
Learn to sculpt portraits in ZBrush by starting from a base mesh, using image planes to align geometry, projecting reference images, and building foundational shapes before finalizing.
Start from a base head mesh, using polygroups and reference images to sculpt a realistic male portrait with symmetrical foundations, then add asymmetrical wrinkles and pores.
Import front and side references in ZBrush, use move topological to reshape the foundational mesh, and adjust for perspective while masking and experimenting with a portrait of an older gentleman.
Use image planes to reshape the bust while respecting anatomy, adjusting eyebrows and silhouette. Save iterative progress, compare front and side views, and prefer move topological for controlled edits.
Refine facial proportions by shaping the neck and eyes from front and side, using a foundation sculpt, subdivision, masking, and clay buildup to define nasal labial fold, guided by photos.
Shape sag and aging into the jawline and neck in ZBrush using a base mesh, clay buildup, image references, masking, and move topological for controlled exaggeration.
Master proportions in ZBrush bust sculpting by using the clay buildup brush to shape aging facial features, refine the nose, lips, chin, and skin texture with focused detailing.
Advance to bigger wrinkles and secondary shapes on the bust in ZBrush using poly groups to guide mid-res foundational sculpting, with image planes checked and reprojected for alignment.
Review second stage sculpting in ZBrush, exaggerating eye and brow wrinkles, neck and ear folds with clay build up, damp standard, and inflate brushes for readable peaks and valleys.
Sculpt the eyes, forehead, and ears in zbrush by shaping wrinkles, valleys, and peaks, using inflate and crease tools, and managing symmetry, image planes, and masking.
Sculpt the mouth, chin, and cheeks in ZBrush by refining the lips, wrinkles, and jowls with flatten brush and clay build-up, while maintaining symmetry and proper view angles.
Sculpt the neck and lower chin using clay build up and inflate brush, refining subtle wrinkles and soft edges to demystify portrait work from a base mesh.
Learn to use projection on a mesh to tweak anatomy and refine details, maintain symmetry, and enhance silhouette for a character bust in ZBrush.
Advance the portrait in ZBrush by detailing pores, moles, and skin texture using poly groups, alphas, masking, and fiber mesh for whiskers, eyebrows, and thinning hair, and render the result.
Learn to add upper and lower lip wrinkles in zbrush by blending damp standard and alphas, using masks, symmetry, and subdivision levels for realistic lip details.
Develops details on the lower lip and nose by adding subtle wrinkles, aging textures, and nose scarring using alphas with the standard brush, masking, and careful blending.
Apply wrinkle alphas to the eyes and face, adjusting intensity and smoothing to create natural wrinkles, and use symmetry and masks to blend details across the forehead and ears.
Add wrinkles to the ears by detailing lobes, back wrinkles, and pores, using back face mask, masking, symmetry, and surface noise to convey an older look.
Refine eye wrinkles in ZBrush by adjusting upper eyelids with a wrinkling layer, inflating and sculpting cuts, and add pores, skin aberrations, and asymmetry, with fiber mesh for hair.
Learn to add skin aberrations such as moles and age spots with layered wrinkles, using alphas and pores on the nose for realistic bust sculpting in zbrush.
Mask the lips, apply skin pores with symmetry, and refine with spray, layers, and duplications, then render and compare—embracing asymmetry and eye adjustments in ZBrush.
Develop realism in ZBrush busts by creating controlled asymmetry, refining ears, nostrils, mouth, and eyelids with layered clay build-up and masking.
Master sculpting a lifelike bust in ZBrush by adding stubble, whiskers, and hair with fibermesh, using masking and symmetry to control length and coverage.
Master finishing touches in ZBrush by adding fiber mesh hair and eyebrows, grooming with brushes, mirroring topology, and rendering variations to achieve lifelike portraits.
Many 3D artists, even character artists, are often intimidated by the totality of what is required to create a believable character, either reaslitic or stylistic. Even more steer clear of trying to create believable human faces. This course is designed to show how easily one can produce an acceptable model by breaking down the overall view into more 'bite sized' areas of focus to allow one to concentrate only on that singular are before moving onto another area of focus. As the student progresses through this tutorial, they'll learn more confidence in their skills by using fewer tools and some shortcuts to achieve an end result that will help inspire them to continue to tackle more opportunities by looking all the parts that make up the big picture first rather than trying to see the big picture and figure out how to proceed next. By using fewer brushes and some alphas, one can achieve quite a lot in ZBrush.
More about the instructor:
Having 25 years of experience in the video game development/entertainment arenas, I'm well versed in a variety of programs and production pipelines and strive to work as cleanly and efficiently as possible. Having done pretty much everything, I enjoy getting to share my knowledge and experience in the hopes that I can help students gain a better understanding and appreciation of what 3D computer art (in all its varying forms) has to offer.