Original subtitles

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

Today we're going to be taking a look at a very nice set of brushes that we have that

are called the curve brushes.

If you've been using ZBrush or if you're going to be using ZBrush for quite a bit, you need

to get used to how these brushes work because they are very, very handy.

So there's a lot of curve brushes here on our default place, curved lathe, curved multitube,

curved pinch, curved quad fill, curved flat snap, a lot of them.

Right now I'm using this one called curved tube which is probably the one that you use

the most and we need to understand how these curve brushes work because they work a little

bit different to traditional brushes.

The way they work is as follows.

Right now I'm just in this very simple cylinder and if I draw a curve on my grid, I'm going

to get a mesh that's being extruded pretty much along that curve.

You can see the curve is right there and I can actually click the curve and move it around

which is quite handy because I can pretty much adjust and position this exactly where

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I want.

You can see for instance here I can start.

Playing with the three dimensionality of it.

So curves are a really, really, really cool way to create very like intricate

shapes that will be pretty much impossible to do in a traditional sense.

Now, there are again, a couple of things that we need to know.

First, while that curve is active, you can actually modify it and change

a lot of things about the curve.

For instance, let's say I created this curve and I want now to

make it either bigger or smaller.

If I go out of the curve and I press space bar and make my brush bigger,

when I click again on the curve, it's going to update it to the size of your

brush and therefore it's going to be thicker or I can go smaller, click on

the curve again, and we're going to get a smaller like profile here for the curve.

So that's one way to do it.

Another way, as I just show you is by grabbing any of this points right

here and just moving them along.

And as you can see, I can pretty much do like laces or bandages or

a lot of different things.

And the curve is going to try its best to adapt itself to whatever

like thing I want to create.

It can be a little bit difficult to control.

So there's a couple of again, tools that we can use.

For instance, if we go to the stroke menu, this is where all of the, like

options for the curves are going to be.

We have this curve section right here, and we got this, bend start,

bend and lock start, lock end.

So right now I have this lock start set to on, which means that the beginning

of the curve right there is always going to remain there.

However, if I remove it, you can see that I can freely move the curve

and the beginning of the point is going to be floating around in space.

Let's position this back again, right there.

I can go again to stroke, turn on lock start.

And now no matter how much I move it, the start of the curve is always going

to be in that particular position.

You can also do the same thing for instance, with lock end.

If I do lock end, then especially if I try to move like other parts of the

curve, they should remain or the end should try to remain as still as

possible as you can see right there.

So yeah, those are two functions that we can use.

Another function that we can use with the curves, for instance, other than

the size and the lock end and.

lock start and lock end, is we can also go to the stroke option and down here in curve modifiers,

we can change how this thing looks. So if we go to stroke and we, for instance, change the size

of the curve and we click on this, we're going to get a falloff. So in this case, we start very small

and then we go to a very thick effect. We can invert that by going here to the stroke and

moving this graph around. So if I move this down and I push this point up and I click on this thing,

as you can see, now it's going to be inverted. The vase of the little like snake thing here

is going to be really thick and the point is going to be really thin. And you can play with

as many points as you want. If you click on any point of the curve, you can modify the profile

of that curve and generate a very, very interesting results. At any point, you can just reset this

curve, click again, and it's going to be back to the beginning. The only thing I need to do here,

if I don't want to have the size enabled, is to go again to the stroke and here, remove the size and

just click on the element. And now everything's going to be perfectly, perfectly uniform.

The interesting thing about the scripts, again, is that they're very dynamic.

So depending on the type of stuff that we're doing, they're going to be really, really helpful.

Later on, we're going to be using them for, for instance, like the belts and some of the chains

and things that he has on several parts of the character,

because it's very easy to generate or create these straps by utilizing this sort of curvatures and brushes.

If you try to sculpt them by hand, you can definitely do it, but it's going to take you quite a bit of time.

So the other thing that's important to know is once you're happy with the script,

if you want to draw a new curve, you need to click outside or in any place of the geometry itself

so that the curve gets deleted.

And now we can draw another curve and start from scratch.

So let's go back to our Oni here and let's go to the side view.

I'm going to go to the top view, make sure that symmetry is turned on.

And if you can see the horns right here, very similar or very simple, like U shaped horns pointing up.

So what I'm going to do is I'm going to get a like roughly the size of the horn compared to the element.

And I'm just going to create the curvature right there.

I'm going to go to stroke.

I'm going to go to the curve modifiers.

I'm going to say lock start only.

And if we go to the modifiers over here, I want to change the size.

As you can see, that one right now is inverted.

So we're going to grab this point right there, bring it all the way down and

bring this point, bring it all the way up and look at that, we get a very, very nice

effect and we can grab this step for instance, move it out.

Well, actually that one I'm going to leave right there.

What I'm going to do is I'm going to start moving some of this parts out.

And as you can see, we can capture the same curvature that we have on the

concept in a very, very, very clean and a nice way.

I think they need to be a little bit thicker.

So I'm going to make them a little bit bigger with my mouse and just click.

Uh, uh, probably let's go to like 50.

So 50, there we go.

Oh, that's a little bit better.

Okay.

Let's just move them a little bit.

Oh, it seems like I accidentally duplicate them.

It's fine.

So let's clean the shapes again here.

Very, very quickly.

You can actually smooth the curve.

If you should be able to smooth the curve. Now that one's smoothing the geometry.

Okay, so let's push this out a little bit. I still think they're a little bit thin. I'm

going to go up here instead. So on my draw size, I'm going to go to like 64.

That's a lot better. I think that's a little bit closer to what we want.

Now, another thing that we can do, I feel like the tips of this horns are not as thin as what

we have right here. I'm going to push them back a little bit more to create this very nice curvature.

And if we go to again to the stroke palette, we can push this point a little bit up like that.

And when we update, as you can see, the horn is not going to be as pointy. So you don't have to

go to the limits. And as I've mentioned before, we can also vary the the distance right there.

I think with something like this should be more than enough. And once we're happy,

I just click outside of the object outside of the character. And that's pretty much it.

So yeah, with this done now, one thing that this horns have, as you can see,

is that they have really clean topology. So if I want to conserve the super smooth

effect that he has on the horns,

it might not be a good idea, to be honest, to, what's the word, to, to dynamish this with the

rest of the elements. Usually horns are like made of separate materials. So it's also a good idea to

keep it as a separate effect. So I'm going to press Ctrl W right now, and we should have two

polygroups. And it should be fairly easy to go over here and say a split, again, a group split.

So now we're going to have the horns as a separate sub tool. And this horns, we're not going to do

dynamish. If we want to add detail, they have a really nice clean topology right now. So

the best thing we can do is just add subdivision levels. You guys remember the shortcut, it's

Ctrl D. So I'm going to say Ctrl D once, Ctrl D twice, Ctrl D three times. And there we go.

So as you can see, we got a very, very smooth horn. And we're going to be able to add all of

those nice little details on the horns later on, probably with alphas, because as you can see,

they're not as complex. One thing I am going to do, though, is I'm going to push this guys a

little bit closer to the, to the center of the, of the head of the forehead.

You can see that the distance, like the distance that we have from the eyebrow to the horns is a

little bit higher. So I'm gonna like reset the pivot point by pressing alt and clicking on this

thing and just pushing them up and a little bit higher so that we can see a little bit more of

the face. I'm also looking at the distance that we have right here in between the, the horns and

it seems to be a little bit more like separated. So I'm gonna push them out and their curvature

seems to be pointing a little bit closer to the center. So I'm gonna rotate them in

something like that right around there. I think that matches things quite nicely. I do feel like

my horns are a little bit longer and this one seemed to be a little bit more squashed.

So I'm gonna go with a scale here. I'm just gonna scale them down a little bit. That should keep

the curvature will give me something that looks a little bit closer to the, to the concept.

So yeah, that's pretty much it for the horse. My friends, the curve brush is a really,

really powerful brush. We're going to be using it a lot more later on with the cloth and also

with the hair. We're going to be building the hair with some curves as well.

And yeah, it's important that you understand that we can modify it and that when you're finished,

just click on the geometry to clean it and continue adding more curves to your character.

So that's pretty much it for this one, my friends. Although I do feel like we can add some more.

Where's my pen? There we go. So I kind of want to go to my head right now. And you can see that

the head is floating a little bit. So I definitely need to add the like the insertion point to the

horns. We're going to keep it stylized as well. You can see that on the forehead, we don't have

a lot of information, but that doesn't mean that we shouldn't have some sort of like insertion

point. Every single horn that you see in the animal kingdom has some sort of like socket

where it inserts itself. And it's very, very important for our stuff. There we go.

Cool. Now there's some weird like geometry right there. I'm just going to dynamish.

And here, what we're going to do is we're going to fade this with the direction of the bones.

And later on, we're just going to make it a little bit stronger.

Just like a smooth little border right there.

Again, I don't want to make this too realistic.

I want to keep it more into the stylized realm.

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But I would expect there to be, again, some sort of insertion point here.

So I'm going to keep it as a really clean insertion point.

It reminds me a lot of Hellboy, this guy as well.

So we're following that sort of line.

There we go.

So see how nice that looks.

Let's smooth out.

Just a little bit more volume there.

And there we go.

So just by adding the horns, we already get the silhouette of the character

a lot closer to our concept.

And we're ready to start moving on to the next stage.

So on the next video, my friends, we're going to go, as I mentioned,

we're going to explore each of the individual parts of the character.

We're going to start with the eyes.

Then we're going to do the nose, the mouth, the ears.

And eventually, we're going to do a quick blocking of the hair

so that we can.

Keep polishing this guy. This chapter as well, chapter 4, it's still, we're still like on the

early stages. We're not on the polish stages of things. So again, be patient, get to this point,

and we'll see you back on the next video.