Original subtitles

Hey guys, welcome back to the next part of the series.

Today, we finally start with the ONI.

So before we jump into analyzing the concept and explaining all of the things that we're

going to be doing, I want to give a big shout out to Max Slavsky.

He was the creator of this concept.

I reached out to him, explained to him what we're going to do, and he was more than happy

to share it with us.

So this is a concept that's going to be, of course, available on your source images or

your files.

However, if you want to go into Max's portfolio here in ArtStation, make sure to leave a like.

So, yeah, this is it, and I found this character when looking for the ideas for this course,

for the Seabrush course, and I think this guy pretty much nails all of the important

things that I want to teach.

We got anatomy, we got props, we got armor, we got cloth, we got hair, we got cool skin

colors and things like that.

So...

There's a lot of things that we're going to be able to cover.

And at the end, of course, you're going to see the result in the intro or like

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what we saw on the intro video.

So, um, whenever you're faced with a concept like this, the worst thing you

can do is just jump straight into ZBrush and try to do it on your own.

It's going to, it's just going to drive you nuts.

And it's going to be very, very difficult to understand what we should be doing.

So in a very similar way to how we did the little arc, uh, or the little

Tori gate, we're going to quickly, quickly analyze the things that we need.

And right now I can see, we have a lot of anatomy, the chest, the

head, the horns, all that stuff.

We got some armor pieces.

That's going to be number one.

Armor pieces is number two.

We got the cloth.

It's going to be number three.

We got the belt, which I am going to count as number four, because it's a lot of

like, uh, ropes and things like that.

It's not like just like the normal pants cloth.

And of course we got the weapons over here, number five.

So those I would say are the main like attributes that this character has.

Now, of course, in order to do this, we need to break it down into parts. It's one of the

strategies that I always like to teach my students to not try to see this as a whole,

not as a whole, don't try to see this as a single project. It's like a lot of little

projects that are going to make up this whole character at the end. We also have

interesting things such as the hair, for instance, that could be number six.

And of course, the color. So color is going to be, let's say number seven. So we're going to

go through the next following chapters. And we're going to be doing all of the different parts that

we need for this character. Keep in mind that the amount of poly counts that we're going to have,

the amount of soft tools that we're going to have, even the amount of files that we're going to have

are going to become bigger and bigger as we push this forward. And there are certain things this

way, again, it's important to analyze the concepts, there will be certain things that

we might see on the concept and be like, I don't really know how this is working.

So I've included also a puber file so that we can analyze how the real like Samurais look and

the type of clothing and props that they're wearing. And if we find certain things on

this concept that we are not too sure about how to address, we're going to be doing a little

bit of artistic choices there to make sure that they look as nice as possible.

So the first thing that we're going to have to do is create the armature. But before we do that,

I want to talk about proportions. Normally, when we're talking about proportions, we can divide

characters into different categories. Us as humans, we're normally in a seven head proportion.

Okay, meaning that if you see a human, you're going to see seven heads of that human. That's

four, five, six, seven. And this is how you would like normally see like the arms and the legs and

stuff like that. In games, we usually go for an eight headed figure. However, this character right

here, he definitely seems to be on a completely different realm. So here's what I like to do,

I'm going to go and create a nice little circle on a new layer here in Photoshop.

And I'm going to circle his head right here.

There we go.

Now I'm going to move this to the side and I'm going to duplicate this little circle until we

get to the base. I'm going to duplicate this as many times as we need until we get to the

base of the foot right. So in this case we keep going and that's pretty much it considering

perspective. So we got one, two, three, four, five, six, seven, eight, and nine heads.

So this character is like uber heroic and I've seen characters like this in certain games,

not Kratos from God of War. He's more like the eight headed figure but especially when you

start going into the stylized realm, which this character of course is part of, then you get this

sort of effect. Now usually even with like eight heads or nine heads, you're going to see some

constants. Usually the second head is going to fall right around where the nipples are. Usually

the third head is going to be where the navel is and usually the fourth head is going to be on the

pelvis. So this type of proportion that you see right here on the, let's say the upper part of

the torso, it's going to be very similar. Where things start to change a little bit as you can

see right here, it's on the legs. So the base of the character is going to be on the last head.

And then right around the middle, like third head right here, that's where

we're going to find the knees, usually, not always, but usually.

So you're going to have half of the element right here.

Half of the lower portion is going to be the upper leg and the other

half is going to be the lower leg.

Again, these are just like general proportions that we're taking a look at.

And the reason why we're doing this is because on the next video,

we're going to build an armature.

If I ask you guys to start working on this character from a simple sphere,

like what we've done before, or from a primitive, like a cube or a cylinder,

it's going to be pretty much impossible.

So in the real world, when we're doing like traditional sculpting,

we use a sculpting armatures.

And armatures are a great way to do two things.

They support the clay, of course, because otherwise the clay will just

fall off the, of the, of the tool or of the table where we're working on.

And it allows us to keep our proportions in place.

So if you build an armature that has the proper size, the proper height.

Then you know that as long as you follow that armature, you're going to be able to capture

the proper proportions of your character. And proportions, as we've mentioned before,

are really, really, really important on the whole sculpting thing.

So I'm going to do a list right now. I'm not going to record this because I don't want to

bore you with all the elements, but I'm going to do a list of all of the different props that we

see here on the character. And this is going to be available for you on the, what's the word,

on the files as well. Some people that I've worked with, they like to keep like an Excel spreadsheet

or like a Google calc spreadsheet so that they can keep track of all of the props and see how

they're doing. Well, in the next video, we're actually going to jump into ZBrush and we're

going to be building the armature for our character. So that's it for this one. Get

ready because now the true challenge begins. Let's go.