Kylo vs Rey in zbrush Vol. 1: Suite and Helmet

Explore Kylo Ren modeling in ZBrush, vol. 1, focusing on basic parts—mask guard, arms guard, suit, belt, and helmet—using simple topology and texture techniques.

Learn to source and organize reference images for a Kylo Ren model, examining the mask, hood, coat, gown, gloves, boots, textures, and the multi-piece construction for accurate 3D modeling.

Learn to use Pure Ref as a persistent reference organizer, keeping images always visible on top and saving reference layouts for quick reload during sculpting.

Configure ZBrush brushes for Kylo Ren modeling, loading a reference body and using clay build up, move, polish, and snake hook. Save subdivisions and enable customize to streamline workflow.

Sculpt with ZSpheres to build a low-poly base, enable symmetry, and refine topology in draw mode. Convert the mesh with adaptive skin and adjust density for clean four-sided polygons.

Model the pants for the Kylo character in ZBrush, progressing from inner pieces to outer forms with symmetry. Manage topology and polygons to keep the boot and belt mesh cohesive.

Continue modeling the pants, adjust the shape for better fit, open up with subdivisions, insert loop edges to pull fabric over the boot, and plan future fabric details.

Advance the ZBrush trousers by adding pleats and refining subdivisions, keeping the body shape. Use symmetry and clay buildup to create natural folds and avoid cross folds.

Model a leg guard over the trousers with a thicker, harder material, mirroring the trousers' scheme, using polygroups and subdivisions to shape inner and outer surfaces.

Maintain symmetry with the mirror and dx activation as you sculpt the guard. Convert to the same poly group and protect borders with crease or insert loops for realism.

Refine the guard with subdivisions and edge checks, then texture it using controlled noise to add subtle surface detail, while saving and loading noise configurations for flexible reuse.

Advance arm modeling in zbrush by building a low-poly arm with six polygons, applying symmetry, refining joints (elbow, shoulder), and ensuring clean polygon flow for later texture maps.

Apply quick arm piece sculpting in zbrush by inflating the deformation panel, extruding for thickness, masking edges, and refining with polygroup and bevel steps across the arm and glove.

Advance the arm piece by applying crease to borders, separating the elbow, masking inner and outer edges, subdividing, and shaping the muscles with move and activating the transparency.

Begin building Kylo's suit in ZBrush by sculpting a three-piece chest-to-ankle topology, using symmetry, adaptive skin inserts, and reference pieces to refine the overall suit.

Continue modeling the suit by inflating and moving to soften the legs, inserting loops for better shape, and extruding to add thickness ahead of folds.

Sculpt Kylo vs Rey suit folds and pleats in ZBrush using subdivisions and weight adjustments. Use a back facemask for safe sculpting and apply alpha noise for fabric texture.

Apply noise textures to the suit by selecting an alpha, adjusting alpha scale and strength, and using uv mapping so the noise follows the object's folds for accurate surface texture.

Learn to create clean uv maps and apply suit noise to Kylo's armor using low-poly unwrap, symmetry, polygroups, and seam painting before transferring maps to the model.

Build a clean belt topology with 12 sides, extrude with a poly group, add ridges and decorative loops, separate sections, inflate to create gaps, and refine details.

Move and refine belt edges in ZBrush, insert and adjust creases, subdivide for a defined belt, and align it with the suit before adding the buckle next class.

Finish the belt buckle by shaping a base cube, adding detail with C muddler and spheres, then smoothing and mirroring for symmetry.

Learn helmet topology in ZBrush by refining belt placement, creating clean edge loops, and shaping a visor while keeping the mesh detailed for future facial features.

Inflate and shape the helmet base mesh using a low-poly workflow, aligning to frontal and lateral references to refine topology and achieve a coherent helmet design.

Refine the helmet to fit the figure, preserve the low-poly silhouette, add thickness, convert to a poly group, and use subdivisions and creases to keep boundaries for the next class.

Create the helmet shapes in a low-poly workflow, extract new shapes with C modeler, poly groups, and split tools, and separate visor seams for different materials, ensuring normals are correct.

Refine the helmet's overall form in ZBrush by adding subdivisions, creating openings with bridge and stitch, and smoothing with loops, layers, and lazy mouse for precise details.

Continue detailing the helmet by refining shapes, adding loops and creases, turning off symmetry for asymmetric lines, and using layers to apply finer details across the two frontal pieces.

Explore building the Kylo helmet in ZBrush, focusing on crafting a large external piece with symmetry-aware detailing, using lateral views, subdivision levels, and topology to preserve four-sided polygons and holes.

Practice detailed helmet masking in ZBrush by refining the front-view mask on the right, adjusting non-symmetrical pieces, masking the other side to prevent disturbance, and preparing for full helmet integration.

Continue detailing the Kylo helmet in ZBrush, adding a metal skin, creating holes, fixing inverted normals, extruding with thickness, and refining shapes for final details.

Refine the helmet by detailing borders and holes, using layer or standard brushes, adjust subdivisions, and apply smoothing, polish, and pinch to achieve uniform, clean geometry.

Refine the helmet shape in ZBrush using the clip curve brush and polish. Build and integrate geometry with insert cube, symmetry, and extrude, then add crease and noise.

Students refine a helmet in ZBrush by applying surface noise, scratches, and bumps to the frontal parts, using symmetry, clay buildup, and brush settings, while saving references and previews.

thank you for finishing this course; keep working, improve, and find something new to create as we finish our character and explore future courses with color.