Refining the eyes poly paint – part 01Ġ2. Some Render Parameters and last refinementsĠ1. Some Fibermesh Parameters and EyebrowsĠ4. Sculpting wrinkles, folds and seams on clothingĦ0. Adjusting Cloth Shapes and Saving Polycountĥ6. Collar topology adjustment and thickness on clothsĥ5. Others materials can change perceptionĥ4. Small wrinkles and breaking surface uniformityĤ8. Adjusting Eyes Poly painting on PhotoshopĤ6. Reading Cranium Structures on ReferencesĢ2. Forms perception plus anatomical knowledgeġ1. Negative spaces, silhouettes and reading volumeĠ8. Comparing distances, camera angle and focal lengthĠ6. Understanding Loops and ZRemeshing BaseĠ5. If you want to join in me into this journey, so prepare your coffee and let’s start to sculpt together!ġ. This course is focused on Intermediate Zbrush users who really want to take their sculpting and perceptions skills to a next level. Not satisfied yet? Moreover, we’ll also cover how do I modelled, sculpted and detailed his cloths, how did I do his hair with fibermesh and also how to do a really nice polypainting on your model, even on a greyscale presentation, simulating skin tones and a realistic eyes painting.

And for this, we will focus on using just the default alphas we have on Zbrush, this way everyone will be able to make an amazing realistic skin detail, blending and fully understanding how to apply each one of them. Then we’re gonna to sculpt firstly the Primary forms, capturing the overall likeness on volumes and silhouettes.Īfter we break the symmetries and we start the fun! We’re gonna try to match even more the overall volume, but now we start to sculpt realistic skin wrinkles and folding on the face.Īnd finally, we’ll cover my whole process of doing the surface details like skin pores or the Tertiary forms, as they are usually called. We start by building a pretty simple and generic basemesh, focusing on a good topology for doing portraits. We will learn to identify these features in the reference and check if they are quite the same on the model. We will develop a stronger perception, by using many techniques for comparing distances, comparing a lot specific facial shapes and also understanding some of the most important features on the anatomical structures of the human face.

This surely is the most challenging skill that a 3d character modeller can have, once we needs to be always concerned on developing our perception and sculpting skills.īy sharing my process, I really want to make you open your eyes and take a whole new look at how do you perceive your references and how could you translate it in the sculpture process. In this course, I want to share with you all the way I do for creating a complete and realistic portrait of Anthony Hopkins and make you fully introduced into this amazing journey of studying and recreating famous portraits. I’ve been working for many years with Character Sculpting for collectibles and character modelling for production. My name is Victor Yamakado, I’m a 3d character artist with 10 years of experience in 3d art. If this is the case, then I welcome you to Nexttut Education’s “Zbrush Character Likeness Sculpting” course.

Would you like to better understand how I sculpt a realistic portrait, using just photo references and anatomical knowledge? Are you looking for a course that explains the full process of sculpting a character likeness in ZBrush?

Zbrush character sculpting