Zbrush Core Mini Tutorial: Learn Sculpting From Scratch

1. Introduction: Are you a beginner who wants to learn Sievers with free version of ZBrush core, meaning either because you can't afford the full version or just want to experience it. If that is the case, then I Next to see rescore mini tutorial learnings, coltan from scratch. See your score, meaning is a completely free software. It has very minimum tools, which is great for beginners and you don't have to pay anything. So join me in this journey. The scores, you will be able to fully understand all the features inside of ZBrush Core meter. You will also learn all the principles that we use every day as sculptures and you will be ready for the main sabers version. In this course, we will be covering ZBrush core, meaning interface principles of sculpting brushes and their uses. Stylized sculpting, sculpting proper form, Render, and presentation. I will start this course by teaching you the basics of SEO score meaning. And after then we'll jump to exercises that are going to teach you all the principles on the world of sculpting. We will be learning all the process and all the tools that we use to create this amazing once I have the scientists scores for students that have no prior knowledge, which complements a very beginner level course. We will be using sewers core meaning which is completely free as well. And the only thing that we recommend is having a digital tablet to get the most out of this course. Join me in this course and you will be sculpting inside of seabirds core meaning in no time. 2. Interface: Hi guys and welcome to this next series. My name is Abraham allele and I'm going to be teaching you see brush core meaning. So let's get to it. First of all, let's talk a little bit about C versus just a very quick introduction. If you're here in this video, that means that you already know what submerge is about, or at least the things that you can achieve with ZBrush. And you'll probably want to start sculpting career. So see where she's a very, very powerful sculpting and 3D modelling tool. It's been around for a long time, more than 10 years. And it's been a great, great tool for me as a professional and from the industry as general. C, which has several versions. You can have the cord, the main sea brush. You can have C brush core, which is like a simplified version of ZBrush with a lot of very cool tools. And of course you can try your hand at C versus C brush Mini, which is the one that we're gonna be using. First of all, how do you get this one? It's very, very easy. You're just going to look here in the 3D softwares and you're going to go for the core meaning on the official, official pixel logic site. You need to create an account and you're just gonna keep download over here. You're gonna get an installer. The software's going to install itself and then you're going to be ready to go. As you can see here. This is the main interface. We're going to be talking about this thing in just a second. But before we do that, there's one thing I need to stress and this is probably something that you already know, but just in case you definitely will need some sort of way com tablet. It doesn't have to be awake and there's a lot of different brands I personally use whey comes and you, of course, don't need the super fancy ones like the syntax, which are very, very expensive. You can get away with a very, very simple one. I remember when I started, I had one like this. I am in Mexico, so this is a Mexican pesos which is about 50 bucks, about, around 250 bucks. This should be just fine. There's another brand that some of my students use and they basically, it's good, which is Haiyan. They have some very nice stuff and there's another cold XP pen. I believe. This is another brand that I know that manufacturers to this sort of utilizing a tablets you'd definitely want need N12, one of this, because inside of ZBrush, one of the main things is that depending on how hard or how soft you press, you're gonna get different results on your, on your sculpture. So we're going to be talking about that sort of stuff are right now. Now, this is the interface for ZBrush, meaning once you open the program, perceivers mini program for the first time, you're going to see this thing as you can see it, especially if you've seen the ZBrush Interface, it's a lot more simplified. It has of course, a lot less tools, but it's free. So that's a great plus for everyone. Now we're going to be exploring really quick the main things here on the interface before we jump onto our main projects. Over here we have open project and Save Project, which is aren't going to be the boat, the buttons that we're going to be using to save our creations. We can start with a sphere as a base mesh, or we can start with a stone. If we click here and say No, we don't want to save any changes. We're going to start with this like block of clay right here, which we want to do something a little bit more manmade like a statue or something. This is a very good starting point. I'm gonna go back to the sphere. Little bit more organic. Over here we have this thing called the 3D view. You can actually rotate this guy around. And if you rotate this guy around, even though it doesn't seem like much, it's actually changing here. Let me create like a little Smiley face. So as you can see, if I rotate my hand over here, you're also going to be rotating the scene over here. I'm going to show you the shortcuts for the moment on the Canvas in just a sec. Draw size, as the name implies, it's the size of your brush, so making it bigger or smaller, we'll change the size on your brush over here, intensity is as again as the name implies, how, how intense the effect is going to be on your, on your element Control C at any point will allow you to change. We're going to talk about these buttons later on. This one is important. It's the active polygons. Since the ZBrush core meaning is a free software, we're actually limited to a very specific amount of polygons. I believe it's a little bit less than a million. So we're going to be optimizing some of what's called doors to get the most detailed of the project. Then we got the Export Image Explorer for 3D printing, which I'll touch upon later on. And the turntable buttons, which are pretty much, pretty much for presentation purposes. I'll great to see your score or upgrade to see brush, both. Of course you can see your score is the most affordable one. So if you really like this course and want to jumping to the next level, I would strongly recommend going for the supermesh core first, you're really, really sure that you're gonna go into the professional level. In that case. The final version is the best one. I'm not sure about the price though because I didn't buy this one and I bought the, the final one, but it shouldn't be that bad. Let me check here. Purchase. There you go. So yeah, 200 bucks for a onetime perpetual license. It's pretty good, especially for the amount of tools that seam or Hasso. This is a very, very good option later on if you want to move all the way up to see which, which is the beast or the best software. Of course this, it's a little bit more expensive once you're in the professional environment, this sort of prices can be offset with the amount of Woodruff quotes, right? With your, how much do you charge for your creations? Anyway, on this ZBrush imine, we have 12 brushes that we're going to be exploring. We have a 4 or I would say eight of the main brushes that are probably the most used brushes in sea urchins well, which is a standard clay buildup, inflate pinch, MOOC, snake hook slash and H polish this or I would say, our main tools think about them as a screwdriver or a hammer, a like a wrench, like this are the tools that you're going to be using every single time. And then we have this more specialized tools, which is the chisels shapes, tissue chisel, organic chisel creature, and she's in 3D. This we'll talk about later on. This art brushes that are going to help us. Some base meshes for our projects. Without having to worry that much about it. We can change the color of our clay. You can select any color on your color wheel. I usually like to work with a standard grade, but sometimes it's not if I'm doing like a like a hawk or zombie or something like that, I'll grab a green. If I'm doing some sort of like fish or sea creature, I might grow blue. That's, it's perfectly, it's only a personal opinion. You can grab whatever you want. On this side over here we have a couple of materials as well. And we have very cool one. This is the flat color. It eliminates all shading. So it's going to be just to see what's going to be very useful because they're all discourse. I'm not only going to be teaching you about the basic tools of the software I'm actually going to be talking about are touching into principles of sculpting. Like what are the things that you need to look astronaut of these to make sure that your sculptors look the best possible way. We have these math gap. I honestly hate this map. I'm not sure why they keep adding it. This is again, just personal preference, but I didn't like this one because as you can see, all the lines where the polygons meet our sort of visible. I know they're trying to imitate the real clay, like a real traditional clay. But I personally don't like it. The basic material is really good. Sudden more, a little bit more flat. This has a little bit more shine to it. The math gap, we have this gold, we have this skin shade, which little bit more like a plastic. You can see it here. And then we have the toy plastic was really, really shiny. The flatness, I mentioned this, this silver which is more like metallic look, which again, we can change around just to change the preview. This will not change your sculpture. It's just how they look on this side. Finally, we have a couple of interesting things. We have this perspective buttons which activates perspective. What do you want to work with a little bit of perspective or with a more like orthographic views, you're going to be able to enable and disable this thing is right here. If you keep perspective enable, just make sure that you understand that the closer you get, the more distorted things are going to look farther and farther away you get, the more like normal things will. So I normally like to work without perspective because I know that eventually my creations are going to end up in the game or in a commercial or a movie. And the cameras on those kinds of productions are going to be different than the wall and that we have here in serum. You can turn on the floor plane right here. Very important. You can see that the floor plane actually has some like hidden buttons in there. And there's a little x, little y and little seam might be a little bit difficult to see, but they're there. And if you press dose and you're turning on, you're going to see that we have more floors. So if we want to measure things on the side or on the front right there, we can have three different floor plans turn off. Usually you only want the C plane, which is the bottom floor, but again, it's there for you. Frame. Very important. If you ever lose your sculpture, you don't know where your sculpture is. Don't worry, just press F on your keyboard and you are going to be back into your frame. It's showing I'm just going to frame whatever you're working on. The traditional servers. There's a lot of other tools, so sometimes people get confused, but in this one it's actually very simple. The worst thing that could happen is this, that your sculpture just get lost out in the hint here open and if you press F, you're just going to bring it back. Now, talking about the movement you've seen me move the camera here inside the, inside the element, but I haven't explained how to actually do it very easy with your tablet and your pen and your tablet. If you're pressed outside of your object and you start moving around, you're going to rotate the object based on what was framed last time. So if I reframed here, now this is my main area. Everything is going to turn around this frame that I just created. If I want to zoom out, there's two ways to do it. You can go here into the Zoom 3D and just press up and down and you're going to zoom in and out. Or you can press Alt, tap with your tablet and then drop the Alt and just move your pen up and down. Alt, click with your tablet and then drop the Alt and just move up and down, or left and right, whatever those, but you need to press Alt first, click outside of the object, and you drop the Alt and do this movement. It's a little bit tricky, but you'll get the hang of it. And the more you practice, the easier it's going to gain. Now, finally the pen. If I want to do this sort of movement, you can do it with the MOOC over here. Just click on this button and move it around. Or you can press hold and just click outside of the object and move it around. That's why you need to drop the Alt if you want to do a Zoom, because if you keep the old pressed, you're going to stay in this move tool, which is not exactly what we want. And then finally, we have this aligned poly frame, draw poly frame. Every single thing in the 3D world, if you're used to Maya or blenders and I'm a 4D or any other tree, the package, you know that things are made out of something that we call polygons, squares and triangles that are connected and create a mesh that make up our object. Here inside of ZBrush, meaning the main trick or the main thing is that this mesh will dynamically change this called sculptures is one of the methods is that C, which has to create this sort of elements. And it's very cool because once you start adding more detail, it automatically will add more triangles where you need them so that you get more details. For instance, if I want to do like very thin lines, you can see how the triangles there are really, really small and really, really dense because there's a lot of detail going on here. Usually when we're sculpting in this sort of softwares, which is a little bit more free. We don't worry about the polygon, a limit, but it's, as I mentioned, C brush core server score mean he does have a sort of limit on how many polygons weekend we can actually get. So let me increase the size here. I'm going to use my brush. And let me see if I can get, see that. Now for instance, here, if you see I'm moving things around, but the object is losing its own form. The way we're going to fix this sort of things is by clicking this low, medium and high, which will try to reduce the object, or tried to move the object around. There we go. Smooth things out. As you can see, by pressing shift, you're going to go into smooth mode and they will smooth things out. And you can see by smoothing, we're actually rebuilding all of this surface and of course, adding more polygons because we want more area to work with. So I'm smoothing all of this out. So a 113 thousand polygons is still a very good number. I don't think the amount of polygons that we have as a limit will really affect what we're going to be able to do. Just want to make sure that you understand that since this is a free version, there's a maximum amount of elements that we can have. Finally, we have this boundary here which is called the activate occlusion, which will activate a little bit of an extra shadow on our objects. You can see it there. It's very, very subtle, but it's sort of an ambient occlusion pass. We can increase the intensity to make it more, more intense. And it's just to, again, like punch the details a little bit more before we export an image or a turntable so people can see and can enjoy our creations. Okay, so what I'm gonna do here is I'm going to click this sphere. I'm going to say I do not want to save any changes because I want to go back to the very beginning. And I'm going to start this, I'm going to save this project in my project folder, which you're also going to have. Quickly navigate. There we go. Now I'm going to call this is called start because this is going to be our first project. Now you don't need to open this and starting project because you can just start with a sphere. But in the next video, we're going to start exploring the basic brushes that we have over here and how they can help us to create a very interesting sculpture. So hang on tight and I'll see you back on the next one. Bye bye. 3. Sculpting Principles: Hey guys, welcome back to the next part of our series. Today we're going to continue with this counting principles. So let's get to it. This is where we left off the way you can start if you don't have the final, you don't want to open it, that's fine. You can just click the sphere. He'd start with a new one and that's going to be good. So now it's time that I show you how the brushes work inside of serious, well, we've already seen how the interface works, which is very simple, as I've mentioned, it's everything that you see here on this window That's all there is. There are no more hidden menus or anything. So that's very, very good for me because I can teach you all the different tools in a very easy way. So I'm going to go into my standard brush right here and just click on the brush. And I'm gonna go here and lower the size. So the way brushes work inside of ZBrush is you have this outer ring and this inner ring on there, purple icon. And that's very much the area of influence for the brush. You have the main area of influence, which is the small circle and then the fall of that you have on the on the border. So if I were to do this, you can see that there's always going to be a little bit more intensity on the center. And then we have this gradual fall off on the sides. Again. Just keep that in mind. Remember that we can change the intensity of the brush by lowering this slider over here. So we have a very soft brush, we're going to have a very soft transformation. You can see it's very, very subtle there, which again, very good for us. And remember that you can also control this, the pressure on your tablet. So if I go very, very softly on my tablet, you're going to see that we get this very nice thin lines. And if I go really, really strong on my tablet, I can get a lot of volume very, very quickly. So changing the way you pressure on your tablet or the way the amount of pressure that you apply to your tablet will also change the way the brushes work. Now, another brush that is very, very important is the shift brush, because the shift brush will turn your brush, in this case in this sort of orange color. And it will allow you to soften up all the elements. So as you can see, if I were to go at the sites of this like snake that I just drew, it gets softer and you could technically soft and everything back all the way to how it was when it was a sphere. But you're gonna take a lot of time and you can see the intensities all the way up to a 100. So even then, it will take me quite a bit of time today to just erase all of this. So that's why we have, of course Control C. And we also have a couple of other brushes that we can use to modify our sculptures. So let's take a look at them. The clay buildup, It's one of my favorite brushes. I'm really glad that this here in silver score because it's a very aggressive brush. It's kinda like adding like lumps of clay to your sculpture in a very, very dynamic way. So very easily I can start adding stuff into my element and creating volumes that I'm going to later refined into whatever shape I'm looking for. Now one very cool thing about all the brushes is that you can press Alt. And if you press Alt, what's going to happen is on the lower side of the little crosshair there, you're gonna see a negative sign. So now the brush is gonna do the negative operation. So if the positive is adding, the negative, of course is removing. Look at that beautiful thing. So now I can decide if I want to remove elements or add more elements depending on the kind of creation that I'm doing, which again, is very, very handy. The influent brush works in a very similar way. Implies it's, it's just going to inflate the surface. It's kind of like a balloon shape. So very, very cool. It will inflate things around and it will give us this very nice element. It can soften this up. And maybe these are like some sort of horns or some sort of appendages on the monster. Something well, there you go. So inflate and deflate things. The only issues that you might get those sort of like like artifacts that you need to smooth out. Remember with shift, with MOOC. And we're going to be changing them on the fly. We have the paintbrush, which is really good to pinch things together. You can see we can create some very sharp lines. So for instance, if I were to grab a standard brush, make it really small, and I want to create some sort of like gills or something. I can just like quickly create the little holes there and then use my paintbrush, make the process a little bit bigger. And then just pinch that together, see how we can close the elements and make this very, very sharp lines. So benches good for that move is also one of the most used brushes for pretty much everything because the mode will allow us to move. Our laws are big parts of the sculpture without having to add the volume by ourselves, we can just start moving things around and creating whatever we need to create, right? So move very, very handy. And the brush, snake hook is a very aggressive brush, but it's very cool. What it does is your gravity point on your surface and then just stretch it out into this sort of like snake shape. Very good secretes, things like horns, antlers, tentacles like Oh, of course, depending on the size of the draw sizes is how much you're going to get out of the shape. So here I just create like this sort of like Medusa kind of shape. And you can always go, for instance, with the in-flight. And if things are a little bit too thin, just make them thicker. C. So brushes worked in conjunction with each other. It's kind of like a teamwork, right? Like you're not going to just use one brush, are going to be using a lot of different brushes, then we can just smooth things out. And you can see that sculptors is doing its magic and it's making sure that we get this very nice evenly distributed topology if we turn on this thing right here, which by the way, the sugar that is, I believe Shift F, you can turn it on and off. And you're going to see that we have more triangles on the tentacles because they need more resolution and less triangles. For instance, down here where there's not a lot of detail. So that's the snake hook. Let's go onto the slash, which is very cool as well. The slash is kinda like a knife. So again, it's pretty similar to what we just saw with the, with the standard and the combined light. We can create this sort of lines that are going to create interesting patterns and stuff. So if you want to do wrinkles or false, this one works really, really well. The Polish, one of my favorites, as well as its name implies, a will polish the surface. So especially when you mess up like let's say I added like a bunch of the hill. That's very noisy, right? And I want this surface to be a little bit flatter. And that case I can go to the H polish. And what age polish is gonna do is it's going to start pushing everything into a single like flat plane. So very good to clean stuff. I remember how the brush can do wonders, but not as much as what we're doing here with the, with the Polish. So Polish, really, really, really good to do this kind of thing. I'm going to leave the chisel brushes out for now. I'll explain what they are later on if you want to try them, go ahead, but they're a little bit more complex and it might not make a lot of sense like, why, why do we have a near here or why can we answer like a like a dog's nose and stuff. I'll explain how we normally use those and how we were going to be incorporating them into our workflow. But now it's time we jump onto our principles. Now that we know how the brushes work, it will work, It's time that we jump into the principles of sculpting. Sculpting there's something that's being on the world for a long time. It's an art to that a lot of people follow. And today we're gonna be doing a skull. And I want to do a chimpanzee skull. Normally I do like a human skull. Think chimpanzees is going to be fun this time. So we're not going to do the full scope. We're just gonna do the upper part of the skull. And what we need to understand is that every single object in the world, every single thing that we want to create is made out of shapes, okay? So sculpture is the way we communicate those shapes and we convert them into something that's that everyone can understand. What do I mean by this? Well, if we take a quick look at this guy right here, you can see that the main shape, the upper part, is the sort of sphere, right? So it's like a sphere that goes in this direction. And then we have a couple of like eye sockets sitting on top of this shape. And from here it's kinda like a cylinder right? Going to the front. Of course it was a lot of details and we're going to be adding all of those details, interests, culture. But generally speaking, if I were to simplify this into like some sort of Modern Art thing, I'll probably do like a circle. The eye sockets and like a cylinder, right? Like this is the basic shape of this like chimpanzee skull. So our mission as sculptures, our mission as artists is that we need to transform this image that we have right here, this information that we were abstracting from the element and convert that into an actual reference. Right? Now, I'm going to plug here a nice little software that I recommend. It's called, it's called pure ref, pure roughly say free software, which will allow you to have a lot of image, a reference images on your screen at the same time, which is very, very cool. I'll show you how it works very quickly. When you run. Prf is just this thing right here. Right-click, you're going to move this thing around. And if you copy and paste images, you can copy and paste as many images as you want. I usually recommend having several images because the more reference that we have, the better is going to be. You can of course resize them. So they don't occupy as much space. So for instance, let's say I like this reference right here. This is perfect because it's actually comparing a human and a chimpanzee skull. So I'm going to copy the image and I can just press Control V to paste it. And there we go. Now with my right-click, I'm just going to move this to the, I have another screen. So if you have another screen, you can smooth it. If not, you can just leave it in and out and tap to change from one to another. So I'm gonna go back to the beginning of the sphere, just going to start with a new sphere right here. And what I'm gonna do is I'm going to use my brush with a big draw size to start giving this the shape from the side view, you can share it here on the side view, the shape that the school has, probably going to make this a little bit bigger. And I start pushing this. Because as you can see on my reference, it's sort of like this oval shape. And then we're going to have this thing going to the front. So I'm using my, my brush to give this sort of shape. Then I'm going to make my brush slightly smaller. And I'm going to start moving this thing to the front, which is kinda like the cylinder. And I'm going to go to the front view. It's very important that we continuously change the views because as you can see how this looks very ugly, I need to smooth that out to make sure that everything is as nice as possible. Because sometimes we sculpt only from one view. And then when we change the abuse. Things look like very, very weird. I'm going to make this draw size even smaller. I'm going to start pushing here the square where the eye sockets are going to be. Something like this. Say coulomb, just like moving around my claim. I think jurors, you're grabbing like normal chunk of clay in real life. This is exactly what we would do. Now I'm going to go into my standard brush and using a smaller brush, a little bit small, I'm going to press Alt and I'm going to start carving in the basic shapes. I know that we're going to have this sort of like eye sockets there. And then I'm going to make this a little bit smaller. And I know we're going to have the nose right about here. And the thing that you're going to need to do quite a bit is you're going to have to compare. This is one of the secrets of the sculpting world. So if I were to compare the distance that I have here on the eye sockets for instance. And I compare it to the distance that they have. I'm going to realize that my distance is way, way too big. So I need to grab my brush. Probably make this bigger and push this closer in so that it's closer to what we have on the reference. Okay, so this is the main way that we normally work in the sculpting world. I were going to be taking a look at a reference and this will move this to the side. There we go. So we're gonna take a look at the reference and ask ourselves the questions. How is Howard the position? So my reference, right? I, my, my things like really far apart are really close together. By Howard, they looking, for instance, I see here we're going to have the facts coming here. That knows it's a little bit bigger. So I'm gonna make my draw size a little bit smaller. Just so I can push the nose here. There we go. And now I can go, for instance, my clay buildup. And I'm going to start adding. We're going to make this a little bit bigger, some volumes. So for instance, I see here in my reference, let me copy the image. Copy, Let's go. I see this right here is sort of like arch. So that's the sort of arch, the value now want to transfer here into my sculpture. So I'm going to start using ALT to, to carve out the backside of this arch like this. And then I'm going to use just positive like normal. I'm going to start adding volume to create this sort of like zygomatic bone. I'm not sure if it's the same name for chimps as it is for human, but are our cheekbone, it's called the zygomatic bone. So I'm going to start having the volume there to make it seem like there's a bone actually like coming out from there. And there we go. And this is the tree guys. You're going to take a look at your reference. And right now we're doing something called primary forms. Okay? We're, we're placing into our character in or in our character replacing the primary forms that make up the element that I'm going to start reducing a little bit here because this is where the, where the teeth are going to be. This character has the phalanx right here. I'm going to smooth out here a little bit. And here in the front view there's only four teeth, so it's 1, 2, 3, 4. Like this. Just I'm just misplacing things that should be there for now. I'm going to create a booklet. Move here, make this smaller. I think mine here, it's a little bit to to forward. So I'm just going to move it back a little bit. There we go. And now for instance, with my snake hook, I could go here, make it smaller of course. And do the facts. I've just pushed the facts out. Put the upper teeth. They're going to make this really small and push this in. And then just move that out. Because I want, I want all of them to be slightly separated. Use number 0, brush here. They give this a little bit more of a square look. You take a look at the reference. The front teeth are really square like ours. There we go. Now we can graph, for instance, the slash brush and Nick induce this lash brush to really separate the teeth. They're really separate like the line here. And again, this is what I would call just like the basic shapes is just the primary forms can go into my easily brush. Let's increase the size a little bit and make the fangs a little bit wider and smooth them out. Perfect. So we're in a very good position here, guys, I want you to try and get to this specific place. Tried to place or to draw all of this main shapes. The sockets of the eye, the sockets of the nose, the different parts of the skull over here, probably going to have a couple of more details here. So let's continue just a little bit more. I'm going to have some sort of weird shape over here. I'm like, I'm like a border going all around. I'm going to reduce a little bit of volume here. So with my, with my clay buildup and pressing the Alt key, I'm just removing some of the volume here. So the school logs looks a little bit nicer. I can definitely see that my skills are a little bit to like roundish here. So I'm going to go into my Move brush and get a big draw size. And then just push this guy in a little bit, just a little bit more square. There we go, something like that. I can also go back into my clay buildup. I really like the clay buildup because not only is it an aggressive brush that allows me to, to work a little bit faster? It also lives this short of like texturally look to it that we can use to our advantage. So for instance, here I'm just carving here on the nose. And I'm just going to start modifying the formula, taking a look at my reference and comparing, am I, am I doing good? Are things flowing the way I expected it to flow? And right now I think we're in a very, very good spot. So I'm going to save this. I'm going to save this as it's called. Start is going to be the sculpt start rather than the sphere, because I think you can just start with a sphere and that's fine. So if you're having issues getting to this point, just continue from this one that I just saved because we're going to start adding more and more details. And of course, you usually want to have a nice, nice shape here. Now don't worry, a scolding takes time. It's not an easy and it's not an easy thing, especially if you're just learning the basics of ZBrush, you might get a little bit frustrated with the way the interface moves away the brushes work. So, so don't, don't worry, just just take your time, be patient and put in the work so that you can get some very, very nice results. Okay, so I'm going to stop the video right here, guys, and I'll see you back on the next one. Bye bye. 4. Refining the Form: Hey guys, welcome back to the next part of our series today we're going to continue with our skull. So let's get to it. This is where we left off. This is the final element that we have for our sculpt, and it's now time that we start refining our surfaces. So I'm going to show you a nice little trick that you can do to understand how the forms are flowing. So anytime you see your reference, such as this one right here, what I want you to observe is the lights and the shadows, okay? Take a look at where the light is hitting on this object and where the shadows are. For instance, on this part of the Fang, I can see that the light is right here and the shadow is right here. That tells me that this Fang has this sort of like circular shaped, like a cylinder. And this is flowing down into, of course, the end of the shape. And the reason I know this is because cylinders are shaded this way. Now if I take a look, there's a shadow here and there slide here. So this is kind of like a plane that's on this side of the skull. And then it kinda band solo bidding to this sort of shape. And then once it gets here, it's kind of like a curvature, right? Like if we were to draw it like that topological surface of this object, does this sort of thing, right? Where it goes into the, into the mandible, into the mouth, creating this sort of like concave area. Got it. So analyzing how things look and understanding where the high points of the elements are and where the low points of the elements are based on the lightning information are two of the most important skills that you need to develop as a sculpture. So by taking that into consideration, what I'm gonna do here is I'm going to grab my clay buildup. And with a medium size brush, I'm going to start carving in that concave shape that I just saw. See how I'm using my, my clay buildup in the same direction that I just drew there on Photoshop. This is going to allow me to connect, control, how I want the lines and the form to look, which is a very, very nice technique. Wheels had this like very flat surface right about here. And then we have this very broad like like eyebrow, right? So start adding a little bit more volume here to really, really push the eyebrow of this character, like further out, like this. And again, see how I'm using my brush and following kind of like the shape of the object, making sure that it kind of like it's kind of like, like when you're drawing and you're doing this sort of shading where all the shading goes in the same direction as your, as your initial drawing. That, that's kind of that technique that I like to use here on my, on my sculptures. Because even though that kind of like rough noise and detail is going to be erased later on. We're gonna, we're gonna have pretty much a smooth everything out. It really adds a little bit of texture and form to the whole thing, which I think It's really, really helpful. So for instance, the eyes I can see that they're not completely around. So I can make this smaller and I can start polishing and changing the shape of the eye. See how we have this sort of like shape right here. There's a little bit of like a crevice here. And then like this, well, get started having that. That's the kind of thing that I need to observe in my reference and start adding. So I'm using here my clay buildup as you can see, but I'm also using my small brush to smooth out any, any sort of extra details that we have. Now, I'm not too worried about the internal anatomy of the eye right here because it really doesn't matter. But it is important that we, that we take everything into consideration. So for instance, the Move brush, I'm going to use my movers and I'm going to move this thing a little bit higher to match that sort of effect. The smooth brush here, smooth all of this new curvature that we just created. And now remember that we talked about the fabric here. So I know I'm going to use my slash brush here. I know that my fang or shoe then right about here, that's roughly the distance. And we need to have this sort of cylinder shape going like this. And so now I can go again. I like my clay buildup. Start carving out here and creating this sort of like cylindrical shape for the, for the bank to, to attach to. Like this. Make the smaller, smooth out, a little bit bigger. So it's a little bit more aggressive. And there we go. Now on the side view, I can see that this thing that I have right here shouldn't exist because this is where the teeth are. So I'm gonna go with my clay buildup, slightly bigger size and it'll be a little bit more aggressive here. Pushing all of these elements out because this will be empty, right? This will be aware that we're all like the palate is Located, the throat and all that stuff. So same thing here like we can we can get rid of some of this information because on this side, this is where we will have the insertion of the mandible. So I'm actually going to just get rid of all of this. We can leave it like this. I actually kinda like living in like this because it looks very like a fossil, right? Like it was taking out of the rock. So for now I think we can leave it like this thing. It looks, it looks okay. And we can focus on the, on the teeth. So this is where the upper jaw would be. And the ventrally, this is where we're going to be adding that you remember to smooth out. The smoothing will help. Alleviate any places where there's not enough of polygons. Now we're halfway in, as you can see, we're halfway there to the amount of detail that we can have when we smooth things out. We should be reducing some of the polygons. You can see we're lowering all of this on because I'm more detail we have, of course, the more elements that we're going to get. But you can also press now this button is right here. So as you can see, what these buttons will do is that we will try to reduce the mesh to this amount of polygons. And it will do so by adding more triangles when you need them and reducing the triangles work, you don't. So if I were to go for low, for instance, what's going to happen is we shouldn't lose any detail. Let's just wait here a little bit. You can see the processing going in there. At the top. We shouldn't lose any detail. And now we're at a 150 thousand polygons. And again, what happened is we have less polygons where we don't need them as much. And that's going to be very, very helpful for us because it will allow us to stay within the budget that we're working with. So let's keep polishing here. So you can see I'm just like woman listing down. Let me check the reference. This thing seems to be pushing quite far out and mind seems to going, going inside. So I'm gonna go again to the brush and move all of these things out. I very good rule of thumb that I can give you guys is, whenever you're thinking about big shapes, big movements are in big like silhouettes and stuff. You're probably going to be using big brushes, right? So changes like this one, it's easier to just grab a brush and do like a very big broad movement here, rather than trying to build up with the clay buildup little by little, further to go into the process. So the more you advance and your sculpture that's smaller and smaller your brush. So you're gonna get, because you're going to be working with the tiny scale, right? So for now we're working with a very high scale. We're working at the secondary level. This is what I would call the secondary forms, the refinement of the primary forms. And therefore our brushes are going to start getting smaller, but not as small as what we're gonna be using once we go into the details. So as you can see, I'm using here the heart polish, the heart polish brush. And the only reason I want to use it a little bit is because I went to the school to be like a completely round. I wanted to have like some sort of fica, interesting organic shape to it like this. Now think about where we started. We started with just as fear and now we're in this very nice position. And that's what sculpture is all about. My Greg and I start working on something. And the adverse it might not look like much, but the more you move it, the more you you change it in, the more you work with that, with the form that the closer you're gonna get to your, to your reference. So here what I don't like are the teeth. They seem to be like way too low. So I'm going to move them forward. I'm gonna move this back a little bit. I'm probably going to use my inflate here just a little bit to give the team a little bit more volume. And now we need to fix the forms here because as you can see, this is where we initially, that's what we initially built, but now it looks very, very ugly. And if we take a look at the reference, we should be able to see this sort of like cones very, very nicely, right? So I'm going to use my clay buildup again. Smaller brush because when we're now getting into like more finer details, a little bit bigger, we're going to start creating this sort of like cones that are going to create the road candle or channel for, I think scandal for the, for the teeth. Same thing here. We start adding the volume. We push this into the are closer to the nose. The nose doesn't seem to have a lot of changes in volume. Some skin, I had a little bit of change here. I'm going to get a little bit of like a, like a whole point there. First, let's just move the sound. Now, covered the teeth properly. So it seems like the teeth are coming from within. We could also use the slash brush for that. Just start carving the the entrance they are. See how that makes it look a lot more realistic. Now, my, my fangs are really, really big, which I don't think it's a bad thing to be honest. Once you're sculpting, you're also going to be doing something called artistic liberties. You're going to take some thumb approach to your sculptors and then you're gonna see, you know what, maybe this is not just like a normal chimp. Maybe this is like, sort of like super aggressive guerrilla kind of monkey. And you want this guy to be like really, really diverse and like a monster for a beat again, right? So maybe I can exaggerate them. Thanks, That's perfectly fine. It's perfectly fine as long as you're working on something that's your own, right? If you're working for a client or something, then you of course, need to follow whatever the client is telling you to do. I'm going to add the teeth back here. So I'm going to start with like this sort of high ground. Round the bullets. I can count 1234. It's like four or five. Should be like the molars shown, probably a little bit bigger. And then I'm going to use my H Polish again to polish the backside of the teeth. Now considering that these guys and these guys are in the same mouth, you would expect them to be in the same or in a similar size. I'm going to use the influent brush here and just influent them quite a bit. There we go. Now when we smooth them, you can see that this one's a little bit intense. So let's go very softly here. There we go. Now we can grab our H Polish again. Polish here. We can grab our clay buildup and make it smaller and start adding the channels. Riley, we wanna make sure that each teeth has its own sort of like insertion point. We can also grab the slash brush. This is molars well, caught him to the teeth. So we can start saying like the divisions because, I mean, the infant doesn't look good but it looks like they didn't look like separate feed now. So I'm going to cut the divisions there. And then we can use the Paintbrush, For instance, to make sure that caught that we just did, it's a little bit sharper. We can also go back to this lash very softly. Definitely make this smaller, very selfless, create the channels here. And then again with the clay buildup. And as you can see, this is a process that would, you're going to be switching back and forth between all the different tools that you have a George disposal on chilled You get like a very, very cool effect. And that what we have right here. And yeah, I think this is looking very, very cool, to be honest. I don't think we're missing any major like shapes. So I'm just going to start adding. I want to add a little bit more detail here. So you see this, this sort of like effect. There's a little bit like, like mass there. So labor, we can just get a little bit of extra mass. You're just a little bit of texture. Remove a little bit of filaments here. And again, soften up, soften all of that to how that just that very little effect right there. We'll really changed the way this thing looks, which is really, really, really cool for us. Remember, you can at anytime turn on this occlusion thing, which will show you a little bit more of the details. It's just a, just a preview thing that some people like to work with it. I personally don't think it's that important, but the view, if you like it, feel free to use it. There we go. There seems to be sort of like triangular looking shape there. Let me see if I can incorporate it. It's kinda like how this thing flows into the bone. So very, very softly again. And we're, we never worn out like exaggerate things in a way that makes it look on realistic. And that's it. Cool. So I'm gonna save this project as the Skoll. Well, you know, Skoll meet wave. So that you, if you want again to continue from this point on, feel free to do it if you will. I strongly encourage you to do your own, of course, so that you can learn from your own mistakes. But if, if you want to just continue with the next phase, which is the details, and then you feel like you're still not where you would like for the details and feel free to use a decimal that we have right here. And that's it for this video, guys. I'll see you back on the next one. Bye. 5. Detailing the Skull: Hey guys, welcome back to the next part of our series. Today we're going to continue with the details of our Skoll for our very first introduction level project. So now what we're gonna do is we need to start being a lot more critical about all the things that we need to add here to our skulls, for instance. So you note this is very thin and then we have all of this like elements here. We can definitely add those in here. Probably not all the way to like an anatomical level. Well, we can definitely start pushing this things in such a way that we get this very, very nice look. So I'm going to actually turn on my pure ref over here. And I'm going to assume in the home very zoomed in on this particular piece. And this will allow me to see how this thing is position. So I can see that this, now, this is the point where our brushes aren't gonna start getting like really, really, really small because we're gonna be working on the very, very small and in particular details about our sculpt. And again, i'm, I'm removing geometry. And I'm adding geometry where we needed right? Smoothed out. And we don't have AS much. For instance, right here I can see that there's a whole very interesting hole on the side of the eye. And I'm just carving all of this very small anatomical details. Now, the reason why this is very important is because maybe some of you guys are interested in 3D printing. You wanted to make your own miniatures or you want to sell some sort of like collectible or a toy or something. Well, these are the details that people are going to really, really love about your sculpture. Like people who really go into this sort of things and actually like, like place all the little holes, all the little elements, all the little things. That's the kind of figures that people will read like, I'm a huge fan of Dungeons and Dragons. I designed my own miniatures. I prayed them, I print me interest from other people. And I love when the miniatures that I print them paint have a lot of this sort of detail. So, so as you can see now I'm adding all of these holes. Usually in anatomy, this holes come from places where the nerves are going to be coming through into the face. So the facial nerve, the optical multi optical nerve of course, would be back here on the, on the eye. So we can add them. And then if I see that some of them look weird or something, I can just start like blending the mean as you can see here, but see how smaller my, my brushes, we're now at 14 points of size here for my, for my draw size. Unfortunately, the amount of geometry that we have here in Super Core Meany won't allow us to go into like super, super thin like crevices and stuff. But we should still be able to get a very, very nice, I think we're quickly approaching our limit here in, in resolution. There we go. So seeing it right here, it says, Sorry, the mesh is created with two dense for this mini version, That's fine. I'm just going to reduce. And remember to reduce. One thing we can do is just go over here. And it will reduce the topology, give us, give us more triangles where we need them and less triangles where we don't need them. And that should allow us to continue working a little bit more. Again, that's, of course it's one of the downsides of this free version of ZBrush, but see we're back at 3000, right, so that's very good because we're going to be able to add more details where we, where we need them. So for instance, here, I'm going to start doing this. Let's make the process a little bit bigger. There we go. Now, so far, we've been working with, with symmetry turned on. And symmetry is really good because as you can see, we were able to create this whole skull very easily. We just had to worry about the one side and we were certain that the other side was being built at the same time. But once you've got your getting to this place where, where we're working on the details. One thing you might wanna do is delete symmetry. And we can now go, for instance, with the chisel brush or the slash virtuous, sorry. And let's add some sort of like scar or like a, like a broken bone over here to the, to the character. So I'm gonna go with like slash brush. And I'm going to start slashing. And this area right here, maybe this guy die because he suffered like a very terrible wound here on this call. I'm gonna go with my clay buildup, make it really small. I'm going to start carving in to make this crab us a little bit more intense. However, see how just by making this very simple detail, the geometry is jumping in and jumping and jumping and creating a lot of polygons because of course the details are smaller. So unfortunately, as I mentioned, this is only the free version on super score. The amount of polygons that you can work with this way, way bigger. So you shouldn't be able to get a little bit more detail. So often that there we go. Look at that and we can get this very nice looking like crack going through the character. And let's make this slightly smaller. Let's have another branch of the crack on those places. And down here. I would also like to try when you start getting those artifacts. That's because C, which doesn't really know how to, how to blend the triangles together. So you're going to have to go into like a bigger brush, make it smooth it out. And then you should be able to. To add a little bit more detail. And the cool thing is even though this detail might not seem like much, it will be visible on a 3D print. So if you were to print this object, the reasonable size, like five centimeters something, you would definitely see this graph and you will be able to paint it and do very, very cool stuff. So yeah, we're in a very good position. Let's keep, I think more details. So let's take a look at the reference again, and let's see what else can we do? Oh, this is something I missed and this is very important. See that there's a crest there. There's like a very thin line on the top there that I for some reason I completely missed. So let's add it. The way I'm going to add that specific details, I'm going to go with my clean, we'll make it bigger. I'm of course going to turn on symmetry again at the crest first, like a Mohawk. There we go. And then with the clay buildup, I am going to smooth first. I'm going to start reducing. Usually paper thing, things are when things are really, really thin like this crest, you want to always give them a little bit of thickness because otherwise it becomes a little bit difficult to work with, especially for traded printing and four, for animation and stuff. So things are usually never like paper thin. They will always have a little bit of fun of what's the word of thickness. So here I'm going to use my brush. And I'm going to start moving this up to make sure that this is following the the shape of the skull. There we go. I'm going to use clay buildup now or again and just start moving a little bit of volume here and going to give it a little bit of texture. Being very careful not to, not to over a step. My boundaries here with the with the amount of detail, remember 8 thousand or about 7050 or thing was the, the limit for my polygons. So now if I go very, very softly with my clay buildup, I can add a little bit of texture. Texture that will be a little bit difficult to achieve. But by pushing the limits of this thing, we should be able to to do it. For instance, here there's this sort of detail on this side. Well the South and probably a little bit of polish here. Now, I think this will be, I think we can merge this a little bit better. Okay, like kinda nice flow, like a nice blend here. And look at this beautiful guy. If the wholesaler little bit too intense, you can always go back with a clay buildup and just fill them in a little bit so they remain like a very subtle detail there. But again, just think about how we started this thing started just as a simple sphere. And now we have a very cool looking and atomical like a chimpanzee, chimpanzee skull. And this could be exported for a game and be prepared of course, with rich biology and movies and all that stuff. We have a lot of courses that talk about that. So if you're interested, feel free to, to get those as well. But in this one we're going to be just focusing ourselves on all of this sculpting principles. This is the first exercise of the series guys, we're going to be exploring how all of these different tools work and how we can utilize them to do a lot of different things. We're going to do about five or six different exercises. This is the first one. And my main recommendation is the following. Make sure you get to a very close position. If you can get yourself close to this, then we're in a very, very good shape. If you take a look at your stuff and you're like a business completely wrong. This is not looking like what Abraham is doing. In that case, I would strongly recommend you to do it again into just two takes, about an hour to do this sort of exercises. Just do it again. Make sure you take a look at your sculptor and see, okay, what's wrong. What am I missing? Am I missing form? Am I missing detail? Am I missing shapes? Like take a look at all of those elements and you're going to be in a very, very good shape. Okay, so I'm going to stop the video right here, guys, make sure you get all the way to this point if you want to compare, I'm also going to save this as skull finish, which is the final result of the project. And if you want to compare yours to mine, then you're going to have this file for yourself. That's it for this one guys. I'll see you in the next one. Bye bye. 6. Chisel Brushes: Hey guys, welcome back to the next part of our series. Today we're going to be exploring one of the final tools that we haven't touched so far, which are the chisel brushes. So I'm back here in Super Core with this basic sphere. I just press the sphere of base mesh up here and show you how this chisel brush has work. So the way this guy's work is as follows. On the top part you're going to have all of these different presets that you're going to be able to use and pretty much insert onto your sculpture. Now, the cool thing about these presets is, as the name implies, they're going to be giving you a little bit of a headstart. So let's say we want to model like a human head and we want to insert the ears. I can go to the side view. So this year right here from the CISO 3D. And then just drag and drop until we create the size of that we want. And there you go. Like their shape is completely done for you. You don't have to do anything else is just there and you can keep working. So for instance, let's say we want to create like a dog or something. We can go here to the middle, create one. And at this point I will probably turn off symmetry and then just draw the nose. And that we have at the docks knows. Now, as you can see, some of this are like they don't work exactly as we might intend. Like in this case. We can see like the way this thing, like kinda blends very ugly with the head. But we already know our tools and we can just graph, for instance, or clay buildup. Make this a little bit bigger, and then just start blending this thing. So the nose falls nicely. I miss the symmetry line right there. It's not perfectly symmetrical, but that's fine. I mean, if I, in this video, I just want to show you how this brushes work. Now one of the cool thing about this brush is though. Let's go back here. Is that on the CISO 3D we have very standard humans sort of things. We have ears, not all human, right? This is more like a goblin or like an elf. We have this like sort of man, which is for like a creature, which again, we can do in and create things that are going to be very interesting for us. As you can see, the penny, how big the object is, the more detail you're going to be able to get. So for instance, with this amount of detail, you're not going to get exactly what you want. Of course, when you use more things out, you can get something different there. But yeah, so, so the bigger the object, the more detail you're going to be able to get. The CISO creature has very similar elements which are aimed a little bit more towards creatures. So as you can see, we have like horns. We have scales which you can add as many as you want until we reach the, the limit on the polygons, of course. But as you can see, it's a very, very nice element that we can't use her nice tool that we can use to head-start our our jobs, right, or our projects. So what I'm gonna do here is I am going to go into that chiseled shapes now. And this one I actually really, really like because as I've mentioned before, every single thing that we do in sculpture can be translated to some sort of shapes. So for instance, the mouth of a character, It's kind of like a barrel. So if I were to put this like barrel-shaped where the mouth of the character would be. Something like this. It will be a little bit easier for me to sculpt the lips of the character on top of this shape because I already know that this is roughly the shape that a human head. Okay, so don't underestimate this shapes because again, as I've mentioned, they're really, really good. And even though they might look a little bit basic, if you know how to get the best out of them by sculpting the proper proportions, then you're going to be having a very good time. Finally, we have this organic, which has a lot more stuff in here. Again, some of them are like this animal beak. Pretty cool. Let's try and see if we can place it. There we go. There we want to do this sort of bird creature would like human years. Well, there you go. Anaemia mouth and the mouth. Some more maths over here. On the May I, which again, if you want, you can just insert. So this is pretty much the way C versus core, meaning is giving us something called alphas. Alphas are something that we use a lot in the other seabirds versions, which allows us to add a lot of very cool details. However, here we don't have that option and that way we can share Kim bent, that sort of thing is by using elements right here. So I want you guys to do a small exercise with this. We're gonna do a small little like whimsical creature. So I'm going to start with my Move brush. And first I'm going to give this sphere a little bit of shape. So imagine we're creating this call of the character. Let's try doing well. Be a nice thing. Again, I'm, I'm, I'm a huge fan of DNDS I've mentioned before. So I'm using the brush here to create a little bit of it like a neck. So I'm creating the next smoothing out to give more geometry. And we're going to create like the back of the character here. And then let's do the front. This is not one of the main project by the way, this is just one quick project to get used to the chisel brushes. And let's look like a demon, like a little cute one SQL daemon. Not like the scary time, just like a, like a phone, like an N or something. So as you can see, I'm just using the Move brush to move my play around and create this sort of like a bust shape for the, for the character. Something like this. There we go. We smoothed out. And now let's give this head a little bit more of like a, like a human hair, similar to this guy right here. See that? Very cool, right? I'm actually going to save this guys, this, this shift for you guys because I think you could benefit from this. So if you find people that are working with this sort of projects, you can actually load other people's projects into your own ZBrush mini program as long as they were made in ZBrush mean if they were making serious, I don't think you can import them here. So I'm going to call this base mesh human. So if you ever want to do a human, you can just use this mesh to start with. Now, usually this kind of creature. So I'm gonna go for my clay buildup. They have very big eyes, right? So I'm going to make the draw size small. And let's create like the like the sockets for the eyes. Right there. There we go. So as you can see, I'm carving in and smoothing out and I'm going to go into chisel shape. I'm going to grab my sphere right here. And we can just drag and drop a sphere. And we get this very funny, googly eyes. Look, there we go. Now we can start smoothing out. I can, I can use the MOOC brush here to move this closer together. Let's smooth this out. And for instance, with my clay buildup, I can start building the top eyelid like this. And then the lower eyelid. So we'd use a sphere as a sort of place holder. And now we build on top of it. Now of course, the eyelid us pretty much being converge with the eyes. I'm just going to use my slash here to cut in, smoothed out. And make sure that this looks nicer. There we go. For the mouth. I'm gonna go with the clay buildup. And let's do like I want to do like a strong jaw. So like more volume here on the jaw. And I want him to have some sort of under bite, right? So you've seen like Popeye, it's spinach and gets really strong. Okay, has like an under bite. So we're going to have the fangs coming out from here. And this is where we can go into the chisel brush and say, Hey, you know what, like I want to use this teeth one. And we're going to just add like a teeth right about here, right? The brush will work to based on the direction of the normal of the faces. So depending on how, what angle you have, that's how the brush is going to draw. So you can see if you want to have a very straight fan going to the top. One thing I could do is I can add a little bit more volume here. And then with my Polish, create a little bit of like a shelf in here. Let's see how that's really, really straight or a little bit straighter. Now if we go into the chisel creature and we draw from there the Fang, as you can see, it's going to grow a little bit more straight like this. And now we just smooth out and use again our clay buildup to start rebuilding things here on the chin. So usually we have like a, like a little chain here. And then that's the lips. There we go. I'm going to carving here underneath the eye to create like a, that the zygomatic arch, which these guys usually have this funny guy. Ears. We definitely need ears, right? So what I'm gonna do is I'm going to go into chisel tree and we have this like Elvish, Elvish ears. So let's add a couple of ears to our little guy here. Probably horns. I think horns will be a good idea. So again, I'm going to go into chisel creature and I like this horn to. There we go. Now as you can see, the only problem with the horns is that they get a little bit too pixelated. So I'm going to smooth them out. And then probably we'll need to go in there with our slash brush again. Small size of course. And and read detail them, right? Because the size of the creature was not really good for what we were going for. Word good in poly, poly count right now, I think we're in a, in a good amount of polygons. 00 00 thing. Here. There we go. A little bit of a bug there because I can rotate but that's fine. Knows he doesn't have a nose. Let's do it manually. I'm just going to draw a little nose here. Like that. Just smooth out. And now we can start to think a little bit of details. The next project that we're going to do, by the way, it's going to be a full character. Let's see if we can achieve a full character with a, with just the basic geometry that we have Hubert, then we're going to be doing a very full character. Again, a little bit of a stylized 2 and character. And we're going to be touching a little bit about anatomy forums and things that are important for the sculpting process. So one thing is, for instance, the clavicles in the sternocleidomastoid use, which is a muscle that goes from the back of the jaw. Right about here, from the back of the jaw to the clavicles. Like this smooth out. We should have a little bit of like a hollow part here. And then we're going to have to the trapezius muscle back here like this. And then if this is male character and you probably have the Adam's apple just pushing the silhouette. They are a little bit more. And then we can add a little bit of detail here for the like the pectoral muscles, right? See how I'm, I'm drawing the muscles in the direction that the muscles should go because the pectoral muscles insert themselves into the, into the arms. So by drawing the lines in such a way, it makes it a lot easier for me to understand that that's where the muscles are are gone. And there we go. Now if you want or if we want to, we can add a little bit more detail here on the ice. So for instance, let's add the, the, the hollow, hollowness of the iser. And some people in traditional sculpture, what they do is they'll add a little bit of extra volume here to, to kind of represent the glow or the reflection of light to an anomaly. We have this like white, the reflection on the ice. So with that, we get the logo more life out of our character. So as you saw guys using the chisel brushes, It's a very, very quick way to create things that will take us a little bit longer to do. Now, here's where I'm going to give you my $0.02, my personal opinion about this sort of brushes and tools in general, in time, you have a tool that does all the work for you. It's important that you are able to do that work if you didn't have that tool. Hopefully that makes sense because right now, yeah, we're creating the free character and we're deciding that we want this kind of character and that's fine. Well, what's going to happen the next time someone asks you to model an ER. And the ER that they want is not in any of the chisel brushes and you can't find it anywhere online. You need to do it from scratch, like from the very basic forms all the way to final competition. Well, if that's the case and you definitely need to know how to model and sculpt and near. You need to know how to model and sculpt horn or ice or fangs or anything. Pretty much so, I always encourage my students to learn to do everything first. And then as time goes on and as you become more efficient with the tools, you're going to be able to cut a little bit of corners here and there by using some shortcuts like this, chiseled brushes because we already know how to do everything else. So if you had to do it from scratch, you will be able to don't, then it's very important that you learn how to, because you might face a situation. We're going to have to do it by yourself. And if you don't know how to do it, well, we're going to be in trouble, right? So that's it for today, guys. If you want to do this little exercise, feel free to do it. I am actually not going to save this one because it's just a quick exercise. We're going to be doing something a little bit more interesting based on this element. But we were going to use this guy. So just do it to practice the brushes to make sure that you understand how the brushes work to practice and get more comfortable with the software, of course, with ZBrush core meaning. And I'll see you back in the next module where we're going to start working on a full character. So hang on tight and I'll see you back on the next one. Bye bye. 7. Basic Forms of the Body: Hey guys, welcome back to the next part of our series. Today we're going to start with module number two, and we're going to start doing a full character. So what are we gonna do? Well, let me tell you, we're going to be doing a very nice goblin. As I mentioned, I loved Dungeons and Dragons, I love medieval fantasy. So we're gonna be doing a doubling and doubling. I'm not sure why you're getting this sort of Korean serious, but we're going to do something like this, right? A very cartoonish, stylized gobbling. Since we're gonna be doing a full body character, we need to be very careful about the amount of detail that we're going to be adding to our character. Because we can't just add all the details to the guy because we're gonna be running out of polygons very, very quickly. So I'm going to start with the hip. This is going to be the head. And the way we're gonna do this is first we need to create the basic forms of the character. So let me create a new file here. Whenever you're thinking about a character, you need to understand that there's three main masses. The hip, the dorsal, dorsal, sorry, the pelvis. And then from those three main masses, we're going to have the appendages, which in this case are the arms and the links. Right now, this stick figure, it looks really, really ugly, I know, but it's just for presentation purposes. Now, all of these three main masses are going to be combined, are going to be pretty much together thanks to the spine. The important thing here is something called a gesture. You've probably heard about this work, but I'm gonna explain that a little bit more in-depth. Gesture is the movement that we have intrinsically on our bodies, right? Like we take a look at any person, you're not going to see a stick figure. Persons and people usually have a very dynamic way of forms and shapes. And if we take a look at the human body from the side view, you're going to be able to see that because we're going to have the hip right here. I guess kinda like the Doritos shape. And then for instance, the torso, It's going to be laying down, seems like it's not completely straight. This it's like like falling back in onto space and then the pelvis is going to be pointing forward. So what we get from those two elements is we get this sort of like S shape. That's going to give us a very nice dynamic gesture, rights movement that we find on the character. The same is going to happen with the arms. The arms are not just going to be straight and that's it. You shall eat the arm goes straight like this. And then the forearm goes forward. And then the hand falls a little bit back, a little bit back. And for the legs, for instance, we usually have the upper leg going back, then the lower leg going forward, and then the foot like this. So see how there's a lot of movement on the human-shaped. That's the kinda thing that we want to capture on our school trip. Because one of the main issues are, one of the main problems that people have with their sculptures is that they sometimes make them look very, very ugly. So in this case, what I'm gonna do is I am going to start with the chest. This is going to be my chest. So I'm going to use my brush with a big size and I'm going to create this sort of like shape. And as I mentioned, the chest is usually like falling backwards. Like this. The chest is made out of the ribs, the sternum, and the clavicle soften this up. And there we go. Now from the top part of the chest, we're going to be extruding pretty much the head. So I'm gonna make my jaw size a little bit smaller. I'm going to start pushing here and sculpting so that we get this sort of like neck. And the neck, as you can see here on this image, it's actually pointing forward. So you how it's not completely straight. It's kind of like pointing forward. So very important that we move the neck towards the front. Like this. Okay? Now I'm going to use my easily brush and I'm going to inflate the upper part of the neck to create the half like this x. I know that the one I smooth. We're going to be creating new geometry Thanks to do sculptures all around the character. There we go. Now we can go back to the MOOC brush and we can push the head a little bit forward and start grading like the basic shape of my character. So I have more volume here, very important. I want everything to be nice and round. There we go. Now from the sides, we're going to create the arms. And we're, we're gonna do is we're going to start pulling these things out like this. To create sort of like the shoulders. I'm going to use my inflate, inflate this. And then again. Now with snake hook actually, I'm going to drag down like this. And with inflate, I'm going to inflate the arms like this. Let's simply this a little bit more smooth. Because remember when we smooth things are gonna get softer. Use the Move brush. A little bit of a bigger size. Push this back like this. I'm just going to move this forward degree the forearms. Like this. Usually when we Sculpt characters, we'd like to do them in a, in a sort of t posts or V pose because for production that's usually what we need. But in this case I'm just gonna, I'm just gonna leave the yarns like hanging like this. And then here on the arms, I am going to use my brush again and smaller size to create the hand like this. Smooth. And then even smaller brush. And we're going to get the thumb smooth, inflate. And we're going to start inflating. Listing. What I'm creating here is what we call in the industry a base mission. This is not the final result. This is just a mesh that's going to serve as a starting point for our creations. Some people like to have the hands facing forward. Some people like to have the hands facing backwards. I think I'm actually going to change this. I don't like the the hands facing backwards. So what I'm gonna do is I'm going to use my brush and kinda like change the volume here. I want the hands facing inwards, like this. There we go. More brush. Just make sure that the arms are straight. It's fine if we don't have a lot of geometry just yet, we're going to be changing that. Then from the chest, we're going to keep going down, creating that the abdomen to how we got this very nice curvature here on the back. But you definitely want that when I keep that. And then we're going to start creating the pelvis. So if you start getting this, don't worry, just inflate. Inflate, inflate, inflate. It's going to give you more volume. There we go. Now with the brush. You can push this again to the back. That's going to be like a kind of looks like a long goblin, right? Not super cartoonish. We could, if we wanted to make this a little bit more cartoonish, we could grab like a very big brush and then just bring everything back up. I think that that looks good. Again, just a smaller and we can start pulling the legs out. Smooth. Holding out smooth. Probably a little bit of inflate like start usually especially upper legs are usually little bit fatter like bigger. It's a nice little but there let's revisit a little bit. I am, I'm, I'm gonna I'm gonna use clay buildup. Just tune a little bit of volume there, just to clean it up a little bit. This MOOC, we're going to be working on all the muscles. This is not an anatomy class, of course. What we're going to take a quick overlook f, at the rough general volumes of the whole thing. And I cook or actually move us bigger drops, ice and go all the way to the bottom. Let's do the calf's inflate. Then we go. And then we'd my MOOC, I'm just going to create like the like the feet. Sound like a Gumby kind of thing, right? Very, very simple guy here. Let's push the feet up so that they're on top of that of the floor. We don't have a Florida here. We can turn it on just to give ourselves an idea of where the floor roughly is, the floor will always be at the, at the lowest point of your character c. So if I, if I were to move this down and I move it into the four would now be there. So it's a good way to to make sure everything is where it supposed to be. And that's it. Like we have a, a cool little buddy here for a goblin? Um, I think I'm going to move the shoulders down a little bit. So here we go. I think the pelvis is a little bit too high, so I'm going to bring it down. There we go. That's a little bit better. And we had a very, very nice, cool little mesh here. This is again something that we will vary, usually are very commonly use whenever we're working on a production pipeline. Like if we're doing, again the medieval game or a fantasy game or something, we will have bays measures for goblins, for orgs, forth tools for humans, for else, for doors. And you don't usually start from scratch every single character you do. You usually start, you start with a base image and then you start building up from there. Okay? So, so yeah, this is a very good mesh. I think, I think this is a very good starting point. The hands a little bit crazy looking, but we're going to be fixing that, so so that's, that's completely fine. The only thing is his probably going to be min naked maybe later on we'll add like we can, we can scope like a short. I think we can do a short. So we'll do a chore for this little guy. I'm just going to use my brush here and push this in a little bit here on the, on the, on the hips. Now one thing, one of the things that I want you guys to understand about this process that we just did is that you can pretty much build anything you can imagine a dragon, a dinosaur, a mammoth. Anything you can think of you can build using this technique. You start with a very basic base mesh like what we have right here. And then from here we're going to start adding things on top of the element until we get the final figure. The only thing that's going to be limiting us in this particular case, of course, is the poly count like there's going to be a limit on how many polygons we can add to this guy. But I'm not tried to make the best use of the polygons and of the poly count. And even if we have no surface detail and he's very like a cartoon and round are rather teach you like all the basic things about like sculpting, like a human body or body proportions than then jump onto that. So that's it for this first video, guys, make sure to get to this point. I'm also going to save this guy. I'm going to save this as human or goblin base mesh to if you want to start from here, feel free to do it. However, I again, always strongly recommend that you put in the work, so hang on tight and I'll see you back on the next one. Bye. 8. Primary Forms of the Body: Hey guys, welcome back to the next part of our series. Today we're gonna be talking about the primary forms of the body. So let's get to it. The first thing I wanna do is I want to start adding, again the main shapes that this character is going to have. So we're going to use the chisel creature just to give us a little bit of a headstart. And I think I do want him to have a couple of horns. So let's add some simple horns over there. We're gonna go into CISO 3D and let's add some gobbling ears. So he's definitely going to have this sort of like gobbling ears. Yeah, like that. I think that looks good. I'm going to go into my clay buildup. And what I'm gonna do is I am going to Carthage in where his eyes are going to be. So he spoke, going to have his eyes right there. I am going to make this a little bit smaller. He's probably going to have the nose. Governors usually had like a really, really big nose. It's going to really exaggerate this nose. Making really cartoonish. And then we'll have another bite swell like this and see how I'm adding form very loosely, very, very dirty. Because the only thing I want is I want to have a general idea of where the forms, the primary forms of my character are going to be. So that's it. Now, going into the character when to start adding the general shapes, which in this case will be the anatomy, right? We are ready. So one of the main muscle, which is the sternocleidomastoid use, I believe it's called in English. It's finally sternocleidomastoid, Dale and the clavicles. So let's have the clavicles here. We also have the pectoral muscle, which would be here, which is volume that's going to be pushing forward. So when you see it from the side, you're probably going to see a little bit of a step or something, something like this. And we smoke. We don't want all that detail and remember, we, we need to be very careful about our polygon. Now there's one very cool thing that every, well, not every, but all the vertebrate creatures have, which is the ribcage and the ribcage, we will usually give you something called the ribcage border there. So you're going to have this sort of like ribcage board there, marking here with my clay buildup. And you're gonna get this sort of nice, Very nice little, little detail here where older the muscle fibers are going to be covering this sort of air. We're gonna get this, this effect. That's also a very important muscle back here called the latissimus dorsi, which is kind of like a triangle. So I'm just gonna add the volume here. And this is important because from the front view, we're going to see this sort of triangular shaped like a Doritos reader shape, like going here. Let's soften this up a little bit. And over here, you also have the trapezius muscle, which is another triangle shape over here. And we're going to be adding to our character. Now don't worry about learning the muscle names or the function that they have. That's something that I usually teach for my or I usually teach to my more advanced students in other classes. This is just a basic sculpting class. So the more important thing is the force, the volume. So you wanna make sure that the volume of your character, it's there. So I'm going to start adding more shaping here because I want this guy to be strong. He's a strong goblin. But when I see him from the front, I went to see a little bit of that like very strong sort of trapezius muscle right here. On the shoulders. We're going to have the shoulder muscle which is like a sphere. So we're going to start adding a little bit of volume here, following the sort of like spherical shape. And this is gonna give me this very nice, strong look here on the character. It's, it's sort of like a sphere on the top here. So the shape that you want to have, the main form that you want to capture is the sort of like spherical shapes specially on the front here, in a little bit here on the back. But once you go into the arm, it's kinda like a triangle. It's got like a shield. So we're going to go like this and see how things start looking a little bit more menacing, more interesting, right? And we're only a 220 polygon, so it's a little bit high. I'm going to start a softening some of this up. I am going to add more volume here. The pectoral muscle usually is a little bit bigger. So I'm going to add a little more volume here. And we're slowly but surely building up this very nice character. I'm going to use my chisel, not sorry, my slash brush to add a little bit of a division here in the center. Because usually that the pectoral muscles don't join on the center. We're going to get this thing right here. If you feel like it's a little bit too much, feel free to use the higher H Polish heart polish, to just polish this thing a little bit more. That's going to soften up the muscle there. There's a couple of very fun muscles that we have underneath here. I'm not going to name the names. That's just like a couple of little fingers here. So if you just add a couple of lines here, usually three or four, you're gonna get a, a nice detail there and look at that. The oval. Now on the front here we usually have the abdominal muscles. Everyone knows the abdomen, abdominal muscle because it's a famous six back. So we're going to add the 12 and then three and so forth. That's what you're gonna do. You're gonna find your six back. Let's start moving everything up here as well. Just to get everything into the same level. Because eventually we're going to go back there and fix stuff. Now on the arm here we usually have the bicep, again, the muscle that pretty much everyone knows. So I'm going to add the volume of the bicep here. It's a long muscle. And on the back, very important that we have at the triceps. The triceps a very strong muscle. So I'm definitely gonna add a little bit more extra volume. And this area right here. And again, rather than focusing on the anatomy, don't, don't worry too much about the anatomy right now. Think about the shapes. Think about the volume. Think about how we're creating little by little, old is very interesting elements that are gonna make her character a more interesting effect. Now the reason I wanted to start with this character, and I know some of you might think that's way too complicated. I've never done the character before and now you want me to do the full anatomy. Don't worry. Again, don't worry about the full character. You can keep it very simple, very cartoon like just tubes and stuff. I just want to show you how even with this very basic software, we'd see verse core, meaning you can still do some very cool looking things like this guy right here, right? So, so don't think that the tool will ever limit you whatever, what limits you. It's your knowledge and your experience. Okay? So the more you practice, the more you learn, the easier it's going to be to utilize all of the softwares to the best of their potential, right? So 2000 polygons, we're still, we're still in a very good position on the forearms here. We have a muscle on the outside here. It's going to give this sort of triangular shape. It's going to go all the way here. And then this muscle is going to go to the inside. So you're going to see how the honesty is getting a little bit more form. Wheels have a little bit of volume on the inside here, like this. And the only tool I've been using so far is a clay buildup. And the MOOC, Probably like no other tool, a little bit of slash I used there for the, for the pictorials. But as you can see, it's very, very easy to create things if you know how to utilize form and in the silhouette. So I wanted to make his mold parenthesis here to talk about the silhouette and that term perspective off for just a second. There we go. So remember this material that we talked about before, the flat occlusion. This is a very, very good material that's going to allow you to choose study and see how your silhouette is looking. Because sometimes when we're looking at the character as a whole, there's too much, too many things going on in and it can distract us and make it a little bit difficult to see what our null, we're doing things right or not. So if I turn this on, for instance, I can see that my arm, it's a little bit too round like true curve and I'm a little bit more like straight. So what I'm gonna do is I'm going to add a little bit more volume here to kind of like stringing out the arm. And I know that once we go into the hand, we're going to be doing some some changes there as well. But now when I see those you lead, I'm not going to see the arm essay. I say curved elements more like a straight line right there, which is again what we're looking for. So look at this beautiful guy, perfect. On the Mac here. I'm probably just going to add the crevice for the spine. And again, it's just smooth it out. Not too worried about the muscles here. I'm just going to add a little bit of volumes. If you've seen the back of a very strong person, probably seen like just like a lot of volumes and muscles is just jumping around. It's again, I'm not going to worry too much about explaining what each of these muscles are. I'm just going to add the general shapes right here. There we go. Now here we usually have the, the, what's the word? The obliques right here. As you can see, just clay buildup, just adding volume, removing volume, adding volumes, moving volume, just changing it. Of course, I know that this might be a little bit difficult. I can't really explain how I'm using, what amount of pressure I'm using. So for you guys, it will definitely be a trial and error at this beginning stages. But the more experienced you get, the easier all of this is going to get. Now for the legs, for instance, we have this very strong muscle called the quadriceps. Quadriceps. So I am going to just add the volume here. It's like a teardrop shape. So you're gonna see the teardrop kinda like pushing out here. And then from the front view, this volume is usually quite big. So you're gonna see like the leg pushing forward. And we're going to start at minimizing because again, I don't want to, I'm going to use all my poly budget on just like texture details, right? I'll rather have a very soft, plain looking element. And there we go. So that will be my, my life now, as we mentioned, we need to give this guy some pants. So what I'm gonna do is I'm going to use my clay buildup. We this mall draw size. And let's set some like teared up pants. So I'm going to draw just like a crazy line here. So that indicates where the pants are like broken. And then right underneath the obliques are going to complete the dependence. And as you can see, we're really, the only thing that we need to do is we need to fill in these gaps kinda like blend in the pants down, like this. And that's going to be more than enough for people to understand that these guys wearing pants. We're going to add some, what's the word? Some folds and wrinkles later on. But just by doing this very nice, like simple effect, it's more than enough to trick people into thinking that this guy is wearing pants were, in reality, we just sculpted the pants out of the same anatomy that the character has. Thinking it's a little bit more, but right. He's a warrior, so he probably exercises a lotsa. Came a little bit of a Fatou sheet. There we go. Just a little bit. Not that much. Perfect. We can use the Move brush here to, to push the pants like closer in. And then if we want to really, really sell the idea that those pens are separate from the character. We can grab the lash brush. And just, of course with a small size, just made that up there. We also need to enable. And we go, here. We go. The character is looking nice. Now back here, we continue with our anatomy. We're almost done. I'm gonna go with a nice like this. And then the calf muscles and the consultants are really interesting because you're going to have like a volume that's pushing here on the side like that. And then that same volume is going to be pushing on the inside. But on the inside it's going to be a little bit lower. So down here, see the difference? I think the calf muscles, the quadriceps, this a little bit too big, so I'm going to just push this closer there. And this thing looks, looks weird. So I'm going to use my clay buildup. Kinda like delete it. So this is where the money is going to be. Later, we're going to use our slash brush again over there. Now down here. We now have the ankle. So ankle there. An angle here. And we're going to start like polishing the feet. Of course. One trick I like to do is I'd like to inflate things, especially when it, when things are like weird. Sometimes by inflating them, they get like a nicer shape, for instance, like the like that ankle there. And then it's going to be a little bit easier to, to manipulate them and carve into the object, right? Because there's, There's more volume to work with. So usually that the pinky finger is going to be further back. And as you can see, we, we create this, this interesting line here. The hands, we're going to be modeling them as a whole. Like I'm not going to do one finger or one separate fingers in each hand because I don't think we're going to have enough polygons. So all the fingers are going to be together. I might decide to do a fist actually, just to again save a little bit of space and have more details up here for that, for the character. And it goes through the MOOC. I'm going to change the world, change the shape of the handle a little bit. And I think that nose is fine but maybe a little bit lower, lower, lower jaw, just to make him a little bit more cartoonish. Let's grab our slash again. Small brush size. Here we go. Maybe he's happy goblin. He's like a good coupling. And that's it. We have a very, very nice character and I'll save this. I'm going to save this. I usually like to save my projects in increments. So this is going to be gobbling serious. You're one, you're probably only going to see on your project files. The last, finally, we do for the goblin. Um, well, yeah, like we're in a very good position, as you can see here, that the godliness looking nice, we have a nice beginning for the form. We're halfway done with our, What's the word with our polygons? Like we were really close to the halfway point of the limit for the polygons. The other thing we're going to be able to work with this. Now what I'm gonna do is in the next couple of videos, we're going to be focusing on the main areas of the character, which is the face, probably the hands, and the feet. Those are usually the most important parts of the character because everything else can be simplified a little bit. And we can say about lot of polygons by doing that small trick. So hang on tight and I'll see you back on the next one. Bye bye. 9. Sculpting the Face: Hey guys, welcome back to the next part of our series. Do that, we're going to continue with our little gobbling. So let's get to it. Unfortunately, I made the mistake when I was opening this file and I saved on top of the other one, the one that had a little bit more progress. So I'm just gonna do the basic shapes of the head real quick and then we'll jump into the details. Remember that we have this very cool looking CISO brushes that will allow us to place some very interesting features on our characters without having to worry that much about the whole process, of course. So I'm going to place actually some of the eyes right now. So I'm gonna go with this i3. And it's, and the outputs, it's silent, just going to place it just to have something. They're not necessarily going to be like my final EIS. Just want to have some sort of like forming there. And I'm jumping to the CISO creature and we have the, I believe like a like a nose did we not seems like we don't have, oh, there we go. So I'm going to just use like a traditional knows. But let's go like, like really, really big. I'm going to try and make sure that it's right there on the, on the center spot. See how the symmetries pretty much lined up. There we go. That looks okay. I'm gonna go into my brush now. I'm going to make the brush has slightly bigger. And now let's start focusing on the form of the character. One of the main things that I want to teach you guys about in this course is to make sure that you understand that every single thing that we do in regards to a sculpting has to follow something called the form. We've talked about the form before. And it's pretty much how the elements of our character are represented in the volume, right? So for instance, one thing that you should always know is that every single eye socket that we have will have some sort of floor where the eyeball rests. In the human case, we have something called the zygomatic arch, which is like a bone like the hist your cheekbone that usually last right about there. Now I mentioned that this guy was going to have some sort of like under bite. So let's add a lot of volume here. And remember we want to keep our geometry symbol. So I'm just going to start smoothing some of this stuff so that he is a little bit looser there. So I'm going to go into my standard brush and let's do the eyes real quick. So I'm going to make the size a little bit smaller to grade this sort of like roundish shape I wanted to have with him. I wanna give him with this sort of like cartoony bulging ice. So let's really push them there. And I'm gonna go with my slash brush. And by making it smaller, of course, we're going to be able to separate the upper eyelids from the lower eyelid like this. Now we can go with the standard and we can do the trick that we saw before, which is carving out a little bit of a hole there and then drawing an alum of another little like sphere. You can see he has this like very crazy eyes. There we go. Now I'm going to go with clay buildup again. I'm going to make this slightly smaller and there's usually a muscle that we have here coming from the side of the nose all the way to the backside of the other side of the mouth called the nasal labial folds. It's a folder we get on the skin and it creates a very nice, interesting forums. So I'm just going to place it right there. Go. Turn off perspective. I don't want to see the perspective just yet. We already had some very nice muscles. We're going to have to rebuild them, but that's fine. Remember we had like the the sternal Plato, I still use the clavicles. Something slightly bigger, trapezius muscle. It's a little bit stronger. I want this guy to be like a hero goblin. So we're just going to make it a ligase. Now, I'm a huge fan of DMD. I'm probably said this before. And one of the cool things about me is that if you own a 3D printer, you could actually treat the print this guy and use it on your own games. So I will be talking about the 3D printing process later on. Just keep in mind that it is possible, like you can definitely take this guy right here. And the more detail we have, of course, the cooler he's gonna look. Let's go back to the CISO creature. Let's grab these teeth. And remember that the trick that we did, we use our clay buildup, create a little bit of a shelf there. And then with the Polish, we did like a flat surface. And then on that flat surface is where we projected the teeth like this. That looks okay. Let's go with the slash brush. And we're making this really, really small. I'm going to make the ellipse easier to follow. Let's do like the corner of the mouth on this side. And then I'll go back to the clay buildup. Make the draw sizes lately burger, and we'll do the chin and let's add the gums here on the side of the character. There we go. I have this very crazy looking guy. Let's, let's make him angry. So let's add a little bit more volume here on the, on the eyebrows. And let's start adding a little bit of like some expression lines up here. Usually on the skull we have like a, like a little bit of a gap over here, which is the frontal bone and the temporal bone, which are part of the skull. So you'll, you'll usually see like a little bit of a deep in there. And again, we can go back here with the smooth brush and just smooth some of this surface out. Here we go. I'm going to make his ears slightly year is literally more pointy, so I'm going to go in my brush, draw size bigger and just make them a little bit spike here just to make him. Ebola, usually evil creatures. We tend to draw them and sculpt done with pointy things so that it's very easy to communicate that they're supposed to be bad. Let's add a little bit of the details here. At the back of the ears and the little skin folds. Yeah, Hey, it looks very crazy. I'm actually going to feel the ice. You show that if you were producing like prints for printing, I tend to be completely smooth so that artists can then paint on top of them. We'd like the, what they want. I'm going to add like the iBanks here with the clay buildup. Again, very easy to do once we have the basic shape of the eye, we can make this really, really small and create like the the tear duct there. I do recommend using again, the slash brush to really push the division of the islets. So that when you said this guy from afar, here really looks like a menacing goblin. Set this thing right here. Clay buildup. A couple of more wrinkles here on the inside of the ice so that give more visual interest. When you do that, you're careful about our active polygons, right? Because we don't want to, to finish all of the details here on the phase will still got the hands and the rest of the body. So, so we definitely want them to be careful about. Remember, we can always go up here and use the low, medium, and high settings to reduce the amount of polygons. But as always, we kinda want to keep it, keep it low. So let's add like the Adam's apple there. On the backside, we're going to have like the, the division of the spine. So let's, let's draw this and reduce that thing. Smooth this out There we go. Smooth, smooth movements MOOC. And then we can rebuild a little bit. There we go. We're going to be talking about the upper torso in the next video. I don't want to rush it just yet. So let's go back to the face and finish adding some interesting things. So for instance, the jaw line is going to be really important. So I'm actually going to add a little bit more volume here. And I'm using both positive and negative clay build-up strokes to add and include the sort of like sharp line beneath the character, the sternocleidomastoid use. I'm pretty sure that's the name. Look it up just to make sure I'm pronouncing it properly. Usually comes from the back of the ears. You're going to see that the big line coming all the way down here. And again, a little quick smoothing of all of those lines. How when we smooth this form lines that we use to grade the general shape, we get a very organic looking feel for the skin. That's, that's one of the reasons why I personally really like my clay buildup because we get those very nice organic surface details that are not going to be using that much resolution. As you can see, we're, we're not really like using that mark much resolution, but still going to be pretty cool. Now godliness are usually kinda hairy or the somethings that picked them with big like eyebrows. So I'm gonna show you how to do that before that, I'm just going to do the the lower lip there. Create a little bit of a shelf. Very comfortable there. There we go. Now, one thing we can do is we can actually grab this Nate Cook, small draw size. And just kind of like draw a couple of like eyebrows there, see clay buildup. And we'll just create a little bit like this, sort of like hair texture. And again, once we treat the print, this is going to look really, really cool. Unfortunately, we don't have as many tools here inside the C version mini core to our cart may need to post the character. So we're going to have to deal with what we have here. We could of course move him, but it's really, really time-consuming. The version of ZBrush core version, which is the next update for this guy, for the next level actually does have like transpose and the pivot points that we can move and change. And those are really, really handy for, for posting characters. But still, even if he's just like in a sort of like T-Pose, is still going to be quite, quite menacing. So I'm like that now, one thing I always tell my students do not neglect that the backside of your characters, especially in the 3D world, we sometimes don't know what parts of the character are players or our audience are going to be seeing. So it's important to always have something. Yeah, right. So so for in this case, I think I can change the shape of his skull a little bit. So instead of having like a very traditional skull, had like a cone-shaped skull. Usually, when this coal is a small, it indicates that the character is low intelligence. So one thing we could do is we could push his skull forward like this. And that's going to make it seem, this looks like a very old grumpy, grumpy goblin, right? Like if he's fun. Should we call him Bob lead the goblin? It's a very, it's a mean joke from the DMD community. Some things when you're playing a game of DND, you need to come up with names very quickly when your players asks for it. And if you're not prepared, you end up telling like very weird, ridiculous names. So bubbling, the goblin is one of those. I'm going to have a little bit more mass here, usually on the corner of the mouth. We get this sort of like a puppet lines, especially when, when people get older and this guy seems to be like an, like an older gobbling. So I'm just going to draw those Puppet Labs right there. And every time we change the form, every time we change the silhouette of a character, that's going to be very interesting for a lot of reasons. It's going to be interesting for our sculptures or for our painters that might paint this guy later on as a miniature. But this also very interesting for the audience, right? Because instead of having a very, very Holloway literary, just like boring and plain character, there's a lot of visual interests that we can look for pretty much everywhere. I'm going to go back to my clay buildup. Let's do some expression lines up here. It's very solemn. Expression lines. Usually they are asymmetrical. We can break them out and bring them up later on. But yeah, I think this is a very, very good like Kent for the whole character. Now we're going to be moving on to the torso. We're gonna be doing all the upper body including the hands. So keep working on your character guys and I'll see you back on the next one. Bye bye. 10. Sculpting the Upper Body: Hey guys, welcome back to the next part of our series. Today we're going to continue with the sculpting up the upper body. So let's get to it. This is where we left off. Now it's time that we start playing a little bit with the forms of our chest and the arms. So this is something that we've already talked about when we were doing the initial like blocking of the shapes, but we didn't you do it again? Just very quickly. So for instance, the the chest is usually like a muscle that goes into the arm. So we're going to have this sort of shape. I'm being very mindful of the, of the poly count. So I'm going to be doing this and then smoothing out so we reduce the surface detail. We usually have a little bit of like a hanging piece of skin that crosses the chest and goes into the arm right there. Here we usually have, remember we talked about this very big muscle called the latissimus dorsi, which gives us like a very, very strong back. So we're going to add there, you'll have the cereus, which follows the hour. What's the word or riffs? And then here we'll have the red border. So I'm gonna make this a little bit smaller and just create a little bit of this sort of reward there, there. Some of that out. And then in here we're going to have one. It's usually like 123 little like muscle elements right there. Now since this guy is supposed to be like a very cratered each character, we can exaggerate the anatomy a little bit and create some creepier effects. For instance, over here or down there, we have the ribcage can make the rapist you a little more like a, like a monster, right? So for instance, we can break down the, the shape of the repeat a little bit more and create this very interesting shape. Here. It's not precisely human rib-cage. It's going to be cool enough that people are going to be like, Ooh, that looks like an intimidating goblin. Well, then we have the belly. So this is like an old dude and surely old people get like this protruding belly. So I'm going to add the valley. And then we have the apps. Right about there. We mentioned that this guy was going to be wearing a pants. So, so the pants are going to probably go over there. We can even add like a belt and stuff. That's you're going to go over here, just block them in real quick. There we go. So that's the, that's the pants. Now here we can add a little bit of the hips like that. And then smooth, smooth, smooth and there again, the reason we're smoothing is not to lose all of that detail. We can't recover some of the little later on. The main reason is we want to conserve our polychaetes. Remember that we can't exceed, I believe it's 8 thousand is really small. The naval can use the Move brush here. I think the belly is a little bit low. So I'm going to move the belly up. Probably not as dense here with Wo careful there. Let's polish this guy down. We don't want the pants to be moving that much forward. Here we go. Nipples. Sometimes I add them, not always depending on the type of creature. If it's a mammal, then you definitely should have some sort of nipple. So let's just add them. Subtle. Just simple, no need to exaggerate. Now we can go to the arms. And the arms. Remember we have the, the deltoids, which are this big muscles here on the, on the front. And then we had the bicep right about here on the sidewall mentioned that's kinda empty. Now we have what's our tricep up here? This you see it from the side. You'll see like a relatively big mass. The elbow would be right there. And then we have some muscles called the extensors and flexors. They're going to give the shape to the, to the arm. So some of them are gonna go and we're going to be coming from the, from the outside here. And they're gonna go to the inside of the hand. And then the other ones are going to be on this insight bark. And again, they're going to be creating this sort of like arm shape. Don't worry too much about like the perfect anatomy when I was learning and that's my, my advice for new students. This first exercises like getting to know the tools should be exactly for that. Like you should be focusing on unlearning the tools rather than trying to master like anatomy and stuff. Once you feel comfortable with the tools, then you can start learning the basics. I would like to use other things as an analogy. So for instance, I'm not sure if you guys are fans of chess. With chess is a very universal game. So hopefully everyone can understand the analogy. When you learn chess, you of course, first learn what each piece does until July kinda get the hang of how each piece moves in and what they do, then you can start learning about some sort of like strategies and stuff. And there's the infinite here to give my thumb a little more volume and use my brush to actually move the thumb in. I'm going to smooth this out. And remember when we smooth things out, sometimes they, they kinda like merged together. Thanks to sculpt truss. There we go. And let's do, let's do fists. I think for this, for this particular character, it's going to work a little better. That's also going to save us some geometry because we don't have to do each individual fingers. So what I'm gonna do is I'm just going to make this hands into like some sort of fixed shape. The fingers of course, are going to curl and create this sort of shape here. Let's smooth and let's inflate. Let's use our clay buildup. And now I'm just going to draw like the thumb here. General shape of the thumb. And the polish is going to be really, really helpful for us in this case. Because when we bend the hand, the hand tends to be really angular. So we're gonna get like a sort of, for instance here on the, on the, on the wrist will get like this sort of like bath here from the metacarpals. So like this very straight line. And then the fingers. I'm going to bend here. So that's where we're going to need to use the Polish very aggressively. To create this sort of fun effect. I'm going to use to polish here. So we're going to leave the hands like very blocky, right? Come like action figures. Now we can go again with the clay buildup. And we need to be very careful because we're approaching the limit here. There's gonna do like one, not cool. To know cools. Three knuckles for knuckles. That's where our knuckles are going to be. Those look they look. Okay. Ish thing the hands a little bit big and it's fine. It's at the mass here for the inside of the hand. Here. And now we can use the slash brush to kinda like carbon the shapes a little bit. Here for instance. Just, just like an indication. There's a very, very, we're going to have to reduce. Well, this thing reduces. Let me show you that there's a very famous sculpture, cold Rodin. He did the famous thinking man or the thinker statue. And my, my former sculpture teacher was a very strong follow where all for dance work and redeem. I'm not sure if that's the proper way to pronounce in Spanish, we call him or her then. And, and one of the cool things about this guy talking about the sculpture principles is that he's a sculptors were not as polished or as detailed as Michelangelo's, for instance, or Bernini's, right? So we should always look into history to see how the old masters the aircraft and learn from them, of course. So one thing that Rodin did, as you can see here, is he was very, very form oriented, right? Like if you see his sculptures, the sculptures are very, very wrong. That you can actually see the finger prints. You can see the brush strokes from the, from the clay because of course all of those things were done in clay before and then marble, I think. And then cast it no, they were I think was clay and then cast into marble. They interbranch, sorry. So yeah, so he's work is very, very wrong the way his goals is very, again, form oriented. So you're gonna see the form of the muscles, the silhouette, the energy, the, the, the flow of the sculptures without actually seeing like the veins and the pores and all that stuff. So, so that's kind of like what we're doing here, Right? Of course we have the issue where we need to work with a certain amount of polygons. If we were then we would have pretty much everything. Well, there we go. But even then, like even with few polygons, we can still do very, very cool things. So we've reduced everything back to 300. That's fine. We have this sort of like decimation process. And now we should be able to, to detail the hands a little bit more. So on the knuckles should be a little bit higher, I think. Hello about there. It's all about managing the forms. There we go. That looks a little bit better. So let's just push this things in. We're going to leave this very raw, very, very energetic. Because again, if you think about this and there's also something I would strongly suggest is whenever you're doing any sort of file work, think about what the final medium for this thing is going to be. Me personally, I'm thinking this guy will be a 3D printed creature and Dungeons and Dragons being that 28 millimeter. Again, this guy is going to be less than a centimeter or less than an inch tall. So it's going to be really, really small. Therefore, we don't really need to worry that much about the details because you're not even going to see them. So just by having that sort of a construction there on the hands, That should be good. Then add a little bone here on the hand and the little bone here on the other hand at the back. Now the hand seems to be a little bit thing. So it's gonna be a little bit more mass here. And I want him to look like a plane, the race that should be a little bit more circular. So I'm gonna go into unmute brush and just make this thing a little bit more circular like that. Let's, let's push the elbow out all of it. Now we can go to the back. So on the back we have the trapezius muscle, which is that one right there. We have the lettuce and Missouri, which is this one. We have the obliques down here and there's a couple of muscles here underneath the shoulder blade. And there we need the scapula called the teres minor, teres minor infraspinatus. Those are some of the three muscles that we have. So you're usually going to see like a big bump right there, something like that. Again, not worrying too much about it. One thing that's important, usually the back should be lined up with the buttock, with the button. So I'm going to have a love of the bug here just a little bit. So it kinda matches and very important to see how, how I'm pushing the what's the word the torso back and the police forward. That's the thing that we talked about. Gesture at the beginning of this, of this lecture of this module. It's very important for characters because otherwise characters look very, very static. And just by adding those, even if the character is just in the tuples, he's going to look really, really cool, really, really intimidating. So let's add a couple of fibers here. Just to indicate like some loose skin. So a little bit of surface detail. And then I'm going to use my slash brush to cut into the pants. Just cut into the pencil little bit. I probably need to make this really small so that the cut is very sharp. There we go, That's way better. And then we can use the paintbrush. Remember, to pinch this guys together and make the gap smaller. And now it's going to look a little bit more like a, like an action figure clay buildup. Just to read this, a little bit of this weird thing on the back here with fans. And that's it, are gobbling, do this looking very cool. The arms a little bit long, to be honest, but that's the kind of thing that in this case for, for this sort of like Monster a kinda works in our favor. So yeah, I'm going to stop it right here, guys, in the next video we're going to continue with the lower body. So keep on working on your own character. Keep on working on your, on your process. Makes sure that you don't rush. Take your time. Mastered adults, and I'll see you back on the next one. 11. Sculpting the Lower Body: Hey guys, welcome back to our next part of our series. Today we're going to continue with the lower body. So let's get to it. Let's start with the pants, because I think the pants are one of those important parts of our characters. I'm going to start with the Polish, and I'm just going to start polishing this a little bit. Be very careful not to polish the hands due to the size of this thing. I was actually polishing that. We can also smooth and polished and even, even clay buildup to remove some of this thing. So what I wanna do is I want to give him a, like a traditional belt and belt buckle. So I'm going to go to my draw size and I'm just going to draw the bell buckle right here, just on top of everything like this. Right? Again, it's not that it has to be perfect or physically accurate. It's just that we want people that when they see the character that I'm like, Oh yeah, he's wearing a belt. That's pretty obvious. So for instance, I can add the little holes through which the belt usually goes. Even though there's no actual belt. It's still going to trick people into thinking that there's a belt. We, as humans are a little bit more oblivious about things than we think. We think we are very observant than we see everything. But most of the time, believe me, we hide a lot of things in high level of details inside of the mind's perception. So by just making your mind see this thing and say, Oh yeah, belt, it, it won't connect that this belt is actually not going anywhere and that it couldn't occur in real life is you're going to see the buckle. It's just going to see the bend there on the pants and just gonna be like, oh yeah, that goblins wearing a belt. And that's pretty much it. If we wanted to make this a little bit clearer, for instance, we could just finish filling in the belt buckle right here. You've seen this belt buckles that don't have the little like metal thing in the middle and they're just like a like a pain on the inside. So maybe this guy's wearing like a more modern sort of belt and that's fine. That's also going to, I'm going to hide the fact that this guy is wearing a belt. I'm going to go into my clay buildup and now about the wrinkles are usually going to have some wrinkles here going from the crotch area into the legs. So I'm just going to again, it's just it's just a an indication like we don't really need to be like super, super physically exact. We're not using any sort of effect later on if you want. We have the course for the curse for receivers, the whole package, the complete ZBrush. It's for absolute beginners as well. So if you're jumping from Superstore, meaning into superstars wants, it's really good. I strongly recommend it. And we do cover some sort of like cloth sculpting. I think a little bit of volume there on the crotch area. Intense, just something. So it's not completely hollow. And then more wrinkles here, like on the back. Now the pants I want them to look like destroy the NDA and damage. So I'm just going to break the silhouette down here where they meet the leg. And then I'm going to start using this sort of thing, this sort of brushes to smooth, very softly smoother transition. So it doesn't look like this thing is just sitting on top of the leg rather that's hugging the surface, right? And again, we don't want to waste all of our polygons. We're really close again to the limit. We will read those of course, but we will close. Now a little bit of changing sea wet for the leg. Remember we talked about the quadratic, quadratic quadriceps. So we're going to have the quadriceps like pushed to the side here a little bit. And of course, pushed to the front. Very important here. Quad muscles are really being, going through some big muscles there. So we definitely want to make sure that they look the part and you use the H polished, just polish a little bit smaller. There we go. I'm sure there's a little bit of a bump there. Again, we don't want him to be completely flat, but should be aligned to the back of the character. And that's it. And now we can go on to the legs. I'm going to use the clay buildup and the first thing is I want to I want to fix the ankles. Ankles tend to be thinner, right? Think about like a chicken leg. And you usually have like a very big muscly like midi form over here on the top. This. And then everything goes into like a bone down there. So I am expecting to see like the base of the near right here and then the tibia going down. And we're going to have one of the ankles here on the inside and on the outside. The owl. So we're going to have the same thing. Now we can start fixing the feet because feet are horrendous. So let's start by giving them volume. We're gonna do something similar to what we did with the well, was it that the hand we're gonna, we're gonna keep it simple. And I'm going to inflate here. That's infinite to, to give. As you can see, inflate it doesn't really create a more polygons. It just inflates them, conflates them. So it's really, really good to help us with the volume. And we should be seeing some sort of like triangular shape. Let me turn the song, move him. There we go. So with my brush, relatively big size, I'm going to push this thing to the insight so that we get only the outside on the backside or the bottom side of the field. I'm going to use my polish to really, really like flatten the feet. It's kinda working and into other a little bit more volumes. So let's and the volume, but try to make sure that this volume is, it's kinda following the same plane. There we go. That's a little better. Look at this old grumpy do looking cool, right? So as you can see, it's not about the software like not working on the full version of zeros are in super score, won't really make it hard for us to make a full character. You can totally make it full character. Of course, we have some limitations, especially that the poly count. But again, it doesn't mean that you can't give yourself a nice try here and tried to get something, something that I'm just gonna do like two fingers on the foot and making them look a little bit more beast-like. And there we go, usually on the, on the union here of the feed and the, and the foot. We have the sort of like a pyramid, pyramid shape. Like this. There we go. It looks way better. And that's good. I mean, that's, I would say this is a very, very cool character. We have a very good, nice form all around. In general, we're pretty much nailed all the parts of the head, the torso, the back, the legs. Yeah, everything looks good to me for for this second exercise that we're doing. Now, super-rich is not all about characters and stuff. There's way, way more things that we can do and we're going to be exploring a very cool thing on the next module, which is going to be a little bit of an environment action like how can we use this is counting principles to create some, some pieces foreign environments. So, so yeah, let's just, we'll, we'll do that on the next one. Now before I finish this one, I don't want to have some sort of like identifying branch right to this character. I want this guy to be a little bit more than just a, a goblin, right? Like, let's make him a little bit more if I character. So maybe, maybe this guy is really mad with humans because when he was younger, he is Hold try was enslaved and he was, it was a slave. He was mistreated. And now, when he is old, he is now free. And he wants to exert some sort of revenge on top of the evil Orcs, the enslave them. So what I'm gonna do, I'm gonna go to my slash brush. I'm going to turn off symmetry, which is this button right here. Now, I'm going to be able to do certain things asymmetrical. And let's add some like, like war wounds here on the back of the character. Maybe he was width in his youth and now it was to exact revenge. So, so those are really good as well. Because again, when we paint this guy, we were to print this guy and paint him. We're going to have some extra detail there that we can ask to make sure that he looks more like a character. Maybe. I mean, it's very typical to have like a scar on one. I'm going to add that, but I am going to add a little bit of a, of a mole on the nose. It's also very common. Maybe a couple of other moles over here. We want here. Let's add, I want to I want to make sure that he has something that's very identifiable. So let's add some sort of like a like a very specific scar on his chest. Let's say he has a star-shaped scar, something like this or an X shapes car on the, on the chest. And that's one that's going to be one of the things that he is going to be that people are gonna identify him with. Now, maybe we want to add a little bit of Bain San and stuff to make him look even stronger. Well, we're going to go with a clay buildup. And then very easily just that some couple of veins here on the arm. As you can see, I need to make my brush really, really small. But this veins are really going to make him look a little bit. String are usually like to smooth them out a little bit like I don't want them to be super, super intense, but there we go. And again, we need to feed reduce. So as you can see guys, we can get some very, very cool effects. We can get some very cool sculptors inside of ZBrush core meaning by just applying all the concept of form, Sim Lab and all of this construction elements that we're doing. So I'm going to save this guy real quick now that we've reduced him a little bit, it's quite a bit actually. And let's say this guy has gobbling 0 CO2. And the, yeah, this is the second exercise. This is the second module of this mini-course guys. So make sure you complete it, make sure you get even more comfortable with the tools. And in the next one we're going to be doing an environment pizza. So yeah, I'll see you on the next one. Bye bye. 12. Sculpting a Magic Crystal: Hey guys, welcome back to the next part of our series. Then we're going to be sculpting a magic crystal. We're going to be taking a look at some of the hard surface tools that we have here available for us inside of ZBrush court, meaning. So if we go into Google and just look for a magic crystal concept, this sort of kind of things that you usually find in games or even miniatures and stuff that you can use to decorate, for instance, a Dungeons and Dragons table. And of course in games you can do some very cool stuff with this. So we're going to be doing this sort of like crystal looking element. And we're going to be exploring some of the tools that we have now, I think I've already talked about this, but if not, there's this program called pure ref. Pretty sure we saw it with the chimp skull. Just going to copy the image here, open my pure F Control V to paste it. And that way I can have this thing on one of my monitors and work at the same time, it's very important. One of the, one of my greatest teachers told us that the secret to being a great artist, he's being very good at stealing. And that's, it's not stealing like a pirating or stuff like that. It's actually stealing ideas, instilling inspiration is that the good kind of stealing, right? It's actually not stealing, right? It's more like getting inspiration and using things that other people have used in integrating them into your workflow so that they become part of your artistic expression. So I'm going to go here to my base mesh and as you can see, I'm going to switch to this thing which is the stone mesh. Recently I wanted to start with a stone mesh is because it's going to be a little bit easier to find this sort of like shapes inside of the, of this stone block. So one of the most important tools that we're going to be using is of course, the H Polish. By increasing the intensity of the H Polish, we're going to be able to very quickly polish this thing and push this elements inside of the object. Now, it seems like this thing doesn't see this thing. The, the stone thing actually has this texture sitting on top of that. It's just part of the, of the actual geometry. This, I believe is something that we normally see in the receiver in the full software, which is a surface noise. And this noise is actually not affecting your geometry. You can see that it's being drawn on top of the geometry, so we don't have to worry about that. So what I'm gonna do every time i, or anytime I start with this kind of projects is I'm going to break the symmetry because we're going to be working asymmetrically. And I'm going to start just pushing the forms. By pushing the form says I'm gonna start polishing. And in getting rid of some of the shapes here, you can see here on my, on my concept that this thing has a very big like flat triangular thing here. And then like chunky element over here, then we have this other element right there. So I'm just going to start using my extremely dynamic to, to push the corners of the element and start giving this a more dynamic look. Whenever we're working with hard surface. And this is something that you're going to be able to translate to later on. Armors and sci-fi stuff, for instance, is that we need to think about planes. Planes in our concepts, in our sculptures are going to be really, really, really important because they're going to be affecting pretty much the weight light reacts to the surface of an object. So when you have a flat surface like all of this planes of them, I'm marking right here. We're gonna get some very harsh change in values. This is something that has to do with a class that I took while ago. This was one of the first classes. I remember it fondly and which is viscous visual communication. So I'm just going to give you a quick overview because this is very important. We're drawing something, for instance, let's say AQ. One of the things that we want to take into consideration, of course, is perspective. I can do better. So let's do just one line here, there, there. So this Q is going down in perspective over there. And then we're gonna have something like this. I'm not really good at drawing. I'm a better sculpture. So there we go. So by having perspective, that's immediately going to make this field a little bit more three-dimensional. But one of the tricks that they showed us is that anytime you want to shade something, you're going to think about the one, twos and threes. So one is going to be your lighter light, right? So in this case, it would be maybe like this upper face right here. So I would shade this with a very light color. And that would be word, the light is actually hitting. Then on the surface like a cube, we would have a number two, which would be a darker color, which in this case could be this phase right here. So let's shade this real quick. Very, very dirty, but it gets the job done a little bit darker. There we go. And finally, we will have a number three, which is the darkest part where the shadow is being projected, which would be right about here. So as you might expect that the shadow of the object will be projected towards this side. And this is where we would see all of the shadow. So the same applies to any sort of shape if we have, for instance, like a sphere. So very ugly sphere, but imagining is fear. The same thing would apply. We will have like an area where the light is hitting this sphere. Then we have a very soft transition to this sort of like rings. Of course this will be blended. And then we will have something called the core shadow, which is where the, where the shadow is the darkest the light, the light rays are just passing through. This will be the core shadow and usually the back part, you will have a little bit of bounce light. So therefore it wouldn't be that dark. So if you've ever taken a drawing class, you know this sort of principles. And the reason why this are important is because this same principles apply to sculpture. Once we sculpt something that has very hard edges, you're going to see that we're going to have dark shadows, light areas and middle tone areas. Instead, if we go back to like the gobbling and stuff, most of the surfaces are very round, so we will have a very different way. Which things will look. So I'm going to keep working here with my trim dynamic. Sorry, h polish. With the H Polish touring with my mic is another brush from the, from the full version. That's really good. And I'm just going to keep pushing it. This guy's, there we go. Now I can see, I need to push this triangular face here a little bit more. You can see even though we're reducing the volume, we're still not really reducing the amount of polygons will still have a lot of polygons, which is perfectly fine, but just keep in mind, actually we're recruiting polygon poly count. Now, I'm going to jump into my clay buildup. I'm going to make the scene density higher, but the draw size smaller. And I'm going to start adding in the blockings for the other like sections of the crystal. So there's like another blocking here to the side. And then we have some other things over here like this. Then there's some chunks here. We can even like get rid of some spaces here, create some sort of like more organic looking shapes. And the reason why I'm letting myself create this organic shapes. Because after we've created them, we're actually going to go back. I'm gonna go with my H Polish again. And I'm gonna go a little bit smaller with my draw size to polish all of those settings that I just created. So all of those shapes that looked very organic at first. Now we're going to start getting, we're going to start getting this more. Heart's surface. He looked to them like this. See that? Credit, cool right now. I wish I could go in, inside of this like clay block and get rid of some of the noise. That way we could have some rest areas. Remember, we talked about those areas where there's no law detail and we could get like a different view, but still it's a good effect. And remember this things we can actually export. We're going to be talking about exploiting this things later on at the very end of the, of the whole course. And we're going to, we could export this guys and actually treated print them, which will be pretty cool to have us, uh, that's a little prop on the table, right? I personally own a recent 3D printer and a filament 3D printer, this sort of stuff. I will definitely do it on the, on the resting one. Because the smaller the detail, the better direction one is going to be at capturing it. There we go. And we have this sort of shape. Now we can also go with our slash brush, increase the size, and just start adding some like brakes on the stone, write something like cracks. And where we have sculpture is working with us or in our favor. So anytime we add some extra detail, the resolution of our scene is going to increase because a sculpture is, is having more triangles on the parts that we need the most. So you can definitely use this sort of, I'm gonna increase the intensity and decrease the size. So we have this sort of like a knife. See you that way better. And with this, I'm going to start tweaking in and creating all the different like veins. That sounds sometimes have a look at that. Very cool like cracks and, and wrinkles. These are also going to help me divide the plains and have like a more interesting effect, more interesting look. And this is a process that we would normally follow. I've been working on some video game assets in the last couple of months. And we've been doing a lot of rock sculpting. And especially when you want like a hero rock, a rock, that's going to be very, very important. Like if you remember from halo coma the ball, the first one when you arrive at the, at the beach scene and one of the first missions, there's this very nice rock formation. It kind of like an arch where you go through and you fight. Well, those kind of thing is that there's no procedural way to do it. You have to manually create all of those elements. And that's where all of this tools coming into play. They're important to always, always, always, always make sure that there's enough information pretty much everywhere. So for instance, there's not a lot of details over here. I'm just going to add them, going to use my clay buildup, start blocking in and creating this sort of elements. Now, the reason why we're starting this module with this, our rock exercise is just a very simple, It's just going to be this short video is because we're gonna be doing a very, very cool concept in the next video. And I need you guys to feel comfortable with H polish, with the clay buildup and with the with the slash brush because we are going to be using it quite a bit. Okay, we're going to be doing a prop. This, we're going to be very cool. I don't want to spoil it just yet. You'll see it in just a couple minutes. But for that, we need to really mastered this tools. And there we go. We have this very cool stone. Of course, the more time we invest into it, the better it's going to look. This is a very good start. Try doing this exercise. Make sure you feel and understand how the trim dynamic works. I'm of course going to save this for you if you engage you in case you want to utilize it later on. Just gonna say, But this magic rock, and we're good to go into the next part of our module. We're going to jump now and we're going to be doing if very interesting pieces. So that's it for now guys. I'll see you back on the next one. Bye. 13. Sculpting the Totem: Hey guys, welcome back to the next part of our series. Today we're going to continue with this module, Module 3, and we're going to be doing a very cool project. We're going to be doing a tiki taka tiki 210. And if you've seen this before, this are, I believe from bullying issues like how, why, and the Indonesia and all of this sort of like a C related cultures. And this filters are really, really cool. They're fairly easy to do. And we're going to be utilizing some of the tools that we just learned with our trim dynamic element to create this, this effects. So it's not really, we're not just going to follow one of these. We're just going to follow the general inspiration of the elements. And we're actually going to start with our block here. So I'm going to jump into my block. And we're gonna do our first told them right here. And then what we're gonna do this is I'm actually going to divide this thing into three elements. So I'm going to use my slash brush here. Do three divisions. They're just going to be one here, going all the way to the other side like that. And another one here. Okay. Now this is going to be, of course, a stone told him it's still fine. Now if we wanted to, we could use our brush. We'd like a very big size and just bring this thing up just to give us a little bit more height is not really going to change much. You can see how the noise there. It's kind of like an image that's being projected on top of the block. So it's not really geometry is just a little detail that sits on top. Or we can get some very cool stuff from here. And now we need to start planning. Okay, what are we going to have here, right? So I'm gonna go with my slash brush and let's start doing some sketch. So I think I want an angry face down here. So I'm going to just draw like an angry face, will look an open mouth. That's those are gonna be like the eyes. And then with the clay buildup, Let's just open up the mouth. So this guy is going to be angry. And then here I want like a funny face. He's going to have his eyes closed. Kind of like a big phony smile like this. And then finally on top, I want another sort of angry face. Completely angry, but I wanted the tongue to be sticking out. So I'm going to use my snake hook here. And let's, let's select like a tongue sticking out like this. Now you can see that one of the issues that we have is that this thing looks way too blocky, right? So the first thing we need to do is we're going to use our high H polish, your heart polish, to start giving this a little bit more of a round looks. So I'm going to start by babbling. Babbling. That's something very commonly and other softwares like Maya and 3D Studio Max blender. So we're going to bevel the corners, erase a little bit of the details, but that's fine. We're just going to bevel the coordinates and that's gonna start creating this sort of like round this shape around our character. So you can see that by moving from left to right, we can create this very, very nice effect. There we go. Now we're creating this sort of effect. And we can start focusing on the main shapes of our element. So let's start with the angry face down here. I'm gonna go, we make clay buildup, gonna make this smaller and increase the intensity to quite a bit. And let's start thinking about how we're going to have like the, like the eyebrows, right? So I'm going to add the eyebrows here like those, some big angry eyebrows. And one of the things that we need to think whenever we're modeling or sculpting this sort of thing is we need to have positive and negative areas. So parts of where the sculpture is going to push in and password this sculpture is going to push out. So for instance, on the, on the eyes themselves, I'm actually going to push in with this sort of like angular shape. And the reason I want to push in is to give more depth to the element. Now, faces usually have the zygomatic arch, remember, so I'm going to add a look a little bit of volume here to, to kinda like identified that zygomatic arch. These guys usually have noses, very, very funny gnosis. So I'm going to add like a big mass here, 441 of the nose and then the wings of the nose. There we go. And I'm going to add some big broad lips right here. There we go. So you can see we can create this very nice element. Usually the division between the stones is kept by sort of like a border. So I'm going to, I'm going to carve here again. I'm gonna go here and carve the division first. And then I'm going to use my clay buildup again with a little bit of a bigger size to create the border. That's going to be separating this two elements right here. Now one of the cool things that I like about this Tiki totems is that they're usually very decorated, so we can start adding some decorations, for instance, like a couple of circles here and there on the inside than the outside. I'm going to use a technique that we used before. I'm going to carve an extra layer right about there to make the eyes pop a little bit more. And then the mouth I don't want just like an open mouth. Let's make him like angry with teeth, right? Like if he is like a really, really, really angry. So I'm going to fill this in a little bit to create like the teeth like this. There we go. And then I'm going to use my slash brush. Remember the slash were Jewish really, really good because we're able to carbon some details that might be a little bit too difficult. I'm gonna make this really small and really intense. That's more like a knife. See that we're going to carve right there. And then we can just start adding the lines for the teeth. It's the one center line down the center so that we know where that symmetry is. Still one here and another one here. Like this. Very cool. The first heads, like it's getting there, It's getting there. I'm going to use my clay buildup again. Be very careful about that. Remember that the amount of polygons, Let's do a border here on the base. So I'm going to really push this border there because there's gonna be kinda like where were the whole thing is going to be sitting. Yeah, that looks good. And now when you think about how to give this thing a little bit more like an interesting look on this side, right down on the sites that we're not seeing normally. So I'm going to continue the ice and I'm going to start creating this sort of like texture patterns, like going down here. So for instance, I can push the lips for further. And now I can create a little bit of a cavity back here and create some sort of lines is just follow the whole thing. This very geometric shapes are very, very common in this sort of like art. I'm going to start creating some lines here, the green, a little bit of a visual interests back here. We can always go back to the slash brush. The smaller size of course. And a little bit more effective. And to make this thing look like it's made out of stone. Of course, our our heart polish will do the trick too, to flatten things out right, and make them, make this thing look way, way bigger are way, way nicer. I'm going to use my slash brush this first half. Let's really carbon the ice here to make him look really, really angry as you can see there. And now we can go with like a clay buildup, small, small size, and we can have a little bit more detail. So for instance, maybe like back here, we're going to have a couple more fears. That's the 123. Let's do 123. All of this sphere is going like back. Why? Because we want to make sure that when people look at this thing, they see something interesting from pretty much all the sides, right? I am going to use my brush to push this thing a little bit further out just to give this more of a round face. And the, yeah, I think this first had this looking, looking really, really good. We have a very good start here. So now it's funny to me to see this noise. I wish we could take the noise out of that. I think it's part of the block of stone mesh thing. I, one thing we can do is we can of course change the material to see how it will look at different ways. When he says, imagine this is like a piece of jewelry. We'll get this sort of effect and sometimes changing the materials a good idea because there might be certain areas that you're not the judging properly due to the fact that they're not with the proper depth in stone. So I'm gonna, I'm gonna push the mouth, for instance, a little bit right there. Right about there. I really like how this head is looking. Let's do some more details with those lash brush. Again, small slash brush, high-intensity. And then let's create like a line going here. So when we see the side view, we see in to that kind of like a tentacle going to shape. Let's do here. Let's do it like very sharp lines are sharp as weekend. Very important that we mark the vision where this thing ends into the base starts. And that's it. We have our roof first told him face right there, ready to go. Now we're going to start with the second one. And the, one of the things that I'm going to do is again, I'm going to go with my clay buildup. And we're going to start doing that though. The board that we have, we already have the border down there. So let's do the border up here. Careful not to touch the base mesh of the tongue that we have there. We're going to start creating this thing right here. You can see that we're already close to our limit in regards to active polygons around, we can always press this little low, medium or high, a reduction. And we should maintain most of the detail without actually losing the shapes that we have. It might be a little bit difficult to visualize on this particular base mesh that we're using the stone base mesh because EDS a little bit more complicated to see, but don't worry, you just just go with what we have. And yeah, so we're in a very good position. Let me save this for you guys. So I'm going to save this as told them. Start. If you guys want to continue from this and just keep the angry face down there at the bottom. Feel free to do it. I'm just going to add a couple more details here. So let me go here, for instance, I'm just going to use my slash to really push that the cheekbones there so people know that the I and the rest of the elements are separate pieces from the Tilton. See that? And usually the slash won't use that much geometry because it's it's just pushing the geometry inside. Like that. Helped fund. As I always told my students, if you're not having fun, then you're doing something wrong in regard, in regards to sculpting, because it's sculpting is really, really fun. So make sure that you're always, always having fun. And that's it, guys, I'm going to stop the B right here. I'll see you on the next one to continue with the second told him so hang tight and I'll see you back on the next one. Bye. 14. Finish Sculpting the Totem: Hey guys, welcome back to the next part of our series. Today we're going to continue with the modeling of the sculpting of the told them. So let's get to it. This is where we left off and it's now time that we start working on this guy right here, the happy guy. So first things first, I'm going to use my brush to move and give this a little bit more depth. So you can see I'm moving the sides of the mouth all the way back because I want to, I want his smile to be really like contagious. And I want this to be all the way to the back. Now, sorry. Now we can go with the clay buildup and we can start the finding this mouth a little bit more like a clown mouth, right? So it's going to be really, really round, especially here on the, on the corners of the mouth. And then we're going to have this really big lip coming down here. We can use our Pinch brush. Remember the paintbrush to close the mouth a little bit more. See how that's now closed. And we just need to be very careful because as you saw there, we did move a little bit of the, of the border from the angry face. We can actually push the angry face a little bit lower. Let's create, I don't want this to be a creepy smile. I wanted to be a nice smile. And now we can use our slash brush again to push this thing. So we're going to grab the whole border of the mouth and just create this sort of link. If you've seen like Boucher junior Mario games, he has this clown car. And it's similar to what we're going for here. So now we did draw size. We're going to make this smile right here are the ice. We're also going to use the slash brush. And we're going to divide the ice. So when we see them, they do look like like the eyes are coming from the top. Now for this one, we don't have as much like face things that we can add. We're still we're missing the nose, of course. So for the nose, I'm going to go for like a sweet lord knows, that's going to be really a little more exaggerated. This was like a dwarf knows like very short, very stubby. And this one's going to be. So let's go for like really, really big and those here. And the of course, the side that looks funny. Here we go. Now we have this second phase right here. It seems to be a little bit big compared to the other ones. So I'm going to use my brush and just like crunch it a little bit so that it's not as big or something like that. Looks a little bit better. There we go. Maybe ears. Here's might be a good idea. The other one didn't have yours. Maybe he's wearing a mask or something. But this one, we can actually add some some funny ears, hear it. They're not going to be pushing those of let that much. They're going to be there. So just important to have. We can also use our slash brush and create this sort of like like S-shape. I think for this one we're going to go for this sort of like around the forms and shapes, kind of like the sea. So let's do like some sort of like like waveshape Sina. Probably make the size smaller so that we can go for a finer detail. There we go. So we're gonna go there. And then probably on the top side as well, this sort of like round shape over there. I think I'm also going to add those sort of like little dots and elements over here. So this had like a big dot there, there. And then the middle there are a couple more maybe like a declaration, right? And then up here, 1, 2, and here, I don't want this to be empty. So let me look at inspiration. There seems to me like some sort of pillars here. Then we can add another line over here just to have something, right? It's important that from a visual standpoint, there's always something interesting to look at right? Now. Having empty areas, it's boring. No one wants empty areas. So by doing that, we can add some very interesting elements without having to compromise most of the shapes that we already have. Very important that we keep the borders here nicely. And now we're thing I want to go to the, to the eyes and let's do a little bit of work here on the eyes. So I'm going to actually like carbon a little bit there. I remember we had this little chisel basic elements which like this sphere hemi. So we can actually push ID there and look at that shape. That's, that's an interesting shape that we can use. And then we can use our H polish. Just like this guy down a little bit because I think it's poking out too much. But by utilizing some of those, see how we created like a sort of an eyelid up there. That, that looks cool. I am going to go with my slash here and let's set some sort of like interests here on the list because I think that might be a good area. So let's try like the binding of the lips like this. And let's see how this guy looks. It looks kinda menacing instead of happy, he looks a little bit menacing, but I think that's fine. It's good to be like, like I cursed, told them that has some unfortunate that venture took somewhere end. And now he's going to have to deal with the curse that comes with it. You always want to have some cool stories to your projects. I always say Mom, tell my students, I consider myself, myself a storyteller first. 3d is the tool that I used to tell my stories. So you should always have some little font elements right there. And look at that. That looks very, very cool. I think this was a little bit easier and now that we're like moving a little bit faster, it should be faster for you as well. So let's move on to the next one. Now this next one's going to be a little bit more tricky because we need to create a sort of mouth that has this thing coming out of the tank. So I'm going to create the mouth here. I'm going to carbon. I'm going to inflate the tip of the tongue a little bit. Then I'm going to build like the teat, like the upper teeth are going to have like a t there. And the last set of teeth there. See that? Then of course, slash 0, we need to reduce. So let's reduce, Let's wait just a little bit. We're going to be reducing and now we need to build on top of this. So as you can see, we can create some very cool things here. Very nice little environmental prompts. Of course, as I've been mentioning, the complete version of ZBrush core version and this humorous version will give you even more tools. But the principles of sculpting, this are the ones that you're going to be learning and you're learning with all of this extra sizes. So don't think that just by having this limited amount of polygons, for instance, that means that we can't do amazing stuff, as you can see here. Some very crazy things, very cool little elements right here, without the need to go extremely crazy with polygons. So I'm gonna go with clay buildup. Let's do the eyes. I'm only going to make this like a worried guy. So I'm gonna make this things like this is like really, really worried that he's going to have to do something. He needs a nose as well. So that's again like a like a short stubby nose. It's at the sides of the nose. And they'll that's carbon in the ice. Like, like some hollow eyes right there. Now on the tongue, I definitely do want to add like the middle line of the tongue. So, well, Let's make this smaller. So that's going to have the middle line there on the undertone. Let me turn off perspective that way we can focus on this thing just as it is. I do want to add a little bit of like a zygomatic bone on this guide like here. It's gonna, it's gonna push the silhouette out a little bit. She's going to make it look nice. Let's push this in. See how we're playing with that, with the forms here. And let's add like a very heavy like lower eyelid here. Maybe he's like the chubby friend that we all have. There we go. Let's add a little bit more volume like here. And now we need to think about the details, right? So for this guy who had like this straight lines and then for this guy we had like the sea, which is looking nice, one we're going to do for this guy. We definitely need to add the border on the top. So I'm going to create like the little like lines is going to finish. Told them here. I like the point. And then let's do, let's do some, some like circular shapes. So I'm gonna go lower in size here. Those, those errors actually don't look that bad. So I'm gonna keep them, makes it look like like a splinter award or something. There we go. And create this very nice lines while still keeping our, our topology there. Now, this definitely looks like it's getting bigger as it goes higher and higher up. So I'm going to use my brush and very gently I'm going to start pushing this in so that the top told them it's a slightly smaller than the bottom toggle them. Can I also pulled a the bottom taught them down or back. So we get this sort of like a pyramid shape like this. And look at this. We get this very, very nice-looking told them are ready to go. So this is the exercise, this is the mode Module 3 exercise for you guys. I want you to build your own. Told them if you want to follow the same sort of patterns that they did here, that's totally fine. But if you want to explore and do something a little bit crazier, Also feel free to just like push this into a different direction. Try doing some different phase expressions, some different styles. And then if you want to make this thing look a little bit more like a chimp elements. We can always go with that with H polish that we've been seeing, that we saw with the Little Rock exercise and make the facets of the elements sharper. So that's it for this video guys, that's it for this module as well. We're finishing this module. We're gonna do one, 1, 2, 3, three more modules. We're still missing three more molecule. Again, short exercises and videos for you guys. So I'll see you back on the next one. Bye. 15. Sculpting Stylized Creature: Hey guys, welcome back to our next part of our series. Then we're going to start with Module 4 and we're going to be doing a very nice, a stylized creature. So let's get to it very well. So first of all, what is a stylized creature? Some of you might already know because the term stylus has been used for quite a while in the last two years. In regards to Game Center and products, and stylized just means reducing the amount of realism, taking the most important parts of the character and exaggerating them. So when we grade the more impactful concept, right? So most of the things that you're gonna see a stylized are kinda like simplified, but, but turning the volume up to 11 on certain elements. So this kinda stuff, right? It's sort of like cartoonish, like new, new school kind of thing. But at the same time we follow anatomy, we follow form, we follow gesture. Now, I'm gonna give you a challenge. This is a little bit of a challenge module, so I'm going to look for Ecosystems, okay? And if we take a look at ecosystems, you're going to see that we can have like several ecosystem. Let's go with this one. So, I'm sorry. So let's say we have six ecosystem, we have prayer, desert, mountains, see, swamp, and let's call this Savannah. Savannah. So you're gonna go into Google and you're gonna say a role the sixth. What this will do is it will roll a die, six-sided die, and it will give me a number. In my case I got too. So that's desert cool. Now I'm going to look for it, the desert animals. And I'm going to see what kind of animals we have onto this hurt. And in this case we have some very cool things. We have snakes, journals like rabbit, foxes, scorpions, tarantulas. I'm really scared of spiders, so I'm not gonna do that one of those, and you're going to choose one if you don't know which one to choose and you want to challenge yourself, do the same thing like grab an image like this one right here. Count how many animals you've got. 12345678910. And you can tell Google okay, role of the 10 and we get nine. So it will be like snake, snakes to EC. So I'm going to go into a snake. But let's do, let's do a little, this little guy like a little. What's the word? Like a little prayer doc. So if I take a look at the paradox, they're pretty cute. They're very nice creatures, but they're not that interesting, right? So here's where the challenge comes into place. You're going to grab one creature from one ecosystem and you're going to combine it with the creature from another ecosystem. Okay, so we're going to create this sort of like alien stylized cubes creatures. So if we look at again at the ecosystems, we had this image right here. Let's draw a, another D6 and we get number five, which is a swamp. Okay, so let's look for swamp creatures. So you're going to imagine that this animal that you're doing and you might gaze a prairie dog is going to have something with a swamp creature. So hey, why not? What's the word in English for this guy? Platypus. Platypus sounds, sounds like a, like a, like a good thing. So maybe it's like sort of like the bus mix with a prayer doctor. They're kind of similar, but at the same time, different enough that we can, that we can work with it. So as with the crystal rock, I strongly recommend getting pure ref and just basing your reference there. So let me paste this very cute image of my prayer duck and the planet bus. And I know that I need to combine these two little guys. So whenever we started creature, whenever we start a project, the first thing you should always do is form. Form is one of the most important part is similar to what we did with the, with the goblin. You, in your case, if you want to do, you can do the same thing. You can try to do the platypus paradox. But I would strongly recommend trying to do the challenge because that's going to show how much you've learned in this past videos. So I'm going to start with my brush and I'm just gonna start creating the basic shapes of my little like Duke here. So I think I'm going to keep the same sort of like shape for the head. I'm going to use my move brushes, you can see here to move the hell up and create this very nice body. Here's his chubby. So I'm going to I'm going to create like the like the chubby like form here on his, on his body, on his torso. We need to keep the S shape on the, on the, on the back. And then what I wanna do is I want to have the platypuses, beak, or mouth. So I'm going to create like the shape of the platypuses beak. Like this. He's big, really goes like quite high on his head, something like this. And I wanted to platypus tail. So I'm going to bring the tail back. Now in stylized creatures as I mentioned, we usually go for, for a little bit of an exaggeration right leg. We want to push the limits of what's normal and create something, something cute, but at the same time something that we haven't seen before. So what I'm gonna do is I'm gonna make this a really, really big tail. Platypuses don't have the tail like extremely as big as I'm doing it here. I'm going to go really big, the big, smooth that out. Another thing about stylized creatures is stylus creatures are usually very soft in their shapes. You're not going to have like very intense silhouettes or anything. It's usually really, really smooth all the way throughout. So as you can see here, with the tail, we're gonna keep like a very, very nice tail here. I usually are very like Googly and very cartoony. So we're gonna go for some big fish eyes. I want this guy to be kind of cute. So maybe Derby, maybe a little bit therapy. There we go. Look at those. Very nice looking nice. Let's do a little bit of an I live here. And a lower eyelid as well. Hey, I like him. He's looking he's looking funny. Feet. We need to add the feet, of course. So let's see, we have some sort of cheat sheets, CISO creature thing that we can use for the feet. I don't think so. We have four here because we have wings and stuff, I think. Anymore horn b or we have a hand. That's a horn as well. No, it doesn't seem like we have like a feeder, something. Well, we could use a horn. For instance, this guy right here. Just as a, as a base mesh for our, for instance, yeah, I like this guys. Use this guy's as a base image for my faith. My if they're going to be here. And then I'm going to use this other horn as my base mesh for the hands. See that? So that way we can, we can very quickly blocking something here with a character without having to worry too much about moving, moving stuff out or out of the way. I actually like him having just two fingers there, but I do want to add a third one. So let's add like, like a third one there, like a thumb, because paradoxes, we'll have a Tom. So there we go. Let's go. And now for the fee that we definitely need to fix them. So I'm just gonna start smoothing until we get something closer to what we want. And of course, I know that this guys have nice and femurs and stuff. So I need to model the rest of the, of the anatomy, right? Given the word doing a fantastical creature, we still need to think about how he would move, how he would jump, Ethan stuff. Okay, so as you can see, we're getting this very, very cute little character here thing I'm going to increase the feet here and make a little bit bigger. Kinda like platypuses. Yes. Come like this. There we go. That looks fun. Let's add like that, like the heel back here. And we're getting this very nice prototype of our adipose Prayer Dog combination. I'm going to use my brush right here to give the Bigelow bit of a better shape. And again, don't be, don't be afraid to exaggerate things. And we can exaggerate things, but we need to keep silhouette or the silhouette very, very clean. Let me move the eyes a little bit. I'm actually going to move the eyes. I just wanted the base machine. I'm going to turn perspective of going. I usually don't work with perspective. I don't like it. I feel like the forms things quite a bit. Clear buildup. And that's where the word the ice are going to be. Now, I'm not sure if platypuses have years, but paradox do so. I'm going to have some little ears here behind the ice and smooth everything out. Remember, we need to smooth everything out because we want this guy to be really, really cute, really like a, like a little animal. I'm going to use my Move brush to try and move the hands down because he looks like static here. So I'm just going to move the hands down. You know what? I'm actually going to erase that the hands. And just to have like a nicer pose or we could later on paint or something. I'm going to have the hands be here on the on the inside. Maybe he's holding something like, Oh, I don't know. It could be a little bit of food or something, but I wanted this to be a little bit cuter. So, so we're, that's the, the hands here towards the inside and see how easy this to, to, to erase things and then just build them back together. That's one of the very cool things about ZBrush in all three of its softwares. I'm going to create a little bit of a gap there. And then with my brush, I'm just gonna move this down so that those look like like elbows. See that? There we go. Let's have a little bit of a belly to the character. So I'm just going to push this belly, this belly out a little bit. Just add form and delete it and then we need to smooth out, smooth out a little bit more. Now, here's an interesting thing. What about if we made this guy a little bit more alien? Because right now it just looks like a paradox combined with a platypus. But if we want to make this a little bit more stylized and little bit more like a creature WE will find on another planet in another solar system or something. What if his tail on the backside was padded, right? Account like dinosaurs see how they had like this elements. So I'm going to start adding this sort of like paddling coming from the bottom of the belly and going into the tail like this. See this, like this. That way we can have an interesting look. Maybe this guy Sir, buys by slapping the predators with his very like heavy tail. Maybe he has some solar as a Poisson or something on the back here. But by adding this little bit of texture that's going to, it's going to really make this thing look a little bit more alien and at the same time, a little bit more cool. So what I'm gonna do, I'm gonna continue this pattern outside to that, to the side like this to create like a border. Because I want this border to be seen from the, from the front like that. See how this thing is kind of like bleeding into the front there. It's not going to go all the way through. Just going to be an indication that there's something behind. And that's going to make it again way more interesting. And here's where you're going to have a lot of fun because whenever we're creating something new, something from scratch, we're not funding following a constant and we're just, we're just creating, it becomes very, very liberating. But you, you always need to think about how you're going to like make sure that all of this kinda like fix fits together, right? So I'm going to continue this effect here. This sort of like path of thing. All the way to the chest. This there we go. And then here right where it it stops on the on the, on the abdomen. I'm just going to fill in with a little bit of fun. Like a division, right? Like this. So this is not just blending, it's actually like that's where he then, so that's where we're at this part of the character. And I'm going to use the slash brush here. Well, smaller of course, which is a division there, smoothed out very softly created divisions will now. And there we go. Make the brush a little bit bigger and just smooth out some of that texture. Because again, remember one of the things about a stylus creatures is we want to keep it simple. We don't want to have a lot of noise are a lot of detail. The forms, the main forms that we have, those should be doing the trick. And I think we're in a very good position with this little guy. So make sure you start your own. I'm going to stop the video right here and we're going to keep on detailing this guy on the next video. So hang tight and I'll see you on the next one. Hi. 16. Refining Stylized Creature: Hey guys, welcome back to the next part of our series. Today we're going to continue with the stylized creature. So let's get to it. This is where our little guy is currently at and asked them the wr working a little bit on the face. So I'm going to start with the beak because I think that's a very important part. And the platypus has this sort of shape that separates the big from the top part of the face. It kinda goes all the way down here. So I'm of course exaggerating. This creates this sort of bore. They're very definite border. I'm just going to smooth out like this. And then on the other side here, this is where the, where the mouth is going to open. I'm going to use my slash brush to create like the, like the open enough the mouth down here. And I'm going to use my clay buildup again to build up the volume here for the, for the math, right? Smooth out the shapes. We want soft, cool shapes here. We can add a little bit of a line there to divide the lower jaw from the upper jaw. There we go. And then it has two nostrils on the, on the front. So I'm just going to make my brush very, very small. And let's add the two nostrils like this and smoothed out. So it's quite a bit. I think those are actually now that's all fine. They look cartoonish show. So that's what we're looking for. Or we're going for. Let's set the border here again, just to make sure that it's actually like separating the rest of the elements. And there we go, Have a very cute little face. He looks like a kinda like a hippopotamus. So that's fun. And now we go to the ice. So for the eyes, we need to be very careful. We already have this very nice round shape of the eye. So I'm going to use that shape to create like the upper eyelid here. But again, we want to keep it simple. We don't want to over-complicate things. We just want to create the indication of the upper eyelid. Right at the end of the day, this is just like a prototype's just like a sketch of the character. We don't need to make sure that this is like fully functionally and animatable or anything. We just need to make sure that he looks really, really fond, really cool. And then we're going to do the lower eyelid. Which would be right about here. Telling up worrying that much about how it blends on the corners of the eye. If this was a more realistic character, I probably wouldn't worry a little bit more. But since this is just like a very funny creature, like I know eventually if we were to create the final leg rig and stuff for this character with we'll do things properly. So I agree the little hollow part there. Remember the little trick? We're going to add a little bit more volume there to create the eye. It looks a little bit angry now with those, with those islets. So let me let me get rid of the upper eyelid is the issue. As you can see, there's a lot of control sees here inside of wealth or money. That's always good. So yeah, I think I'm just gonna do the lower eyelid. Like here. This. That looks a little bit funny. And then with a very small draw size, I'm just going to add like the upper eyelid, like an indication of the upper eyelid up here. But it's not actually going to create a lot of volume. It's just like an indication, right? Like this. Now when he doesn't look menacing. Now, I'm going to break symmetry here to do something funny. I'm going to create one eye right here. And then on the other side I'm going to create the eye. Here. It has got crossed eyes. He's going to look a little bit Derby, right? We could also go for like a move tool here, even though I usually don't break the symmetry until the very end, we can start like maybe this year is like going up and the zeros going down. And it's going to make your character look really, really DRP, the font. I'm going to have very, very softly do a little bit of smoothing there just to soften the, the, the elements of the eyes. And now we can continue working on the character. So I'm just smoothing all of the triangles there, the big triangles, that's of course adding a little bit of geometry, but that's fine. Let's go through the hands here. So I'm gonna go with my clay buildup. And usually when you bring your hands like this, the thumb is going to be up here. So I'm going to turn symmetry on again. So we're going to have the thumb here. And then we're going to have like 123 fingers, right? And you can see I'm adding the volume here so that when we smooth, we have the indication of the little elements right there for the, for the kick. I think I want to add some sort of like nails are like little claws of here. So I'm going to push the tree little elements, but right about there, I'm going to use my Move brush, move them down. They seem to be going up. That's MOOC. We got this. Bug again, just click this button here, and then go back to why. There we go. So we're going to have the nice right about here. So let's have the volume for the knees. And just keeps moving a little bit more volume here. Then we can go for the slash brush and for instance, click Create a little bit of a fall here where the abdomen finishes the, the elements there. Let's move the legs a little closer together. And then the sewer here we can help them out. Have this little guy here, very fungi, right? You can name him. He can name of course, your creations. And again, I find this kind of exercise very refreshing because most of the times when we were working on a, on a studio environment, we're working based on some clients expectations and in concepts. So you don't have a lot of time to create your own stuff, right? So, so by actually taking time and being a little bit more free, and once you create that, That's really refreshing for us as artists. What else, what else can we do? Let's move out this thing right here. And I want to add a little bit of a detail here. So I'm gonna go I think I'm going to do clay buildup. But what I'm gonna do is I want to add some sort of like spots like this. I'm gonna do symmetrical. And then we'll just move that just to add a little bit of texture to the tail. So when you see the character from a trick worldview, there's again something interesting to see pretty much every single time, right? And we get this little guy here. Let's go to the slash brush in a couple of wrinkle lines right about there. There we go. This guy, he's looking, he's looking fun. Perfect. So this is where I would normally stop for this sort of exercises. It's just like okay, he's looking good. I like it. It's a, it's a fun project is a fun exercise. But what if we added more variations, right? Like maybe this is one sort of like species think about like bugs, right? Or, or like dogs. So there's a lot of breeds of dogs. So you're going to have a very similar anatomy, but some of them are going to be slightly different, slightly bigger, slightly smaller, et cetera, et cetera. So I'm gonna save this guy. I'm going to call this cute creature. And remember we have this chisel brushes. And the chisel brushes are really, really good because we can ve very, very inventive and tried to find some interesting things that we can do with this guy. So for instance, we have this, this will neck thing. And as you can see, it's sort of like a plate. I'm going to break symmetry. You can press the letter X to break symmetry as well. I'm not sure if I've mentioned that before, but it's, it's very good. So maybe we have a race of this guy, so that's a little bit more aggressive. And they have like a little bit of a spike here on the center right? So they have the same sort of plating gonna get like this little spikes all over the plates. And he could be even the same guy like this is one of the cool things about, about C version and experimenting with, with, with sculpting that you can, you can do something. You have a safe filing because you want to go back and then just give it a shot with this kind of stuff. So maybe, maybe that thing is going to make it look really nice so we can smooth out some of the details there. And those guys looking McLuhan more interesting. So let's continue here. That's one. That's two. Here. We're having some issue, so I'm just going to skip one. I like bigger, bigger spikes here and there. Just smooth those guys out. And now we have a completely different creature was not completely, but we have a nice variant. And the creature that we might have not been able to do before because we were focused on, on other kinds of characters, right? So maybe I want to add like teeth. It will make no sense to be honest, but he's like a vampire kind of creature. And so let's add some nice little teeth. They're probably further up there we go, something like that. And we just move this out to make sure that they follow nicely with the character. What about the horns? May want to add like a couple of horns to the back of the head or to the top of the handling, just some small horns. And now he's like, he's like the evil version of the stylized creature that we just created, right? So feel free to again explore these brushes, explore this elements. Guys tried to find ways in order to create some interesting shapes and don't be afraid to experiment that thing that I showed you at the beginning of this, of this module, the thing with the dice. That's a very good exercise that I strongly encourage you guys to practice because it allows us to, to get out of our comfort zone and try to do something that we might not trying to do if we don't find that reason right. And if I were to ask you, Hey, just doing magical creature, you're probably going to grab your favorite animal and doesn't just go from there. However, if we do it randomly, you're gonna be, you're gonna Bush and do your limits in regards to your crit, creativity and you're going to have to come up with something more interesting. So I'm going to save this little creature as well. I'm going to call this cute creature evil. And it gives you want to take a look at it. And, and yeah, that's it, guys. I'm going to stop the video right here and I'll see you on the next one. Bye bye. 17. Finishing Stylized Creature Sculpt: Hey guys, welcome back to the next part of our series. We're just going to continue with a very small video various update here with the little guy. Because I want to show you how we can save this guy in a different kind of format that's a little bit different to what we're used to. Okay, so, so far we've been saving this things as just projects, right? See you brush core mini projects. And before we do that though, I think we can actually add a little bit more detail. So for instance, remember this little wrinkles on the, on the neck. We can make them a little bit. The bird, which is smooth the mouth with the amusing the slash brush. And let's just clean things up a little bit because I think he looks nice, wealthy, he could look a little bit cleaner. So for instance here with the paintbrush, could just pinch this together so that the eyes look a little bit sharper. Let's go back to the slash brush. In the full version of ZBrush, there's a brush that I love it That's called the Damian standard. It's pretty much like the slash brush. It's just a little bit more precise. But we have to work with what we have and that's fine. So I'm actually setting this couple of details here and there. Let's turn on the occlusion. Remember this bundle we had before, the occlusion option, that's going to give us a little bit of an extra shadow pretty much everywhere. We can actually change the material to, I think the basic material mix discrete your look. Very, very nice. Let's go with the slash Bashir underneath the arm to really separate this guy from the rest of the elements. Same thing here. Like let's add a couple of lines here. And this is where a lot of my students struggle with even I still would this sometimes and it's after you're done after hearing that in a very good position and you feel like you're pretty much finished. Sometimes like going back in and cleaning stuff up, can see him. What's the word tedious, right? So that's what divides the professional artists from the amateurs, right? The fact that we as professionals want to make sure that we can push our sculpture and push our element to the best possible effect that's reduced the topology there. Let's just wasted a little bit. And I'm going to be talking about a very specific format that we have here inside of ZBrush core. Meaning. So there's three things that we can export as part of the package here. The first one is this thing called an image. And as the name implies, to just click here, just frame your object. Click this thing right here. You save this, and let's call this cute creature. And if we go, as you can see here, we can crop. So let's crop a little bit there. Let's go up to the left. Let's probably that's fine. There we go. So we've framed this guy 100 percent quality. That's usually what we want and we just hit, Okay. Now, when we navigate real quick to our project files here, right here, you're going to see that we have our nice little picture. Of course, since we're using a free software, they're always going to be some sort of promotional thing. So just going to say, Hey, we've created this thing in saber score mean. So that's perfectly fine. That's the first way in which we can export our objects. The second way is this one. And this one is very interesting. This is for 3D printing and what we're going to be exporting these an OBJ file. So I'm going to call this cute creature right here. And what I'm gonna do is I'm actually going to save this or I'm gonna, I'm gonna open this in a software that I have called shoebox. And she, the box is the software that the 3D printer elegant Mars uses to print pretty much anything you want. So if I were to grab my object here and drop it into the file, you're gonna see that first of all, the file is extremely, extremely vague. You can see that my little creature a far exceeds the build platform of my element, but that's fine. We can just scale this down to like a tame 10 percent. And there we go. So now our little Gaius is ready. We of course would need to prepare this guy in and make sure that we have supports and stuff. If you guys are familiar with the 3D printing process, you already know the things that we're looking for. But as you can see, this OBJ file is perfectly ready to be 3D printed. You could even bring it into another software like Blender or Maya and do like a renderer or and like topology, there are some little things you can do. So it is quite a big. What's the word advantage that we can export objects as OBJ is out of silver, so that's always good. Finally, we have the turntable, which is pretty, pretty cool as well. If I click here, it says that it has just limited options, That's fine. It will just capture whatever you have here on the screen. It will capture a small video, is recording a turntable right there. And if we save this as cute creature turn table, we're going to have this very nice video right here. You can use any of your favorite players are things. Make sure you don't move the mouse. It seems like I move the mouse right there and that's why we see that thing. So don't move the mouse just to make sure that you don't get anything and you're gonna get that nice turntable that you can share with people. And there's finally, finally one last thing that we can deliver. Just find where the option is. I think it's this, the export image. And there's an option to export this as a, whereas, it's not the JPEG. There was an option to export this as a, as a GIF image. So I'm sort of give image. Let me just double-check where this thing is. Okay. Finally, had to check the documentation it real quick, but it's right here. If you save this file right here, and if you tried to save the image here, we can always save this as just a normal C project, but we can also change this as a gift for my image 3D GIF, which is the one that we're going for. So I'm going to click this one right here. I'm going to say QED creature, evil is this table one. Yeah. So we're just going to save. And now this image that we have right here, It's a special image, this one that has some information down there. See that little black line. Let me see if I can. I can't zoom in, but the information there, those pixels that are moving all over the place, those information are, those pixels are actually saving the three the information of the object. And we can open any sort of give three the image inside of ZBrush, meaning core. So in the documentation folders you're going to find this denote 3D. This one comes from ZBrush actually. And if you, let me just save this real quick, just as a basic project, say, yes. And if you open those on, we can actually keep on working on those images. Look at this guy right here. So this dinosaur head, this is not a model that I, that I did. This one that comes directly from pixel logic. And as you can see, it looks very, very nice and all the information is stored in that gift 3D. So those are the four main ways in which you're going to be able to share your projects. Image, 3D printing, which is just the LBJ, the turntable, which is just a video. And if you go here into the same option, you remember you can save this either as a GIF format or a PNG format. And that information is going to be saved on the file itself. And anyone will be able to open your stuff in other computers. So that's it guys, That's it for this module where we're finished now with the, with the stylized creature. In the next module, we're gonna work with a realistic head. We're going to be working on the, on the basic shapes and bn anatomy or for realistic head. And I'm gonna be showing you some basic sculptural techniques before we jump onto our final module, where we're going to be taking a look at some very nice examples. So hang tight and I'll see you back on the next one. Bye. 18. Sculpting Human Head Planes: Hey guys, welcome back to the next part of our series. We're now starting Module 5. We're going to be sculpting a human head. So let's get to it. We're going to start with a basic sphere. And the first thing I want to talk about this module is a little bit more special than what we've done before, before. Because of this module, I'm going to be explaining some very important sculpting techniques that are going to be of importance for this lecture of course. So the first thing we're going to talk about are the planes of the face. So if you're an American couple of videos ago I mentioned that everything can be simplify writing two shapes and planes. And the planes of the face are really, really important whenever we're sculpting a character, a creature, a monster, whatever you are imagining, having planes define the forms and the volumes of your character will really make your elements pop. So this is a very classic head that we use as reference. We never sculpt the things to be exactly like this of course, but we use this as reference. You're still understand where light hits on our character. So you can see here the light areas, the gray areas, and then the dark areas. Those are the things that we want to focus on. Now, yes, of course we could use the chisel brush and we achieved a little bit and use some of the base meshes to give ourselves a headstart. But for this exercise, I strongly recommend that you start from the very beginning. Like don't, don't try to cut any corners. Now what I'm gonna do here is I'm going to create the shoulders. A little bit of the torso. We're going to lose some sort of like a bust. The kind of bosses you see on, on museums and stuff. A famous, famous people. So you're just going to smooth this out. So we get this sort of like round shape. There we go. Later on we can go with the age polish for instance, and just give this a nice flat edge. But for now it's perfectly fine. I'm going to grab my brush again and I'm going to start moving the neck or what would become the neck. Remember that the neck pushes forward. So we're going to have something like this. Let's move out so that we get new geometry. And then from the neck, we're going to start creating the head. We actually have a very nice reference of the head corner there. So we can use that as a guideline to create the silhouette. So I'm just going to start pushing the hip here. Let's make them a little bit thicker. Smooth out. And of course we need to smooth and then move on the sides as well. So make sure you rotate the camera and take a look at how things look from all the sides. There we go. So now we have this very rough basic shape of the head and we're going to be modifying some proportions and some things to make sure that this looks as nice as possible. But we need to focus on the planes of the face. When looking at the face from the site, you're going to divide the face into halves. So very cool technique that works pretty much every time. So we're going to do like a half here. And then a half here. As close as possible, my pulses really bad to see half and half. And then on the center here I'm going to turn off the perspective. We're also going to apply it right there on the half. So when you take a look at the character from the side view, the ear is going to be located behind that half. So we're going to draw where the year is going to be, which is right about here. That's usually weren't that year is this half right here is where your jaw starts and creates the board there. So I'm going to draw the border of the jaw going forward, which is going to be something like that. Now on the front view, we're going to divide the head into thirds. We're going to start with the hair line, which should be roughly about here. Then we're gonna go to the first third, which is about their second theorem, which is about there. Actually this one is a little bit high. It's probably like their second third would be here. And then of course this is the third third. Now why are the third is important? Because on the first third or the other end of the first third, that's where you're going to have your eyebrows. So the address of the character are going to be right there. Which means that the eye sockets are going to be right about here. So we can go here and start carving a little bit of what the eye sockets are going to be. That's where that's where the eyes are going to be. If you can see this, they pretty much follow the center line. Then at the end of the second, third is where the nose is going to be. So I'm going to add a little bit of volume just to indicate that that's where the more than knows of my character is going to be. And finally, on the last third, which is this one right here, you're going to divide that last third into two more therapy or into thirds again. And on the first third of the last third of the face, that's where your mouth is going to be. Some people who plays the mouth way too low and then it becomes a little bit difficult to, to modify. Now on the side of the character here, and this is very important. Let me jump into Photoshop. On this side of the character. The silhouette that you're going to see on a, on a male face more often than not is the following. You're having that, you're going to have the curvature of the, of the forehead. And then you're going to have a line going in where the nose starts than those coming out. Nose going in, libs going out and it's going in, going out, chain going in, and then the face like this. Okay? So this sort of thing that we see on the face, it's going to be very important and that's exactly why the planes of the face, the reference that we're seeing right here, it's going to come into play because as you can see, that's where the shadow and the light of the form is going to start hitting, right? So what I'm gonna do is I'm going to grab my clay buildup. I'm going to remove a little bit of volume here on the beginning of the nose to create that sort of like a plane that's going in C, you, that We can use the H polish, It's not necessary, but if you want to keep this like real planes like here, we can definitely use the H polish to create that sort of like very sharp plane right there. Now at the sides of the nose, we're going to remove some volume because as you can see here, there's a shadow, like a vague shadow on the sides. So we definitely need to remove some of the volume right about here to keep the nose like going forward into space. So I'm gonna start removing again, we clay buildup, removing some of the volume to construct this sort of shape right here. Now the nose, as you can see, it's very flattened the bottom. So I'm going to keep my drawer size a little bit smaller. And I'm going to create this sort of like triangular shape first like that. That looks good. Now a little bit more volume here on the bottom side. And then again with the heart polish if you want, you can mark the planes like really, really strongly is not necessary to marketplace like super strongly because we're going to be smoothing the mouth, of course, to grade like an organic looking have. But we can definitely like push them. As you can see, the, the separation between the ice is not that big. So I'm going to start like pushing this corner, same. Like this. You'll want to create like a little bit more fun, interesting notes. We can also do that. I'm going to keep it pretty standard. And then with my clay buildup, I can add the little nostrils again as as planes like little cubes that push the shape to a different direction. Now, for the sockets here, I'm actually going to make this guy with the eyes closed as if he was slipping. So I'm going to start adding the volume that represents the eyeballs, which is going to be roughly about here. So you can see right there underneath the eyeballs we of course have the lower eyelid. So I'm going to start removing some of the elements here. I'm going to start creating a little bit of the ibex. Usually on the top of the ice, we're going to have a little bit of the eyebrow right here. Not that much, right, but just a little bit of volume here on the USS Cole. This is very interesting. On the skull, we usually have this shadow. See this because there's a very important bone here called the temporal bone, which is the bone that goes into the ear. And it's going to create a little bit of a change in, in-situ at right here. So we're going to have a little bit of a concave area right about here. Like that. You'll remember the chimp skull that we did in the first videos. It's pretty similar to that. I'm going to go with my H polish and let's start polishing this a little bit more again, to have the planes of the face very, very clean, right? And we really want to make sure that the planes of the face look, look good. Now here comes one of the most important parts of the planes of the face. And that's the zygomatic arch, which is this thing right here, right? So it's the corner, as you can see here on this reference, we're going to have this sharp line coming from the side, see how the light hits this area. And then it goes all the way to the mouth. That's one area that people miss quite a bit when they are doing characters, they forget that there's, there's a very important bone here on the side of the eyes right about here. That's creates this sort of like triangular shape. And it's kinda like a shelf. I always call this like a like a shelf that goes straight into the mouth like this. So you look at this a little bit here on the, on the negative side. This is something that I think I forgot to mention, but you can change this to flat color and the flat color material is actually really good to see this yellow that without getting distracted by the, by the other things like the shadows and stuff on the other character. So don't overestimate the flat shadow shading. People don't usually know why we have that, but it's one of the reasons. So on this side here of the face, we're going to have a very flat and almost like like concave area, right? That's where our cheeks are going to be located. So I'm going to use my H polish to really push the chicks in and make sure that this looks as nice as possible, like that. Now, for the ears, ears are one of those things that yes, you can do them from scratch, but usually we use a little bit of a base mesh. So for instance, we can use this ear and as long as we positioned and where it's supposed to be, which is behind that middle section right there. We're going to be in good shape. So the face is looking good. I think I'm going to move a little bit of the proportions here. So I'm going to push the ear is slightly closer to the central line. I don't want the face to be super round. So something like that. And I'm going to start using my my brushes here to give it a little bit more form back here or down here. So I'm going to use my slash brush to know where the where are the sternocleidomastoid muscle is gonna go, which is right above there. And we're going to have the clavicles right above here. And he seems to be missing a little bit of trapezius muscle. So I'm going to remove some of the mass here and add it right about here. That's better. I'm actually going to make the bus, I'm going to make the boss like, like stone both bus. So I'm gonna, I'm gonna break a little bit of that, of the form down here. I'm going to make it look a little bit chunkier. Going to use my clay buildup again to do the neck muscles right here. Let's make this a little bit smaller. This is where the clavicles are going to be clerk or sort of like a bike handles. And this is where the pectoral muscle. So let's just add the fibers right there. Clay buildup, it's a great brush because again, it gives you this sort of like a nice texture. And now we can go back to the, to the face. I'm going to use my brush. Thank you. Islets are a little bit up. I'm going to bring this down. I'm going to use my slash brush with a very small size and soft pressure on my tablet. To push the ice in. You're going to carve a little bit of the of the tear doc in there. And we're going to be in a very good position. Now let's go for the planes of the mouth here. I'm going to ignore the fact that we need to do the lips first. I'm just going to concentrate on the form that the mouth should have. When you look at the mouth, you should have this sort of like a barrel shape coming out. So I'm going to add a little bit of volume here. Kind of like if you think about monkeys, kind of like the way their faces pushing forward, That's because we have the teeth and everything pushing there. Now, immediately underneath that, we're going to have a little bit of a hollow area. And then we're going to have the chin, which is really, really important. That's why we needed to have that division earlier, because otherwise the ellipse would be like really, really low. And then use my polish to push this in a little bit more. And if you feel like some of the planes of the face are going a little bit too far out or something. That's perfectly fine. We can just just brush and then push this thing in a little bit more. Let me use my clay buildup. Polish this a little bit more. Leave the area, the volume there because that's the volume where our lives are going to be. And we're going to be, as you can see, in a very, very good position. I think the neck is a little bit thin. So again, Move brush or big brush. And let's give him a little bit of a wider neck. Just a neck. I just wanna I just want to increase the width of the neck, not everything else. There we go. That looks way more balanced. And yeah, we're in a very good position. As you can see, we have most of the planes of the face already that the areas where we're going to be adding the details are there. And it's now just a matter of starting to define all the different areas that we need to make this guy look very, very nice. So I'm going to stop that. Be the right here, guys. And I'll see you back on the next one. Bye. 19. Refining the Eye and Nose: Hey guys, welcome back to our next part of our series. Today we're going to continue with the sculpture of our head right here. I'm going to save this real quick. I'm gonna say this as head underscores. Here's your one. You're probably only going to have the finished one. I strongly, strongly recommended you tried to do this exercise. The first phase you're gonna do is probably not going to look as great as my want. But it's, it's, it's just a matter of practice. So let's start working on this area right here. We already have a nicely defined I section. So let's go for like an old are just like male face for reference doesn't necessarily have to be old. Mind's going to look a little bit older. I don't want to go for like a super young face. So the reason why we sometimes go for older characters is because the features become a little bit more defined. So you're going to be able to see like where the wrinkles are and stuff. So I'm going to copy this image actually. And we're going to use this as a reference to show you what we're gonna be working on. So there's two main volumes on the face, especially on the, on the top side of the face that are super, super important for us as character artists. And that is the way that the eyelid moves. So it has to do with all of this area right here and then how we connect the nose to the mouth. So I'm going to start explaining the thing about the nose and the mouth from the corner of the eye, we're going to have two lines, two very important expression lines. This one right here and this one right here. And these two lines are going to be fundamental for our character to look nice. This first one occurs because of the iBanks of the lower eyelid. And this one, of course, thanks to something called the nasal labial fold. I think I've talked about this on the, on the gobbling character, but this is a feature that's going to flow, as you can see, from the border of nodes, not from the border here, from the border like on the, on the lower plane of the nose. And it's going to flow all the way to the corner of the mouth. As we get older and ISR skin loses elasticity, we're gonna get more and more wrinkles, heavy wrinkles down here. So if we go back into our element right here, the first thing I'd like to do is I like to use my slash brush with a small size to mark where those things are going to be. So going from the corner of the nose, I'm going to bring this line all the way back. And up here from the bottom side of the, of the eye. We're also going to have that line. This one is usually a little bit less marked on the characters than this one. But in this one, we definitely are going to get a little bit of volume. So what I'm gonna do is I'm going to start using my clay buildup and I'm going to start flowing, creating this strokes, going down into the corner of the mouth. I'm also going to smooth this out like other one distinct to be like extremely intense. The clay buildup is a great brush because as you can see, it kind of fills in the gap in a very natural way. Kinda like how fat usually accumulates on our, on our characters. And the increase is very nice effect. Now, thinking about knowns are talking about the nose, then those is going to have this sort of wing. Let me change colors. So we're going to have this sort of like wing going out. And it's going to be very important, very important that the nose remains as thin as possible. And you can see that two plants right here. So this is the main plane and this is like the secondary plane going, going down into the face. And that's what we want here with our characters. So what I'm gonna do again with the clay buildup. So I'm going to make sure that my planes really, really well-defined this. And then here I'm going to start carving in a little bit. Usually the nose creates this sort of like diamond shape on top here. Of course, as you can see where we're now polishing a little bit of those hard edges that we had before and we're adding a little bit more volume. And then we're going to have like the main volume of our afforded notice right here, going to make the size smaller. And we of course, are going to carbon. The nostrils. Nostrils have a wide variety of shapes and people have very like round nostrils. Some people have like very oval shaped nostrils. Suddenly everyone's slightly different. I'm going to open more volume here to make sure that that nose looks roundish. We can smooth it out, of course. Make sure that we don't have this extreme silhouette change here. So if I need to add a little bit more volume there to make sure that the nose looks as straight as possible, that's perfect. And then you can of course, grab your MOOC brush and change the shape of the nose a little bit, for instance, let's make him a little more like a hook nose, right? So something like this I think works fine. I'm going to grab my clay buildup. Let's clean up a little bit up here on the, on the forehead. So what, we're going to have some expression lines here. I'm just doing this, this, this changing a little bit here. And now we can start adding myths, make him a little bit angrier. So let's add a couple of expression lines again, you can see them here. How this expression lines kinda like merge together. We usually have like a, like a line here. And then a couple of lines going, going up, this line goes, is coming from all the way from inside the eye. Now, inside the eye, we're going to have the upper eyelid, which in this case is closed. So we need to fill in a little bit of this gap. And with a very small brush, we definitely want to create like the border of the islet to make it seem like it's a closed eyelids. See how that looks like a, like a closed eyelid. And very important on the outside of the eyes. I mentioned that this is the other important section that we're going to be taking a look at. We usually get this overhang of skin and a little bit of fat going here on the corner, which this character doesn't have. So I'm going to start adding a little bit of the volume right about here. But he ho, how I add the volume in such a way that it follows the shape of the eye. That's going to be very, very important because by doing this, by tracing this things in such a way, we were giving this a very raw filling, but the raw feeling that this character now has its going to help me push or create a more interesting look to the whole thing. And we're going to add, That's what we have here. And a little bit of the backs of the eye. I'm probably gonna make this smaller because we're already having a very nice shape. Just want to add a little bit more detail. There. Need to be mindful about my poly count because as you can see, we're worse quickly approaching the halfway point, which is fine, but yeah, just, just be mindful of that. You can see here, look at this like this guy did a great job like projecting the bone through the surface of the character. I always like to do though with my characters. So what I'm gonna do is following this line that we have right there. And again, using the clay buildup, just going to start pushing the bone through it, making it seem like the bone is actually like protruding. Going to smooth this out to save a little bit of polygons. And look how this starting to look very, very cool, right? So with very little work, it's not little work, right? But it of course takes time but with very quick like elements here in changes here we're going to be able to create, as you can see, a very interesting looking face. And this is going for like a realistic approach. We're not keeping this assessment of a stylized or anything. We're actually going for like a like a real character approach. So eventually if you upgrade to seabirds core or like the final version of ZBrush, you're going to be able to take this and make it a game character. So just don't sleep on any of this is cultures that women working on because most of them could become like a, like a full fledged character if you put in the time. So there we go. Look at the ice, looking very, very tight. Now I'm gonna go with my slash brush. And as you can see, there's a little bit of asymmetry. So this is a good point to break the symmetry. And another couple of details that are gonna make this thing look even better. So for instance, I'm going to, I'm going to break the, the, the silhouette there, the, the symmetry point. And then let's go here again. And we're going to create some wrinkles that do not follow an exact symmetry that's going to make the character look way, way, way more interesting. See those right there. This one's right here. I believe you can use Alt key. If you use the alt key, it's going to do the inverse. So I'm gonna do, I'm actually going to turn on symmetry for this. I'm going to use the slash brush and I'm going to use the old key to push the upper eyelid up. And we create this very sharp border there. Say, that's going to really, really pushed that, that character. Then we usually have like the chicken, chicken leg or hear a little bit that's called a chicken leg or something. Smooth things out to simplify. And there we go. There's a technique that I use quite a bit in my characters. And I call this the crisscross technique. So whenever you're doing like a hard line like all of this, like wrinkles and stuff. Instead of just like drawing them like this and making, making them look really, really ugly. One thing you can do is just crease, cross, crisscross, SEA. So instead of doing like one whole line, just do small lines, small lines that intersect each other. And as you can see there, it's going to give you a more natural feeling. I'm of course gonna smooth all of that out because just with those little lines there, you can see that my geometry went all the way through the roof, which is fine. It's, it's expected, but I don't wanna waste all my, all my topology. They're gonna grab my Move brush again. And now we're going to push this thing in a little bit. Maybe make the nose a little bit bigger. For the eyes. Eyes usually should be really, really around. So I'm going to, I'm when I'm bullish them out a little bit more and just to indicate that there's like a like a round eye inside of that, inside of those highlights right there. Angry, angry faces are a little bit easier to do because all you need to do is just push the eyebrows down. So I'm gonna, I'm gonna push them down just so that we have a more noticeable expression as you're seeing there. And there we go. I'm going to stop the video right here, guys, this is the eyes and a little bit of the nose work that we've done now. And in the next one we're going to be talking about the lips and this lower part of the phases. So hang tight and I'll see you back on the next one. Bye. 20. Refining the Over All Head: Hey guys, welcome back to the next part of our series. Today we're going to continue with our human head and we're now going to jump onto the lower areas. First thing I'm gonna do is I'm actually going to smooth the ears just so that we get a little bit more geometry there. They look nicer. There we go. They seem to be a little bit low now that's fine. So let's go to the lips. The way I like to work with the lips and Emily me, lips are a little bit tricky to work with A's. I like to start with my slash brush and I like to create kinda like that, like the shape of where the lips meet. So I'm gonna do something like this. And then let's do like a little triangle right there. So that's already going to give me a good starting point. But the first thing I need to do is I need to make sure that the lips are actually following the shape of the mouth. If you think about how our teeth are oriented, you're going to see that there in kind kinda like a U-shape. So the leaf lips should be in that same U-shapes. I'm going to push this guy's in. See how we create this sort of like U-shape here. And that's going to give our face way, way more depth as you can see there. Now, using the clay buildup, his time to sculpt. So I'm going to start with the upper eyelids, eyelids, with the upper lip. First thing I'm gonna do is I'm going to remove a little bit of the volume here coming from, from the nose and clean it up. It's usually a very straight effect law. We usually don't have a lot of volume on the upper lip. But while we do have is the little dip between the lips and the thing here. So I'm going to create that little dip here. I think they call this cupid's, cupid's bow or something in English. It's just where, where our lips and up there, their creation right. Now, I'm going to start removing volume from the lower lip. In order to create the upper lip. The upper lip is usually very, very slim. It's, it's kinda flat. You're gonna have a little bit of a triangular shape up here, like you can see there. And then I'm gonna, I'm gonna keep removing volume from this era where we're going to hit our limit very soon we're going to get the message. And there's going to be a little bit of volume here. And then we go to the corner of the mouth and let me, let me smooth this out. And as you can see, we start getting that sort of like shape there, the lower lips. It's a little bit easier because it's very around. So I'm just going to start adding volume here to create the lower lip. Which again is just going to be a little bit more Buffy, a little bit more, more rough. And we see there. Now in order to make sure that this doesn't look too feminine, we need to change the shape of the mouth. So I'm going to bring this thing down here, this. And as the ellipse going to the corner of the mouth, we're going to get rid of some of the volume here. So at the lower lip is sitting or he's going inside or the upper lip is going on top of lower limb on the corner of the mat. We're going to have a little bit of fun of an extra thing. You can see it here on the reference. It's this thing right here, this volume which we call the puppeteer lines. And it's very, very common that again, especially as people get older, this lines are going to be way more pronounced. In now. In our case, it shouldn't be that much that intense because this guy's not supposed to be that old. We can do something like this. Let's do H polish just to clean the upper limit or upper lips should be a little bit flatter there on the side. As you can see. This is very nice, very nice lips. It's all practice guys. Your first sculptures might not look like this. Don't worry, don't, don't lose your patients, don't lose your cool. Very, very common that loops are one of those things that people struggled quite a bit. I struggled quite that, but the one I was learning, so it's completely normal now I'm going to add a little bit more volume on the upper upper lip right here. That's going to make it look a little bit less feminine. And then with my slash brush and with a small size, I'm really going to push the line there. And as you can see, we get this very nice expression. Now I'm going to continue remember the nasal labial fold and we talked about here, this one, I'm actually going to continue this guy and this needs a label for it actually goes quite low. So this one will actually give us a very nice silhouette here on the side of the character you can see how this thing can kinda encompasses the whole, the whole mouth. Now there's a very important muscle on the mouth. Let me see. We see in the reference here, which is called the orbicularis oris. And it goes all the way around the mouth and it's like a doughnut. But thanks to the chin that is pushing up, this doughnut will create two big volumes here on this side and on the other side. And the little bit of a concave area right here underneath the lips so that, that one is really, really important. You can see you that unlike comic book characters and stuff, we're going to see like a dip here and then like tubing, like volumes on the sides. It's very, very common. This is one of those muscles that people, when they want the characters to look like, very macho, very intense, they exaggerate those ones right there, see. And that one pretty much joins forces with the lips and they create, this is very, very interesting form. Look at this guy like and we're in a very good position then remember this is just super score meaning and we were still able to create some very, very cool convincing characters right here I'm going to hit slightly smaller on the, on the top side. Everything seems to be in order here. And I'm going to go back to clay buildup. And let's continue working on this side. So right underneath this shelf, we're usually going to have a little bit of a hollow part. It's very, again, very common to have a little bit of a hollow part because there's a very big muscle here on the site called masses here, which is the one that we use to chew and the end. That guys usually, usually green stuff that's sort of like a labor right there. So then I created a couple of volumes here. You said a little bit more visual interests, but very important that we carved a little bit of that information here. Now, if you don't want to have us much difference, you can always fill this in with a little bit of clay buildup and you can see how this whole character looks. As you can see, I'm a little bit more specialized in the realistic character. So that's why, why annoy all of this stuff. Once you, once you get a hang of sculpting the end, you're going to be able to pick like a style and see, hey, I really like, like realistic characters or I really like stylized cartoonish characters. Everyone has their own specialty. It's always good to know all of them and be proficient with most of them. But more often than not, you're going to be facing or you're going to be a specialist in one of them. So I'm adding a little bit of the dilute down here on the on the neck muscles just to have this sort of like muscle shape, muscle element. And now we can, we can push the chin a little bit further for drought. Create that sort of like the vision on the, on the front. And there we go. Adding more volume Qian that jaw line, making sure that we have a very natural and good looking jaw line. And should we add a mustache? And we could we could sculpt like a mustard shear that covers like the upper upper lip and creates a little bit of volume. Let's look like a rock star can element here I'm gonna, I'm gonna make the file size smaller to create like the transfer the for the masstige. And there we go. We could even go with the, with the slash brush. Let's increase the intensity. And we can use the slash brush to just split the masstige from the from the face. And it's just an idea. I think I'm going to leave him without the masters, but if you want to add that sort of detail, feel free to do so. It's, as you can see, it's not that, it's not that difficult. I am going to use my Move brush though to move a little bit of this things here. The face. Let's undo that. I'll make sure that the jaw is looking nice. Neck is looking nice. I think the chest is looking a little bit too far for back. So I'm going to I'm going to push the chest up. And I'm going to use my Polish too. Let's remove a little bit of the detail down here. Let's do what we talked about before, like making this really, really sharp, kind of like a museum bust. So we can even like break it right here. Really Square. There we go. I think I am, even though we're keeping this like a square thing, I am going to give it a little bit more volume here on the on the side like this. Usually bus have enough like form on this areas. Let's flatten this. Let's flatten this. Anything that we're not worried about, we can flatten. And as you can see, the polygons get reduced, which is a plus for us because we save some information there and we can have more information where, where we actually want that which is up here. Let's go to the ears now I'm going to, I'm going to finish this video by, by tweaking the ears a little bit. And for the ears, the only thing that we need to do is we need to give them a little bit more depth, right? So usually hearing the ears, we're going to have a little bit more depth. And we're going to have to, to sort of like lines like one going there and the other one going up like this. So they can carbon the the ear canal and create like that more than half the year. Again, just making sure that once people see our elements, they can see the same amount of work pretty much everywhere. That's one, that's one of the things that you'll want us an artist. You'll want to make sure that when people see your work, it doesn't seem like you didn't touch a specific bar, like everything is has been worked, right? So I'm gonna grab my Move brush here. Bringing the earlobes a little bit lower. Usually on older people, years become a little bit bigger. I think there's a little bit forward, so I'm just going to move back a little bit. Let's get rid of this lines that we use at the beginning. So let's clean them up. And then for instance, with our slash brush, small brush, we can start separating the, the ear right here. On the backside. We can add a little bit of fun like foals already, so not necessary for them to be like extreme or anything. Let's go for a clay buildup. Filled them in a little bit. And that's just like an indication of things that they're going to be there. But we're not really like polishing or anything, right? This is the muscle that goes down there. I think that the ear lobe, it's a little bit too big. So let's, let's bring them a little bit closer there. He has very ugly years, but that's fine. It makes part of the character, right? And there we go. As you can see, we're in a very good position. There's just gonna be one extra video for disguise. For this module, we're going to be working on some details. Some we're gonna do like the hair and some other effects that we can have. So yup, hang on tight. And I'll see you back on the next one. 21. Finish Sculpting Human Head: Hey guys, welcome back to the next part of our series. Today we're going to be finishing the human head that we have here. And we're going to be working on some very interesting things. So first things, first, we can do the hair. Let's do some interesting hair cell for this guy. And whenever you're doing hairstyles, you need to think about how complex you want things to be right? Nowadays there's even like a position on Studios that is specifically designed to create older. The grooming for characters and creatures say it's quite a complex job. So for this guy, he, he seems like a bad guy, right? Like, like a villain or something. So I'm thinking about going a little bit crazy and maybe adding like a mohawk. So let's give it a go. Just gonna go with my clay buildup. And thanks to again to sculpt truss, I can just start sketching the Mohawk. And it's going to be very easy to just like build on top of that line right there, right? So let's go a little bit crazy. We're gonna get the, the, what's the word? The warning soon. Once we're here, one thing we can do, we can just go with the Move brush and just brush to create this sort of like effect. Because remember when we're using the Move brush, we're not actually creating new polygons, we're just moving the polygons that we have around. So let's go really high here on the front. Let's start smoothing out. And we can also use the hard polish and just flattening all this stuff, right? Because well, make sure that this is like a very, very clean like polished Mohawk. So very aggressively here with my, with my webcam, I'm just pushing all of this polygon so that we get a clean surface all around. We can also smooth things out. And in this kind of characters where we're, where it a little bit limited by that, by the polygons. Remember that one of the things that we need to think about is how are we going to describe, right? Like it's not so much about capturing every single detail, more about describing the details. So for instance, we can go with, again with that with a chisel brush here and just adding a couple of lines. Let's go really low and really intense. There we go. There we go. Of course, we need to read those now. Let's just give it a second. And we're just describing the form at the end of the day. If we just described the form and make people think that this is actual here, that's more than enough. People are going to see any like, Oh yeah, that's a Mohawk. They're not going to think it's a piece of far more or a piece of cloth or anything. They're going to see the thing for what it is, which is in this case here, right? So again, you can see that the reduction was quite heavy. We're all the way back to 333 three yeah, 300 thousand. Can just add all of this information. I'm just going to cross all the way here just to give it texture. And we're in a very good position. Now what about the likened very nasty scar? And let's break the silhouette here. I'm going to show you one of my techniques for scars. So let's do like a scar that goes from the corner of the mouth all the way to like this thing right here. So I'm going to, I'm going to use my my slash brush to create the scar, very irregular scar going all the way to the corner of the mouth. Now let's create a couple of, of branches in the scar. And then to make this thing look a little bit nicer, I'm going to go with my clay buildup and scars usually creates something called a keloid scar, which is where a lot of cool it collage and collision, collision accumulates on the, on the scar. And he creates this sort of bumpy, very semi-transparent scar tissue, right? So by using this, we're going to be able to create this very nice looking scar. And our character looks like a, like a bandit, right? Looks like a post-apocalyptic bands that are something, I am going to use my brush here just to divide the clavicle. Very important with symmetry on her back on. Just to give a little bit more detail here in this lower area. Let's move this a little bit more heavily. Should this clinicals is way too big. So let's make this smaller clavicles. There we go. I mean, it's already on the, on the part that is not work. It's just like this effect down here, but still going to, going to look nice. So I'll take a look at this. Like if you look at from afar and you'd like you are not seeing that the actual details as it looks, it doesn't have bad, right? So we, we are in a very, very good position. And again, that's why, that's why I always say that the tool is not really the most important thing. The most important thing for us as artists is the knowledge that we have, like how we apply, the knowledge and the information that we have each of our creation. So it doesn't matter if you're using ZBrush. Sculpture is Blender. Cinema 4D Maya, maya has some sculpting tools. If you know what you're doing, if you know how to follow the form and you know how to, how to push this kind of thing. And it's going to be very easy to create some very amazing stuff. It comes with practice, it comes with hard work. And of course, the time that you need to invest to make sure that all of this works and you can get a nice result. But as you can see, it is possible you can create amazing things with very simple tools like this. Once. Let's add a couple more details here. Let's do like a couple of moles guy where we were with the gobbling. So let's add like like a mole here, maybe another one over there. I don't want over here in the head, people sometimes have like this. So details very soluble. And now we can actually use our Move brush. And we can modify certain things to break those who led a little bit. So maybe with symmetry turn off, maybe this ear slightly shorter. This year, falls a little bit down here. Maybe this IS going up a little bit and he's like create an expression layer. We can move a little bit one of the nostrils here. Maybe he's just smiling because he's about to kill someone or something. It looks like a very creepy guy, right? Like one of the villains, as you might find on a Cyberpunk, a game or something. So maybe he's planning history bench or something. So yeah, feel free to pose the character a little bit. This is the kind of thing. Of course, we can turn on ambient occlusion to get a little bit more detail here. We can get a turntable and the and just yeah, just just present this as one of our grade that works. So this is it for this one guys. We're just missing one last module. We're going to be exploring some very interesting things just to wrap up this whole series hopefully throughout this year as you've learned a lot and you've understand how all of this tools work together. We're gonna do one final exercise and then we'll just call it a day. So hang tight and I'll see you back on the next one. Bye bye. 22. Blocking a Dragon Head Sculpt: Hey guys, welcome back to our next part of our series. Today we're going to start with the next module, final module, Module 6. We're going to be sculpting a dragon head. So let's get to it. Today we're going to be utilizing the fact that we have a gold material here and we're going to be sculpting a gold dragon. So if you're a fan of fantasy, you know that there are several types of dragons like drag and blue dragon, black drag and well, there's also a goal dragon. Of course, throughout history and different the media, the dragon has been portrayed in different ways, switches perfectly fine. We're going to be going with like a sort of traditional style here. So I have this pure ref file open and I'm just going to jump right here into my ZBrush core mini and weren't going to start with a base, the sphere right here. So make sure you have your tablets really. And as with everything, we're going to start with a MOOC brush, big size here to start blocking in the shapes. So I'm going to go to the side beam and I want to create like a very royal or regal dragon. So I'm not going to go, we'd like a, like a viper style of I've hit. We're going to go with more like a, like a stub. We're effect here. So I want, I want things to be able to build shapes to be a little bit bolder instead of just like very sharp and very menacing. I want this guy to be more, more serene, more, more intense. He definitely has horns. So I'm actually going to use some of the chisel of brushes here. She some creature to create the beginning of the horn. So for instance, this guy right here, like that, something, I think I want the horse to go a little bit further back, smooth them out, grid like that, sort of the base mesh. There we go. And then we can use again our brush tool to give them a little bit more, more shape. So I'm going to go for it. I sort of a little bit more graphic shape here for the horns. So I'm going to make the horn school back like this. There we go. Something like, like that. Now, similar to what we did with the, with the human face. One of the things that I strongly advise whenever we're blocking in a creature or a character or whatever is, to sketch out where do you imagine things to be? So I would imagine that the eyes are going to be roughly about there. I imagined that the nose is going to be about here. And the, now want to add some sort of like details. I am going to add a little bit of a neck just to have something. Otherwise it looks like just a floating head and it looks kinda weird. It's going to be sort of like a, like a bus as well. Of course, this boss should be going back in space because usually dragons, dinosaurs and this sort of reptiles, not sure if it's a reptile, should be right. They have long, long necks. So there we go. Very nice little base machine and turn off perspective. Remember, I don't personally recommend using perspective. We can sometimes see it distorts things a little bit too heavily. In the full version of Superstore and sucrose and C rush, you have the option to change how much distortion you're going to have in your perspective view. So that usually gives us a little bit more, more control. Then I'm gonna go with my clay buildup and I'm going to start attacking the primary forms. So I know that this guy is going to have a jaw. So let's add like the jaw line right here. Just blocking where I would imagine that the jaw line to be. I like, I really like this guy right here. This is not the goal Dragon is a brass dragons mostly due to the corrosion that it has lines like this sort of like sort of shape that he has it. It's cool. So let's do something like that. Let's, let's add a little bit of an extra volume here and here. And from the front view, it's very important that the graphic shape of our sculpture reads very, very nicely. So we're going to have that sort of like extension here. Really want to create this sort of effect. We go, now we can go back to our clay buildup. And again, similar to what we did with the face, we're going to be adding the planes of the face. So I know that we're going to have some sort of like eyebrow. I know we're going to have some sort of like zygomatic arch down here. Probably a little bit of concave area right below the zygomatic. There we go. We could have like the plating over here, so it can just sketch this out very, very broadly. First. Usually the neck creates this sort of like curvature. So I'm going to I'm going to curb the neck to the opposite side. There we go. That looks a little bit more like a dragon. Maybe he will have like a like a couple of spikes here on the neck on the lower areas, right. Because we don't want him to injure himself. So kinda like a like a crest here on the midsection. There we go. I like that. There we go. We can scroll down later on. Remember this is just the blocking phase. We're just creating the basic, basic shapes. Let's go with this lash brush and let's place our mouth. I think we're going to have the mouth synchronous intensity. Like here. I'm not sure if I want an under bite. We're live just a little mouth. I looked at that shape, that should look good. I'm going to make a very, very long head here. And then I'm going to use my clean build up again to start carving a little bit here. Now, you can do this as a challenge as well if you want to. You don't need to do a gold drag. And I'm doing the gold dragon because we have the gold material here. So it's going to, it's going to look and feel a little bit nicer. But you can do any kind of dragging that you want. And that's also going to be, it's also balanced. So let's add a little bit of a change there on the math. And even though, of course the anatomy of a dragon is made up, it's imaginary. We can use the information that we know about the real-world, about reptiles, dinosaurs, and stuff to inform our decisions and create some interesting shapes. So for instance, remember that we have this breach on the nose that gave us a little bit of a change. I can add something like that here. Like I can remove some volume here to make sure that that nose looks more like a snout, like it's actually pushing up. And then that's gonna give me an interesting, sort of very interesting silhouette down there. Now remember that we had this nasal labial fold. Well, we could have something like that. Why not create a little bit of that nasal labial fold coming down here on the, on the side of the nose and going into the, into the sign of the phase. That's, that's also completely, completely valid. I'm going to use my brush here and I'm going to push the ice a little bit higher. Now, usually when we're doing creatures and we're going to be talking about this in the next video. But when we're doing creatures, smaller eyes make them a little bit more menacing because they look more realistic. Bigger eyes tend to go into that cartoony realm. So, so be careful with that. I'm going to cut here where I would imagine the horns to start appearing. So all of this lines, like the horse horns line, Same deal with this guys. This we're going to be like some extra horse has on the side here as well. There we go. Now, usually in the animal kingdom, whenever we have something that's attached like a horn or like anthro or something. This elements are attached to a part of the skull, so we will have some sort of form. So summer of attachment that indicates sorry, that indicates that the element is attaching to a specific bony protrusion. So I usually like to add this sort of sorry, allergies. And I'd like to add this sort of like effect where, where you can see that the thing sexually like attaching to other parts of the element. So we're going to continue right here. Remember we had like the frontal bone and it created a little bit of a bony protrusion. We're also going to add it here. Remember all of this is primary forms. Now, even though this is a reptile or like a dragon, he still would have some sort of neck anatomy. Oh my God. Give me just 1 second. There we go. Sorry about that, guys. I had a little bit of an allergy attack. So I was, I was mentioning the creatures here even though there are fantastic, well that would seem to have some sort of like neck anatomy. So I'm going to indicate some of the muscles like going down similar to the human head. That's, that's why it's very, very important to learn as much as we can about pretty much everything right? Like if you learn about anatomy, if you learn about animal biology, if you learn about all different species and stuff, all of that information is going to be useful for you because you're going to be able to integrate it in different ways into your, into your creature creation introduced the science. So anything that we learned, It's always useful for us. I tell my students that our job as 3D artists is to recreate the real-world in a digital environment, right? And there's a lot of tools that we can use to do that. But one of the best ones is studied by studying the real world. We're going to be able to very quickly and easily imitate the fantastical world. There we go. Look at this cool guy right there. So I'm just gonna do the same thing that I mentioned with horns, with this little horns here. So I'm going to, I'm going to create some sort of like bridge in-between all the bony protrusions so that it makes sense that all of these things are so for like attached to the remaining elements, right? So everything has a very nice a school of thought that says, form follows function. I am a huge fan of that proposition. And it basically states that you shouldn't have something on your creature or on your product or anything that's not going to serve a specific function. Yeah, of course, sometimes I think in certain things that just look cool, It's good. It's nice. But especially in the, in the animal kingdom, all the animals evolve in such a way that all of the things that they have served the purpose be a defense via the attracting a female or a male counterpart. Be camouflaged like there's always a reason why animals have what they have, right? So, so via, via including those sorts of things or by, by, by justifying the design decisions that we make. We are going to be creating some very, very nice effects. And there we go. We have this very nice basis shape for our dragon. He's looking, he's looking quite nice. So yeah. Now, I know this is just a little bit silly. It's not related to sculpture, is related more to storytelling. But I always tell my students now the way that when you are creating something, if you, if you imprint into that something, a little bit of story, you give him a name if you think about where does guys coming from, why is he the way he is? What's his personality work, his motivations, those sorts of things. Uh, we'll, we'll permeate into your sculpture and you're going to be adding those things unconsciously or subconsciously into the, into the elements. And it's going to make it so that when people will see your creations are going to be asking questions, they're going to leave. Why is this? He had this car for instance, and you know that that scars because he fought in the nation, the war and he is, he's an old warrior of past times. Or maybe they're like, Oh, why those he, why is he so big, right? Maybe he's like a very old drag and very ancients and he's been, he's been growing for a long time, right. So those kind of things, those are the kind of things that you're going to be projecting when you add a little bit of story to your characters. And at the end, at the end of the day, I think all of us like to still stories, otherwise we wouldn't be doing this kind of things that we're doing like sculpture. It's a very, it's a very communicative approach or a communicative activity. So we create this things so people see them of course, and so that they can learn about what we like and what we do. So there we go. This is the first video. In the next video we're going to be working on the secondary forms is what I would consider it the blocking face. And so hang on. And I'll see you back on the next one. Bye bye. 23. Refine Sculpting Dragon Head: Hi guys, welcome back to the next part of our series. Today we're going to continue sculpting our dragon. So let's get to it. This is where we left off. The primary shapes are now done and now we can start moving on to the main shapes here. So I'm going to start with the eye because the eye is one of the most important parts of the characters. So I'm going to start carving, and in this case I'm gonna do a negative I. So the I is actually going to be created by negative space. And as you can see, I'm going with that with relatively small draw size or brush size because I want to make sure that the eyes look small and menacing. See that. So by keeping the eyes as mall and menacing, this guy is going to be a little bit more realistic. Let's have a little bit of the eye bag right here. Careful about the polygon we're going to be reducing of course, but just be mindful of this. And we can go into the slash brush. And now we can start having this sort of like lines and the facts that are going to help us move with the form along in this character. So the IBEC, for instance, right there. Now we can do the trick that we did before, but in the opposite direction. Remember that when we were doing the positive eyes, we remove a little bit of the element. We're here, we can add a little bit like small, small sphere. And that's going to indicate that there's an Iberian. I'm going to move it a little bit forward. It's kinda like, like sculpting the reflection of the character and you're gonna see it right there. Cool. So now we're gonna go again with the clay buildup and we're going to start adding a little bit more, more definition, I think thanks, might be a good idea. So I'm gonna go into chisel brush here. I'm going to go for the teeth. And I'm going to add a little bit here now remember that trick that we did. We create a little bit of a shelf here with our Polish so that when we create our teeth, they going in the direction that we're waiting for. So CISO creature and it's got this guy. Let's do a couple of teeth here and there. I don't want him to look Derby. So you need to be very careful that the t There are going in the, in the direction that I'm imagining. See how those are going way too far out. That's fine. We can go with the Move brush and just give them a little bit more downwards inclination. I think this last one is a little bit weird. I'm just going to leave it. We can modify it if we want. So very solidly, just pushing and pulling the d elements here to create this nice elements. Now of course, we need to go back to the clay buildup and blend. This guy's a little bit better. So usually teeth are going to have this sort of like gum going up. So I'm going to create like sort of like the the canal, like a root canal for the teeth. It's also going to give me some very nice definition here. On the nose, I think I want to add a little bit more more volume here just to indicate where the nostrils and seal if this shapes that we have here, Here's where it, where things get very interesting, where at least I think they get very interesting because we can start utilizing the shapes that we're getting here to create some sort of like forms and changes in the silhouette that make it a little bit more interesting because otherwise things are just like super round and Subaru cartoonish. By adding this sort of like variations, we're going to be able to create something a little bit more special. I'd like all of those little bombs and all of those little like changes in silhouette, those are going to give our dragon a very interesting approach. You can go here with this MOOC brush1 and smooth some of the details like the lines out so that we are not using as much geometry for things that are not as important. And now we can go here over the horse, so on the horn. So one of the things that I am going to do is I am going to add a little bit of a border. Remember when we're doing the Tiki thing, we use this clay buildup to kinda like either bored, they're here. And the board that was going to be important because it's going to allow us to separate what things are skin and which things are horns, right? I'm actually not gonna do anything on the horns. I kinda like that fragmented like triangular look that they have. We can smooth that out and remember by smoothing, we're also adding geometry. So I'm actually going to just leave it like that. And you can see the other whole character is looking way more menisci. When using this software is we're, we're a little bit limited by that, by the poly count. One of the big secrets are one of the big challenges that we have and that we need to of course, be mindful of is we need to decide where we want the detail, right. So if I were to ask you what's the best place to place there to put the detail on this character, the answer should be the face, eyes, nose, mouth. That's the part that it's the most important. So the nag, the backside here, the horns, those are not that important. We can neglect a little bit of detail there because we want people to be focusing on the most important part, which is. The face of the character. When you jump onto the, onto the final versions of the software. The complete versions be either super score or the same brush. And then you're going to be able to just like everything in detail it and go super, super aggressive because we don't have a limit. I believe sea brush core has a limit of about 8 million or 20 million or something. And and seabirds has no limit. So that depends on your on your computer pro tip. If you're building a computer specifically for C brush, things that you need to be very mindful of, that they're going to give you way more resolution and weigh more or better results. Our RAM, you need as much RAM as you can. Me. I have, personally I have 32 gigabytes of RAM, but even 64 would be amazing because see verse works weight RAM, it stores all the information on hunger and there are 12 memory. And the more RAM you have, the more geometry you're going to be able to get under characters. And the of course have graphics card that you good graphics card, a good processor. Those are always good, but, but Ryan is one of the main things they recommend. And this is D as well. Just if you're, if you're a PC enthusiast, then you probably know all of this things already. Look at this beautiful guy. Cool. Now I'm gonna go with the Move brush and I want to change the silhouette a little bit. Just one of them make the head a little bit bigger here. Just give him a little bit more of a cranium. Skull. And here's a pro tip. Predators. When you have a predator, the eyes should be visible from the front. So I'm going to, I'm going to push this things to the front because their, their, their eyes should be on the prey. They need to be looking at the prey and on praise like herbivores, eyes are usually on the sides, so I'm going to push the ice a little bit out so you can see there. Just so that we can we can see I'm gonna go with my slash brush. Let me erase that thing. I think it's not working the way I intended. I think I'll rather live the eyes just hollow. So it looks somewhat, somewhat smooth. We're getting really close to limit here. We're going to have to reduce very soon. When I see him from the front, I want to see the, the eyes there cannot be a little bit of the ibex. Exaggerate this. Now we're definitely going to hit the limits. I'm just going to hit low real quick. Let's take a look at the reference while this thing is what's the name it's doing the thing and see what else can we do? What else can we add? Like, I really like those of scale things that he has going on here from the eyes all the way to the horns. So let's have it. I rather have this sort of scales than this like spikes. I think spikes, spikes are overrated. So sometimes people add a lot of spikes in and it's just, it's just not necessary. Makes it look a little bit too edgy in my, in my opinion. So let's just sort of like plating here. So I'm going to use my slash brush. Very small. Just sort of let create this, this break here. One is going to be very organic. I wanted to feel like part of the skin like this week scales forming this sort of this sort of element. And then it also has said like down here, like all of this, like the zygomatic arch becomes this could be scaly thing as 3. This again, because that's very fine detail, right? We're, we're already jumping from our secondary forms into our tertiary forms, into our specific detail. So we're going to need to, to play with this. Oh, that's so bad. That means that there's not enough geometry to, to do that. Okay, That's fine. We're going to have to find another way. We continue with Polish. I'm just going to polish this a little bit. And then with our clay buildup, just indicate, right. Just like a couple of lines here indicating that this things are sort of like plates. It's a shame that we can't really add that sharp detail. It's understandable though. That's a very, very fine detail. It's going to be a little bit difficult to, to get. There we go. What else can we do? Let's, let's work a little bit down here. So I'm gonna make this like a very big brush. And let's just create like the usual play thing that Dragons have. Very breath, very, just like direct like this. You said, I want people to see it from the side. They can see a little bit of that indication there. Now I'm going to grab my H polish and I'm going to go really aggressive with the H polish to reduce some of the elements here, I'm going to keep it really, really flat. I want this to be again, some sort of like a bust, bustle of this dragon. So I'm going to like really, really, really push here. Here. Smooth this out. Say, say polygons. Just a little bit smooth, not that much going on. I don't want to lose all the detail. Let's change to our gold and let's turn on our occlusion is to see how this thing is going to start looking. I think one of the reasons why they include the gold option here is because there's people that utilize, see verse 4 for jewelry. I've actually had a couple of clients asked me to do some jewelry pieces. And it's a very nice way to evaluate roughly how, how the forms are going to look once you make them in gold. Because sometimes when we're working on that, on the normal material with thing that we're gonna be seeing more detail. But due to the physical properties of gold, that might not be the case on the final product. So it's always a good idea to check this out to see roughly how this thing is looking, which in this case is it's not bad. Goo. So I'm going to stop them either right here guys. In the next one we're going to be talking about the tertiary details and we're going to be approaching the end of this module. So hang tight and I'll see you back on the next one. Bye bye. 24. Finish Sculpting & Final Thoughts: Hey guys, welcome back to the next part of our series. We're going to be sculpting and finishing the sculpture of the Dragon here. So what I'm gonna do is I actually want to add a couple of details. And these are what I call suggestive details because there are details that are not going to be present everywhere. But they're gonna give us a little bit of an impression of how the whole thing goes. So if we go into the CISO of creature, you're going to see that we have scales here, have small scales. We can add in certain areas and we have this like big scales right here. So the way we can utilize this is we can add a little bit of this. Scale's not everywhere, but just in certain areas where we're adding them would, would give us the impression that this guy is full of, of, of, of scale. So for instance, a little bit there, like some small ones are all here and then smooth them out a little bit. So as you can see, those little details are just going to indicate the fact that this guy is covered in scales, even the word not seeing all of the scales at the same time. And the reason why I call this suggestive or indicative of detail is because as the name implies, they will only suggest that there exists some sort of texture that we're not seeing. It's just, just a little bit of an indication there that will allow us to have that. Now I know some of you guys love spikes, so let's add a couple more spikes. I'm going to use this spike brush here, very small size. And let's do like, let's do want like back here. And that's actually going in a direction that I don't want. Let's do like small horn instead. So we can add a couple of things in nature. Usually when you have this sort of things, they will start small and then they will start increasing in size. Sort of like sort of like increasing effect. I'm going to of course, at a little bit of support there. Remember every time we have any of those sort of like protrusions, there has to be some sort of indication of why that is is you can see, I don't think it looks good. It looks a little bit too, too edgy for my, for my taste. Want to add those spikes, it go for it. Let's see if we have any other cool things that we might be able to add in this final stages of the concept. We have animals, beaks, we have animal phase. That's weird. Animal mouth. Some abstract shape found use abstract shapes is more like a Mac things. We have this thing. Texture. So I mean, it could work like a little bit of detail there on the, on the head. So it's not violate the mixer looked rough, ER, of course. Just keep in mind that all of those guys are really heavy in detail. So they're going to increase the poly count quite a bit one whenever we use them. Yeah, I don't think we need that much. Now it's the time where we can again, think about like scars or details and stuff that could be, could be helpful without symmetry. So I'm going to add like scarred coming out from the, from the mouth here we're going to start big. And then I'm going to just going to push this thing. And we have Amy and lagoon turned on right now, which of course is pushing the details a little bit farther. I'm actually going to turn on my gold option here. Because if I were to print this in jewelry or something, I want to make sure that I see roughly how this is going to turn on symmetry again. And I think I want to push the ice a little bit more. Here's where I don't mind using all my remaining poly count two to really, really push the lines and that depth that I need in the parts that I need to I'm going to go back to my clay buildup. Bigger size, Just a couple of construction lines there to have a little bit of texture. Usually I don't like having like completely flat or smooth areas I always like to have even if it's just a little bit of texture like this. And there we go, we're not very good position. To Sal, we're almost on the limit there again with the polygon, which is fine, we can always reduce. Just remember that when we heat the reduced one for it. So I'm gonna go with a medium reduction immediately reduction should keep a little bit more of the details. I'm a little bit worried about, for instance, the scar or the definition that we have on the, on the element here. Now some of you might be wondering how, how, how is C versus doing this, this reduction. I'm not completely short because it doesn't have the blogging than I normally use, but I'm pretty confident that they're using a sort of rudimentary decimation Master inside of Syria. And the way this emission master work is very interesting. It will analyze the mesh, your mesh, any sort of measure that you have. And it will triangulate that mesh heavily and it will add the more triangles where it needs already aware he has more details and less triangles where he has less details. So pretty similar to sculpture is the thing that we've been using all along throughout this course. But it goes a little bit further. So as you can see, where all the way back to 300 thousand. So, so yeah, this is really, really good. And well, I mean, that's it guys, That's pretty much all I can teach you about this software, all the tools and the general elements. We're just going to review really quickly the, the way we can export all of this things just so that we're aware of other ways you can share this element. So first of all, we can of course, share this or save this as, as a C project, right? And any one of your friends, if they're working with a CBO score, meaning they should be able to open the file. You should be able to open the file and keep on working from here. You can also export an image, so you just frame your character in the best possible way. Click here, Let's save this as dragon or a goal dragon. There we go. We can crop, I would suggest dropping a little bit just to two. What's the, what's the word is to have the important bits in there, right? So something like this. Make sure the quality set all the way to a 100 and it just hit Okay, and it's going to export an image. We can export the file for 3D printing, which I'm also going to export. So gold dragon, remember this file format, OBJ format, it's a very universal file, so we're going to be able to utilize it in a lot of software. It's not only for 3D printing, but for a lot of things. We can do a turn table. So I'm just gonna hit okay, Remember, don't move the mouse. Don't move the mouse while this thing is going because otherwise you're gonna get the little thing of air and a little mouse. Just wait for this to finish and you're going to have this and let's call this dragon turntable. And there we go. We have that very nice render for our dragon. And finally, very important when you save this, you can also save this as an image 3D GIF format or PNG format, as long as each image 3D. What this is going to do is you're going to be able to open up this asset file as well. So remember that the sculpting information, which is quite impressive to be honest, but the sculpting information, the position of all the vertices and all the polygons is going to be saved on that image so that image should be able to be opened in other CBER softwares. And we'll add that suit guys throughout this course, we've been exploring a lot of different projects. We did a very cool head, whereas the, the punk a guy that we did in the last element, we finished this, this punk a guy. Oh don't tell me that I saved on top of the oh my God. I think I sit on top of the punk guy. I'm sorry guys. I'm sorry. I think you're not going to be able to have the pump head because I think I just say, why, why is that doing it? This is open project. I want to open the punk. Yep. Okay. Sorry guys. I apologize. If you were looking forward to seeing the punk guy, I'm afraid is not going to be there. But don't worry, don't worry. I don't want to save this guy. We do have the male characters start. So I believe, yeah, this one open. Yeah. So so you're going to have this one right here, which is going to be the beginning of the course. And from here you should be able to follow along. It's a shame that I just deleted that. It happened to me twice with other projects. So just be very mindful which one is open and which one is saved, this one's open. I see the arrow down and I think that it might be saved and this one's open, but now it's, it's actually the other way around. So just be very careful about over saving on top of things, but don't worry. What I wanted to show you was that we've been doing a lot of things. We Day they base that we didn't look at the gobbling up first, remember this base image for the gobbling. There's the final gobbling. Where to sit. Here. We go, this cute little guy, a goblin. And then we, we did the acute creature, this one right here. We did that the totem as well, the Skoll are as a school finish. Remember the little skull that we did at first? So all of this exercises guys, all of these, you can treat the brain, you can export this video is you can do whatever you need and want. Um, and hopefully you are very what's the word? Hopefully you've learned a lot of things throughout this year. So hopefully all of the tools that I've shown you are going to be helpful for your 3D career. We have more courses that you can, of course, check out. We have a specifically, a course specifically tailored for beginners about ZBrush, where we cover even more tools that we have available in the full version of ZBrush. So if you're interested in any of those things, feel free to check them out at our site. And any questions or anything that you need, feel free to contact us so that we can help you out. That's it for me guys. It's been a pleasure teaching you. Make sure to keep improving, make sure to learn something new every single day. And I'll see you back on the next one. Bye bye.