Zbrush Head

[Astryd Boschee]

HoweverI realise that the head could do with a slight rotation, is there a way to rotate only the part of my head slightly to one side ? Is it possible to rotate both my high and low poly ? Would that mess something up ?

If the high poly is a subdivision level of the low poly mesh, this is very easy. Simply rotate the low poly base level geometry which is much easier to pose than the high res mesh, and the pose will update to the higher subdivision levels when you switch to them, with the high rez detail still intact.

In fact, there is a plugin called Transpose Master that can let you create a new, merged version of multiple subtools with multiple levels of subdivision at the lowest subdivision level, which can then be posed as a single piece. The changes can then be sent back to all the individual subtools at their highest levels of subdivision.

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Due to my near journey to Berlin next week I have no time to spent in my last modelling practice. I thought about it like a zbrush practice for my students in the videogames creation master... I know it is full of laks, but literally I have no time to improve them... Despite the fails, I hope you like it... All done in zbrush (modelling, texturing, mapping, retopology, BPR rendering ). Here a link to the Artstation thread .

Pablo shows talks about how to tackle the anatomy of the head when sculpting characters! Got questions for Pablo on how he did this? Tune in live for his next stream, sculpt along, talk with Pablo or the community in the live chat!

ZBrush Guides: Make it Happen in ZBrush!See Pablo's Upcoming Streams Here: ZBrushLIVE CalendarZFriends: Pass the SculptIn Collaboration with Ana Carolina Pereira & Shane OlsonMore Scheduled Streams Coming Soon! Segment Summary: ZBrush Guides: Make it Happen in ZBrush! - "Let's hang out and experiment in ZBrush as we build creatures, characters, props, or anything else you want to see! Your feedback and questions will drive the content!"ZFriends: Pass the Sculpt - A game-like group stream teamed up with Ana Carolina Pereira and Shane Olson. Dependent on the theme, each artist with sculpt for a hour, rotate ZBrush files, and continue sculpting over a 3 hour time frame. The result is a fun fast paced, telephone style game with wacky results! Each artist will stream independently to our 3 social media channels, YouTube, Twitch, and Facebook. View them here:YouTube - - - Location: Melbourne, Australia Hometown: Colombia & Costa Rica How Did You Discover ZBrush? "My first contact with ZBrush was while I was studying my degree of 3D digital animation and when it was still a 2.5D application." Sculpting Experience: "Roughly 6 to 7 years" Most Used/Favorite Feature: DynaMesh & Sculptris Pro Previous Works, Industry Experience & Highlights: Founder of ZBrushGuides

Welcome to a six part Workshop completely in ZBrushCore, hosted and taught by Steve James. This series will focus on a head bust from start to finish. Follow along or use Steve's workflow to create your own character.

Using the Face Tools plugin for swift head shape adjustments and conversions within ZBrush and Character Creator (CC) is a straightforward process that can be accomplished by adhering to the following steps.

To illustrate some concepts, go to the Modify panel in Character Creator and press the Load Neutral Base button. Hit J on your keyboard to zoom in on the head, then go to the Morph tab > Head section to change the look of your character using the various sliders

Your base geometry is the low-res topology of your neutral face and body. You can go into the Scene tab and change the shading mode to wireframe to see your low-res geometry.

Turn on your Range map so you get a better idea of what edgeloop the systems will be looking for when deforming into shapes later. When creating primary forms, make sure you move the geometry appropriately to keep the face guidelines where they need to be, instead of just sculpting through them.

Once you get your primary and secondary forms done for your custom ZBrush character, you can turn on the Detail Layer in the Face Tools plugin to continue sculpting high frequency pore and fine wrinkle detail.

During this ZBrush tutorial, you will learn how to speed sculpt a cartoon head from start to finish. First, we will make custom brushes, and then we will learn how to put together a custom user interface for speed. After that, we will delve right into using DynaMesh and masking to pull out our shapes. We will continue refining the head and polishing it to get a clean sculpt. Then we will add a hat and sweater along with FiberMesh hair. Lastly, we will setup a LightCap and render out a character sheet and a turntable with professional results. Software required: ZBrush 4R4.

Shane Olson has been in the Video Games Industry for over 14 years. He has worked at several high-end studios such as Sony and Acclaim, and now resides as a Senior Character Artist at Avalanche Software which is a part of Disney Interactive. Shane has contributed to two books on character modeling. Shane has a broad range of skills, like Digital Sculpting, Modeling, Rigging, Animation, and Texturing. When he's not Sculpting, Shane loves spending time with his family, and friends.

One of the many great plugins provided by the good people over at Pixologic is the Zapplink. With its' efficient and intuitive interface, and its' "pick up and produce" functionality, it can be used to quickly achieve results in texturing that would otherwise be very difficult and time consuming to accomplish. In this tutorial, we will follow professional character artist, Eric Moreno, as he uses Zapplink in ZBrush 3.5 to quickly and easily texture a human head.

First, you will want to download the project files folder so you can follow along. You can find it here: Project Files. You may also need to get the plugin. You can download it here: Unzip Zapplink in your: \Pixologic\ZBrush 3.5 R3\ZStartup\ZPlugs folder.

Load the tool "humanhead.ZTL" provided in the project file folder. In the tool palette, turn polypaint on, and set the uv map to 2048. Press new texture, in the texture map rollout (this will set the texture size according to the uv map size). Finally, apply a basic material to the model.

These are images I got from -textures.got3d.com/index.html. Make a selection of the face part and paste it into your temp document. Use the transform tools to match the selection with the ZBrush face. You can refine your work by selecting details of the pictures and copying them to the temp document (the eyes for example).

In Photoshop, make a selection of the image "side1.jpg" and use the tools to match it with the temp document. Note: You have to avoid overlapping the face part that you've just done! I usually erase with a wide falloff.

Apply another material onto the model in order to get a better render. You can load the matcap I've put in the project file folder if you wish. To do so, click on the material, and press the load button. Then load "MatCap SkinCGtut.ZMT". Here it is with perspective on at 25. Note: If you turn perspective on, don't forget to turn it off again when you're done.

Now you need to save your texture and export it to Photoshop. This will allow you to give the final polish to the texture. In ZBrush click "clone texture" in the texture map rollout (1). This will copy the texture int0 the texture palette (2).

Danny Mac is a character artist residing in the UK. If you check out some of his work on ArtStation, you can see that he has the skills, and is all about the stylized characters. So it is fitting that his latest tutorial is about creating a stylized head in Zbrush.

The tutorial for the stylized head has some bonus content that you can pick up for a couple of bucks. The package comes with a reference sheet of the head from part one. It gives you 9 different angles of the head. You also get the model as a zTool for Zbrush, and an OBJ file that you can use in any other 3D app. Check all that out here.

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In this chapter, you will work on the head and neck of the figure you've been building in previous chapters. You will establish the head by first sculpting the form of the skull on the established basic shape. From there, you will begin to address the major bony forms of the skull by looking at how they influence the face. As you work the sculpting steps in this chapter, I will illustrate how certain muscles, as well as the bony protrusions of the skull, are influencing the final fleshed form.

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