Learn how to create a bust with dynamesh.
- [Instructor] Okay, so now what I want to do is I want to create some heads that are going to be on the wall that indicates some of the ancestors, and I'm just going to have one that repeats. So, what I'm going to do is come to Sub Tool hit Append, then I'm going to grab a sphere. The sphere 3D jumps into the scene and is quite a bit larger than the rest of the scene, so I need to select it in the layer, in the Sub Tool palette here, and I'm going to hit e and I'm just going to scale that down until it's about the right size there which is around about that, and I'm going to move it up in the space right above that trim that we just created.
So, let's do that really quickly. There we go, and I want to move it against the wall. So, let's just move it that way. Now, this is quite a bit larger than it needs to be currently, but what I want to do is just start off using this piece and what we're going to do is we're going to start moving it around using the Move Topological. Now, I want to affect changes on both sides of this sphere rather than just one side. So, I'm going to hit x and that will activate the symmetry in the x location.
So, you can see that as I move my cursor around, I have the object being effected on both sides. So, what I'm going to do is I just want to start dragging these bits and pieces around to make it more flat because it's going to be a bas-relief sculpture, and I'm going to scale it down slightly again and I will turn off the x symmetry because I want to make sure that I'm not affecting changes on both sides when I scale because what'll happen is the polygons will interpenetrate and it will really make it look bad.
So, I don't want that to happen, and I'm just going to make sure that I move it back into location again by tapping w and just move it against the wall. So, I know that's where I want it. I know that it's about the size I want it. Of course I want the beard to be a bit longer because I'm trying to do some sort of dwarven king or something like that. So, I want to make sure I have that looking as good as possible. So, I'll just tap q to go back to my draw and hit f. There we go, and that'll center up or frame up what we're working on and I'm just going to drag these polygons down a bit more.
I'm going to turn x back on to make sure my symmetry is active and I just want to drag that down just a little bit more. Now, if I turn on Poly Frame, you'll see that I've stretched out the polygons of my objects. So, what I want to do is now introduce you to DynaMesh. But what DynaMesh does is really cool. It tries to realign or reconfigure the topology of your object and turn it into a bunch of small squares rather than rectangles, because rectangles don't work very well when you're sculpting.
We'll just leave the resolution where it is and just tap DynaMesh. You can see that it's not done a great job of making this look good, but what we can do, let's just back it up. Let's try 256 and see if that helps out. Two, five, six and DynaMesh. Let's try that again. Two, five, six enter and then hit DynaMesh. It looks about the same. So, that's okay. What we'll do is we'll just work with it as is. Now, I want to make sure that I insert some eyes or some spaces for eyes.
So, I'm going to hold down the alt key and just drag these circles out and what happens is is it creates a boolean when you hold down alt, it removes objects, so when I reconfigure this or when I re-DynaMesh, I'm just going to move this up slightly. Maybe that'll help out. So, when I re-DynaMesh this, I'm going to hold down control and that creates a mask, but I'm just going to drag it outside of my object. That's once. And you can see that it went from dark to light.
So, that tells me that it's unmasked, and if I do that again, what it does is it creates new geometry based on what I've just added. Now, I'm going to take that same sphere and I'm just going to add it right to the middle here. I want to big bulbous nose like you know The Hobbit dwarves. So, I want to make sure that I have something to work with here. Now, you can see with my Poly Frame turned on that it's trying to add that geometry as a new subgroup or a new poly group which is fine. There we go. So, now I have some pieces to work with and I know it looks clown like right now, but going back to my Move Topological, I can now start pulling these pieces around to make it more in line with a dwarven face.
I'm just going to move that up here and this beard needs to be a bit more epic I think, and then once I get these pieces sort of in the place that I'm happy with them, this isn't going to be our final destination in terms of the look of this, but what we're trying to do is build up the geometry in a way that I can use it later on. Now, you can see all of that topology has turned into these little smaller bits of rectangles or squares that I can use.
So, I'm going to turn DynaMesh off. I've also added some of these pieces here that gives me a little bit more of an option to work with the poly groups and added a little bit more geometry that I would've probably not done a good job with by just dragging pieces out. So now, I'm going to hit control d a couple of times and I'm going to come up and use my Clay Tubes tool. Now, what this is it makes it look like there is sort of a wet clay and it's using a square as a means of transferring that clay, but it also fills in spaces, so let's say I have a gap here.
What it does is it tries to fill in the gap before it fills in the ridges. So, it gives you the opportunity, kind of build up clay in a really interesting way. So, I'm just going to come in and start laying in some ideas about where the mustache is. You can see you can build up some really nice looking geometry really quickly with this, this type of approach. It doesn't have to be again, perfect, because right now what we're doing is we're creating a concept of what someone's going to go and spend a great deal more time on.
If you we're to do a concept in two hours and then say that's going to work inside the game, people are going to laugh at you. So, what you're trying to do is build up a concept that somebody can say hey I see what you were going for and now I can spend some time and work on something really epic because of that, and so, that's typically what your concept work is for, is to inspire others to build something that's going to be really cool. Now, you can spend a great deal of time doing it yourself, but in terms of most concept work in the entertainment industry, what you're trying to do is inspire others to build something based on your designs.
So, I'm just going to move this down slightly and do some more work on the ears. I'm not going to spend a great deal of time on this, but I am going to give a rough indication of a dwarven king or a dwarven ancestor that you can look at and go yep, that guy has been here. He's probably the head of the castle or he's been the head of the castle before and he's the one that's adorning the walls and there's probably stories being told about him. So, you want to have that sort of connection with the art that you're doing.
You want to give it that sort of level of understanding that something's happening in here. Now, typically when you're working on characters or environments what you don't want to do is make everything symmetrical. You want to add a little bit of chaos to it because you don't everything to feel like it's manufactured inside of a computer, but in terms of sculptures typically those are actually symmetrical. There we go. So, we got a quick head here. Now, it sticks out from the wall kind of far, and it's rotated sort of in an odd fashion from the wall, and what I'm going to do is just rotate that back slightly.
I want it to be embedded in the wall in a way that you can't see underneath it. So, I'm going to hit q, hold down my control and my shift, select my clip curve and just delete the back part. So, let me just rotate this around to ensure that I'm hitting the back. There we go. Now, what I can do is I can duplicate this as a Sub Tool. I'm going to hit q and turn off my symmetry by hitting x and I'm going to duplicate this twice and hit w, and I'm going to move this one here and the next one I'm going to move over this way.
There we go. So, we have a repeating pattern here, and then, what I also want to do is I just want to build some column pieces that are going to fit in here as well, and that's done really quickly through your z modeler. So, I'll just do that real quickly. I'm going to Append and I'm just going to append a cube. Scale that down so I can see the whole thing, hit e for scale and make sure that you're on the correct Sub Tool. There we go.
Scale this down slightly. Now, the reason why I'm using this is for a couple of reasons. I want to build this piece here, so hit w and move this up and now I'm going to come down to initialize and I want to make this two by let's say 10 by two and hit initialize in the cube. Now, you can see that I've built this column really quickly, and it's a bit large, but I can scale that down using the Deformation tool.
Deformation, make sure my x, y and z are turned on and just scale that down and slightly more and I'm just going to move that into place. What I can use this for is I can use this for the columns in between these guys. There we go, and I want to make sure I size it up in the y direction. There we go. So, I can use it for that, but also I want to have supports holding up the floor and I can do that by duplicating this and creating something brand new.
Again, by using this scale and that sort of thing. So, I'm going to duplicate this two more times. This first one I'm just going to move over slightly and use that in between my characters to help build up some detail there, and this third one, what I want to do is I want to scale it using Deformation again. I'm going to leave y turned on and I'm going to make it longer like this and then I'm going to turn on x, y and z and I'm going to scale it down because I want it to be a bit thinner. There we go.
So now, what I'm going to use this for is I'm going to rotate this down and this is going to become my support beams that are under the floor, and let's just make it sized along the z, a bit longer. I want to make sure that it comes through that floor a bit, but also touches that back wall. There we go. So, I'm going to take these things and duplicate them and start working on a bit of the finalizing of the details to make sure that it looks good and has some real nice drama associated with it, and we're going to do those things rather quickly just using the same tools that we had before.
So, clip curve, sculpting and that sort of thing. So, let's just do those really quickly.
- Collecting references
- Creating brushes and thumbnail sketches in Photoshop
- Working with the ZBrush ZModeler
- Detailing the floor, walls, stairs, and surface detail
- Rendering your scene