ZBrush Tutorials: How to Build Facial Muscles and Facial Features with ZBrush?(1)

ZBrush Tutorials How to Build Facial Muscles and Facial Features with ZBrush -0

Fox Renderfarm, the best ZBrush render farm in the CG industry, will share with you the ZBrush tutorial on how to use ZBrush to build facial muscles and facial features. If you want to make the sculpted characters real and believable, then the bones are the most important part. Improving knowledge of planning is a very important skill. Muscles, bones, and cartilage are the basic parts of the head. The tutorial we are sharing this time is how to use ZBrush to build facial muscles, ears, and eyes, and this is also part one of the shares, part two please click here.

  1. Create ears

Next is to create the ears. Almost all of the ears are made of cartilage, which can be made using some basic brushes in ZBrush. Click the B button to open the brush selection menu, select the IMM BParts brush, continue to click the M button, and select ears in the pop-up menu.

Click to move the side of the head and stop at the position of the ear. In this stage, ZBrush will mask the entire head in order to move, rotate, or measure the proportions of the ears, as if it were a brand new sub-tool, without worrying about the head.

After placing the ears, use the moving brush to adjust the main shape of the scalp, and update the mesh through DynaMesh (Ctrl-drag outside the mesh) to merge the ears onto the head model.

  1. Location

ZBrush Tutorials How to Build Facial Muscles and Facial Features with ZBrush -1

Next, you need to smooth the synthesized area and sculpt the bones of the ears. In order to make the sculpting effect closer to the accurate reference image, some corrections are needed.

Ear carving is not difficult if you are familiar with deconstruction and deconstruction. Another easy way is to use reference pictures or look for a mirror to observe the deconstruction of your ears. What needs attention is the proportion and position of the ears.

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How to Make Realistic Characters in ZBrush and Maya(2)
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The best render farm Fox Renderfarm still shares with you the post about how to make realistic characters in ZBrush and Maya from 3D artist Yi Chen, and this is part two. Yi Chen showed us the workflow of his latest realistic female character. Software used includes ZBrush, Maya, Mari, Substance Painter, Xgen, Arnold, etc. About part one, please click here. Texturing After the high polygon model was carved, I re-split the model's UVS into 6 UVIDs and changed it to 4K accuracy. This step is mainly to draw textures in Substance Painter and also to ensure that the high-poly displacement details will not be lost in the final rendering. If you are using Mari to draw textures, then I recommend using 2 sheets of 8K accuracy. Before using Substance Painter to paint colors, we can still use Zwrap to use some scanned model textures as background colors to improve work efficiency, and then further describe the colors and details of various areas of the face based on it. In this step, I drew the Base Color, Specular, and Thinkness maps. The Thickness map will be used as the weight map of the SSS skin to locally control the intensity of the skin subsurface scattering. Please look forward to the process of material setting and lighting rendering next time. Thank you for watching.
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In this post, the best render farm Fox Renderfarm will share with you a tutorial about how to make realistic characters in ZBrush and Maya from 3D artist Yi Chen. Yi Chen showed us the workflow of his latest realistic female character. Software used includes ZBrush, Maya, Mari, Substance Painter, Xgen, Arnold, etc. This is part one of the tutorial, part two will be continued. Introduction I am a 3D artist. Today I will share the production process on how to create realistic characters. The model is made using Zbrush and Maya; Mari and Substance Painter are used to make textures; Xgen is used to make hairs, and Arnold is used for rendering. A Male character: Gathering references Before starting to make the model, I will analyze the concept map and collect a lot of pictures of women. Because this work does not refer to a specific picture, I could combine and match many of your favorite elements, including clothing, hairstyles, makeup, jewelry, etc. Then starting with simple sketching and compositing in Photoshop, it is better to have a concept map at least before production. Modeling I’m used to determining the size and scale of the model before making the model. According to Anatomy, the vertical length of the head of an adult is between 22-24cm, and the diameter of the eyeball is generally between 2.4-2.5cm. And when making a model in Zbrush, we need to set the focal length of the Zbrush view camera in advance according to the picture material. The most commonly used portrait focal lengths are 85mm, 100mm, 135mm, and 200mm. Some original photographs usually include the specific focal length value of the picture. If it is a reference picture, we can roughly determine the focal length range by observing the leakage range of the front person’s ears. The gif below can be used as a reference basis. Of course, this is only a reference for the focal length of a portrait. If it is half-length or full-length, the focal length will be different. To create the model based on the reference material, I directly used Zbrush to sculpt Blocking, and the number of subdivided faces was kept at about 50 million, level 7 so that the flow model used for rendering at the lowest subdivision level can be controlled at about 12,000. After the model was modified, I continued to use the UV split tool that comes with Zbrush to make the UV, and then manually adjusted it to the appropriate position. Then I used XYZ pore material + Zwrap plane to project the pores, and then projected some undesirable areas in Mari. Next, it was time to output the grayscale images of the three channels of R, G, and B in Mari and extrude the bumps on the surface of the model through Zbrush to get fine pores. In this step, the model used a 16-bit 8K precision texture map.
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Fox Renderfarm, the best ZBrush render farm in the CG industry, will still share with you the ZBrush tutorial on how to use ZBrush to build facial muscles and facial features. The tutorial we are sharing this time is how to use ZBrush to build facial muscles, ears, and eyes, and this is also part two of the shares, part one please click here. 3. Facial muscle carving The next step is to adjust the muscles of the entire face. This step of sculpting should be as precise as possible. First, adjust the direction of the facial muscles, and then refine the details in detail. This part of the work focuses on the muscles, shaping the main muscles around the mouth and eyes. They look like circles and move with the other muscles attached to them to make various facial expressions and mouth shapes. When sculpting, I try to understand the role of each muscle. For example, the small cheekbone muscles protrude, and the other major cheekbone muscles play the same role. Except for the corners of the mouth, this is why you smile or laugh them are essential, around the eyes. The muscles are used to close our eyes. We need them when we blink or close our eyes or smile. Next, sharpen each facial muscle to improve the clarity of the facial model. This step can be achieved by using a brush with a smaller radius. 4. Muscle definition and refinement Next, make the muscles of the chin and cheeks. These two muscles are very strong, and people will use them when chewing and talking. Next are the areas of the skull and temples, and then the main muscles of the neck. If you feel that the number of polygons is not enough, you can use the DynaMesh function to increase the resolution of the polygon and update the mesh (Ctrl-click and drag the canvas). In some cases, the Lazy Mouse option may also be activated, which can help us carve very smooth and precise lines. 5. Beautiful eyes In this step, continue to perfect the eye and face part, use the Append button to import a sphere as a new sub tool, then hide the face, select the skull, place the sphere on the eyeball position, check the grid and adjust the eye face on the sphere. 6. Nose carving The final processing focus is on the muscles near the nose. You need to draw stripes for each muscle to make the muscles more morphological and remember the function of each muscle. Now continue to perfect the entire face, draw bigger stripes of muscles in stronger areas, such as the jaw, it will help you understand and better understand the entire muscular system. Carve the main cartilage on the nose. If you feel that you have done something wrong or do not meet your requirements, you can re-carve the muscles. The nose is composed of bones, muscles, and cartilage. Finally, adjust the final sculpted muscles and add stripes, and the face model is completed.
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