're bigger shapes. What muscles are in each part of the body? If you liked this knowledge, instead of really copying and learning all its names and spending time doing this exercise, useful exercise for this model here. Right now, you stop for awhile. Parts where you don't really know what to do. And then you look up in a Anatomy resources that you have. Images. You can even say for yourself out loud, I have to sculpt a, B, and C, these muscles. And then after you have this knowledge and these understanding, it really goes back to the sculpting. And then it's all about the forms again. Because the muscles themselves, they have simple shapes. Teardrop shapes are sometimes almost a rectangle but with smooth border borders. But really things get complicated when you're building more forms around them. Anatomists always just a tool for us here. Even if you're, if you find some line and it looks good in your design, you cannot really explain the line through anatomy. It's fine. It's going to work. Can you really give, give a name to every wrinkle? Human face can have? Not really. We are almost at the end here. You can see how this boss could also work as a male as well. Briefly imply some other forms. But it's okay from this point on. Really want to have a face or it can design some hairstyles to use. Future is up to you to go a bit more or less than this hair. I think it's an important part. That's what we are going to do next. You can watch the final seconds here, and I see you the next video. 3. Part 2 - Hair Styles: In this video, I'm only going to sketch a couple of hairstyles for them. The reason is hair blaze a big portion on how we perceive the character. Everything else. If we were building, we're building objects. It will be a good point in time to have something that represents them. In this case, the only thing as a separate entity or object, it's going to be the hair. So it may make sense for us to do some hair studies. I'm just gonna do enough. I can read it. And it doesn't get in the way of the actual phase, which is the point here. You'll see that by the end, have I think three or four switching them between the faces in the future when we have the other studies. And it's always good practice to just try things out on whatever your duty. Because the only thing that I knew I wanted to have here was a female face, certain ethnicity or style. When I was hoping for the design itself of the face, I don't even know what type of nose or what type of eyes or say shape or anything like that. As I've shown before. The references that are used or not for a specific details. I use them as reference. More inspiration, reference, see something and then it pushes me to a direction. And then I may not even copy or follow the shapes that I'm seeing. Which is so interesting to see how just by having that group of photos and you're going through them, you will just push you to a different direction depending on the day or wherever you're feeling in a moment, it may push you to a different direction. You'll never know it's really unknown territory. Here. There's nothing much to say really. Because all we're doing is sketching. Some hairstyles are not using any special techniques on different brushes. You can do whatever feels more comfortable to you. I would say just try to make it as simple as possible in unspent days, knowing this is supposed to be just enough to give the face some type of framing. It should don't do too much, then it becomes a problem as well because it doesn't read well. But if you can split the hair into too many groups, as you can see right now, I'm splitting three or four groups. And then it would be enough, let enough. Usually the other ones there gonna be a bit more complicated. But in the end, they will not serve for any other purpose other than just driving the rest of the design. If I were to finish them, to print or anything else, really better representation, I would have to spend a lot more time sculpting in defining using more measures. Actually actual geometries to the find them. Instead of sculpting into one. I do like the effect of sculpting the hair with the actual face object or face geometry. In this case, I will just leave them as separate objects. Will serve their purpose the way it is. Maybe if the hairstyle or trigger doing is short hair, then it makes more sense to model the same mesh just because the transition will be a lot more natural. But here I can get away with separate mesh because the transition is hidden. For most, for the most part. As you can see a little bit. Sped up, the video. Just leave you watching. And this case, if you have any questions, you can send me a message. But I do believe that this part here, the concept behind the, the, the actual sculpting part is pretty easy for anyone with a little bit of experience in ZBrush. But if I have to say some kind of concept behind is just make it as simple as possible. Don't try to sculpt every hair strand or every line. If anything, try to go the other way. Being a simple as possible with less information, just enough that from the distance you can kind of see what her type it is. Hairstyle. Because really we're practicing the shapes of the face here. As I starting point. We are concerned about the hair. To bring the hair too at the same level of definition, that's the face. But feel free to define a bit more if you want to. You can watch the video and to the end. And I See you soon. 4. Part 3 - Exploring Facial Qualities: Now we have hairstyles and we're initial blockade of the face. Make a copy of the bus. And my intention here is to do to create two different face designs. And I'll be going through my references, but also being aware of the body and being relaxed as relaxed as possible. If you're noticing that you're moving your hands to faster, you're rushing things. I'm here to remind you to relax a little bit and try to go slow. Always in the back of your head. Try to have that mental note of finding representation. Representations of every piece of information, interface or every feature of the face. Maybe help you to think that you're not really sculpting upper lip, lower lip or nose. Just creating a shape that's representing whatever you want to call it. Shapes can be beautiful. Shapes can be, can flow into one another. That's the idea here. What, what's going to be missing in our practice up to this point? Z artistic part of the model itself. Because there's not really saying anything. Expression. When we do it, it's going to, I'm going to end up doing a really simple one, relaxed one. But we have to start somewhere instead, instead of going right to the extreme poses, extreme facial features and lots of information and also implying symbology behind all this. It's good to be at least a little bit in control of how you are dealing with the forms of the human body. I hope you understand our progress here. This is not the integral, just doing versus like this where it's part of the process. You can't even control just the forms. I don't think you can really apply much. Meaning behind your piece if you're using human anatomy as a tool to express whenever you want to express. We know what we're doing here is kind of boring and meaningless. It doesn't go anywhere. But we are practicing the skills which is part of the of opening up more doors to you. As always, you see how I jumped from part to part. And that's because every time you draw a line or change the form, the whole thing has a different appearance, a different feeling. I never try to hide my measure isolated my meshes the least direction. Only if I'm having trouble getting to a place, Let's see, inside the nose or something or the eyes if computer is slow or something. But I usually have the whole piece on screen. I tried to zoom out as much as I can as well. Because it's always about the whole whole piece, even the end of the neck is affecting some way how you're perceiving the face up here. Keep that in mind. Try to work on everything at the same time. Of course, it's not literally possible to work at everything at the same time, but you get a sense of it. Whenever you feel like you have to jump to another place, just do it. It's probably because you actually have to. It may seem that I'm doing too much sometimes. Right now. I'm using sculptures to add a bit more resolution around the ellipse. Just because sometimes it gets in the way the lack of resolution. I really wanted to see the the line between the lips. And if you don't have enough information there, it will be hard to see where also I didn't want to subdivided the whole mesh or use a higher number for the DynaMesh. By keeping your mesh. Lower resolutions, easy to move. Big chunk of mass like I did. It's not that low poly that I can't even use them standards as I'm using right now. Daimon standard gives it a nice line which see how it's an S-shape coming from the cheekbone to the chin. The mesh is dense enough to actually say I can see that line over there. Again, I love how even with a lower resolution mesh like this, we can, we can see a phase already. And you can play with different designers. And if an ideas and proportions. You see how I usually have a pretty smooth mesh. That's maybe preference would say, kind of bothers me when I, when I see a really noisy surface. It's just hard to read, at least for me. It doesn't bother you. You can actually sculpt a lot faster because you don't spend time smoothing. And sometimes when you smooth things, you have to sculpt again around the around the area. What you can do you can use here, other than what I'm saying as a reminder, you can see how I might find some parts of the face. I'll go back to it sooner. Just gonna notice here that we finished the first one. And I'm going to make another copy and starts the second phase. As you watch. I do. The second phase. I'll go back to what I was saying. What do you can use here? Other than what I'm saying and reminder and all that, the concepts behind try to pay attention to what parts of the face I usually pick to imply forms. As you know, The human body, including the face. It's highly complex and chaotic as anything else in nature. If you zoom in enough, it may be difficult for you to know what even to simplify. If we go back to the other videos. I always am here, always talked about simplification and stylization and representing things where if you are lacking even the initial idea of how much I'm going to simplify. The lips for instance, I have no idea. I don't know what to go by watching me do it. You can have an idea of what parts I'm simplifying. Just pay attention to the parts that I'm simplifying and not really the design that I'm making. Let's say the left, right there. There's an S-shape on both sides. They go to the centers of 2D shapes, let's say. Now you know that I'm implying the lips with an S-shape, so two curves on both sides. So try to come up with their own S-shaped. Maybe you can try to define the lips with three curves. You see another example how I picked that volume in the forehead. It has a certain size, certain relationship to the rest of the model. By saying that you have to design your own volume, will your own this form, your own design of that part of the forehead. So you'll be using my model in this video here as a map for you. If you're having a hard time to decide where to simplify in the first place. Then you use my my video as a guide. You'll be always designing your own shapes. Or else you'll just end up with a model like mine, then you're missing a point of exploration and practicing in the right way. If you just want to copy. There are places for copying and I copied a lot and I still do sometimes. But keep in mind that it's different from your own exploration. If you're just copying. Maybe, maybe you see a really cool looking face, someone's sculpted or cool-looking face and real face. Just want to copy it. You can do it, but then try to have a conversation with ourselves. And copying this and the other part that looks cool because connects to the other shape like this. And I'm simplifying a little bit even though I'm trying to copy. Really, you're always giving your own flavor to wherever you are. You're making. Going back to the model here. I'm not even concerned about the ears right now because I didn't feel like it's gonna, it would change the character that much. They both have this face on the other phase, they have similar features. I don't know why I'm doing this type of phase. Instead of a more Asian looking face or African phase or wherever other type of phase. Each momentum we have our own inclinations. If you spend too much time questioning why you're doing. These are dead. You're just wasting precious time, pressures, practicing, practice time. There will be other times when I will do other types of phases. So this is what I'm aiming for right now. We're roughly halfway through here. And I believe I go back to the first phase. I sculpt a little bit more. But before we go back to this, to the other phase, you see how I keep just testing out different hairstyles, the ones I made before. It's amazing how. Remember when I said just by looking at photos, it may drive you to a different place. Point to try different direction. Same with the hair here, just by changing hair. Hairstyle, it may not even right to say, give you a new idea because I don't even know what the idea that I'm having is more like I think they are better analogy is really pushing you towards something else. We don't need to explain everything why we're doing wherever we are doing. But that doesn't mean we cannot label it in some way. I just like to label that just pushing me to a different direction. If you remember. I didn't start the second phase from the sketch. I actually started from our Blackout to force me get to the forms again. Whenever forums I'm doing here, I am subdividing the lip ellipse again. The same problem and really wanted to define the line between the lips a bit better. Even though the process kind of repetitive. You feel like you're almost losing your arms and hands in the same way. We screen. You get used to seeing certain shapes. The experience of finding shapes. This is always knew. That's really interesting. But that's sameness of everything else sometimes gets in the way, at least gets in the way of my sculpting, get affected by the sameness. If we can call this way. It may sound a bit simplified or even a bit damp. But even changing the material. Changing the ZBrush Interface. Ui colors just gives a different experience. You change the background color. You may help you be free to sculpt. Pay attention to what really matters. I don't know. You may you may try that and then let me know how you feel. If you have a hard time defining the nose as much as I am right now. Really? You don't have to do it right now. I just find that this part of the nose, the nostrils, the actual holder, helps define the rest of the face. But I would never I would never do it in the beginning. It's amazing as well from my point of view here. How the eyes, they're usually the ones that I defined. I don't really need that much information on the ice to get a sense of the face. Even though there seems to be an expectation with the ice. When people talk about our target scope to your drawing layer. Everything else. My experience here is actually the opposite. The eyes not being the least important, but I don't need much more than what we have here. Love to hear from you and how you feel. You really need to define the ice more than what we have here. Now. I think I'm almost done with the second phase. Will be soon going to the first one again. When I do, I will come back. So keep watching and I'll be back soon. Developing the first sketch a bit more. I, maybe I had some new inspirations from the second one. It's almost like the first one was a warm-up. And then I was able to push, push the second bit more. And then I felt that this one was not developed as much. I just decided to go back to the first one and try to define a bit more. Also felt that it was lacking some more complex features that they either 1.5. See how much I can push this one. At this point, I actually like the other one a lot more. But I will end up picking this one to develop further. This is the model of our course. You see how there are features that I really like since it's not well-developed compared to the other one, I almost let this one go. I felt this one deserved a bit more work, a bit more care. Working on the nose there. Again. If you really have a hard time knowing how the underside of the nose looks, please don't don't try to avoid using references. As I said, the only part I didn't use references here was for the first part, the blocking stage. Really see how far I can go and where my intuitions lie and all that. From that point on, I always have references on the side. I decided not to show the references here. I don't push you to any direction. And really just free photos from, from Google, from Pinterest. I do use some paid content from New Masters Academy. Just because they sometimes they have better resolution photos from different angles. We can pretty much find photos for free. Since you're only studying. It's fine to use them. I already said how to use the references. Are you having copying? You're just realizing what shapes you have to define. We'll go over that a bit more. But right now this is what I have. I'm just making snapshots are the two models with different hairstyles. And now we're ready for the next part. 5. Part 4 - Facial Expression: We're gonna do a second round of studies. But instead of using both faces, we picked this one. My intention here is to just create studies of expressions. I will not be using all of them. Of course, but not only it's an excuse to study facial expression, but also see wherever meters well with this face. And how I feel at the moment is really an exploration of the model itself. And however you are feeling, you'll become more and more aware of things you want to do in a moment. You will or not to question that much. Whatever feels right you end up doing. And then this is going to give you a focus and patients to just keep working. Because really this is and endeavored. It takes a lot of time, a lot of just missing other opportunities in life if you went to put it away, It's kind of a negative, but there's so much to do. Where does your attention go? I picked two expressions. One of them is going to be a bit more relaxed, open mouth. What you're seeing right now. And the other one, I'll try and smile. But you have infinite combinations of face, facial expressions. You can do anything really. So it's a bit overwhelming. Try to come up with a simple idea in the beginning. Knowing that this is a study, it doesn't have to cover everything in management, manageable. I just picked two expressions and I'm going to do my best here to define them. There are things that I like when I'm doing expression studies like these ones, is that you don't need that much information. Took imply what you're trying to imply. One way to see this is that you can see how the teeth are just some lines. And I'm using the same geometry to imply the teeth, but also the face itself, how humans move their phrases. At least on a steel frame like we have right now, you have some more room to explore. It will be a lot more difficult. If we were trying to animate this face. It always the biggest problem. At least realistic animation. Well here we are sculptor, so different subject. I'm still using low resolution mesh. And that helps because the same way that I'm not even defining everything that much, I don't have to define the expression itself too much. I don't need lots of wrinkles and lots of even lots of lines really to define using sculptures. Again, the way that I'm splitting this course, the whole course. It makes sense for me to keep in mind not to post too much, even though it will be a smooth transition from creating this expression right now and just going into the end where I really want to stop for even fewer like this so I can create the other expression. Or else I'll be missing the opportunity of exploring this. The way I approach human expression. There are many ways you can solve this problem. You may try to copy again, which I never not never, but most of the time, I don't really I don't think it's a messy idea to just copy. Let me give you a couple of ways that you can solve this problem. One way would be through drawing. Drawings a lot faster than sculpting. When it comes to expression or almost anything. The first stages of development. Imagine that through drawing, you can define both eyes with just two lines and the mouth. Maybe with a curve or one line. And then maybe you need two more lines for the eyebrows. Don't really need anything for the nose. There you go. You are exploring representation of the human expression with just a couple of lines, few lines. If you find it by yourself. By simplifying with just lines. We're not trying to apply that in the brush as well. That's one way. The more you do it, you'll see how some of that learning through drawing can be translated here in the brush as well. That's one way. Another way is something in-between what we are doing here in the drawing. You would have a bit more simplified surface. You would try to draw on the surface the same lines. It wouldn't work that much because we have the shading information and light information here in ZBrush, some shadow and reflections. So it's a bit harder to do it here where you could as well. You see how much you can use from that information directly into ZBrush. So that's another way to see how you represent each and every expression. Of course, if you're going to be more realistic output, you will need to sculpt the whole lip and the inside of the nose and all that. So in that part, in that regard, hard to simplify with one line, like in drawing. I hope you get a point of at least having this first stage of simplifying, simplifying things as much as we can simplify. Drawing. Another way to do it will be sculpt him a bit more information on a 3D plane. Curve the 3D plane. And you play with the eyes and mouth. And it just keeps the nose as it is. You can use any shape for the nose really. Other than that, if you do keep in mind that even an expression and emotional expression of the model, you're still dealing with the same forms and shapes. The same thing. It doesn't have to be more complicated. Where is it? Kind of gets more complicated because we're not used to seeing human expressions in a still frame like this. Not as much as the movement of the actual phase and token and looking at people. The same way that you may have a symbol of how an eye looks. You can ask a person that never drew before to draw an eye. It's gonna be just two curves. Symmetrical curves with a circle in the middle. That's a symbol of what an eye it looks. And we do have symbols of what every expression looks. You have to be mindful and pay more attention to what's coming out of, you know, something is not going to look right. If you have to compare it to a photo, you do it. For this second expression. I'm trying a smile and not adding any new geometry. Some features of mile, which is going to happen to mostly everyone, that both the upper lip and lower lip, they're going to be flattened, especially the lower lip. You've probably have almost very little to no transition between the actual lab to the rest of the chin. Most religious color transition not really form transition. Also the way I'm simplifying and representing the cheekbones and the wrinkles involved in that smile. That's my way of representing. You will find plenty of References on different ways that people smile. Then the exercise that we've been doing to construct a face without expression, it's going to be the same. You actually have more space to play and explore. Because now you have new shapes that you wouldn't, you would not have otherwise. With face on a face with an expression. Right now if you look at the phase right now, it looks weird. There are many reasons why it looks weird. It could be the shadow that the upper lip is making, the lack of definition on the teeth. The distance between the teeth and the lips. Lower labor is not really working with the upper lip. Curve curvature. The lines around the lips are not working to see how just by moving the upper loop, I had to move everything else. In a way I am thinking about expression and smile and all that. But deeply unjust playing with shapes again, you'll look at the references. You'll see some forms and shapes and everything's complicated. You may have to look at an enemy, charts and names of the muscles involved in that expression to know how much you can play with bringing the end, you'll be doing the same thing. You have some variables. And they could be the muscles themselves. And you have to create good shapes out of them. Like I said, the other video. If you don't know what parts you can stylize or play with or use. Then you can use my video here as a guide for you. If you pay attention to the parts where I'm pushing and pulling and changing and playing with. And then you realize, okay, so now I can play that same area of the face. And I'll come up with my own combination of forms to represent the same thing. And I'm sure you come up with something else. That's the whole idea here. That's why I don't even bother mentioning muscle names because that's not the point here. I don't think I would be of any help telling you muscle name that you can spend ten seconds finding out what that name yourself. But when you see how I'm achieving the result, I think that's a lot more useful. And I hope you'll find that as well. If you don't fill it out, please let me know. Maybe I have to try a different approach here. My teachings. That does help. Then I'm really happy for you. We're almost done here. There's maybe 56 more minutes and I'll come back and end to make a couple more comments. I'll let you keep watching. I'll see you soon. We're almost done here. And as you can see, it's a lot. Let's move there and read some bit better. Again, I prefer having a smooth surface. It just helps me read and see all the information bit better. I also painted with a darker tone to separate the features a bit more. You don't have to, but I find it then. It also helps. I hope you enjoyed some of these sites and I've shared here and the expression studies, and we're ready to pick one of them and further developed it. I'll see you in the next video. 6. Part 5 - Final Details: This final step, if you want to call it the weight. Even though what I'm, what I think I'm giving you here are ways of thinking and some kind of workflow for you to perceive starting point when you're sculpting study and take you to a really reasonable finishing stage. Of course, you could take it even further depending on your goal. If it's 3D printing or rendering your whatever. The first two minutes of this video is just me cleaning up the mesh little bit and transferring the details to a 0 measure mesh. There's nothing much to say really if you've done that at least once. But my workflow is usually just decimate a copy of the mesh. So 0 measure goes a bit faster. If I have to test different resolutions. I usually try to pick a resolution that once I subdivided, going to take me two or 3 million polygons maybe for, in the end. Because I know how much my PC can handle. Now that I have the Z remeasure can sub-divide a few times, reproject the details. You could argue that why go through all these? This is just I study. You could just use DynaMesh to the end and render a dynamic. That's true. But it's just, I like how specially for female model like this, it's so much easier to get a clean surface by smoothing with DynaMesh already on the triangles that you get may get in the way. Sometimes I just like how the mesh responds to my sculpting. And today's smoothing operations. It's part personal preference and part kind of laziness of having to his move a bit too much if you're using DynaMesh. But again, it's up to you. Even if you render out you don't have to use 0 measure to make a better presentation of this study here. I'm also placed in the eye, so I have a bit more resolution and the eyelids. Not really, not really needed because the design itself, that's what we are learning, that precision that we are getting with the both the 0 measure mesh and the additional objects for the ice is just to the technical parts of working with 3D. It may help in some way. But you're not really learning any designer exploring really anything regarding the human form, which you find that something else helps you in the way. Open up the space for you to explore. Even more than by all means. Please do it. I know I've said in the past here and then in another video, this is not the goal. The end goal. Sculpting a face that represents nothing really, doesn't mean anything. Just pass for you to have more control and then be able to explore feelings and emotions and storylines and wherever else. You need some sort of technical abilities to at least be able to let go or the technical parts once you master some of it and then they intuition will take over. I find it fun as well doing this. But I'm aware that's not a integral. Now that we cleaned up a little bit, hey, that's where the fun begins. Some parts, they didn't work well. And I have to clean up or even change the design attributes like you're seeing right now. Finds that I'll let shape on top of the eyes are just too large. I have no Really information regarding the upper eyelid. A division up there. And I saw that photo. I found that to be really beautiful. I'm trying to find a way to apply that somehow. I didn't describe this way in this course so far, but the contrast between the lines you are drawing or sculpting do matter all the way. From the beginning up to this point. See how I'm being picky here on how, how much better said how sharp those lines are. If I make it too sharp or too thin, the contrast going to be just too much compared to the rest of my model right now. Specific to my model. Maybe you are going for a sharper lines everywhere. It may fit well. It's not the case with my model. I'm being mindful here on how sharp and how thin the lines are regardless of what they represent. I usually like a chunker, chunkier lines and chunkier forms. Just because you can play with the shape a bit more. And once you make a sharp line, that's it. It's hard to represent a bigger shape with a sharp line, little volume, nostril that I just did. The front. You could I could make a mistake and make it sharp and then it wouldn't match too well. Same with the lines for the ellipse. You'll see how I try a few times to get it right. I'm going for a chunker design if you want to put it that way. Same with that mesh, not mesh. Excuse me. Part of AI, part of the eye called caruncle. Make it too small. It may not go well with the rest of the face. For the same reason. Contrast between lines. This is like a basic design rule or sense that you, you will develop. Things look better if they follow a certain certain rule all over the place. That rule can be anything. As long as you repeat more than once, then, then it becomes a rule. Just pay attention to the quality of the surface, quality of the lines, negative and positive lines. They all will affect how you feel about the model. They don't really mean anything. There's no meaning behind, is just the overall appeal of your model. It may look like you're not in control of things you're sculpting. Make sure you even stop for awhile and just search for parts of that are under this concept that reader shared. Try to find some kind of pattern in the ways you're dealing with your lines and surfaces. Give them the same level of treatment. It doesn't have to do, especially with the amount of details. You can have a highly detailed area. And I usually detail around the eyes and lips a bit more. But still if they are following this idea, pattern of treatment, the amount of detail. You can go. Either way with a lot of detail. Not too much detail will work both ways. Of course I would never, for this model. Sculpt or the wrinkles on the lips for instance, I will try to stylize them a bit more. Even though I'm going for a realistic look. I'm not going for photorealistic render with pores, details and all that. I've said somewhere else that work takes a lot more time. And sometimes I feel like I'm missing an opportunity of exploring what we're exploring here. You can create many busts like this one during a week and you will learn a lot more. Maybe when you finally. Creator own realistic rendering of a fully detailed model. You may realize and stylize some shapes that you wouldn't be for. I think for that reason alone, it's worth doing more of this in the beginning. You can see now they're around the nose and in-between the eyes. I created some shapes. There's not really any muscle or bone shapes that you can find in the human skull. That probably goes to the part of where we are learning here of you finding your own designs of for the human face. I didn't see that shape in any photo that I have here as references. I don't have it in my face. I never saw anyone would maybe I saw a photo and then some kind of shading or light and shadow. Just by the way, I ended up here with this model. I ended up creating that shape there between the eyes, around the nose. And I kinda like it flows from the from the eyes to the mouth, kind of drives the eye, our eye around the face. And you can imply that a lot more. Just pay attention to not stylized too much unless that's your goal. If you watched the other videos, I usually usually tennis to at least try. It doesn't mean I always get it. These days. I try to make it real. It'll look like a real face. Not a cartoony face or stylized games, but stylized features. My argument is that it makes beautiful things. I'm sure a model like this, if we keep pushing, you could give it a treatment of a highly detailed model with pores and everything else. And would look okay. Because the only life forms are realistic, simplified in a way that reads as realistic. How much you'll remove, how much you add, how much we stylized, you stylize, then that's something no one can teach you. It's hard for me to even describe everything that I'm thinking here, even though that's what I've been trying, that will come naturally. I believe if you follow my guidelines and thinking here that I'm trying to share, it will come to any of you realized that this is what he's been doing the whole time? That's the beauty of it. There's five more minutes to go. I'll let you watch for a moment. I'll come back soon. Now we are almost done with this face. You can read from are the lines that I'm adding here and some of them, how, some of them, you cannot really find references. That's how I see the uniqueness of your tendencies. You may come up with different shapes. And these two are going to look realistic. That's the whole goal of what I wanted to show you. The everything has to come to this point here and has to look cohesive and in my case, realistic but also a little bit stylized. That's how I find it. Faces to be more beautiful in art form. At least. That's how I like to sculpt them and explore the human body. I hope that you will see the same things when we develop female body and male body in other courses. The same idea, a lot more complex, and that's why they come later on. But here, hard for me to really define things that went through my mind for every line in every volume. I hope that through the understanding of your own tendencies, your own inclinations, and how you found your references and how you felt. You will be able to explore your own shapes and find your own forms of the human body and come up with a beautiful bust yourself that you enjoyed. Please share with me your studies I really love to see. And I hope you liked it. And they see you next time. 7. Part 6 - Bonus: Model Presentation: Video where I just went to clean up that I did on this model because I wanted to prepare a better presentation. What we had before with the transition here of the hair and some other details wasn't working too well when rendering was to clear that problem of transition. Mostly hair. And then also took some time to work on chest and shoulder area just a little bit more compared to what we had before. And also the back of the hair. Just adding some lines here to imply continuity. To Andrea created this image. It will serve as a presentation, but also has a banner to the model. These are just ZBrush screen grabs. Just wanted to show that in order to render that model that we had some more preparation and clean up would be needed. I didn't touch it a face at all was just the transition of the hair and the back of the hair. And that curve here wasn't working too well. So you consider this a good study and good enough representation of what are we working for such a long time. I hope to wipe it. Next time.