Learn a production workflow for exaggerated facial expressions and blend shapes while maintaining appeal and clean topology using ZBrush and Maya. Software required: ZBrush 3.1 and up, Maya 2008 and up.
Learn a production workflow for creating exaggerated facial expressions and blend shapes while maintaining appeal and clean topology using ZBrush and Maya. Contains over 2.5 hours of project-based training for artists creating facial expressions and blend shapes for use in film and games. Popular highlights include the following: shaping facial features, shaping with Move Brush, utilizing 3D layers, creating expression libraries, adding normal maps in Maya, setting up blend shapes in Maya, key framing blend shapes, creating in-betweens, isolating geometry with masks, manipulating subtools with polygroups, exporting geometry from ZBrush, blending shapes using morph targets, sculpting facial expressions, isolating areas of the face, moving the teeth and gums, smoothing geometry, working with subdivision levels, creating phonemes, and creating distinct emotions. Software required: ZBrush 3.1 and up, Maya 2008 and up.
Justin thrives as a lead modeling author at Pluralsight. Growing up, Justin found a deep interest for the computer graphics industry after watching movies like Jurassic Park, Toy Story and The Abyss. His ambition would lead him to work at Sony Imageworks in Los Angeles on movies like Monster House and Surf's Up. Justin has also had numerous articles, tutorials and images published in 3D World and 3D Artist.
Introduction and Project Overview [Autogenerated] hi and welcome to exaggerated facial expressions in Ze Brush and Maya presented by digital tutors. My name's Justin and I'll be your instructor as we sculpt a library of facial expressions for our character. Exaggerated characters often use equally exaggerated facial expressions to convey emotion. Using shaped animation gives you a great deal of control over the characters expression, but it can be time consuming to create all the various pieces that you need for animation. We'll use a brush to make this process easier and a lot of fun. We'll scope the various expressions as a whole, but we'll also look at ways to sculpt individual shapes that we can then combine into various expressions either in ze brush or in Maya, and will cover a few phone aims and ending normal maps as well. A setting up the blend shapes in Maya. Okay, so let's jump right in by starting on our first expression so that our first expression, we're gonna have a little bit of fun and just kind of play around a little bit. And so let's make this guy look like he's just about ready to get sick. Okay, so let's look at some of the ways that we can do this right now. We've just got a default kind of expression, kind of a blank expression. So the first thing we'll do is modify the eyebrows. Now, one thing to be aware of is cartoony figures. This is gonna be a bit different, but just be aware that there's a bone under here, this problem, and so the skin is going to slide on top of this. Okay, Now you're gonna see a lot of examples of cartoon characters where this just moves on its own. So we'll have a little bit of freedom. We also want to make sure that this eyebrow itself, which is sculpted in we don't want that really to compress or change shape all that much. We wanted to kind of move along with the skin on this brow. All right, so there's a kind of a couple of large muscles for parts of muscle appear the front Alice that's gonna come and connect to our eyebrows and be able to move that in a few different ways. So what we want to do is kind of shape this. All right, So for the most part, it's gonna move sort of at this kind of an angle rather than kind of straight up and straight across. So that's something to be aware. We also want to add some asymmetry, so we don't necessarily want to do this symmetrically the same on both sides, so I could go and turn my symmetry off. And if we're gonna make any large scale changes, I'd like to start with those kind of the lower levels. And then we can always move up and make any modifications, but want as much detail. Ah, here, with our changes to be on our actual mesh that we're gonna be using so beyond using a standard brush, we don't actually use our move brush because we want actually move these things around. So I'm gonna grab the move brush kind of a larger brush eyes. You can see how that allows you to kind of move these things around. So let's go ahead and shape the brow. So on his right side, I'm gonna pull that brow up into kind of a more of a surprised kind of look, and I want to try not to deform the shape of this brow as much as possible as faras compressing it, anything like that. I'm gonna bring this of and let's do it kind of uniformly all the way around. Can can work your way up your subdivisions, See how that looks to need it. Kind of Move it up. Okay. Something like that for that side for this other side. I kind of want just the interior part to move up. Okay, so go ahead. And with this up a bit, gonna move that down. Thanks. And we'll move this in just a little bit. That doesn't look too much different right now. Just kind of got some eyebrow movement in there. Let's go ahead and go. Gonna live one. And let's open up these eyes quite a bit. So it's kind of make him as wide as we possibly can. Sort of Go and grab this. Just open up those eyes as much as we can on the top there. Okay. I won't do the same thing over here. Open that up. Even though we don't have as much room under there. I wanted to be just open as much as it can be. Came and go up our levels to see how that's looking that comes off of the I a bit. Bring that. I can thing that around the eye, and I want to be too much moving at this level. You start to get bumps and things in there, so we just kind of open that I, uh Okay, so now he just kind of looks a little bit concerned. Maybe you can continue to work on the brows and get him kind of just the way we want to all the way up to six and take a look at it. All right, so that's a good, good place to start with the eye area. Now let's work down here on the mouth. And what we want to do is pretend that he's kind of got his lips shut tight, and he's kind of got his cheeks puffed out, kind of with air. Okay, so his lips are gonna be shut tight, and then all of this got large cheeks because he's so exaggerated and it's gonna be puffed out with sort of seems or creases where it's attached to the actual structure underneath. So it's kind of attached to the bone to the gums and things like across the cheek and so forth. So start by turning these lips in because as he is shutting his mouth, we want the all of that lip to be inside rather than just pulling this straight down. We went all this lip to be on the inside of the mouth, so the lips or turned in basically. So we kind of want to keep track of this line here as we do this so we can come in here. And this time we can use our symmetry. Kind of bring up that outer line, pull in that lip underneath of it. Can I try not to deform things too much here. Can't go and bring up the corners of the mouth of it pretty down that top of the list there. Okay. As we do this, we can also start to pull out who live just a little bit. All right, Now, I'm just concentrating on getting these lips sort of together and off the sizer your brush down a little bit if you don't know effect the lower lip. So kind of bring that lip up on underneath, okay. And start to bring that lift down. Being missile it up. It can also smooth out a little bit of this corner area where it comes together like that. Let's just get him kind of close is possible. Really? Connect there and let's go ahead and smooth out some of these areas out here. And that's actually start to pull out the cheeks a little bit too. So just grab our move. Just start to pull these out. Well, this kind of flap in here just kind of pull that out a little bit at a time. Is it was better than trying to just do it all at once. Okay? And right here, we want to make sure we don't pull out any of the chin. We want to just concentrate kind of along this line over the chin as we pull these areas out. And a lot of these wrinkles and things were going to smooth out of it when we, uh, we pull this all out. Okay, so continue toe. Pull this out, move up kind of move some of these areas out and also continue to define that a little bit more. Don't be afraid to exaggerate a little bit. Overshoot it a little bit gang and say I still want that edge of that lip to come down a little bit more. We can continue to work on that on. Just really pull that out. I just continued just touching that with the smooth to pull that out can continue to pull out this spent more. We can also pull up the area underneath the eyes. It's right down here. Okay, this is still making it look a little bit weird because we don't have the edge all the way down. So crab this and just try to turn it in inside there, if we can, we can also do is just to smooth this out a little bit. This edge. And if you get a little bit too much smoother going to go and get our actual smooth brush and take our intensity down and then we could first move this out of it. Go back to move. Pull that up. Sit down. All right, let's go ahead and, uh, continue in the next lesson will keep going to keep working on these lips and we'll keep will make this kind of line down here. Also look at moving the head back so that this is kind of, uh, get a little bit of overlapping skin under here. All right, so let's go ahead and continue on our first expression in the next list.