Learn organic modeling techniques and a production workflow to creating clean topology, adding definition, exaggerating proportions, and strategically adding detail to create animatable geometry using Maya and ZBrush. Software required: Maya 2008 and up, ZBrush 3.1 and up.
Learn organic modeling techniques and a production workflow to creating clean topology, adding definition, exaggerating proportions, and strategically adding detail to create animatable geometry using Maya and ZBrush.
Contains nearly 5 hours of project-based training for artists learning character creation and look development for use in Film and Games.
Popular highlights include:
Modeling Exaggerated Features; Using Reference Art; Building Deformable Topology;
Face modeling Maya: Building Initial Edge-flow; Extruding Geometry Along Curves; Bridging Geometry; Modeling Eyes; Modeling Symmetrically; Building Large Wrinkles; Modeling Ears; Adding Mouth Interior; Connecting Edges with Split Polygon Tool;
Importing/Exporting Geometry; Assembling Subtools in ZBrush; Filling Portions of Subtools with Color; Modifying Head with Move Brush; Sub-dividing Geometry;
Sculpting Facial Features; Adding Small Wrinkles; Adding Irregularities; Adding Detail with Alpha Maps and Strokes; Creating a UV Layout;
Integrating UV Changes into ZBrush Sculpt; Creating Normal Maps in ZBrush; Applying and Viewing Normal Maps in Maya.
Software required: Maya 2008 and up, ZBrush 3.1 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 modeling with Maya and Z brush presented by digital tutors. My name is Justin, and I'll be your instructor. As we create a stylized human head, Animated characters are often stylized or exaggerated in a variety of ways. Depending on this style of work, these design choices can range from subtle scaling of facial features and proportions to more drastic looks, often seen in two D work. No matter how exaggerated that face becomes harder. The important features air normally still grounded in reality like a _____ in mind. Well, first, create a base for our exaggerated face in Maya will make sure to create geometry that will not only lend itself to subsequent sculpting and Z brush, but also to form well when the faces animated. Then we'll take our geometry in dizzy brush and sculpt in additional detail, aging our character considerably. Okay, so let's jump right into my eye and start to build the geometry for the top of the head of our character here. So you see, here in my I've just gotta starting file that has a couple of image plane set up a front view of the guy in the side view. Just some rough drawings that we need for placement are facial features. Okay, so the main goal of the Maya portion of this training is going to be to get our geometry in here, get the features in the right spot. Right. So we have the nose and right spot sized correctly, get him roughly into position and also to create apology. That's gonna be useful when we come in and try to do blend shapes for this. So we wanna have animation friendly topology on this guy. It's gonna be one of our main goals. We don't really need to come up with a completely finished model here in mind because we're gonna be taking this into ze brush to actually do a lot of detail work. And we're actually gonna be doing something a little bit different in changing up the design of this guy, actually, in ze brush show. Our main goal, like I said, is gonna be to get this geometry and apology in here in sort of a useful way to do that. And this training, we're gonna take a little bit different approach we're gonna use sort of a hybrid Ah, edge loop modeling sort of approach kind of patching approach in a way, uh, so we're gonna get away a little bit from the typical box modeling that a lot of the other training has used for for things like this. So it's gonna help us to get some of these loops in here the way, the way that we kind of want them to be. So let's go ahead and start by bringing in, ah, base that we can build off of. So I'm gonna bring in a kind of a spear or 1/2 sphere for the top of the head, and we'll start to build off of that. So let's go ahead and create a polygon sphere, all right? And go ahead and move it up. Sort of scale into bish position now for the resolution of this guy. Ah, probably wanted to be a little bit lower, but I want to make sure that I have Actually, it's probably not too bad. I just want to make sure that I have, ah, line going right through the Z axis so that we can work symmetrically, and I wanna have a couple of lines on either side of that. So that's probably going to work for us. Look at that. Show my camera in the front view. You know why that noses, I think that's probably gonna work. So what I'm gonna do, that's just 20 by 20 You might be able to dial down the subdivisions along the height, Okay. And I'll just take part of this. So let's just take the bottom and delete that and go ahead and we'll rotate this around and I want to put the pole kind of at the back of the head, right? And I want to put the bottom line of this kind of right above the brow, so it would be kind of right down here. Let's go ahead and shape this going to animation. We can create a lattice. It's going open the option box and it's go ahead and do one by four by four. Okay, and then we can take some of these lattice points and shape this sphere a little bit. They can see what kind of spreading things out, so it may be useful to have a bit more in the way of resolution, but what we have it just kind of depends. I'll go and bring this down. Bring this back back ahead here, operate. And again, we don't have to get this exact, which want to kind of get it in the right spot here. And I was spread this out a little and go and bring that down. All right, Now, it's kind of a good shape from the side, and we could go to the front and see that we need to shape it a little bit more. And he's got a little bit of a sort of a pointy head. So you got a match that up, and you're just trying to get the main basic shape here. Uh, no detail work at this point. All right, so that should work pretty well for us. Turn the wire frame unshaded on there. All right, So to get rid of our lattice, we can delete our history and tell you what I'm gonna go ahead and create a shell forests, so let's go ahead and create new shelf. Call this face. Okay, so we got a new shelf. Let's drop some commonly used tools up here, so I'm gonna be using delete history. Um, a bit so we're going to go delete by type history and hold and control shift and add that shelf. It's been delete the history. I can also freeze wth e transforms so and Godfrey's transforms again. Control shift will add that to the shelf gun free. This those transforms. All right, so that gives us kind of a quick piece of base geometry for the head. We don't need to worry too much about the head. It's not a lot of, ah of, ah, muscle musculature, skin moving, things like that going on in the head. Any kind of animation's gonna be happening here on the face. We're not going to really get anything up here because this obviously is just the skull, right? It's kind of got a bald head, so it's just basically stiff piece of geometry. So that's why we can create this, like, like this? Because things aren't gonna be moving around. Okay, now, if we want to maintain four sided geometry, we can come in here and, uh, go ahead and delete. Say, every other one of these guys. If we wanted to do that, I'm gonna go and leave it for now. We can take care of that later. I just want to make sure that I'm able to cut this down the middle appropriately so that I can work on one side at a time, for instance. Okay, so now that we have the base of the head built out, let's go ahead in the next lesson and start to use our new technique here to build it down the bridge of the nose. And it's not really new technique, just something that a little bit different than we're gonna be doing from some of our other training. So it'll be kind of fun. So you go ahead and start to do that in the next lesson.