043 Dock Worker Bust Video Lecture | Zbrush: Create Realistic Modelling - Professional Skills

so now we're gonna do the dockworker and
I'm just gonna start with this base mesh
here so I go ahead and delete all the
accessories off do a quick mirror and
weld on his face in case he wasn't
symmetrical now this guy is going to be
asymmetrical I'm gonna give him a cigar
out one side of his mouth and kind of
bust his nose up a little bit and shrink
one of his eyes and give him a little
lopsided grin but for the most part I'm
gonna keep him symmetrical up and tell I
get to the point where it's easy enough
for me to break symmetry towards the end
and save me some time in sculpting now
you could you could sculpt this thing
completely asymmetrically if you so
inclined I personally wouldn't spend
time doing that but I'm putting some
teeth in him so just a pendant of or
inserted a cube here and I'm just trying
to test out what kind of mouth I'm going
for and if I want to add a mustache here
or just kind of feeling out how he'd
look with a little goatee and some buck
teeth in there and he's gonna be he's
gonna be another elderly gentleman a
little rough little when windblown
wrinkled and a little thinner a little
more gaunt and he's obviously a
caricature he's got quite the nose on
him and big mouse ears and we're gonna
move his head forward a little bit
Transpo's and mask and give him a big
Adam's apple and kind of crane it crane
his neck maybe weaken his jaw and as a
chin
and again making a little more gaunt
making his cheekbones a little more
hollow nose is bigger the body I know
I'm probably end up coming up a lot so I
don't I don't think it's been a whole
lot of time doing that stuff but just
putting in the interesting wrinkles
where I think they're gonna go and but
again it's mostly just clay brush
standard brush move brush clay brush
standard brush move brush clay brushed
and brush glue brush that's all it says
and then thinking okay actually I should
go ahead and do a little bit more
expression and you know I got rid of his
beard looking to put that in much later
I kind of want to keep his face and make
sure that I'm not obscuring anatomy
that's gonna throw me off with a beard
right now I go ahead and do his Anatomy
first and then cover it up with a beard
once I know that his Anatomy is correct
you know right off the bat you know when
you're smiling you're gonna gonna bunch
up your cheeks so he's gonna look weird
until I go ahead and add that mess above
his cheeks and then you'll see oh there
we go
okay right there that feels a lot better
because you know you can you can sit
here and sculpt something and it's it
not until you you know get some
reference or study Anatomy I guess but
certainly get some reference of an old
guy smiling for sure and then you'll
realize that oh hey number one when you
smile you bunch up a lot of your cheeks
underneath your eyes and you can press
your eyes and then your smile and then
your whole face kind of settles into a
much more natural pose you people won't
look at it and go yeah there's something
off about that face you know it's kind
of weird
and you know while I'm doing this I'm
also gonna be playing around like I did
there with like well what if I kind of
push the jaws out of a chin-up and is
that gave me anything interesting is
anybody anything catch my eye is like
ooh that's got a that's kind of got a
cool that kind of adds a little bit to
his personality that I like and this
guy's not gonna be staring he's gonna be
the opposite of the Vatican Cardinal
he's gonna be friendly dockworker
but again like I said you can't miss
when you're using standard bars clay
brush and move brush when you start
getting into and you'll see this a lot
on ZBrush central where you know you'll
you'll see a lot of alien daemon wrinkly
old creature work because you know when
you're using these brushes it lends
itself very nicely to that type of thing
so I figured we'll start there now again
like I said in the previous video you
can create anything in ZBrush and by
that I do mean anything I can't think of
anything you can't create in ZBrush
there might be tools that you might
prefer more depending on what you trying
to create but when you get right down to
it it's a very incredibly powerful
creation tool and if you go watch my
youtube channel I get into some other
programs that you know I'm not I'm not
ZBrush exclusive I'll use the best tool
that I think for the job but for when it
comes to getting my ideas out quickly
that's what I usually brush for it's
about getting in there and kind of
making sure that what I want or what I'm
going for is kind of blocked out before
I spend the time possibly in another
program or within ZBrush and cleaning up
and going going to the next step I'm
gonna make sure that I get it blocked
out first this is where he kind of
breaks em a tree and do wrinkles across
the midline and change up the two sides
of his face but I waited until he was
kind of blocked in before I wouldn't did
that so I wouldn't have to spend a lot
of time reading and I have all on one
side and an austrial on the other side
and he figured his face was just really
really wanted a cigar to chomp on on one
side so and again make his teeth
asymmetrical he's not a not a tooth
model or you know a magazine model with
perfectly awesome teeth he's a dock
worker who's chomps on cigar so these
T's are gonna be a little bit crooked
he had no mouth bag we'll get into mouth
bags when you get into project oriented
stuff where it's like okay now I need to
make a mouth back for this character
because he's gonna be animated and all
that good stuff and we'll get to that
we'll get to that stuff but for now it's
again just getting your idea how quickly
and making sure is this the character we
want yes okay now let's make him for
sure and then this is where okay now I
got a space how I like it
wasn't quite sure if that was working
for me so I gave him a go Tina's like
and I really feeling it so I went back
and just gave him the tactical
turtleneck and the little woolen and cap
blocked that stuff in while I'm looking
in so by doing that it kind of gives me
time to think and feel out the character
a little bit more you know kind of
distract myself with something else and
then I go ahead and use slice to get a
polygroup and I slice off his cap into
one sub tool and his shirt into another
and then get rid of his head and his
ears and then now I've got to cap the
sculpt with now and again part two will
be all about accessory mesh creation and
there's the ton of ways to do that so
don't think I'm cheating you or I'm not
getting into that enough it's because
it's coming up then it will be a lot of
stuff but for now again it's getting
your idea out quickly clay brush down a
brush move brush how much can you get
done with those those few tools I'm
looking at this now he's kind of a
classy Steamship era dockworker little
vest on I should've gone for maybe some
overalls or something but no no it's
what I went with so I guess I'll stick
with it but again it was took me 10
minutes to make that shirt so it's not
like if I have to go and redo it it's
gonna be a deal breaker or I'm gonna
feel bad or hate myself or quit my job
because I have to go back and spend
another ten minutes giving him another
shirt you know now if I had spent two
days making a beautiful shirt that
nobody liked them then I'd be mad at
myself probably more than anything but
you know that's why you get it in quick
and make sure it's what you want and
it's what works and that's what people
like I decided to give them a little bit
of scruff and a little bit of scrub so
that's basically I
sprayed on an alpha so clay brush or
standard brush I forget which but you
can just turn your stroke to spray and
then put on your little spray alpha and
just kind of spray on and drop yours the
intensity down and we'll get more into
alphas and stroke types when we get into
part two of the ZBrush stuff
and a little bit of snake hook along the
bottom to kind of break up that little
hairs and again fiber mesh you could use
that it's easy enough just mask it and
turn on fiber missions Coleman mounts
and whiskers but again this is easy too
and it gives me as much control as I
need to get the idea onto another paper
but that kind of thing same thing we're
get it get it out and again just
indicating the cloth type depending on
how fine you make your wrinkles or how
many wrinkles or how those wrinkles hang
on your object will tell a lot as to
what it's made of and again just adding
you get you know big big basic creases
on the turtleneck and the sweater gives
it a nice thick feel and then you add
these little ribbing and it you can you
know exactly what type of cloth this is
there's no question and here's where I
forget but how these things are made so
I'm like that yeah doesn't feel right so
then I try this and I think this is
right and this is probably where I
should have gone and got some reference
like woolen cap reference but I guess
I'm too lazy to open a chrome tab and
Google something don't be like me look
it up
but gets cloth in there and then this I
got a little fancier with these buttons
than I did in the Cardinal buttons and
actually bring in some buttons and kind
of sculpt some wrinkles around the
actual smashed squashed transposed
sphere buttons now he was a fun one to
do and fast