Sculpting a Simple Orc in ZBrush – Beginners Sculpting Tutorial

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Watch at: 00:00 / 00:00:20hey guys any important firm flicknormals here in this episode we aregoing to be looking at a chapter fromour introduction to see where serieswhich is going to be some real-timesculpting for you to follow along thisis meant for people who's very new tosee brush and this isn't necessarilyhave a lot of experience with sculptingWatch at: 00:20 / 00:40so you should be able to boot up ZBrushfollow along and have some fun so gonnastart off with a sphere gonna drag itout into edit mode enabled symmetry andmake it a polymesh3d right away we'reWatch at: 00:40 / 01:00also going to convert it into a dynameshwhich is under tool geometry anddynamesh if it's shift F we see thewireframe just we can just we can seewhat dynamics is activated just sitdynamesh and now you can see it'sactivate here every one I would drop theresolution a little bit here because youWatch at: 01:00 / 01:20know we want to block something basicout in the beginning and having a lowerresolution it's like we've talked aboutthis in some of our all the othersculpting tutorials as well just theinitial block out face can be it can bemore manageable if you work in or resyeah exactlyso we're going to we're going to switchto madcap first because this is a bitWatch at: 01:20 / 01:40awful like the problem when this madcapis it doesn't actually give you anhonest view of the model so we're goingto switch to one of the other defaultones which such as madcap quarry this isa great one as well the problem with thewax one that you have by default is thatcreases tend to look a little bitdifferent yeah and they actually areexactly give you sort of false depth soWatch at: 01:40 / 02:00we start off by enabling symmetry simplyhit the X key and we're going to startoff the brush just one simple brush themove brush B and V and we're just goingto block out a simple face herejust keeping it very simple I alsoprefer to just early on just quicklyWatch at: 02:00 / 02:20just indicate some ice a nose like cutelittle mouththe reason is here is simply becausethey don't know where it is I know wherethe front is facing this is not in anyway in education of the designso on the second monitor cell we have areference picture here so we havesomething to look at just so we useWatch at: 02:20 / 02:40we're not working a blind here so we'rejust gonna kinda match it to worklooking at but we're pretty much justfreestyle here it's always nice to havereference so you don't I mean I know alot of people see so many posts onFacebook where people be like welldidn't totally use reference and justuse reference it really pushes yourdesigns a lot further so just veryWatch at: 02:40 / 03:00quickly this blocking answer form herewhat I'm thinking about it's pretty muchthe overall proportion I'm not thinkingtoo much about and not to me at thisstage but this isn't not even gonna beabout an app and this is gonna be morecartoony it's just general proportion ishe shaped like a bean is he shaped likea triangle what is a shape does so thisWatch at: 03:00 / 03:20is probably gonna be a block of goofylike a goofy or key character I rememberwith the s key you can change the sizeof your brush yeah especially just a loteasier than having to go up to the topmenu all the time exactly and again thisis just one did the original dog much wehaven't remesh this at all this issimply the first initial version ofWatch at: 03:20 / 03:40dynamic and then yourse dragging out apair we does but that's what I'mthinking right now I'm actually athinking about like you know having thecomputer overall shape as in thebeginning it's it's very important notto get distracted by details yeah whichcan also be an advantage when you'reWatch at: 03:40 / 04:00working on a lower resolution meshbecause then you you don't have theoption of adding detail exactly I can'tdo it here not exactly you haven'tunlocked that power yet exactly justwait immunity is masking and just maskout the ear bit here so just hit donethe ctrl key just so is masked then I'mWatch at: 04:00 / 04:20going to invert the selection forcontrol clicking and then we can justdrag it out you can totally do thiswithout masking as well it just makes ita bit easier for me now I have like asharp line around the earbut now you can all see now we have torematch it cuz now he gets reallystretched i can't sculpt anything here iWatch at: 04:20 / 04:40just wait a little bit with the rawmachine because there's no rush I meanweeks I can always remesh so just tryingto keep like a big round shape of it Idon't want to have like a shape whichgoes like this and we're just full likelike small little peaks and valleys Iwant to keep the overall silhouetteWatch at: 04:40 / 05:00clean and nice you can also just smoothout forms pretty shift-keyin general though I will requirementavoiding the shift-key if it can itgenerally produces a lot of flat andboring result I guess it really dependsWatch at: 05:00 / 05:20on what you're working on exactly it'sreally nice when you use the initialbrushes and the move brush to justthey're really good for pulling out somesome really defined shapes and theunfortunate thing about the smooth brushis that it sometimes has a tendency tomake everything very blobby yeah andthen soft by definition it's a smoothWatch at: 05:20 / 05:40brush that's what it does so I'm justreally just roughing or blocking thisout I'm just getting nice clean shape soif you've seen any of her other videosthat's it this is what we're all aboutbig strong plain shapes yeah you get devikke to preview the silhouette as wellWatch at: 05:40 / 06:00this is a very useful tool now we canjust really evaluate the silhouette andsee if there's any anything would liketo change and this works by flipping theprimary and secondary color over in theleft hand pen sensually just doing thisjust moving the colors up and down herejust changing into black it's not asilhouette mode per se it's simply justproving it with black hmm and again onlyWatch at: 06:00 / 06:20using the move brush so far literallyhaven't touched any other brush andthat's a good practice because you can'tadd any details with a move brush it'ssimply impossible this step the stuffwe're thinking about now is also whatwhat is the structure of the skull looklike underneath the surface yeahWatch at: 06:20 / 06:40and that's sort of how does that affectwhen we've got skin on top yeah so ifwe're going to move into the claypartial claybuildup brushsoon this will move a little just wantto make sure the form here is workingwell I think it's time to move into theWatch at: 06:40 / 07:00clade Bell approach and that the hotkeyis V CE B and like we talked about theforce well currently it's going to havea very harsh alpha so if we if we sculptwith this you're going to see thisreally harsh result which might be whatyou want but for me it's it's just tooWatch at: 07:00 / 07:20harsh so I'm going to remove the Alphaaltogether this is gonna serve thecharacter better it's this is more of acartoony character so how many likes muthey're stronger lines it's going toserve a character betterbut even when working on something morerealistic having working with thissofter surface is or the softer alphayou'd say is really nice cuz it it'sWatch at: 07:20 / 07:40really effective for building up volumelater on you could go in with somethinglike the trim dynamic brush to definethe Plains more I'm also going to justreassure them control drag and now wesee now we can actually sculpt on theears and a nose it becomes more even hmmso just defining it a bit more holdingWatch at: 07:40 / 08:00down the Alt key with the claybuildupbrush using no alpha it's actually agood technique as sort of an alternativeto smoothing exactly I very rarelyactually used a smooth brush I justbuild volume just briefly thinking aboutsome anatomy now just blocking in somesome landmarks this is not gonna be ananatomical sculpt at all this is gonnaWatch at: 08:00 / 08:20be more cartoony because we're thinkingabout what are the parts of the skullthat protrude the most was it color theleast and fat and the least skin that'swhat's gonna come to the surface themost exactly and the way to do the wayyou learn this is just by doing a lot ofscopes yeahjust getting some nostrils in gettingWatch at: 08:20 / 08:40some bigger some of the more the biggershapes in that we're not doing pores oranything a mouth might be neat though soI'm just carving it hold on the Alt keyand is carving in somethingnice little knifebeautiful beautiful keep sayingWatch at: 08:40 / 09:00encouraging things to me well let's goso when I'm working over this I stillhaven't used a spoon brush wellsculpting with this brush just gettingthe features in here and also one thingwe haven't done yet is perspective modehit the P key because I can see itWatch at: 09:00 / 09:20changes a bit it's not a huge differencebut you know it's enough to is enough tochange a character yeah and we mentionedthis is an earlier chapter as well thatyou can unfortunate go and sculpt for along time and realize you haven't beensculpting with perspective on exactlyand it might change the model a lotexactly I'm just thinking a bit moreWatch at: 09:20 / 09:40about the skeletal feature becausebefore it was only blocking in usingdidn't brush yeah just getting a bitjust thinking a bit more about that butagain this is gonna be a more cartoonycharacter but even cartoony characterswould have like some like cartoonycheekbones this is gonna be fairly likehard and rigid we're not gonna let gorealistic for this but still like it'sWatch at: 09:40 / 10:00all based on what we know that's basedon the real world in some way it's basedon the anatomy that we know and then wejust stylize it so you know we'redefining stuff like the brow area thecheekbones the jaw those are the onesthat poke out the most to circling itwe're also gonna add some teeth and someWatch at: 10:00 / 10:20place this just a sub tools because wejust want that practice as well we justwant to we just want you to be used todealing with multiple sub tools and likewe did with sub tool master we make oneon it's not dupe it over instead ofhaving to create two eyes exactly andthis is a good way to bring up thesymmetry mode that we've been workingwith because we're saving ourselves aWatch at: 10:20 / 10:40lot of time yeah exactly it's not alwaysneeded like sometimes you might want todo an esse metrical sculpture yeah andlet has its mirrors as well and it's agood sort of it's a good way to study Ithinkwe're human asymmetry can be a lot ofWatch at: 10:40 / 11:00fun as well it's just you just get somuch character any models the moment youdisable symmetry and that's a lot moresort of like how we would work well kindof traditionally like if you're doing aface traditionally obviously you'reworking as symmetrical yeah some partsyou would do at the same time with bothhands so that's kind of like havingsymmetry the most bootleg symmetry yeahWatch at: 11:00 / 11:20like it what I do one run on the rightside matches kind of go brain so you'rejust thinking about someone at me sothis is skullthis is skull and this is just some bonylandmarks and this is social skull andthen we have some regions which areWatch at: 11:20 / 11:40cartilage and and just flashing flashingskin so this is more cartilage this ismore cartilage and then this is softsoft skin and by and we're thinkingabout this it's a very differenttreatment but it's like how would howwould this Howard skin react if it'sWatch at: 11:40 / 12:00over if it's over bone comparative it'sover soft soft soft fatty tissue you cankind of think and of it in the way asyou're sculpting as well sort of thesofter areas might require less pressuresalsa brush the harder areas with bonemight you might want to press harder onyour tablet as well exactlyWatch at: 12:00 / 12:20I just went to the dentist Orchestrawatching you can see even at this pointWatch at: 12:20 / 12:40there's still not a lot of detail it'sstill building our way up to the detailsexactly because once you start detailingI mean I'm not talking about specificjust like poor detail that kind ofdetail its detail can come in many formsit can be you know the blocking is onekind of detailing doing muscles isWatch at: 12:40 / 13:00another kind of detail exactly hardsmall points that's another and thenthen adding pores that's like the lastpart of the detailing it's all I thinkyou learn to prioritize when to doand this is about practice exactly youjust haven't dude is a lot in Stefanshe's a lot hmmWatch at: 13:00 / 13:20and then it feels natural but there isno nothing so far which is complicatedin terms of like technical sculpting themost complicated thing here is theartistic ask me out like everything wesaw you've done so far is two brushesit's one sphere dynamesh and justpushing pool points and it's tricky formost people when they start out likethis is like people will stuff issuesWatch at: 13:20 / 13:40with navigation yeah the most yeahexactly yeah you just don't used to howto like navigate in ZBrush yes maybe ifyou don't have 3d experience maybe it'seasier maybe yeah it might be a Cosibrush is tricky I mean it might lookeasy because I've been doing this for soWatch at: 13:40 / 14:00long and this is what I do for a livingI sit with this ten hours a day so youknow if if you can't get the strokeright the first time don't worry aboutit just just practice if you can't get amodel which looks identical this don'tworry about it just just keep practicingthis is not the idea here is it for youto get something identical it's just soWatch at: 14:00 / 14:20you can see exactly how we how we'dbuild a model how did demystify it ifyou want and that's why like this wholesculpting process is very it's slow andmeticulous what we're doing now and it'sintentional for you to be able to kindof follow along it's not when you'redoing tutorials like this and you'refollowing along with tutorials I I wouldWatch at: 14:20 / 14:40say unless the tutorials about createthis specific character it's just aboutwhat you can take away from itand what we want you to take away fromall of this is a working knowledge ofZBrush yeah and this is just try to tryto put that into work now exactly so nowe blocked it out using the clay in theWatch at: 14:40 / 15:00move brush and then a bit of like ofclay brush as well let's just go back tobrush this is not this is not a linearprocess it's not like move brush faceHoover this is a very nonlinear processand also we're kind of designing on theflies well here this is the designhasn't decided and that's what's so coolabout it once you've gone through theWatch at: 15:00 / 15:20move stage and you can up to build upthe forms and youstart with the claybuildup you can goback with the move brush and then youcan really change your character it canchange a lot in just just by moving alittle bit around and exactly just wantto smooth out some stuff as well so Iusually only smooth out if I actuallyhave like errors every mesh if it'ssomething like it's not artistic thingWatch at: 15:20 / 15:40it's just the geometry isn't isn'taligning the way I wanted to thensmoothing can be great and we smoothagain just by holding out his Shift keyand just just painting or sculpting ohWatch at: 15:40 / 16:00oh you kind of get the feel alreadyright yeah this is after like 16 minutesit's just you know you can very quicklyget the feel and again if you go fromthe distance you already have a feel ofthe character so let's just quickly justadd some ice jam here just so we haveWatch at: 16:00 / 16:19something and that's something we shouldprobably point out that very early onyou want to add eyes yeah because youmight you know you have an idea whatdoes the scroll look like with eyes init but until you actually get a spherein there it's impossible to tell becauseapparently I've kind of likeapproximated but that's something peopledon't think about it's the most obviousthing in the world but nobody thinksWatch at: 16:19 / 16:40about it just because you're not trainedfor that you're like looking at this nowwe can see that the inner part of theeye would need to be pushed in yeahexactly in order to fit around thesphere is that you don't think thatthere is actually a sphere inside theeye like in a human yes don't do thatso do I do that is I just go and createa sphere say with spheres before andWatch at: 16:40 / 17:00just hit make polymesh3d then i just goto tool againsub tool and just append now it's gonnabe this was the sphere we usedoriginally so I was gonna be this thesame size of the skull and we can justuse the transpose lines move and justWatch at: 17:00 / 17:20drag it out well hold down the shift keymake sure you're snapped double you makesure you hit the shift key just snap theview this way you know it's gonna bestraight like this can be a straightline it's not gonna go in a weird angleyeah and now we can drag out to a scaleof the line or scale transpose linemiss scalar down you're gonna have to dothis a couple of times so just justWatch at: 17:20 / 17:40chill out and depending on the scale ofyour scene the that also affects thetranspose line so sometimes you mighthave to scale like a thousand timesbefore you get theresometimes it's just one exactly so ourwhole line shift again just two that'swronghit the W key to move in to move brushand if you want to move off axis likeWatch at: 17:40 / 18:00this you just don't hold down the shiftkey yeah exactlywant to scale it down a little bit aswell hit a shift key so it snaps drag itout drag it down and it's almost inplace now we can just use the theWatch at: 18:00 / 18:20subtool monster like we did beforesee plugin so pure monster we can alsojust hit mirror here or we can just gosomething monster a nightmare I'm morecomfortable doing this because it's abig button absolutely feel more safefeels more safe so now we have ice hereand we can see that my eyelids theydon't work perfectly and it needs someWatch at: 18:20 / 18:40more refinement we can also just hit theX key on this by default nothing hassindri so if you hit the X key we getsome nice entry we can just what I liketo do I like to just create some likelyto pupils it's my iris this in the icethis is really a quick and hacky setupand it makes a huge differenceWatch at: 18:40 / 19:00like if you're sculpting on a model withno indication of iris it can be themodel can change personalities soquickly so do we undo this this is gonnabe very quick and dirty is the standardbrush B s T and then I just hold downthe Alt key while just sculpting alittle bit here so you see right away itWatch at: 19:00 / 19:20has more personality so this is youriris let's just create some pupils aswell as a general tip if you wantsomething to be look look scary smallpeople's you want to look cute I thinkpeople's but already you can see that weget more characterso let's as you have subtools now we canWatch at: 19:20 / 19:40just all click on the sub tool to switchbetween a sub tool or we can just changeit here but also recommend renaming itslow just beatthere earlier rename it to better usthis it just keeps it easier becauseeventually you end up with 100 sub toolsWatch at: 19:40 / 20:00and you have to go through and renamethem all at once Acme so it's very easyto get into add I select this B and Vjust to get the move brush back and nowyou can see like we're pretty close yeahit's still an approximation without asphere so it's never gonna fit perfectlyWatch at: 20:00 / 20:20exactly so let's just I just want somesharpness in the corners here that'ssomething a lot of people mess up aswell they don't have like sharp cornersof the eyes one pretty much everybodyyou have sharp corners on either sideunless you go in very cartoony even withcartoon you probably want you probablywant to sharpen this here otherwisethere's if you could do like this theWatch at: 20:20 / 20:40eye doesn't have anywhere to like reallyintegrated exactly and from visual pointof view you can't really you can'treally rest your your gaze and it's anice way to create create some contrastbecause we go from something very softthat surrounds the eyes there's a lot offat except in the parts where they sortof break from the upper lip to the lowerWatch at: 20:40 / 21:00linear you create some really nicecontrast with a rough or like a hardshape so just is it's just keeping itsimple for now and the eyes needs towork if the most important bit of thisentire sculpt is this region yeah ifWatch at: 21:00 / 21:20this if the ear is perfect but the eyesdidn't work you were just in troublethat's what we do as people we connectwith eyes it's nothing we're so it'sit's literally in our genetics yeah wejust we look for eyes to recognize itbecause there is so much contrast therethat's also gives my teeth teeth andlet's do the same thing let's importWatch at: 21:20 / 21:40let's append the polymesh3d we alreadyhave that so we don't have to createanother Polish polish here we gowe can just move it down then let'screate some asymmetry in teeth I'm notgonna so try this I'm just going toscope this status because it honestlyWatch at: 21:40 / 22:00probably has enough resolution yeah andby not adding subdivisions I can sculptone and I can duplicate it around whichis a big advantage hit the Q key to goin to move brush and now we canI mean it's so low this we can see it abit better and a really cool thing isthat because we're working separatelywith separate talk tools here anythingWatch at: 22:00 / 22:20we do when this is not going to affectthe head so we're not sculptingsymmetrically on this it doesn't reallyaffect the headexactly so now you see we have abeautiful teeth let's just make this abit sharper this would be more to canineteeth a bit like a Fang almost youWatch at: 22:20 / 22:40clearly didn't go to the dentist heshould have gone to the dentist yeahbeautiful and a symmetry can add so muchto our character out highly recommendlooking like no not making yourcharacter completely symmetrical so whatI'll do now I'll I'll just drag thatWatch at: 22:40 / 23:00transpose line and hold on a controlledkey and this duplicate is around andthen we can and this is important youcan't have any subdivision levels onyour model we're doing this not ifyou're duplicating like this within thesub tool because I still go ahead andduplicate this up to duplicate here butyou can't yeah and then you can justWatch at: 23:00 / 23:20rotate it around a bit and we hold on ifyou hold on middle one is can wrote iton his own axis and this is a bitcumbersome can use to you but you justyou just got to do it yeah I want togive him like two more teeth hold on theshift key and just to disconnect of youand I control key just duplicatedWatch at: 23:20 / 23:40and do it again and now you can see thatit's being masked out so I don't have tomask it out right nowso nice definitely sure so now we canjust move this around just make this aWatch at: 23:40 / 24:00bit square and this is a nice tip aswell there is a brush called movetopological which is B it's actuallysomething we haven't covered but it'sreally really inside decorations likeit's useful in specific situations wehave B and T for it which is brush movetopological so if you see here if you ifyou move using the B and V brush youWatch at: 24:00 / 24:20move this everything moves but if youuse B and T from brush move topologicalyou can now you can just move singleitems like this it's kind of like withwhen you're hiding stuff with continuityhomological top a new continuity is thesame thing same way so instead of makingWatch at: 24:20 / 24:40polar groups here and masky stuff out Ican simply just do this I'm pretty surethat's what it's doing under the hoodprobably probably I mean I don't know itworks so when doing teeth fangs oranything on this we have a lot of a lotof sub tools close to each otherI just our models within the same subWatch at: 24:40 / 25:00tool I use the topological move it canbe great for closed mouth or my lifeit's real nice and for the teeth therejust wants more sharpness to it as wellso I'm gonna use the one brush wouldcover before it's from dynamic bTW thisWatch at: 25:00 / 25:20is just gonna give it some nice planeshere you gotta be careful with the trimdynamic brush when you're working onsort of points where there's not a lotof mesh in between the front and theback because then it can sort of startto merge the whole mesh together into aweird black hole exhaust just gotta keepthat in mind so now the teeth areworking alright you know it's it's notWatch at: 25:20 / 25:40to monsterpiece but you know it's it'sok I think it's the best work you'veever done so we can use so the trimanomic as well in general here just tojust to get some nicer planesanother way to sort of I guess go awayWatch at: 25:40 / 26:00from the standard smooth brush becausehere we're we're eliminating a lot ofthe noise that's I know the brushstrokes because you see here rightthere's a lot of noise don't a lot ofnoise there's just a fair bit so we canuse the smooth brush and we can useTrevor Levesque again smooth just forholdout is shift key so one thing I liketo do when I'm sculpting is I likeWatch at: 26:00 / 26:20contrast between soft and hard and Ithink that works really well so we canhave really harsh lines here what thelight is gonna hit and they can havereally soft lines as well just move itout a tiny bit that's a another way tojust capture your eye you start withyour I likes contrast so I'm just gonnaWatch at: 26:20 / 26:40work a bit more on on the under lip herebe and you saw instantly gotta thinkabout sort of how does the skull and theteeth like the skin on top right thatteeth would really be pushing out theWatch at: 26:40 / 27:00lip because they're so big exactly sowhat I want what I'm thinking about aswell is that and this region here it orprobably some kind of indication of theteeth just to make it more grounded yousee this like it's huge Warcraft words alot of times people just Chuck teethinside their face stuffing in the mouthbut you you come do that look how angryWatch at: 27:00 / 27:20is now yeah there's definitely thedentist's name oh yeah we've got themedical bill not happy like a freakishbutton nose but for orcs I'm super sadWatch at: 27:20 / 27:40there you go there we goso restrain you some dynamesh now and wedon't really need to because currentlywe haven't really stretched anything toocrazy so what you can do we can justdisable dynamesh we're going on toolWatch at: 27:40 / 28:00dynamesh and just disabling it andhitting ctrl d currently we're ateighty-five thousand Polly's which isfairly low I just want to get like aslightly more definition around the eyesin particularso this is kind of where we're switchingup the workflow right except this wouldbe at the point where you're going intothe subdivision mode maybe you could seeRamesh it if you're ready to take it toWatch at: 28:00 / 28:20your next level it's just this way wedon't have to worry about the topologyand like masking and unmasking all thetime back there just keeping it simpleso I'm just gonna hit ctrl T maybe twiceour 1.1 and a half million it just keepsit the computer can totally have amillion half almost regardless of whichcomputer we have unless you're from like2001 yeah I think even then even then soWatch at: 28:20 / 28:40I'm just gonna use the standard brushnow just to show how you can usedifferent brushes that's B s T I like touse standard brush for this kind ofstuff as I have a lot of like I have alot of control here so I'm just kind ofthis standard brush is really underratedwhen it comes to creating creases isyour this is really nice very definitionWatch at: 28:40 / 29:00because you collect the clay versus ouramazing fighting volume but not so muchfor adding actual definition if you likeyou don't have as much controlyeah exactly well that's what standardbrush is just that's what are you herefor so I'm just going over and just justdefining it just going defining wherethe eye actually is and I'm holding downWatch at: 29:00 / 29:20the Alt key as well a lot more carvingin place like this and look at areference as well even if you're doingcartoony or guys III still have a mirroron my desk and it's so useful it's likepeople look at you weirdly I worked yeahsometimes when you're working on facestuff you make weird facial expressionsyou sit there you're like ah yeah it's abit weird the people if you're workingWatch at: 29:20 / 29:40something else as well yeah yes justthat mix with sharpen see we don'tthinking too much about not to materialsjust just adding a bit off just adding abit of sharpness to this you can see thevariation in our shape as well sort ofhow the sharpness of something like thecheekbones contrast the the folds goingWatch at: 29:40 / 30:00down from the nose and exactlyactually here I'm using the standardbrush for this line but I should beusing damn standard I'll undo this I'llshow you what I meanbe the s for brush damn standard as Isaid before the damn stand brush is thebest thing in existence it just it justWatch at: 30:00 / 30:20really gives you like this sharp linesit gives you this sharp lines which roomyou know what a brush can give you yeahand we're doing this I'm varying thequality of the stroke like I'm not justdoing this I'm doing slow or like mildpressure and hard pressure and then mildpressure again this just creates a lotof more interest so here is a lowpressure and then it goes into like moreWatch at: 30:20 / 30:40hard pressure again so so just that's amore advanced technique but for me thatworks really well so the way and the waythe Damien standard brush works is thatthere's both a subtractive element to itbut it also pinches the mesh together ina circle and to get the really nice andhard creases you just go around here aswell we can also hold on the Alt keyWatch at: 30:40 / 31:00just to get like a sharper line the oldkey will just add to it we just givelike nice sharp line like this doneperfect just a little bit more sculptingnow what I'm gonna move intopolypainting also we can just add some asintra Jim now because currently he'svery symmetrical so the problem is whenpeople add like wrinkles and he's likeWatch at: 31:00 / 31:20this he's like oh so angry that's sillyyeah exactly so I'm gonna use theclaybuildup brush be C V that's wrong BC and we're asymmetry really starts tolook really makes your model pop out isthe S symmetry that happens in theWatch at: 31:20 / 31:40center of the model exactly is if youhave something symmetrical on eitherside and like the ears you're not gonnanotice that sack but wrinkles close thenose or wrinkles in the foreheadyeah the position of the nose you knowlike pushing the nose to one side that'sall the stuff that helps sell theasymmetry exactly so I'm just doing thisthis part here with a syndrome becauseWatch at: 31:40 / 32:00the customer like morons doesn't justlook so much more interesting and pickyour battle so here we have like 45minutes just to make a model you know Ineed to spend I need to spend my timewhere it's useful I'm not gonna spend atime on the back here because nobodyairs I'm just gonna do like you know I'mbid of like off angry wrinkles becausehe'sreally angry angry I think that's theWatch at: 32:00 / 32:20anatomical correct word I'm pretty surethat's actually it it's he was he wasdefinite entus so he's he's anatomicallyangry and we can issue some the movebrough be and and just like Martin saidjust add some a centering this cuz whynota symmetry can just be incredible justWatch at: 32:20 / 32:39like to the eyes as well just likeadding some mason for you that's reallygonna sell also you start working onsomething like an expression having backmanI mean obviously sometimes you mighthave a symmetrical smile wow he's messedup he was like hit by cars right afterlike a punch oh yeah yeah yeah bydentist and also just like someWatch at: 32:39 / 33:00asymmetry here as well and you know justright away you have more wish when didyou see how much he's a differentcharacter or exactly story-wise now he'sbeen through some stuff yeah maybe hewas a too hard by that like his nose tomouth feel displaced but also just likesee here this ear is here kind ofpointing up and this here here is kindof like pointing down now like maybe youWatch at: 33:00 / 33:20can't you can't logically pick it upwhat your brain does yeah your brain canfeel this so this is pretty much it forthe scope we're gonna keep it verysimple let's add some quick polypaintingWatch at: 33:20 / 33:39to him as well it's just a nice way tomake your model pop out yeah exactly sowe're gonna make it green because we allknow orcs are green exactly like exactlythis color a sewage color yeah we'regonna make it like a little moresaturated like something like this maybeand um once we've done that once we adda color we have to bake it into theWatch at: 33:39 / 34:00model we do this by going to color fillobject with RGB active and with thestandard brush B s Twe have to we have to just disable Siadand enable RGB and then we can start toWatch at: 34:00 / 34:20paint on it if we want red eyes can givethem some nice red eyes and you can alsouse symmetry for this I would actuallyrecommend using symmetry for first passhit the X key for symmetry on the x axisthen we can just go a bit crazy crazyactually crazy just oh that's likeWatch at: 34:20 / 34:40warping actually kind of cool so the wayI like to design or like start off isit's kind of a blocking in values likewhich means make it brighter or darkeralso before we move too much too muchahead here we're going to changematerial to the skin shader which isWatch at: 34:40 / 35:00found here this this is just a way moreneutral material you can see how muchthat actually changes the crackling sobefore your previewing it with maybe adarker material so you're boosting upthe lightness of the Greens I need morelight so we're just going to block insome very quick colors here just somequick colors in circuit values and justWatch at: 35:00 / 35:20go a bit darker and brighter just tomake you more interesting this way youcan fake a lot of stuff you know you canfake some shadows exactly you're doingsomething stylized it's fine yeahindicate the cheekbones just to get somemore depth in the face exactly it's likethe makeup well I assume I don'tactually know any makeup yeah I assumeWatch at: 35:20 / 35:40this is what what they do when theyapply makeup good pretty much you canalso just add a color a color spray orspray I'm just going to use sprite andthen alpha such as alpha 7 I mean theseare great it's just this is like give melike a nice spectral result it's nicewith some randomness to this dirty wentWatch at: 35:40 / 36:00through mud just so this just gives youa lot more variation right away andthough I again the hotkey for and colorpicker is si si for color yeah hard keythat makes sense yeah yeah that wasWatch at: 36:00 / 36:20probably just by Johnsondo you see Lacey Mouse's on you can seethat because it's dragging you having alittle line behind itso if you did Lyou can just disable I don't need lazyMouse what I'm painting like this andfor most brushes it'll make it a littlefaster to work without lazy Mousesometimes you might want it thoughWatch at: 36:20 / 36:40exactly demonize I just want to add someredness to the ears you want to thinkabout it so where where's where do youhave a lot of veins where would you havea natural buildup of blood because youhave don't have too much fat orsomething the cartilage in the ear not alot of resistance there so that youwould have red ears on the cheeks nextWatch at: 36:40 / 37:00one of the eyes so I'm just unleash yousee some colors are just you like tomake it more interesting to some bluesand some yellows and some redsyou know just to break it up you don'twant to have you don't want everythingto be perfectly cleaned what then we canalso just make this region here darkeras well because currently it's still itdoesn't pop outdoes it guess again like again what IWatch at: 37:00 / 37:20assume makeup to be touch you shouldreally get someone professional in thiswe should probably do that nice and thenyou can go crazy and just like more pinsgo coolI mean it's kind of cool then we canWatch at: 37:20 / 37:40once let's say this this painter here isdone now we can just switch back towhite color and then we get like whiteon the rest here on the other and theother subtools we can change to a nicermadcap again this is a pretty nice onethe default one it looks it looks prettycool but you can just go through some ofthe default ones the great thing aboutthe skin shader is just it gives you aWatch at: 37:40 / 38:00more representative view of your actualcolors yeah exactly and switching backto any of the other met kept like it'stotally legit you can only do thatbecause they tend to but they tend toshow off your model in a really nice wayexactly so this is pretty much it wejust got through this slowlymethodically and regardless of whatWatch at: 38:00 / 38:20model I'm doing professionally or fromperson work this is the same approachI'm use I'm slowly building it up usingthe same brush is using a moveclaybuildup trim dynamic diamondstandard and standard brush just slowlybuilding it up if I'm doing like ahigh-end concept for film or from doingWatch at: 38:20 / 38:40a syllable work for a demonstration youknowsame process so just just take your timedo it slowly methodically yeah thebasics can it really can't be over noexactly and you just saw how simple thiswas in terms of tools the most complexthing here was probably to make the subtools for the iSeries the rest isliterally just a sphere dynamesh andWatch at: 38:40 / 39:00like three brushes for like the majorityof the time yeah so I hope you thinkthat I hope you find this this to beuseful yes thank you very much forwatching

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  1. Did I miss something at 16:51? "We'll just use the transpose tool." No explanation of what it is or how to use it. My screen looks the same as yours but my clicks aren't doing the same things. I have the other sphere in there but I can't seem to edit it anymore. I had it positioned properly once, but when I hit "mirror" my head went away and all I had left was a single eyeball.

  2. used 3dsmax alot and fusion 360 a lot less, got interested in zbrush, but this looks ridicilous compared to the two iv been working in. i come to think of all the marvel models that have been done in zbrush. its insane. would like to see someone doing a tutorial about doing any marvel character.

  3. Shouldn't you sculpt with perspective on? The sculpt will probably be used in a software that uses perspective, so sculpting with it off could make it look weird onece perspective is active. Just like you can't get rid of perspective in real life when sculpting

  4. It's like listening to my far more experienced, older self, the same silly thought, the same humor

    and the best thing, this finally gave me the spark for sculpting which I've been looking for for way too long. Thank you! Made a happy goblin with this tut 😀

  5. I was told today by a certain "3D printer group" that Blender is JUST AS GOOD at sculpting as Zbrush. can you believe that? not only that, but quote "it's actually better because it has more tools for sculpting than zbrush" id have SWORN it was a 100% Deliberate Troll, if not for the person who said it running a pretty big 3D printer maker company! hahahaha!

  6. Pls forgive my poor English, I can assure you guys Im probably not destroying your language on purpose 🙂 But seriously, videos like yours are the reason I learned about these things and fell in love with Zbrush. Thanks a bunch and keep up the good work.
    Zbrush is by far superior to its competitors in my opinion. I'm still in awe of this excellent piece of software. It handles 3D modeling, sculpting, painting with physical pixels in 2.5D creating actual physical tops and depths in the picture, and a lot more, all this combined in a beautifully intuitive and awesome user interface puts it light years ahead of all other similar software. And the Zbrush artists I've been lucky enough to encounter are every single one very good people, coincidence? Probably, but Zbrush still rules 🙂

  7. Watched this and found it amazingly useful.
    And so refreshing to hear normal chat style , rather than robotic speech you get on some tutorials.
    Learned a lot in a little under 40 mins.

  8. I'm a bit confused about how to make game characters look great. I know there is a way to get high quality textures from the high poly model and project them on the model after retopology but i can't find any videos about that… Could you guys help me out?


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