042 Cardinal Bust Video Lecture | Zbrush: Create Realistic Modelling - Professional Skills

okay so this is the cardinal bust setup
and the original took me 59 minutes from
start to finish so what you're seeing
here is like a 4x speed up so it's 59
minutes down to about 10 10 minutes ish
it's about four or four and a half speed
up I think and this is just blake basic
blocking in the head so starting with a
sphere pulling it down in an oval shape
getting it a little bit of cranium space
on the side and you know half the head
down is the eyeline from the brown line
above the eye line the bottom of chin
his nose line thirds underneath the nose
line to the chin is lip and cleft of the
chin and from the side you want to make
sure the eyes are pushed back insert
mesh brush with dynamesh for your neck
here and then a block for the bus just
really quickly and of course you get
masks and drag these things out and get
the exact same result or you could just
use insert mesh brush and so the
cardinal I was originally gonna go back
and just kind of clean up the characters
I had already done and realize I didn't
save those files because I was just kind
of messing around and doing some
examples of what you know the kind of
stuff I would expect you to be able to
do after going through part one and
using clay brush standard brush move
brush all the whole tricks we've learned
just to kind of do some basic sculpting
and I didn't save those files so I was
like okay I need I need something for
marketing and I really marketing but
just you guys won't click videos if
there's nothing cool to look at so I
wanted something cool for you guys to
look at a little bit cleaned up a little
bit nicer so that when I post the videos
on Facebook or art station you'd you'd
feel inclined to click on instead of
pass it over and I realized I didn't
have those files so I'm just recreating
the Vatican Cardinal dude first and then
I do the dockworker and then I do a
Victorian lady and then I do a armored
sketch so this was 50 is about an hour
and if you know being character artist I
would definitely start out with a base
match they've already created because
there's no point in going through all
this setup just to get to the point
where I have a basehead so I would
create a base head and just you know
maybe a Mayo maybe a female maybe just a
neutral kind of head shape that has all
the
Landmarks I want and then I can quickly
go in and change what I need to and make
a caricature out of it push and pull
things around smooth it out and make it
a female or change the the head a little
bit that was me you can do shift s and
that'll make a screenshot of your tool
and then you can move your tool around
and so I'd use that to kind of give me a
head length down instead of kind of
measuring and guessing which you can
actually use the transposed life and
measure I never got into that but those
little tick marks on the transpose line
you can use to measure and it's in the
preferences transpose options but
anyways you can also do a screenshot
shift s and then move your tool down so
you can get a head length down and then
I gave me the chest line but anyways
start with a base head you already have
created and then just go from there as
opposed to having to redo this and I end
up doing that so when I start with when
I start making the dockworker I start
with this guy's head and then when I
start with it's a be big for Victorian
lady actually take this guy's head and
smooth it out and then she use that as
kind of like a neutral base head to
build a female head off of and of course
you wouldn't have to get this detailed
on the best area if you're just gonna
cover up the clothing but I figure I
mean it's easy enough to do it's just
making indications with your clay brush
in your standard brush and it's
basically sketching your sketching in 3d
you're just drawing lines on there and
building up some forms and clay brush
and smooth and you're done super easy
it's easy enough to do so you might as
well let's go ahead and do it just in
case you need those landmarks if you
want to put like a I don't know a tank
top on them or something all your
landmarks are there that's what you
really need is just landmarks of what
where things are going
and this is uh so this is the stern
cardinal older gentleman stern gentleman
he's got a little dryer little wrinkly
and again this is the low-hanging fruit
I was talking about a zbrush where you
can't you really can't miss if you want
to do creature work or old man work or
and you can do anything and see what you
can create anything obviously if you
look through the ZBrush gallery and
stuff but when it comes to just pure
just using the basic sculpting tools in
ZBrush like I've shown you up to this
point part one
you can't miss if you're doing like a
creature old man or old man creature and
again we're not getting into poor detail
in this one this is just getting your
ideas out quickly and kind of fleshing
them out and sketching things in and
giving indications of detail and then
you're gonna use those indications to
kind of you know subdivide up once you
get everything figured out or take it
out of dynamic mode and zremesh to get a
nice apology and then go in there and
start doing wrinkles and alpha stamping
alpha spraying poor detail stuff we'll
get into in part to making your own
custom alphas and and it won't
necessarily be just for organic stuff
either
I mean ZBrush is certainly good at
organic stuff but you can do it for
mechanical stuff but this is more part
one get your ideas out quickly using
basic brushes and you can do an awful
lot just using basic brushes that kind
of get signed off basically concept it
in get it in the game if you watch my
GDC 2015 presentation it's on YouTube
and you can I guess Google Michael
pavlovic GDC 2015 and you can watch what
we did for it was one of our projects we
can't I mean for what I presented it was
concept in out a character very quickly
hitting a one button solution to kind of
make push it through substance designer
get it in a engine really quickly with
one button push and just evaluated in
game with animation on it then kind of
using that to dictate changes and making
very informed decision as opposed to in
a vacuum which could be anything from
well you can't really evaluate this
thing on a 2d plane because as soon as
you make it in 3d and you get an in-game
you realize what silhouettes doing don't
work
what details do and don't work what
material properties what color you know
all that stuff that you need to figure
out you might as well just do in 3d get
it in quickly and then evaluate from the
end result rather than in a vacuum in
ZBrush or on a piece of paper doing an
engine in this particular case we skip a
little bit ahead here I go ahead and
mask and extract this piece off we
haven't gotten into that yeah that's
gonna be a part two type thing but
there's a ton of ways to create
accessories for your characters are for
your models and I don't get too heavy
into that in part one in fact what I do
most of the time for the rest of these
type of exists accessory type things is
I'll just duplicate his base body off
inflate at negative one and then just
use clay buildup or clay to was their
standard brush or clay brush and just
kind of start sculpting up through him
to make different types of clothes and
once I have that all figured out I'll go
through a mask separate that out into
its own subtotal clothes holes read ina
mesh that's basically what I did here
duplicate inflate negative 1 for the
duplicate underneath them and then just
start sculpting out and it looks like
you're just sculpting a shirt on them
and again like I said there's a ton of
ways to do accessory mesh creation and
that's gonna be a part two thing that
will get heavy into but for now I'm just
gives a trim brush chop his head off
from the shirt duplicate and then just
start sculpting in what I need and again
we're just indicating cloth this isn't
taking it into Marvelous Designer and
making this beautiful whatever the
whatever they call this type of clothing
but you could certainly do that and I
would say yes definitely do that after
you you've spent 10 minutes kind of
blocking it in and making sure it's what
you want and getting sign-off and
putting in front of other people eyes
and making sure you didn't miss
something before spending the hours to
do it perfectly that's what this whole
idea is now what this whole part one is
based on it's just getting your ideas
out quickly making sure you're making
informed decisions on what you want to
create before putting in the time
investment into something that you might
end up being you know polishing a turd
or creating something that just doesn't
quite work but you spent hours and hours
doing it because you put the hours and
hours in and didn't realize
by the time we got to the end and didn't
quite work get in there
spend 10 minutes to make something make
a shirt make sure it's what you want
make sure the buttons are a number of
buttons the thickness the type the flow
where it's gonna hang get that done and
then go okay made an informed decision
and now I can make the final and I can
base it on something that's tangible as
opposed to now I think it'll be cool
pretty sure get in there and make sure
it is cool before you put in the hours
too just to find out it's not that cool
and that was another example of me
duplicating the mesh off inflating
negative 1 and then sculpting the hair
out and then just masking and poly
grouping and separating that into its
own thing the leading hidden dynamesh
enclosing holes a little more clay build
up a little standard brush and there's a
ton of hair sculpting techniques two out
there and that we might go over and more
of a project based situation so if I
ever make a project of here's the
character and Scott sculptural type hair
let's get into a little bit heavier of
how to sculpt nice sculptural hair then
we can certainly do that but it's a
little out of scope for a part one head
sculpt and again we're just giving
indications just for sign-off just
something quick get our ideas out quick
and make sure it's cool and what we want
and again it obviously I'm turning off X
Emma tree down the middle so you can
turn now on set X symmetry to kind of do
quick symmetrical sculpting and then
turn off X Emma tree especially to do in
cloth down the middle you might as well
turn that off and put wrinkles across
the middle that aren't symmetrical
because cloth generally doesn't hang
perfectly symmetrically ever