IntroductionWelcome| 00:01 | (music playing)
| | 00:03 | Hi! I'm Ryan Kittleson and welcome
to Sculptris Essential Training.
| | 00:09 | In this course, I'll show you
everything you need to get started using the free
| | 00:13 | sculpting program, Sculptris.
| | 00:16 | First, I'm going to explain the
interface and help you understand how Sculptris
| | 00:19 | works. Then, I'll show you not only how
to sculpt a model, but how to pose it
| | 00:25 | and texture it as well.
| | 00:26 | I'll cover the whole process of
creating sculptures, from starting out with a
| | 00:30 | lump of virtual clay, to refining
details and exporting texture maps.
| | 00:34 | Well, I'm exited to make some digital
sculpture with Sculptris, and I hope you are too.
| | 00:40 | Let's get to it.
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| Using the exercise files| 00:00 | If you are a Premium Member of the
lynda.com Library, you have access to the
| | 00:05 | exercise files used throughout this course.
| | 00:07 | You can download the files from the Exercise
Files tab on the main page for this course.
| | 00:11 | You'll find the exercise files for
each chapter within the exercise files
| | 00:16 | folder; within each chapter are
files for each movie of the chapter.
| | 00:20 | Most of the movies in this course have
exercise files that you can load up, so
| | 00:24 | you can follow along with the
same project that I'm working on.
| | 00:27 | Be aware that Sculptris doesn't save
the camera position with its files, so
| | 00:31 | when you load a model, it might be seen from a
different angle than what I see on my screen.
| | 00:36 | If you don't have access to the
exercise files, you can follow along from
| | 00:39 | scratch or use your own assets.
| | 00:41 | Okay, let's get started.
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| Optimizing Wacom tablet settings for Sculptris| 00:00 | While a digitizing tablet isn't
absolutely required for Sculptris,
| | 00:04 | you really can't sculpt or
paint naturally without one.
| | 00:08 | If you have tablet made by Wacom,
there's a little set up that I'd like to do
| | 00:11 | that makes it work more predictably in
Sculptris than most any other program that I use.
| | 00:16 | You can use most brands of tablets
of course, but since Wacom is the most
| | 00:19 | common, these instructions are
specifically directed towards Wacom tablet users.
| | 00:25 | Let's go into the System Preferences on the Mac.
| | 00:27 | On a Windows computer, you'll
want to go to the Control Panel.
| | 00:30 | Now, let's find the Wacom Tablet.
| | 00:32 | The first setting I want to
change is here in Mapping.
| | 00:37 | I want to turn on Force Proportions.
| | 00:39 | Now, you'll notice a small change right here.
| | 00:42 | My tablet is about the same
proportions as the monitor, but not quite, so
| | 00:45 | there's not really big difference there.
| | 00:47 | If you're using a dual monitor set
up, you might see a very big change.
| | 00:51 | This makes it so that the ratio of the
tablet used matches the ratio of the
| | 00:55 | monitors that you're using.
| | 00:57 | Now, if you had this setting off and
there was a big difference between the
| | 01:00 | ratio of your tablet to the ratio of
your monitors, you could run into problems.
| | 01:04 | For example, if you draw a circle on the tablet,
it would come out as an oval on your screen.
| | 01:09 | I always make sure that
Force Proportion is turned on.
| | 01:13 | Another thing that I want to change
is here in the Pen menu, and I want to
| | 01:17 | change what the buttons on the pen do.
| | 01:19 | For example, what I like to do is
change the button that's farthest away
| | 01:23 | from the tip of the pen.
| | 01:26 | Instead of a Double Click, I like
to change this to a Right Click.
| | 01:29 | I like to change the button that's in
the middle between the two for these
| | 01:34 | extremes into a Middle Click.
| | 01:36 | This is just for my preference.
| | 01:39 | It allows me to use the pen more like a mouse.
| | 01:41 | So when we're done with this, we can
go ahead and close that and with these
| | 01:45 | settings optimized, Sculptris should behave
in a more predictable way with your tablet.
| | 01:49 | Now, we're ready to get into sculpting.
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| Dealing with occasional glitches| 00:00 | For such a powerful program,
Sculptris usually runs really well.
| | 00:04 | However, sometimes it does have a few hiccups.
| | 00:07 | In this video, I'll explain what the most
common bugs are and how to work around them.
| | 00:12 | Occasionally, I'll have a problem where
Sculptris doesn't respond to any sculpting.
| | 00:16 | This is a totally random issue, so I can't
make it happen in order to demonstrate it.
| | 00:21 | However, when it does happen, you'll
find that you can still navigate around the
| | 00:24 | model and you can still click on things.
| | 00:26 | It's just that none of
the brushes have an effect.
| | 00:29 | You could be sculpting on
it and nothing is happening.
| | 00:32 | In order to fix this, I'd just save
what I'm working on and restart Sculptris.
| | 00:37 | After a restart,
everything should work like normal.
| | 00:39 | A different but similar problem is that
sometimes I can sculpt, but the pressure
| | 00:43 | sensitivity stops working.
| | 00:45 | On my Wacom Tablet, of course I can
press lightly and I get a light effect, or I
| | 00:50 | can press hard and get a more pronounced
effect, but when this bug strikes, it's
| | 00:54 | all just the same level of hardness.
| | 00:56 | The solution is the same as before.
| | 00:58 | Just save what you're working on and restart.
| | 01:01 | The last common problem is that
every once in a while, Sculptris just
| | 01:04 | completely crashes.
| | 01:05 | Luckily, Sculptris automatically saves
what you're working on every minute or so.
| | 01:11 | When you start back up, you'll find that
it automatically reloads the saved file,
| | 01:16 | so you might only lose a minute or so of work.
| | 01:19 | Basically, if Sculptris isn't behaving the way
it should, save what you're doing and restart.
| | 01:23 | I find that that usually fixes these
problems, as well as any rarer issues
| | 01:27 | that I've had.
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1. Understanding the Basics of SculptrisNavigating around a model| 00:00 | Sculptris is a 3D Program,
| | 00:02 | so you'll want to be able to look at
your work from all different angles.
| | 00:06 | You can use the navigation controls
to zoom in and out, rotate and move the
| | 00:10 | model around, so that you can
examine and sculpt any part of it.
| | 00:13 | Let's see how it works.
| | 00:15 | If you've ever used ZBrush before,
you'll find that Sculptris uses almost
| | 00:19 | identical navigation controls. If
you haven't, well here's the run down.
| | 00:24 | The first thing you'll want to do is rotate around.
| | 00:26 | You do this by simply clicking
and dragging in any open area.
| | 00:29 | I want to turn on the Wireframe, so we
can see this a little bit more clearly.
| | 00:36 | Now, it might be a little easier
to see how it's rotating around.
| | 00:40 | Second, there's Move or Pan.
| | 00:42 | Simply hold down the Alt button
while you click and drag in an open area.
| | 00:46 | Now, you can slide the model around.
Perhaps if you rotate it and it gets off to
| | 00:52 | one side, you might want to pan it
over and see it from a different position.
| | 00:57 | Third, there's Zoom.
| | 00:58 | If you're using a mouse with a scroll
function, scrolling will zoom in and out.
| | 01:03 | However, I'm always using Wacom tablet with
Sculptris, so I'd like to do it the tablet way.
| | 01:09 | This one can seem tricky at first,
but now, it's completely natural to me.
| | 01:13 | You can do it in two ways.
| | 01:15 | One, you can start by rotating and
while you're rotating, tap the Alt key.
| | 01:20 | Now you'll go into zoom mode.
| | 01:24 | Another way is, to start panning.
| | 01:26 | Remember, that's hold
down Alt and click and drag.
| | 01:28 | While you're panning, just release the
Alt key and you'll switch into zoom mode.
| | 01:33 | Go ahead and practice that for a little while.
| | 01:36 | Now, for a few tips and tricks, let's
say that you zoomed in so close to your
| | 01:40 | model that there's really
not any open area to click on.
| | 01:43 | Let me just zoom in here.
| | 01:45 | There's no open area to click on for navigation.
| | 01:47 | Now, you could use the mouse scroll
wheel to zoom back, but if you're not using
| | 01:53 | a mouse, what I like to do is
click and drag on this border area.
| | 01:57 | If you this little line that's going
around the entire margin, all you have to
| | 02:02 | do is use your navigation
controls inside this area.
| | 02:05 | So I'm going to hold down Alt and click
and drag and now I can pan, I can zoom
| | 02:10 | out, and not actually
affect the model as I do this.
| | 02:13 | This margin area is kind of a safe
area where you can use the navigation
| | 02:18 | controls without sculpting on the model.
| | 02:20 | Another trick is that you can snap
the view to orthographic angles by
| | 02:24 | holding down Shift.
| | 02:26 | Orthographic angles means like a straight
on front view, or top view or side view.
| | 02:31 | So, let's start rotating around and
I'm just going to hold down Shift.
| | 02:34 | That snaps to a front view because that
was the closest view to where we were.
| | 02:38 | Now, let's go up to the top and I
just hold down Shift again and it snaps.
| | 02:43 | Anytime you want to snap to a perfect side
or front or a top view, just hold down Shift.
| | 02:48 | Finally, once in a while, I'll
accidentally move the model out of the view and
| | 02:53 | not be able to find it anymore.
| | 02:55 | So if this ever happens and you
can't really find your model again,
| | 02:58 | there's not a really good way to bring it back.
| | 03:01 | However, if you save what you're
working on, I'll go to Save and we can
| | 03:06 | just save this as Test--inside of
our Documents--click Save and then we
| | 03:13 | will just close Sculptris.
| | 03:15 | Load it back up again and we'll go to
Open, and inside of our Documents we've
| | 03:22 | got our Test and we'll just open that.
Of course it's not any different from the
| | 03:27 | default sphere that comes with Sculptris,
but until you find that, it snaps the
| | 03:31 | model directly into the center
of your viewport if that happens.
| | 03:34 | So navigation is something that you'll be
doing constantly as you work in Sculptris.
| | 03:38 | Once you have got it down, you'll be
able to quickly zero in on any section of
| | 03:41 | the model that you want to work on.
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| Using dynamic tesselation| 00:00 | Sculptris is a really amazing piece of software.
| | 00:03 | It makes digital sculpting, a task which
is usually complicated, into a pleasure.
| | 00:08 | It's different from traditional 3D
modeling and even subdivision-based sculpting
| | 00:12 | in one important way.
| | 00:14 | Sculptris automatically creates
more detail exactly where you need it.
| | 00:19 | It does it all under the hood without the user
even having to think about it for the most part.
| | 00:24 | Let's see how it works.
| | 00:25 | Now, if you've ever used a traditional
3D modelling program, you know that each
| | 00:28 | and every polygon you create
is more or less made by hand.
| | 00:32 | It's a slow process that doesn't let
you make modifications very easily.
| | 00:36 | With Sculptris, you mostly just
concern yourself with the shapes and forms
| | 00:40 | that you want to create artistically
without ever having to look at polygons
| | 00:44 | if you don't want to.
| | 00:45 | This really frees you up as the
artist to deal with design and sculpting
| | 00:49 | rather than technical constraints.
| | 00:52 | Let's take a peak under the hood to
see what Sculptris is doing; hit W to
| | 00:55 | turn on Wireframe.
| | 00:57 | Here we can see all the
polygons that make up the model.
| | 01:00 | Any time you make a change to the
model, Sculptris automatically creates more
| | 01:04 | polygons as necessary to
make the shape that you sculpt.
| | 01:07 | This is called Dynamic Tessellation.
| | 01:10 | For the most part, you won't even have
to think about this technology as you
| | 01:13 | work with Sculptris.
| | 01:14 | However, there are a few times when
understanding what is going on underneath
| | 01:18 | the hood can help you out.
| | 01:19 | So it's good to have a sense of how
these shapes get made in Sculptris.
| | 01:22 | One last thing to points out here is
that you can control the amount of detail
| | 01:26 | that gets added when you sculpt.
| | 01:28 | So notice this little slider here called Detail.
| | 01:30 | By default it is set in the middle.
| | 01:32 | However, if you find Sculptris making
too many of triangles or not enough, you
| | 01:37 | can play with this to fine
tune the Dynamic Tessellation.
| | 01:40 | For the most part I just leave it where it is.
| | 01:42 | Even though this sculpting technology
is done in the background, it's still a
| | 01:46 | good idea to have a general
understanding of how it works.
| | 01:49 | Something else to consider is that the
models you make in Sculptris won't have
| | 01:53 | the topology ready for character animation.
| | 01:55 | Notice how the model is pretty much a
mass of triangles rather then a neatly
| | 01:59 | ordered wireframe mesh.
| | 02:01 | If you plan to rig and animate anything
you make in Sculptris, it will need to be
| | 02:05 | retopologized in another program.
| | 02:07 | Retopology is covered fully
in other courses on lynda.com.
| | 02:11 | But basically it's a way of making an
animatable polygon mesh from a digital sculpture.
| | 02:16 | However, there are situations where
you wouldn't need to retopologize.
| | 02:20 | For example, if a model will be used
for 3D printing or even in a game or
| | 02:24 | animation where the model
itself won't be rigged or deformed.
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| Loading and saving a model| 00:00 | Well you can do a lot of sculpting
while starting from a simple sphere.
| | 00:04 | You'll often want to load or
import an existing model to work on.
| | 00:08 | Then, you'll probably want to save what
you've done for later or so that you can
| | 00:12 | open it up in different program.
| | 00:13 | Let's see how it works.
| | 00:14 | Now by default, Sculptris
starts with a plain sphere.
| | 00:17 | You can bring in other
objects to the scene in several ways.
| | 00:20 | Sculptris comes with two objects by default:
| | 00:22 | one Sphere and one Plane.
| | 00:24 | Go ahead and click on New Plane,
| | 00:27 | and we are going to start a New Scene.
| | 00:29 | Now this is going to replace anything
that we've currently got open in Sculptris,
| | 00:32 | so if you want to
save it, make sure you do that.
| | 00:36 | Now let's import a model that
was made in a different program.
| | 00:39 | Let's go to Import OBJ.
| | 00:42 | And in our Chapter 1 Exercise
Files, let's go to Load and Save and
| | 00:46 | open Dewhopper.obj.
| | 00:49 | And let's go ahead and click New Scene.
| | 00:51 | We're just going to rotate this so
we can see it a little bit better.
| | 00:55 | OBJ Files are a very common 3D modelling format.
| | 00:58 | Pretty much every 3D program
can import and export them.
| | 01:02 | So let's say you make some changes to
this model and you want to export them for
| | 01:06 | use in another program.
| | 01:07 | You will just click Export OBJ and then
go ahead and save it wherever you want it.
| | 01:12 | If you just want to work within Sculptris, then
you would use the Open and Save buttons here.
| | 01:17 | There's one last way to get models in and out
of Sculptris and that's with the GoZ button.
| | 01:22 | Now this for use just with ZBrush,
so if you have ZBrush installed on your
| | 01:27 | computer, you can just click this button
and it'll send the models directly to ZBrush.
| | 01:31 | And then in ZBrush, there's also a GoZ
button in there; you just click and it
| | 01:34 | sends the model right into Sculptris.
| | 01:36 | Now, I don't have ZBrush loaded on this
computer so it's not going to work here,
| | 01:40 | but if you do have ZBrush,
go ahead and try it out.
| | 01:43 | Saving and loading models
is pretty straightforward.
| | 01:46 | It's how you will get
models in and out of Sculptris.
| | 01:48 | The OBJ Export and Import are
especially useful so that you can use the model
| | 01:53 | between Sculptris and other programs.
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| Working with symmetry| 00:00 | Sculptris has an easy way to work symmetrically.
| | 00:03 | You can also switch to Asymmetrical
Mode and back again, but there are a few
| | 00:07 | things to be aware of.
| | 00:08 | In this video, I'll show you how to do it
and show you some things to watch out for.
| | 00:12 | When Symmetry Mode is on, this left
and right arrow button will be activated.
| | 00:16 | You can also see that it's on in your
model because there's going to be this
| | 00:20 | faint gray line going down
the center of your model.
| | 00:22 | So, that's the line of symmetry.
| | 00:24 | When Symmetry is on, any edits that
you make will be copied over to the
| | 00:28 | side automatically.
| | 00:29 | Now let's turn Symmetry off.
| | 00:31 | You'll get this warning message
that this is a one-way operation.
| | 00:36 | What Sculptris means by this is that
once you exit Symmetry Mode you usually
| | 00:40 | won't want to go back.
| | 00:41 | Let me show you why.
| | 00:42 | Hit OK. So now we're out of Symmetry Mode.
| | 00:46 | Any sculpting that you do will happen only
exactly where you do it; it won't be symmetrical.
| | 00:52 | Now let's turn Symmetry back on.
| | 00:53 | We get a warning that this is going to
remove asymmetric details, let's hit OK.
| | 00:59 | When you go from Asymmetry mode to
Symmetry mode, Sculptris copies all of the
| | 01:04 | details from one side to the other.
| | 01:06 | So if you're facing the front of the
model, any detail on the right-hand side
| | 01:10 | will be copied to the left
in order to restore Symmetry.
| | 01:13 | So, basically the thing that you want
to keep in mind is that if you want to
| | 01:17 | sculpt something that is mostly
symmetrical with few asymmetrical details--like a
| | 01:21 | character with a wart on one side of
its face--you should sculpt as much as you
| | 01:25 | possibly can symmetrically and then
turn off Symmetry in order to make
| | 01:30 | asymmetrical details.
| | 01:32 | Symmetry Mode saves you a lot of
work because without it you'd have to
| | 01:35 | painstakingly sculpt the same detail on
both sides of the model in order to get
| | 01:40 | a symmetrical sculpture.
| | 01:41 | Just be aware that you can't go
back and forth without losing any
| | 01:44 | asymmetrical detail.
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2. Sculpting and Editing a ModelUsing the Grab tool| 00:00 | Now for the fun part.
| | 00:01 | This is where we learn to use the
sculpting tools to actually create something.
| | 00:06 | In this chapter we're going to learn the
sculpting tools while we create this cute seal.
| | 00:10 | In this movie, we'll start with the
Grab tool and push and pull the default
| | 00:14 | sphere into the basic shape of a seal.
| | 00:16 | So, let's start out with the first scene.
| | 00:18 | I'm going to click New Sphere and
just click New Scene and this is okay; we
| | 00:23 | can lose the changes.
| | 00:24 | All right, so you want to make sure
that you've got Symmetry turned on and now
| | 00:28 | let's select the Grab tool.
| | 00:30 | So it's this icon here or
you can hit G on the keyboard.
| | 00:33 | Now, let's use this tool on the model.
| | 00:35 | I want to rotate the view to the side.
| | 00:38 | Let's hold down Shift so that we make
sure we snap to a perfect side view.
| | 00:42 | So, the right view is good.
| | 00:44 | I like to start sculpting by
imagining that the default sphere is at the
| | 00:48 | center of the animal.
| | 00:49 | So let's say the sphere is
at the seal's rib cage area.
| | 00:52 | I'm going to zoom out a little bit so I
can see this better and I also want to
| | 00:57 | change the size of the brush.
| | 00:58 | So I'm going to come up here to Size
and just increase that a little bit.
| | 01:02 | Now let's use the Grab brush to make a neck.
| | 01:05 | So I'm just going to pull up on this sphere.
| | 01:07 | So you see that it just pulls out a
shape based on the size of the brush.
| | 01:11 | One thing we want to also make
sure we've got is Global turned off.
| | 01:15 | So if I turn it on, what it's actually
going to do is grab the entire model at once.
| | 01:20 | So that's not what I wanna do right
now; I want to grab just what's within
| | 01:23 | this size of the brush.
| | 01:25 | Sometimes I accidentally switch Global
Mode on and off because the hot key for
| | 01:29 | global mode is G which is
the same as for the Grab brush.
| | 01:34 | So if I already got the Grab tool active
and then I hit G--not realizing that
| | 01:38 | it's active--it's going to turn on Global Mode.
| | 01:41 | So I just have to watch out for that.
| | 01:43 | There are a few other tools that have
modes whose hot keys are the same as the
| | 01:47 | tool's hot key, so just keep an eye
out for that in case that tool isn't
| | 01:51 | working the way you expect.
| | 01:52 | Also, I want to make sure that Limit is off.
| | 01:55 | If we turn on the Limit and we try to
grab, it means you can only grab so far and
| | 02:00 | then it kind of stops.
| | 02:01 | So I want to undo that: Ctrl+Z, turn
off Limit and now we can grab and pull
| | 02:06 | as far as we want to.
| | 02:07 | So let's pull back for
the tail part of the seal.
| | 02:10 | Okay, from here I'm just going to start
using the Grab tool to pull out some of
| | 02:14 | the major shapes of the seal.
| | 02:15 | So I will make it a better
view up here on the head.
| | 02:19 | I'm going to shrink the brush just a
little bit--Size--and we're going to pull
| | 02:23 | out kind of a head shape.
| | 02:26 | And let's see, I also want to get that
back side of the seal, a little bit
| | 02:30 | closer to the same plane where the chest is on.
| | 02:33 | So let's get a nice big brush here and I'm just
going to kind of scoot this down a little bit.
| | 02:39 | Let's make some flippers now.
| | 02:40 | So I want to go zoom out a little bit.
| | 02:43 | Let's go rotate up to top view and let's
get the size of the brush down a little bit.
| | 02:49 | Maybe a little bit more.
| | 02:52 | It takes some
experimentation to get it just right.
| | 02:55 | And I'm just going to click and drag and
pull out some flippers here in the back.
| | 03:01 | And let's go another front view
pull out some front flippers. Okay.
| | 03:07 | Let's take a look at this
from all different angles.
| | 03:09 | So obviously it's kind of loose and
rough, but it's a basic seal: made it in
| | 03:13 | just a few seconds.
| | 03:14 | The Grab tool is a great way to begin a model.
| | 03:17 | It really lets you yank and push on a model
| | 03:20 | in order to get it in the
different shapes very quickly.
| | 03:23 | I use this tool all the time
to adjust the shape of things.
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| Sculpting with the Draw and Inflate brushes| 00:00 | The Draw and Inflate tools are
more what you might think of as
| | 00:03 | traditional sculpting tools.
| | 00:05 | They build up, or carve
away volume from a model.
| | 00:08 | There's a few special ways
in which they can be used,
| | 00:11 | so let's see how they work.
| | 00:12 | We've got our Exercise File open, and
we're ready to start sculpting a bit more
| | 00:16 | shape and detail into the seal.
| | 00:18 | Let's start with the Inflate tool.
| | 00:21 | So here it is selected already, or
you can hit C on the keyboard if it's
| | 00:24 | not currently active.
| | 00:26 | This brush works by puffing up any part
of the surface that you might sculpt on.
| | 00:30 | So, I'm going to increase the brush
size so you can see this a bit more, and
| | 00:34 | let's leave the Strength up.
| | 00:35 | What I'm going to do is just kind of
build out a little bit more volume here,
| | 00:39 | maybe that's a bit too much.
| | 00:41 | Let's bring the Strength down.
| | 00:42 | So, if you want to add any sort of
like specific anatomical features, it's a
| | 00:46 | really great brush for this.
| | 00:47 | Maybe we'll make the head a little bit
more bulbous here, kind of puff that up.
| | 00:52 | You can also use it to inflate entire shapes.
| | 00:55 | So, I'm going to come around to the
hind flippers here and just kind of
| | 01:00 | click and drag on this and you can
see it's puffing up the entire thing.
| | 01:03 | You can also reverse the effect of this brush
by holding down the Alt key while you sculpt.
| | 01:08 | So now we're actually carving in, or
you can actually deflate shapes this way.
| | 01:13 | Just holding down Alt, and it just
kind of flattens everything out.
| | 01:17 | We might want to be careful.
| | 01:18 | If you go too far, the model is
going to turn in on itself, so you could
| | 01:22 | actually just release the Alt key and
just sculpt on it to bring that back, or
| | 01:26 | you could hit Ctrl+Z to
undo that if that happens.
| | 01:29 | Now, let's use the Draw tool by clicking
on this button or hitting D on the keyboard.
| | 01:34 | This tool works similarly, but rather than
puffing out, it just builds straight out.
| | 01:39 | So, let's sculpt a little bit on here.
| | 01:41 | I am going to get just a slightly
different feel from the way this builds up volume.
| | 01:46 | You can actually come in and sculpt maybe
some little finger ridges on the flippers.
| | 01:50 | Okay, so let's look at a
few different settings here.
| | 01:56 | There's a Clay Mode and
then there's a Soft Mode.
| | 01:59 | I actually can't tell any
difference between Soft Mode being on or off.
| | 02:03 | So I'm just going to leave that off.
| | 02:05 | But, Clay Mode keeps the
sculpting from building up too much.
| | 02:09 | So I'm going to increase the
brush size just to demonstrate here.
| | 02:11 | Notice if you keep sculpting, it goes
up to a certain level, and then it just
| | 02:16 | kind of stops and fattens out.
| | 02:18 | If we turn off Clay Mode, it's just going to
keep building up as much as we stroke on it.
| | 02:23 | So, I am going to undo that.
| | 02:25 | It's really up to your preference
whether you like Clay Mode on or off.
| | 02:29 | Sometimes I'll switch back and
forth depending on what I'm doing.
| | 02:32 | So now, I'm going to use the Inflate
and Draw brushes just to give our seal a
| | 02:36 | little bit more definition in the face.
| | 02:38 | I'm just rotating around till I can
get close up on the face, and I'm going
| | 02:44 | to shrink the brush size a little bit, and
just sculpt a little bit of an eye socket here,
| | 02:48 | maybe some eyebrows.
| | 02:49 | Just trying to give this guy a little
bit more character, just maybe give him a
| | 02:56 | nose, and a little bit of mouth detail.
| | 02:58 | So, I can really spend a long time on
this but I'm just trying to demonstrate
| | 03:03 | the types of details that you
can make with Clay and Inflate.
| | 03:06 | There are just a few more settings
to play with: Airbrush and Lazy.
| | 03:10 | You are going to find them up here.
| | 03:13 | First, let's turn on Airbrush.
| | 03:15 | So, I'm just going to sculpt really fast,
and what you might notice is that the
| | 03:19 | brush is breaking up into dots.
| | 03:21 | I'm actually going to increase the
Strength so we can see that a little bit more
| | 03:24 | clearly and shrink the size.
| | 03:26 | So, as I move fast, you can
see it's breaking into dots.
| | 03:29 | With Airbrush turned off, Sculptris
is going to do its best to try to keep
| | 03:33 | everything in one continuous stroke.
| | 03:36 | I usually leave Airbrush off
unless I want a lot of dots.
| | 03:40 | Then, I'll turn it on.
| | 03:41 | I'm going to turn this off
for now, and let's look at Lazy.
| | 03:44 | So, Lazy Mode is good for
doing precise lines and curves.
| | 03:48 | And maybe your hand is kind of shaky and
it's hard to get a precise line, so you
| | 03:51 | might want to turn on Lazy.
| | 03:53 | So, I'm just going to rotate around so
we have a clean place to work on here.
| | 03:57 | Now with Lazy, what I'm going to do is
kind of shake the mouse back and forth or
| | 04:03 | shake the tablet back and forth as I work.
| | 04:05 | You can see that Sculptris is doing
its best to kind of smooth that line out.
| | 04:09 | If I turn off Lazy and do the same thing,
you can see you get a really jagged line.
| | 04:14 | The Inflate and Draw brushes are very
similar, and almost interchangeable.
| | 04:17 | A lot of the sculpting that I do
could be done with the either one.
| | 04:20 | It really just comes down to your preference.
| | 04:22 | Go ahead and experiment with them
to get a feel for how they work.
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| Smoothing out details| 00:00 | There are many times when you might
want to smooth out details that are too
| | 00:04 | rough or shapes that are too pronounced.
| | 00:06 | This is easily done with the Smooth brush.
| | 00:09 | Let's see how it works.
| | 00:10 | Now, the Smooth brush is used so often
that it can be accessed regardless of
| | 00:14 | which brush is currently active.
| | 00:16 | Just hold down the Shift key and
you'll temporarily switch to Smooth Mode.
| | 00:19 | So, I've got the Draw tool active right
now, but I'm holding down Shift, so it's
| | 00:24 | going into Smooth Mode.
| | 00:25 | If I release Shift, you go right back
into Draw Mode. I'm just going to undo that:
| | 00:29 | Ctrl+Z. Now, this brush is very
straightforward and intuitive.
| | 00:34 | It just simply smoothes things out.
| | 00:35 | But, there is one thing to watch out for.
| | 00:39 | Let's say we gave this guy a horn.
| | 00:40 | I'm just going to go in the Grab Mode,
and let's give this guy some weird horns.
| | 00:45 | Let's say we want to get rid of that horn.
| | 00:47 | So, you might think you can
just go in and smooth it out.
| | 00:50 | But, what happens is that there are
a lot of triangles in this horn and
| | 00:54 | instead of completely removing the shape, it
actually just kind of shrinks them together.
| | 00:58 | So I'm going to go into Wireframe Mode
just to see this a little bit more clearly.
| | 01:01 | You can see there's a bunch of triangles here
| | 01:03 | all squished together.
| | 01:04 | So, there's another tool I want to
look at called Reduce, and this is going
| | 01:07 | to help us out here.
| | 01:08 | You can access this by clicking on
this button or hitting Y on the keyboard.
| | 01:13 | Reduce will get rid of any
excess triangles wherever you use it.
| | 01:17 | So I'm just going to brush right here.
| | 01:19 | And you might be able to see if I
zoom in a little bit closer, I was
| | 01:23 | just removing triangles.
| | 01:24 | It's actually kind of
obliterating this part of the model.
| | 01:27 | I'm just going to move the view around
to see this a little bit more clearly.
| | 01:31 | I might want to get a
bigger brush too sometimes.
| | 01:34 | If the shape you're trying to get rid of is
really big, nice big brush works really well.
| | 01:39 | So now that we've got rid of a lot of
this, we can just go in with Smooth by
| | 01:43 | holding down the Shift Key, smoothen this out.
| | 01:45 | Sometimes you have to go
back and forth a little bit;
| | 01:48 | reduce a little bit, and then smooth a
little bit, just to get rid of the entire
| | 01:52 | shape that you don't want.
| | 01:54 | Let's look at this from another view
just to make sure it looks good. All right!
| | 01:56 | It's pretty much gone now.
| | 01:58 | The Reduce brush can be used
in a lot of other situations.
| | 02:02 | Sometimes, you might find that there
are a lot of triangles in one area,
| | 02:05 | really more than you need.
| | 02:07 | So, let's go down to the flipper, and
let's see here that there's just not
| | 02:11 | enough detail to really
warrant all these triangles.
| | 02:14 | So, I'm going to reduce this as well.
| | 02:16 | So you can see that we got rid of a
lot of excess triangles without really
| | 02:20 | changing the details at all.
| | 02:22 | Sometimes a model can also look
crinkled or torn because the triangles are too
| | 02:26 | dense and crunched together.
| | 02:28 | Just hit it with the Reduce and Smooth
brushes and you should be good to go.
| | 02:31 | The Smooth Brush combined with the
Reduce brush are great at cleaning up
| | 02:34 | unwanted details and shapes.
| | 02:36 | I use them all the time to
soften the surface details.
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| Sculpting creases| 00:00 | One of the most common features that
you'll want to sculpt is creases and hard edges.
| | 00:05 | These kinds of details are great
for creating a sense of sharpness and
| | 00:08 | definition in a sculpture.
| | 00:10 | The Crease brush is great for
making these kinds of things.
| | 00:13 | So let's see how it works.
| | 00:14 | So, we've got our seal open and he
is looking more defined all the time.
| | 00:18 | But, one thing I want to
work on is how soft he is.
| | 00:21 | It feels kind of lumpy and lacking in structure.
| | 00:23 | So, let's use the Crease brush
to define some edges and creases.
| | 00:27 | Go ahead and click on this
button or hit E on the keyboard.
| | 00:30 | Now, this brush is pretty
straightforward; it just makes creases.
| | 00:33 | So I want to move around here to the
underside, and just use this to brush on
| | 00:38 | kind of a crease in his underarm area.
| | 00:40 | Sometimes, you might need to crease more than
once, for example, if the brush is really big.
| | 00:45 | Let's go ahead and do
something like on the back of his neck.
| | 00:49 | So, if the brush is really big, it
might not make a very defined crease.
| | 00:53 | So sometimes I like to shrink the brush
down and give it a second try to give it
| | 00:57 | a nice tight crease in there.
| | 00:59 | So we'll just kind of define these
fleshy folds on the back of his neck.
| | 01:04 | And let's see, we can also use it on
his face, I'm just going to zoom in closer
| | 01:09 | here and just tighten up
his eyebrows and eyelids.
| | 01:12 | We can also do the nose, mouth.
| | 01:19 | Now, it's looking a lot more defined.
| | 01:21 | Now, all of this is great, but it's just
half of what you can do with this brush.
| | 01:26 | So far, all of these
creases are inwards creases.
| | 01:29 | Let's make some creases that stick
out by holding down Alt while we sculpt.
| | 01:32 | Remember, Alt does the opposite
of what a brush would normally do.
| | 01:37 | So, if I'm holding down Alt,
you can see it creases upwards.
| | 01:40 | So that creates kind of a nice
little stylish corner on the nose.
| | 01:45 | Let's do it on the eyelids as well
and maybe one crease inwards here.
| | 01:52 | It gets kind of little overlapped on the eyelid.
| | 01:55 | There's another brush that you can use
called the Pinch brush, and this also can
| | 01:59 | help define corners and sharp edges.
| | 02:03 | But, I really don't use this brush very often.
| | 02:05 | For the most part, I find that the
crease brush does a great job all by itself.
| | 02:09 | Now, you could make these kinds of
creases by using the regular sculpt tools and
| | 02:13 | use a lot of smoothing and pinching.
| | 02:15 | But, with the Crease brush, you can
make creases like this almost instantly.
| | 02:19 | I really love the Sculptris Crease brush.
| | 02:21 | There are other programs like Mudbox
and ZBrush that don't even have a crease
| | 02:25 | brush built into them, and it's actually a
lot of work to create these kinds of details.
| | 02:30 | So, it's really great that in Sculptris
you can just use a single brush and just
| | 02:33 | instantly create these kinds of shapes.
| | 02:35 | I use it all the time.
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| Flattening and exaggerating details| 00:00 | Another common sculpting task is to
flatten out an area as if you scraped
| | 00:05 | it down with a knife.
| | 00:06 | With just a little variation, we can use the
same tool to exaggerate details. Let's try it out.
| | 00:12 | So, if a seal was sitting on the ground
like this, the part of him that's on the
| | 00:16 | ground would flatten out.
| | 00:17 | So, let's use the Flatten
tool and take care of that.
| | 00:19 | Go ahead and click on this
button or hit F on the keyboard.
| | 00:22 | I'm just going to look at the seal from
the underside, zoom out a little bit so
| | 00:26 | we can see the whole thing, and go
ahead, and start sculpting with this.
| | 00:31 | So you can see it behaves
just like you might expect.
| | 00:33 | It's just flattening things out.
| | 00:35 | Maybe I will increase the Size a little
bit, and the Strength, a little bit more
| | 00:39 | pronounced effect, and let's shrink the
size a little bit, and maybe flatten out
| | 00:45 | the underside of this flipper.
| | 00:46 | Okay, let's see it from the side. Okay, great!
| | 00:49 | It looks like it flattened out.
| | 00:50 | Now, there is one setting that
will change how this brush behaves.
| | 00:54 | I'm going to hit F again, or click on
this Lock Plane here to turn on Lock Plane.
| | 01:01 | With this mode active, the flatten
brush will try to flatten everything along
| | 01:04 | the same plane from where you start brushing.
| | 01:07 | Let me see if I can demonstrate.
| | 01:08 | We'll look at it from underneath, and
I'm going to hold down Shift so we lock it
| | 01:13 | to a perfect bottom view.
| | 01:14 | I'm just going to brush with this.
| | 01:16 | So you might have noticed that before
the Flatten was kind of curving up into
| | 01:19 | the belly where I didn't really want
it to flatten out. The Lock Plane makes
| | 01:23 | sure that anything you sculpt gets
pushed right to the same plane from where
| | 01:27 | you start sculpting.
| | 01:28 | So, if I'm locked to the bottom view
and I start sculpting right on something
| | 01:32 | that's on the bottom, then it's going
to pull anything towards that plane.
| | 01:35 | It might make a little bit more sense
if you just try it on your own rather
| | 01:39 | than having me explain.
| | 01:40 | So, feel free to experiment with
the difference between the two modes.
| | 01:43 | There is another way to use
this brush that's really cool.
| | 01:47 | Instead of flattening out details,
the brush can be put in reverse and be
| | 01:50 | used to amplify details.
| | 01:52 | Just hold down the Alt key while you use it.
| | 01:55 | So, let's say you sculpted some detail,
but you realized that it needs just a
| | 01:59 | little bit more oomph.
| | 02:00 | So, let's say on these rolls here on
the back of the neck, I just want a little
| | 02:05 | bit more details to that,
a little bit more volume.
| | 02:08 | So, I'm going to increase the size of
the brush a little but, hold down Alt,
| | 02:12 | just brush with this, and you can see
instead of flattening things down, it's
| | 02:15 | actually exaggerating them.
| | 02:17 | You can use this mode to exaggerate
those details rather than manually
| | 02:21 | re-sculpting that extra detail.
| | 02:23 | The Flatten brush is just another tool
in your arsenal that can help you get the
| | 02:27 | shapes that you're trying to sculpt.
| | 02:28 | I use it all the time to create flat
areas and also to bring out more detail
| | 02:32 | in my models.
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| Masking off protected areas| 00:00 | Sometimes when you're working, you'll
want to protect an area from changes.
| | 00:04 | Maybe you really like the sculpting in
a particular area and you want to make
| | 00:08 | sure that nothing accidentally ruins it.
| | 00:10 | In this video, we'll use
Masking as a way to do just that.
| | 00:13 | So, we have our seal here and let's say
I'm really happy with how the nose looks.
| | 00:17 | But, I want to do a lot of sculpting around
the nose without changing the nose itself.
| | 00:21 | All I have to do is hold down Ctrl key
while I brush, and it will paint a mask
| | 00:27 | over any areas that I want to protect.
| | 00:29 | So, I'm just going to shrink the brush
size a little bit, and hold down Ctrl.
| | 00:33 | So, you can see it's painting it
a little bit of a darker color.
| | 00:36 | That means that it's masked off.
| | 00:37 | Then, I'll just switch to my Draw tool and
I will shrink the brush size a little bit.
| | 00:43 | You can see as I brush around here, I
can affect anything else, but I can't
| | 00:47 | affect whatever is masked off.
| | 00:49 | I'm just going to hit Ctrl+Z to undo that.
| | 00:51 | So let's say I masked a little bit
too much and I want to erase part of it.
| | 00:55 | So, I am going to hold down Ctrl to go
into Mask Mode but then also hold down
| | 01:00 | Alt to go into negative mode.
| | 01:01 | So now I can just sort of erase from that mask.
| | 01:04 | Now, we can also switch the mask
around, so that the entire seal is masked
| | 01:08 | except for the nose.
| | 01:09 | So, to do that, hold down Ctrl
and just tap in an open area.
| | 01:14 | You can also clear all the masking
by hitting Ctrl+A or you could mask
| | 01:18 | everything by hitting Ctrl+D. Of course
with everything masked, you can't really
| | 01:22 | do anything, so you'd want
to unmask a specific area.
| | 01:26 | So for example, unmask this area by
holding down Ctrl and Alt, so that you can
| | 01:32 | actually do some sculpting on it.
| | 01:33 | Now, let's take a little
closer look at how masking works.
| | 01:36 | Let's turn on Wireframe, and watch what happens.
| | 01:40 | As we create a mask, Sculptris is
actually subdividing the mesh to give us the
| | 01:45 | detail that that mask needs.
| | 01:47 | Sometimes it doesn't matter that it's
doing this, but other times you might not
| | 01:51 | want to create all those extra triangles.
| | 01:53 | Just remember that you can
turn down the Detail setting.
| | 01:56 | So now, as we create a mask here, you can see
it's not actually changing the tessellation.
| | 02:02 | The masking is just working on
the triangles that already exist.
| | 02:06 | So masking is something that you'll use
all the time to specify which parts of a
| | 02:10 | model can be worked on and which
parts will be protected from change.
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| Using rotation| 00:00 | A very common sculpting task is to
rotate a model or just parts of a model.
| | 00:05 | For example, we've got these flippers
on the seal and we might decide that we
| | 00:09 | want to angle them a little bit differently.
| | 00:11 | You can use the Rotate tool
in Sculptris to get that done.
| | 00:14 | Let's see how it works.
| | 00:15 | So you can click R on the keyboard
or just click on this button here.
| | 00:19 | There are a couple of different
settings we can turn on for this brush.
| | 00:22 | So let's start out with the Global Mode
turned on, and I am just going to click and drag.
| | 00:27 | So what you can see is that the model is
just rotating the entire model around.
| | 00:31 | That's because we have Global turned
on, so it's going to rotate the entire
| | 00:34 | model, but also, we have Symmetry turned on.
| | 00:37 | So the model is really only allowed
to rotate around the axis of symmetry.
| | 00:42 | I use this mode sometimes when I've
sculpted a head and sometimes it's
| | 00:46 | leaning backwards or leaning forwards
and I want to just upright it a little
| | 00:50 | bit, so I'll use this mode.
| | 00:52 | Now, let's turn off Global.
| | 00:54 | In this case, rotation only happens within the
size of the brush, so it's like a twisting effect.
| | 00:59 | I'm just going to click and drag and
once we move the cursor out beyond this
| | 01:04 | circle, you can start to rotate around;
it kind of twists things and distorts
| | 01:09 | them. It's kind of a cool effect, but it only
affects the area within the size of the brush.
| | 01:16 | So I'm going to undo that and increase
the size of the brush and now, maybe we
| | 01:20 | might get a different effect
here, much more pronounced.
| | 01:24 | There's actually one
really good way to use this.
| | 01:28 | Let's say, I want to
adjust the slant of the eyes.
| | 01:31 | Let's resize the brush, just about
the same size as the eyes, and then just
| | 01:36 | click and drag and so now you can
make him like sad, puppy dog eyes or a
| | 01:40 | little but more aggressive eyes.
| | 01:42 | That's a really great way to use that brush.
| | 01:45 | Now, let's turn Global back on, but turn
Symmetry off, then go ahead and click OK.
| | 01:51 | I want to zoom out so we can
see everything more clearly.
| | 01:55 | With Global on, it's going to rotate
the entire model, but it's going to rotate
| | 01:59 | at relative to the view port.
| | 02:01 | With Symmetry off, now the model can
rotate in any direction, so it could go
| | 02:06 | skewed off in one direction with the
rotate around, then it's going to rotate in
| | 02:09 | a different direction.
| | 02:10 | Now, be careful with this because if
you go back into Symmetry mode after
| | 02:14 | rotating, it's going to look kind weird.
| | 02:15 | So let's see what happens with that.
| | 02:18 | So that line of symmetry, since we rotated the
seal around, kind of created a little effect.
| | 02:22 | Now, that might be what you're going for or
it might not, so just be careful with that.
| | 02:27 | So I'm just going to undo all of these
so we can go back to where we were before.
| | 02:32 | Let's actually use this for some
practical purposes for our porpoise.
| | 02:34 | Let's rotate the head up
like he's balancing a ball.
| | 02:38 | First, I want to mask off the
whole body except for the head.
| | 02:41 | So I'm going to hit Ctrl+D to mask
everything and I'm going to go into one of
| | 02:46 | the Draw tools, just so we get our
brush back, and let's make the brush bigger.
| | 02:52 | And we're going to hit Ctrl and Alt to unmask,
and just kind of brush out the head area.
| | 02:59 | Alright, we got a nice fall off as well,
kind of a gradient from masked to unmasked.
| | 03:05 | Alright, let's go back into the Rotate
tool and let's actually make sure we've
| | 03:09 | got Global turned on and let's
look at the seal from the side.
| | 03:12 | I'm going to hit Shift to
lock that to a side view.
| | 03:15 | I'm just going to click and
drag and rotate this a little bit.
| | 03:18 | I might have to do it a couple of
different times to get it exactly rotating
| | 03:24 | from the angle that I want.
| | 03:25 | I might want to adjust the mask as well.
| | 03:30 | I'm going to back into Draw mode
so we can have our brush size here.
| | 03:34 | Let's change the size of the brush;
I just want to mask off a little bit
| | 03:38 | more, right back to side view. Go
back to Rotate, and we'll rotate the head
| | 03:47 | back a little bit more.
| | 03:48 | So it might take a little bit of back
and forth, but eventually you should be
| | 03:52 | able to rotate the head back.
| | 03:54 | Let's clear the mask with Ctrl+A and
a lot of times, after I rotate things,
| | 03:58 | then I need to do a little bit of
cleanup sculpting. So, I'm going to get the
| | 04:02 | Grab tool, and let's see: let's
increase the size of the brush and it looks like the
| | 04:06 | chest area flattened out a little bit,
so I just want to restore a little bit
| | 04:10 | of roundness to that.
| | 04:11 | It looks like I might want to
resculpt some of these areas as well.
| | 04:15 | I'm just going to go into Inflate, set
the Brush size and just clean up some of
| | 04:19 | this so that it doesn't look
too distorted. Okay, cool!
| | 04:26 | If we just put a sphere on there, it
looks like the seal could be balancing a
| | 04:29 | beach ball on his nose.
| | 04:30 | Rotation is a really great tool to use,
especially when you want to pose a
| | 04:34 | character or make facial expressions.
| | 04:35 | I use it all the time.
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| Resizing with Scale| 00:00 | There are many times when you'll want to
change the size of something in Scupltris.
| | 00:05 | Whether you want to increase the size
of a whole object or just a part of one,
| | 00:08 | the Scale tool can get the job done.
| | 00:10 | Let's say we want to change
the size of the seal's flippers.
| | 00:14 | First, let's mask off the
flipper. So, I'm going into Mask Mode.
| | 00:19 | Let's make this brush a little bit bigger.
| | 00:21 | Hold down Ctrl and just mask off the flippers.
| | 00:24 | Okay, looks good, and let me just do a
little bit more; I'm going to brush kind
| | 00:31 | of lightly to get a nice soft fall off.
| | 00:33 | I'm going to hold down Ctrl and
click in an open area to invert that mask.
| | 00:37 | Now, let's go into the Scale tool:
you can hit T on your keyboard.
| | 00:42 | Now, when I'm using Scale, I almost
always want to leave Global turned on.
| | 00:47 | For now, let's just leave X,
Y, and Z turned on as well.
| | 00:50 | This will make sure that the Scale
tool sizes equally in all directions.
| | 00:54 | Now, let's click and drag on the
flippers to scale it: very straightforward.
| | 01:02 | Notice that the resize happens from the
point where you start dragging, so if we
| | 01:06 | click and drag at the tip of the
flipper, you can see that the scale is
| | 01:10 | happening from that point as a center location.
| | 01:15 | So a lot of times you might want to
scale a limb or an arm or something.
| | 01:19 | So you want to usually click and drag
starting from the point where that object
| | 01:25 | meets the rest of the body.
| | 01:26 | Now, let's turn off X, Y, Z. In this
mode we can scale in different directions,
| | 01:33 | depending on the direction that we drag.
| | 01:35 | I'm just going to click and drag. If
we drag upwards, then it's going scale
| | 01:39 | upwards, if we scale out to right, then
it's going to scale in that direction.
| | 01:43 | This makes it easy to lengthen or
widen the flipper in one direction without
| | 01:47 | changing it in other directions.
| | 01:48 | So if we look at it from the top
view, now we could change the scale in
| | 01:52 | different directions this way.
| | 01:53 | All right, I'm going to clear the mask
with Ctrl+A, and just show you how we can
| | 01:58 | scale the entire object.
| | 02:00 | Now, Global is on, just click and
dragging scales the entire object together.
| | 02:08 | Finally, if we turn off Global mode
you can see that the scale is only going
| | 02:12 | to take place within the size of that brush.
| | 02:15 | This is kind of a weird effect; I rarely
find a use for it, but it may come in handy.
| | 02:22 | The Scale tool makes it a lot
easier to edit an object's size.
| | 02:25 | It would be a lot of work to manually
resculpt something if it needed to be
| | 02:29 | just bigger or smaller.
| | 02:30 | So this tool saves a lot of time.
| | Collapse this transcript |
| Hiding parts of a model| 00:00 | There maybe times when you want to just
focus on a single part of your sculpture,
| | 00:04 | or your sculpture may be very complex
and it's slowing down your computer, or you
| | 00:08 | may find that some parts are
getting in the way of other parts.
| | 00:12 | Whatever the reason, you'll use the
Hide feature in Sculptris to make it
| | 00:15 | easier to get work done.
| | 00:16 | In this Exercise File, I've added a floor.
| | 00:19 | We'll talk about adding
objects in the next video.
| | 00:22 | For now we'll just use it to talk
about hiding and unhiding objects.
| | 00:25 | Let's say that we want to sculpt some
pattern under the floor but the seal is in the way.
| | 00:30 | We can hide objects in a few different ways.
| | 00:32 | The easiest is to just hold down
the H key and click on an object.
| | 00:36 | I'm just going to hold
down H and click on the seal.
| | 00:40 | The hidden object goes into a kind of
transparent mode; it's no longer editable.
| | 00:45 | Now we can sculpt anything we want on the
floor and the seal won't get in the way.
| | 00:50 | Now to bring the seal back,
hit Ctrl+H to unhide everything.
| | 00:55 | You can also hide everything
except what you clicked on.
| | 00:59 | So, hold down H like we did before, but
instead of doing a normal click on the
| | 01:03 | seal, do a right-click.
| | 01:04 | You can also hide parts of objects.
| | 01:06 | So, I want to get a better view on the
side of the seal and just hold down H and
| | 01:11 | click and drag a box over his head.
| | 01:14 | You can also do the opposite by holding
down Ctrl and Shift as you drag a box.
| | 01:19 | So that's going to hide
everything that's outside of the box.
| | 01:23 | This is useful because you can focus
on just the areas that you might want to
| | 01:26 | work on at any particular moment.
| | 01:29 | Also, sometimes when I'm working in
Sculptris with a lot of triangles, my
| | 01:33 | computer can slow down.
| | 01:34 | By hiding everything except what I need
to, I can let the computer focus on the
| | 01:38 | smaller set of polygons and
it should run more smoothly.
| | 01:41 | Let's go and bring everything back by
hitting Ctrl+H. So, it can take a little
| | 01:46 | bit of practice to get used to hiding
and unhiding, but I highly recommend that
| | 01:50 | you get comfortable with it.
| | 01:51 | It's really going to help you
manage complicated scenes in Sculptris.
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| Working with multiple objects| 00:00 | What we have been doing so far
has worked great on just one object.
| | 00:04 | But what if you need
multiple objects in one scene?
| | 00:07 | Sculptris can handle that, no problem.
| | 00:09 | In this video, I'll show you how to import,
manipulate, and manage multiple objects.
| | 00:13 | Now the seal is looking pretty good so
far, but he needs a few more objects to
| | 00:17 | make the scene complete.
| | 00:19 | Let's give him some eyes and a
beach ball that balances on his nose.
| | 00:23 | First, the beach ball. Let's click on the
New Sphere button and let's add the object.
| | 00:29 | So, what you get is kind of a
preview of where the new spheres will go.
| | 00:34 | Because Symmetry is on, we can either
place a symmetrical pair of spheres, or if
| | 00:39 | we move the cursor to the center line,
we can get just one sphere in the middle.
| | 00:43 | So let's move this preview
over the nose and just click.
| | 00:47 | When you make a new object, Sculptris
automatically masks everything else, which
| | 00:54 | makes it easy to edit just the new object.
| | 00:56 | So let's go ahead and scale and position
this ball so it fits on the nose better.
| | 01:00 | I'm just going to rotate around
and zoom out so I can see this better.
| | 01:03 | Let's go into Scale Mode
and just shrink that a bit.
| | 01:07 | Go to Grab to move that up
so it's right on the nose.
| | 01:10 | One thing we want to also make
sure we've got is Global turned on.
| | 01:14 | Now let's give him some eyes.
| | 01:15 | I'm going to zoom in on
the face a little bit closer.
| | 01:18 | Let's click on New Sphere, Add Objects,
and let's make sure that we're placing
| | 01:25 | two of them rather than just one in the middle.
| | 01:27 | Now just like before, let's scale it
down and maybe move around a little bit so
| | 01:34 | we can grab it and move it
closer into the eye sockets.
| | 01:37 | Maybe I'll just adjust this
position a little bit. Alright, cool.
| | 01:46 | So we've got multiple objects and
Sculprtris has already masked off all but
| | 01:51 | the active objects.
| | 01:52 | You can switch the active object
very easily by just clicking on it.
| | 01:57 | So now the seal is active.
| | 01:58 | Now the beach ball is active.
| | 02:00 | Now the eyes are active.
| | 02:02 | You can also make multiple objects
active at the same time by holding down Shift
| | 02:07 | while you click on them.
| | 02:09 | Deleting objects is as easy
as hitting the Delete key.
| | 02:13 | Any active objects will
be removed from the scene.
| | 02:16 | Working with multiple objects
can make your work a lot easier.
| | 02:19 | It allows you to selectively control
what parts are visible, what parts are
| | 02:23 | active, and lets you focus on just the
parts that are important at the moment.
| | Collapse this transcript |
| Duplicating objects| 00:00 | So far, we've looked at ways of
working with multiple objects.
| | 00:03 | But what do you do if you want to
make copies of an existing object?
| | 00:07 | Let's take what we've learned one
step further and figure out how to
| | 00:11 | duplicate some whiskers.
| | 00:12 | We'll also go over some tricks for
arranging them on the seal's face.
| | 00:16 | So we have our seal here and the
first thing I want to do is to make some
| | 00:20 | dimples for the whiskers to stick into.
| | 00:22 | So, I'm going to switch to my Crease tool
here and just brush on some simple dimples.
| | 00:29 | Now let's make a whisker.
| | 00:30 | So, I'm going to start from a
sphere and let's just add that object.
| | 00:34 | Go ahead and click anywhere on the face.
| | 00:36 | And we notice that it's a little bit on
the big side, so I'm going to hit T to
| | 00:40 | go into our Scale tool and I want to
make sure that Global is turned on so we
| | 00:45 | scale the entire object together.
| | 00:46 | We will just bring that
down to a manageable size.
| | 00:49 | Now I'm going to elongate it.
| | 00:51 | So, I'm going to look at it from the front view.
| | 00:54 | I'm going to hit G to go into the
Grab tool and go ahead and hit G one more
| | 00:59 | time to make sure that Global is turned off
because we want to stretch this out non-uniformly.
| | 01:03 | So, just go ahead and grab on this a
couple of times just to bring a nice
| | 01:07 | whisker shape here.
| | 01:08 | And I'm going to smooth a little bit
holding down Shift because I want to work
| | 01:14 | out any of these weird kinks in the shape.
| | 01:17 | Smooth is also going to kind of shrink down
some of the thickness as well, so that's good.
| | 01:22 | One thing I want to point out before we
go any further is that whenever you add
| | 01:26 | an object to your scene,
Sculptris gives it a pivot point.
| | 01:29 | You can tell that a pivot point is
active because there's this white
| | 01:32 | access marker visible.
| | 01:33 | Now, you can toggle the pivot point on and
off by hitting the P key on the keyboard.
| | 01:39 | Now, as we have seen before, if you
rotate or scale the object without a pivot
| | 01:42 | point active, it causes the
transformation to occur based on where you click.
| | 01:46 | Let me show you what I mean.
| | 01:48 | So I'm going to hit R to go in the Rotate Mode.
| | 01:51 | I'm going to hit it one more time to
make sure that Global is turned on.
| | 01:55 | If we click and drag from any point,
the rotation happens around that point.
| | 01:59 | Now let me hit P one more
time to turn on the pivot point.
| | 02:02 | Now when we rotate, the rotation
happens around that pivot point no matter
| | 02:05 | where we click from.
| | 02:06 | It's really up to your
preference how you like work.
| | 02:10 | I usually like to turn it off so I
can control my pivot point on the fly.
| | 02:15 | Now let's get this whisker
positioned inside one of the dimples.
| | 02:19 | Looks like we need to bring it down a
little bit, so I'm going to go on my Grab
| | 02:22 | tool and just bring this down. Let's
look at it from a couple of different views
| | 02:26 | to make sure it's good.
| | 02:28 | Now, let's make some copies of it.
| | 02:30 | You want to make sure that the object
to copy is the active object. So, we can
| | 02:34 | see that the whisker is light
gray; it's the active object.
| | 02:38 | First, copy it in the memory by
hitting Ctrl+C, then hit Ctrl+V to paste.
| | 02:42 | So, we're going to get this previous
sphere; just go ahead and click on the face
| | 02:47 | to bring in a copy of that whisker.
| | 02:49 | And now we just need to move it and
rotate it so that it's a little bit different.
| | 02:54 | I want to hit G to go into Grab Mode.
| | 02:56 | One more time to make sure I'm in
Global Mode and we'll just position this.
| | 03:00 | I'm going to hit P to turn off my pivot
point here and let's just rotate it so
| | 03:04 | that it's not exactly the
same as the other whisker.
| | 03:08 | And I want to look at it from a couple
of different views just to make sure that
| | 03:12 | the rotation is kind of
unique from any different angle.
| | 03:15 | And let's see, Grab Mode, we'll just put
it inside that dimple a little bit better.
| | 03:19 | Now, let's pick another copy of
that whisker; just hit Ctrl+V again.
| | 03:22 | And now I'll position that on the face.
| | 03:26 | I'll let you handle the
positioning of this whisker on your own.
| | 03:29 | Although Sculptris might not be as
robust as other programs when dealing with
| | 03:32 | multiple objects, you can still get
the job done for simple things like this.
| | 03:37 | If you need to organize a scene
that's very complicated however, like with
| | 03:40 | hundreds of objects, you may want to
consider exporting them to some other
| | 03:44 | program where you can have more
control over individual objects.
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| Posing asymmetrically| 00:00 | So far, everything that we've done
has been symmetrical and it's worked out
| | 00:04 | great because we're making a symmetrical animal.
| | 00:07 | Now, we need to pose the seal
so it's time to switch modes.
| | 00:10 | In this video, I'll show you some
procedures to help this process go smoothly.
| | 00:15 | In an asymmetrical pose, it's going to
make the seal more appealing to look
| | 00:18 | at, more sculptural.
| | 00:19 | So, the first thing we want to do is
turn off Symmetry Mode, and we're going
| | 00:25 | to get the standard warning telling us that
this is a one-way operation and that's okay.
| | 00:29 | If you're working on your own model
here, you want to make sure that you save
| | 00:33 | before you pass this point of no
return just in case you want to go back.
| | 00:37 | Now, one complication is that when you
turn Symmetry on or off, it clears out
| | 00:40 | any masking that you might have.
| | 00:42 | So when this happens, you can't just
click on an object to make it active
| | 00:46 | because everything is active.
| | 00:47 | So, let's restore the masking per object.
| | 00:50 | What I want to do is hit Ctrl+D to mask
everything and then just simply click on
| | 00:54 | any one of the objects to make it active.
| | 00:56 | Now let's start posing.
| | 00:58 | I want to rotate the head a little bit,
so we need to have the eyes, whiskers, and
| | 01:03 | beach ball and the head all moving together.
| | 01:06 | So what I'm going to do is select
all those things just by holding down
| | 01:10 | Shift and clicking.
| | 01:13 | You see there's one more whisker
here, and let's get the eyeballs.
| | 01:21 | All right! We've got everything except
the head, and now what we want to do is
| | 01:30 | pose the head separate from the body,
so we need to actually paint a mask at
| | 01:34 | this point, which means going to pick one of
the other Draw tools, and let's make the
| | 01:38 | brush a little bit bigger.
| | 01:39 | Now I'm just going to hold down Ctrl
and Alt to unpaint a mask from the head.
| | 01:48 | And you just need to rotate around a couple
of times just to make sure I get everything.
| | 01:56 | And I want to use the soft touch here so I
get a nice, soft, gradual fall off. Okay.
| | 02:07 | Now let's switch to the Rotate tool and
make sure it's got Global Mode turned on
| | 02:12 | and I just want to rotate--let's see--
from the neck area, just to kind of put a
| | 02:17 | little tilt in it and maybe I want to
kind of twist the head a little bit.
| | 02:21 | So I'll look at the top view and just
kind of twist this a bit; see what that
| | 02:26 | looks like. Okay, cool! So we got a
nice little twist in the neck there.
| | 02:29 | Okay, now let's put some bend in the body.
| | 02:32 | What I'm going to do is hit Ctrl+D to
mask everything off and then let's go in
| | 02:39 | and kind of unpaint the mask
off the back end of the body.
| | 02:42 | So let's just pick any one
of our sculpting brushes.
| | 02:46 | We're going to hit Ctrl
and Alt to deselect this.
| | 02:50 | And actually, what's happening is it's
unpainting the mask from the floor as
| | 02:54 | well, so I'm going to undo that and
just hold down H and click on the floor to
| | 02:58 | hide the floor so we don't affect
the floor while we're doing this.
| | 03:02 | So Ctrl and Alt and I am
just going to unmask the tail.
| | 03:06 | Let's make sure we get it
from both sides and underneath.
| | 03:13 | We just want to get a nice,
soft, gradual fall off here.
| | 03:20 | Okay, great! Let's look at it from the
top view. I'm going to hold down to Shift
| | 03:24 | to get the perfect top view.
| | 03:25 | And let's go in to Rotate, click and drag,
and that's just going to bend that tail around.
| | 03:30 | Now, what happens sometimes is the mask didn't
fully get removed off of the tip of the tail.
| | 03:36 | So I'm just going to go back
to one of these paint tools.
| | 03:39 | Hold down Ctrl and Alt and just make sure,
I take another pass, just to make sure
| | 03:44 | that there are no parts
that are left masked here.
| | 03:47 | Alright, let's try that again. Much better.
| | 03:51 | So I'm actually going to do this in
two passes. What I want to do is now mask
| | 03:59 | off a little bit more here so
I'm just going to hold on Ctrl.
| | 04:02 | So just like this I am going to bend it
from two different places to try to get a
| | 04:06 | more of a natural look to this bend. Oops!
| | 04:09 | I accidentally deselected everything.
| | 04:13 | I just hit Ctrl+Z to bring that back.
| | 04:16 | Alright let's try this one more time,
rotate, going to pick a point a little bit
| | 04:22 | farther down the tail and
just rotate that one more time.
| | 04:26 | Alright; not too bad.
| | 04:28 | I'm going to hit Ctrl+H to bring back the floor.
| | 04:32 | When you're done posing, there's
usually a little bit of clean up to do.
| | 04:35 | Some places that you thought were
masked might have been slightly unmasked.
| | 04:39 | So they could get deformed a little bit.
| | 04:41 | So you could just go in
and smooth those parts out.
| | 04:43 | So I'm just going to hit Ctrl+A to
unmask everything, you see it's maybe
| | 04:48 | slightly rough or lumpy right in there so
I'm just going to smooth some of that out.
| | 04:53 | Looks like there's something weird in
the tail right there; going to smooth that
| | 04:57 | a little bit and maybe even do a
little bit of sculpting in here to maybe
| | 05:05 | build a little bit more of crease so
it kind of looks like the flesh is kind
| | 05:09 | of folding up right there.
| | 05:14 | Let's increase the detail a little
bit so I could get a little bit of a
| | 05:18 | sharper crease here. Okay, great.
| | 05:22 | Now I just want to take a quick look
around the seal to see how this pose is
| | 05:29 | working. Pretty nice!
| | 05:30 | Now that the pose is done, this
model could be painted, rendered or even
| | 05:34 | exported for 3D printing.
| | 05:37 | Although the posing tools and
Sculptris might not be as advanced as other
| | 05:40 | programs like Maya or Mudbox,
| | 05:43 | you can certainly get the job done here.
| | 05:45 | It's also nice to be able to do
everything within just one program sometimes.
| | 05:50 | Also, from an artistic perspective, the
seal just looks more interesting with a
| | 05:54 | pose than it did when
everything was symmetrical.
| | Collapse this transcript |
|
|
3. Adjusting the SettingsUsing the hotbox| 00:00 | So far, we've been adjusting brush settings
with the main controls at the top of the screen.
| | 00:06 | However, when you're in the zone and
sculpting away, sometimes it can slow you
| | 00:10 | down to have to come up
here and then go back to work.
| | 00:13 | The Hotbox is a control pop-up that can
let you change some of the most common
| | 00:17 | settings no matter where your cursor is.
| | 00:20 | Let's see how it works.
| | 00:21 | The Hotbox is easily accessed
by holding down the spacebar.
| | 00:25 | Wherever your cursor is, when you do
this, the Hotbox will be right there.
| | 00:29 | So you don't have to move the cursor
very far to modify the major controls for
| | 00:33 | brush size, brush detail,
strength and brush masking.
| | 00:38 | Let's ignore brush masking for now and
just look at the other settings; we'll
| | 00:42 | come back to this in a later video.
| | 00:45 | To control brush size, you don't
even have to come up here to click on
| | 00:49 | this little slider.
| | 00:50 | All you have to do is actually just
click and drag up and down wherever your
| | 00:54 | cursor happens to be.
| | 00:55 | You could even be over
here and it'll still work.
| | 00:58 | This is a major time saver because not
only do I not have to move my cursor to
| | 01:03 | the top controls to change the brush
size, I can see a circle that represents
| | 01:06 | the brush size right on the model so
I can get exactly the size that I want.
| | 01:10 | To change the strength, all you have
to do is click and drag left to right.
| | 01:15 | Now with strength set to high, the
brushes will have a more powerful effect.
| | 01:19 | When set to low, they'll have a soft effect.
| | 01:22 | I usually leave the setting in the middle.
| | 01:24 | For detail, this setting is changed
less often so you do actually have to go
| | 01:28 | over and drag on the slider to
change the detail up and down.
| | 01:32 | There's one last thing to know about
brush settings. If you're using a tablet
| | 01:36 | --and you shouldn't be sculpting without
one--you can set how the pressure
| | 01:40 | sensitivity affects the brush.
| | 01:42 | By default, Sculptris is set to vary the
strength of a brush based on how hard you press.
| | 01:48 | You can tell that brush strength is
tied to pressure sensitivity by the dot
| | 01:52 | next to the slider.
| | 01:53 | You can also tie brush size to
pressure sensitivity by clicking on this dot.
| | 01:58 | These dots can also be
accessed up here at the top.
| | 02:02 | Sometimes these settings
will accidentally get changed.
| | 02:04 | You might accidentally
click on one of those dots.
| | 02:07 | So, if a brush doesn't behave the way
you expect it to, just make sure you're
| | 02:11 | checking those dots.
| | 02:12 | For the most part, I like to leave it at
the default where strength is controlled
| | 02:16 | by pressure sensitivity but size is not.
| | 02:18 | But you can set it however
you like; it's up to you.
| | 02:21 | When it comes to changing brush size and
strength, I really prefer to use the Hotbox.
| | 02:26 | It makes it so much more convenient to
adjust those settings by simply holding
| | 02:29 | the spacebar and clicking and dragging.
| | Collapse this transcript |
| Using brush textures| 00:00 | There may be times when the detail you
want to make is very textural or detailed
| | 00:04 | and it would take a lot of
work to sculpt it by hand.
| | 00:08 | Sculptris has the ability to let you
take texture from an image and sculpt that
| | 00:12 | detail directly onto a model.
| | 00:14 | This is similar to sculpting with
Alphas in ZBrush or stamps in Mudbox, if
| | 00:18 | you're familiar with those programs.
| | 00:20 | So let's get down to it. We're
going to give the floor that the seal is
| | 00:23 | sitting on a brick texture.
| | 00:25 | So, let's actually start out with a fresh
plane and put that into a new scene and
| | 00:31 | we'll import it into the seal scene later.
| | 00:35 | Something else we want to do is turn
off Symmetry. Now, you could go in and just
| | 00:42 | start sculpting different
brick patterns in here by hand.
| | 00:47 | It could work; it'll be a lot of work,
but it could eventually get done, but we're
| | 00:51 | going to do this an easier way.
| | 00:53 | If the detail you want can be lifted
from a photograph, then we can create the
| | 00:57 | effect much more efficiently.
| | 00:58 | Now let's get ourselves a brick
texture. I'm going to click on this little
| | 01:04 | swatch right here that's empty right now.
| | 01:06 | It's the Brush Mask, and what we want
to do is go find a new image. And in our
| | 01:13 | Exercise Files in the Brush Mask
folder, we've got an image called Bricks, and
| | 01:17 | we'll just open that up and just
click on it in here to make it active.
| | 01:21 | Alright! Now we just need to make this
active by turning on Enable, and let's
| | 01:26 | zoom out a little bit, and I just want
to look at it from the perfect top view.
| | 01:31 | Then let's go and pick the Draw
brush, and let's make the brush nice and big.
| | 01:35 | And actually, the brush can only get
so big so let's actually shrink down or
| | 01:40 | zoom out a little bit so the brush
covers pretty much the entire plane here, and
| | 01:44 | let's try sculpting with it.
| | 01:45 | So, it's not exactly what we're looking for
yet; there are still some settings to fix.
| | 01:50 | For one, there's not enough detail in the
model to pick up the texture of the image.
| | 01:54 | So I'm going to hit W to turn on my
Wireframe and you can see there's
| | 01:58 | some triangles in here but really not
enough to pick up all the texture that's in here.
| | 02:03 | So I'm going to hit Ctrl+Z to undo that.
| | 02:05 | Now there's a couple ways of you
can get some more detail in here.
| | 02:08 | One way is to go to the Reduce brush
and hold down Alt so instead of reducing
| | 02:14 | the amount of triangles, it's
actually going to add triangles.
| | 02:17 | Let's increase the strength and also I'm
going to bring the size of the brush down.
| | 02:23 | So, let's say for example we want this
texture only in a certain part of the plane.
| | 02:28 | Then we could go in here and paint in more
triangles, more detail in just a particular area.
| | 02:33 | However, I want the texture over the
entire thing so I'm going to undo this
| | 02:38 | and we can just click the Subdivide All
button and let's just click it a couple times.
| | 02:43 | Okay, so we can see down here the
number of triangles, so it's about 130,000.
| | 02:51 | That should be good enough.
| | 02:53 | Alright! Let's try this again.
| | 02:54 | I'm going go get a maximum brush size,
go back to the Draw brush, and let's zoom
| | 03:00 | out a little bit so we have the brush
covering the entire plane, and I'll hit W
| | 03:05 | to turn off Wireframe, and now I'm
just going to brush a little bit.
| | 03:12 | Alright! Let me zoom in and see how this looks.
| | 03:17 | Alright; it's pretty good, however
there's one little concern. The grout in
| | 03:22 | between the bricks is actually bumping upwards.
| | 03:26 | You can see here and the bricks are kind
of pushing in and I want that effect to
| | 03:30 | be in reverse. I want the space between
the bricks to be indented a little bit.
| | 03:34 | So I want to hit Ctrl+Z to undo that
and let's invert the mask and let's
| | 03:38 | try this one more time. There, not bad.
| | 03:44 | You might have to try a few times
to get the result that you want.
| | 03:47 | Be sure to adjust the strength settings
if this result is too strong or too weak.
| | 03:51 | Now with this done, you can save it
and then import it into the seal scene.
| | 03:55 | Be sure to delete the existing floor first.
| | 03:58 | Brush Masks are a great way to save
time by projecting photographic texture onto
| | 04:02 | a model rather than sculpting it by hand.
| | 04:04 | Of course, I usually end up tweaking
and refining the texture by hand anyway,
| | 04:09 | but at least the Brush Mask gets me
closer to what I want the end result to
| | 04:13 | look like in less time.
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| Using different materials| 00:00 | Sculptris comes with a variety of
materials that you can apply to models, but
| | 00:04 | you can also create your own custom materials.
| | 00:07 | In this movie, I'm going to use
Photoshop and a picture of a real object to make
| | 00:11 | my own custom material.
| | 00:12 | If you don't have Photoshop, you can
use pretty much any image editing program.
| | 00:17 | There is a really great one called Pixlr.
| | 00:19 | It's free and you can run it right off
of its website; go to pixlr.com/editor.
| | 00:26 | In Sculptris you can change the
material by clicking on the Material swatch;
| | 00:31 | this brings up a gallery of options.
| | 00:33 | Feel free to experiment
with the various materials.
| | 00:39 | I like to sculpt with the Material8,
let's just scroll down here and get Material8.
| | 00:45 | This one does a good job of showing the
form of my sculpture, so I usually like
| | 00:49 | to work in this one.
| | 00:50 | There is a few of them that are a little bit
on the fancy side; let's try this one here.
| | 00:56 | Materials like this may look cool, but
I don't like to sculpt with them because
| | 01:00 | they can become distracting
with all these reflections.
| | 01:03 | Materials like this are better
applied when you're done sculpting and you
| | 01:06 | just want to show something off
with a material that's appropriate for
| | 01:09 | whatever you've sculpted.
| | 01:10 | It's really up to your
preference which material you use.
| | 01:13 | Now let's make a custom material.
| | 01:15 | I'm going to go into Photoshop.
| | 01:16 | Don't worry if you don't know
Photoshop; we won't be doing anything even
| | 01:20 | close to complicated.
| | 01:21 | I'm going to open this
image I have of an ornament.
| | 01:27 | I've picked this image because the
ornament has a nice material quality.
| | 01:31 | If you use your own image, it works best
if the object has a uniform surface quality.
| | 01:36 | In other words, just a simple surface with no
color variation or other shapes on its surface.
| | 01:41 | This ornament will work great because
we can see the whole spherical shape;
| | 01:44 | there is no other object blocking it.
| | 01:46 | I want to make sure we've got the Crop
tool active here and I want to hold down
| | 01:52 | Shift while I draw out a crop box.
| | 01:54 | This will make sure that we
have a perfect square to work with.
| | 01:57 | Once we've drawn that out, I just want
to hold down Shift again and just size
| | 02:03 | this until the edges of the crop
box are right up against the ornament.
| | 02:09 | Let's just move it around a little
bit until it's perfectly aligned.
| | 02:12 | Alright, pretty good! Now I'll hit Enter.
| | 02:17 | Now let's resize the image.
| | 02:19 | Go up to Image>Image Size and I'm going
to input 256 by 256--make sure it's set
| | 02:27 | to Pixels--and click OK.
| | 02:29 | Now we need to save this image
to the Sculptris Materials folder.
| | 02:34 | Now we need to go into Applications
and actually find the location where the
| | 02:40 | Sculptris is installed: Sculptris Alpha
Six in the Applications folder, and the
| | 02:51 | Materials folder, great, and I'll
just call it Ornament and save it.
| | 03:01 | The default settings are fine, just click OK.
| | 03:05 | If you're using a PC or a Windows
computer, the location where you want to save
| | 03:09 | this is in C:\Program Files(X86)\
Pixologic\Sculptris Alpha 6\materials.
| | 03:22 | Okay let's go back to Sculptris now.
| | 03:25 | Let's go into our Materials and notice
that it's not in here yet; we just need
| | 03:31 | to hit Update to refresh the list of
materials. Let's scroll down and it's right
| | 03:37 | here; it's in alphabetic
order. Let's click Ornament.
| | 03:41 | Alright! Now we've got a material that has
the same surface qualities as the ornament.
| | 03:45 | There is a lot of other ways that
you could create a custom material.
| | 03:49 | You could paint it by hand in Photoshop.
| | 03:51 | You could take your own photos of
spherical objects or you could even do a
| | 03:55 | Google image search for sphere or ball.
| | 03:58 | I've found a lot of images that
are usable as materials that way.
| | 04:02 | Materials in Sculptris are fun to
play with, but for the most part I just
| | 04:06 | stick to Material8.
| | 04:07 | I find that it displays the sculpt
very well without being too distracting.
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| Importing a reference image| 00:00 | Sometimes when you're sculpting,
you'll need to follow an existing design.
| | 00:04 | Now, as much as I enjoy sculpting free
form from my imagination, sometimes you
| | 00:09 | just have to get a reference image to work from.
| | 00:12 | In this video I'll show you how to
import a reference image and then how to get
| | 00:16 | your sculpting to match that image.
| | 00:18 | Now, Sculptris doesn't actually have an
image plane feature, but we can basically
| | 00:22 | get that result by
changing the background image.
| | 00:25 | So, let's go ahead and click on Options.
| | 00:28 | Now, most of these settings are best
left alone, however there are some things
| | 00:32 | that are going to help us with this.
| | 00:34 | For one, I want to minimize the
effect of perspective distortion while I
| | 00:38 | work with the reference.
| | 00:39 | That's because my reference image is
going to be an orthographic drawing and I
| | 00:44 | don't want it to be trying to
line up our perspective model with an
| | 00:48 | orthographic drawing.
| | 00:49 | So what I want to do is change the
perspective Field of View to the lowest setting.
| | 00:54 | There is still going to be a
little bit of perspective but it'll
| | 00:58 | definitely be minimized.
| | 00:59 | This kind of simulates the effect of
looking at the model through a telescope,
| | 01:03 | which reduces the
appearance of perspective distortion.
| | 01:06 | Next we want to import an
image to use in the background.
| | 01:10 | Before we actually click on the
background button though, I want to show you
| | 01:14 | what we're going to be working with.
| | 01:15 | I'm just going to switch over to Photoshop.
| | 01:17 | Here, I've got an image that is the
same pixel height and width of the monitor
| | 01:22 | that I'm working on.
| | 01:23 | If I go to Image>Image Size. You
could see that this image is 1280 by 720.
| | 01:28 | If you're working on a different
resolution monitor make sure you're setting
| | 01:33 | your image to the resolution of your monitor.
| | 01:35 | Alright! Some things to note, I went
ahead and filled the background with a
| | 01:40 | gradient, just so that it mimics the
gradient that we find in Sculptris.
| | 01:44 | It really doesn't have to be anything special;
| | 01:46 | it could just be a solid gray or a
dark gray or something like that.
| | 01:50 | Most importantly here however, we've got
the concept art that I want to work from.
| | 01:54 | I made the art white, so that it would
be easy to see against a dark background.
| | 01:58 | You don't have to do anything so fancy;
you could just simply have a black
| | 02:03 | drawing on a white background
and it would work just fine.
| | 02:05 | I'm just making it like this so
it'll be easier to see in the video.
| | 02:09 | So go ahead and save your reference
image out--I've already got it saved--and
| | 02:12 | let's load it up in Sculptris.
| | 02:15 | So now let's click on Background and let's go
into the Reference folder and open up hank.jpg.
| | 02:27 | Let's click OK to exit the options.
Let's zoom out from this sphere so we can
| | 02:31 | line it up with the reference.
| | 02:33 | First I want to place it kind of roughly
over the chest area of our character here.
| | 02:38 | What I want to do is get the Grab tool
out--make sure to turn off Global--and I
| | 02:44 | just want to start grabbing on this
and just kind of roughly banging it into
| | 02:48 | shape so that it fits the
overall proportions of the concept art.
| | 02:54 | I just want to get the overall height
going here. Now, it doesn't have to be
| | 03:01 | anything particularly accurate at
this point. I just want to get the height
| | 03:05 | the same so that when I move the
sculpt over to the side view, I can get
| | 03:10 | everything lining up.
| | 03:14 | Okay, so the height is pretty good.
| | 03:15 | Alright! So now I'm just going to rotate
to the side view and hold down Shift so
| | 03:21 | that it snaps and let's move this over
here and now with the good old Grab tool,
| | 03:27 | I just want to get this
lining up better in the side view.
| | 03:30 | It might take a little bit of
tweaking back and forth to get this right.
| | 03:42 | And now I can just grab on
the feet to pull out his shoes.
| | 03:50 | You might need to switch back and forth
a little bit, so I'm actually going to go
| | 03:53 | back to the front view, and also notice
that as I rotated it the scale got off
| | 03:58 | a little bit, so I'm just going to zoom in
until the size of the height lines up better.
| | 04:03 | Alright, so now I can just do a little
bit more editing; make sure it lines up
| | 04:07 | again in the front view, just
kind of a back and forth process.
| | 04:11 | Okay, pretty close.
| | 04:16 | Now here is one issue. This technique
works great for getting the outline, but
| | 04:20 | what about any internal shapes?
| | 04:22 | The sculpt is blocking the
reference when it comes to the face.
| | 04:25 | One way around this is to hide the
sculpt by holding down H and clicking on it.
| | 04:31 | So now I can kind of see where the
face should go inside here, where facial
| | 04:35 | features need to be.
| | 04:37 | So what I can do is hit Ctrl+H to bring
it back and I can get my drawing tools,
| | 04:44 | bring this down a little bit and I'm
going to try hitting H, holding down H and
| | 04:49 | clicking one more time.
| | 04:50 | Okay, so I want to put the mouse
there, so now I can just kind of sculpt,
| | 04:54 | actually I have my brush mask still
enabled so I want to turn off enable, and
| | 05:02 | let's just draw kind of
the mouth where it should go.
| | 05:05 | I'm going to hold down H to hide that again,
okay so the nose should go about there.
| | 05:11 | I'm going to hit Ctrl+H and kind
of brush on the nose there, see the
| | 05:17 | eyes roughly there.
| | 05:18 | It's not going to be perfect, but we
can definitely tweak it after the fact.
| | 05:25 | So now let's look at this from the side
view, group this over, and now we can go
| | 05:32 | back and then grab and kind of push this
around so that the facial features line
| | 05:36 | up a little bit better.
| | 05:37 | Alright, so let's look at the model.
| | 05:44 | Now it's far from finished; we
haven't even started on the hands really.
| | 05:47 | However, this does give us a solid
foundation to continue sculpting and tweaking.
| | 05:52 | Now let's restore everything to the
way it was before we started messing with
| | 05:55 | the perspective in the background.
| | 05:56 | So I'm going to go into Options, and let's
set the Field of View back to 35: the default.
| | 06:03 | Also, I want to get the
original background again.
| | 06:06 | So let's click on Background and
what I want to do is find my Sculptris
| | 06:11 | Application folder again, go
into Sculptris Alpha 6>Data and pick
| | 06:20 | background.png. Alright, click OK.
| | 06:22 | Alright, so our perspective is back to normal
and our background is back to normal as well.
| | 06:31 | So there is definitely a lot of work
left to do on this character. You know,
| | 06:35 | you'd want to sculpt all of this
musculature and get a lot of the details in.
| | 06:39 | However, what we've got so far
is pretty accurate to the concept.
| | 06:42 | You know, since we lined everything up,
we know that the proportions are accurate
| | 06:45 | and it's a really great position
to keep working on this character.
| | 06:49 | Using a reference image can really be
helpful, if what you're trying to sculpt
| | 06:53 | needs to match an existing concept design.
| | 06:55 | Without the ability to import a
background image, it would take a lot more
| | 06:59 | work to make sure that the shapes and
proportions of the sculpt were matching
| | 07:03 | the original art.
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|
|
4. Painting and Making Texture MapsEntering Paint mode| 00:00 | In addition to sculpting, Sculptris is
a great program for painting textures
| | 00:04 | directly onto your models.
| | 00:06 | Paint Mode is almost like a separate
program, so be sure to save your work
| | 00:10 | before you go into it.
| | 00:12 | The interface is very similar to
the Sculpting Mode, but with a few
| | 00:15 | differences that I'll go over.
| | 00:17 | In this video I'll show you how to get
into Paint Mode and introduce the basic
| | 00:21 | controls. Let's get down to it.
| | 00:22 | There are two ways to get into Paint Mode;
| | 00:24 | you can either click this Paint
button or you can open up a model that
| | 00:29 | already has UVs laid out.
| | 00:31 | First let's go into Paint Mode with
this default sphere. I'm going to click
| | 00:34 | on the Paint button.
| | 00:35 | Now, before you can paint, a model
has to have its UV Map laid out.
| | 00:41 | A UV Map is information contained in a
model that tells 2D textures how to be
| | 00:47 | mapped onto the surface.
| | 00:48 | There are other 3D courses on lynda.com
that cover UV Mapping in much greater detail.
| | 00:53 | In Sculptris, you don't even have to
worry about them because it's going to lay
| | 00:57 | out our UVs automatically.
| | 00:59 | Before we can start painting,
Sculptris wants to know, what texture
| | 01:02 | resolution we want to paint.
| | 01:04 | I like to raise this all the
way up to the maximum of 2048.
| | 01:09 | If you're in Paint Mode and you notice
that Sculptris slows down, you might want
| | 01:12 | to try a lower resolution, but
2048 works for me. Let's click OK.
| | 01:18 | One thing to remember is that once you
go into Painting Mode, you can't go back
| | 01:22 | to Sculpting Mode without losing
all the painting that you've done.
| | 01:25 | So it's a good idea to know that you're
done with sculpting before you start painting.
| | 01:29 | So just a moment ago, Sculptris did a
bunch of calculations to take this 3D
| | 01:33 | model and generate its 2D texturing map.
| | 01:36 | I find that if a model is very
complicated, this process sometimes doesn't work
| | 01:40 | and Sculptris will crash or stop working.
| | 01:43 | If that happens to you, try reducing
the excess triangles in the model so that
| | 01:47 | it's easier for the computer to handle.
| | 01:49 | Now we're in Paint Mode.
| | 01:51 | Before we get into any of the controls
here, I want to show you one other way of
| | 01:55 | getting a model into painting.
| | 01:56 | I'm just going to click the New Sphere and
make a New Scene, so we're back in Sculpt Mode.
| | 02:03 | What I want to do is import an OBJ.
| | 02:06 | This is a model that was
made in a different program.
| | 02:11 | So open up dewhopper.obj and
we'll go ahead and make a new scene.
| | 02:15 | Now when I made this model in Maya. I
laid out the UVs there and Sculptris
| | 02:20 | notices this and ask me if I want to go
directly into Paint Mode, so let's click Yes.
| | 02:28 | And the resolution is good
so I'm just going to click OK.
| | 02:31 | Now you can paint on a model
that was made in any other program.
| | 02:34 | I'll get into how to actually
paint on this in the next video.
| | 02:39 | For now, I just wanted to emphasize
that Sculptris makes it easy to start
| | 02:42 | painting on models without
having to worry about laying out UVs.
| | 02:46 | Just remember, that if you go back to
sculpting after you start painting, you'll
| | 02:49 | lose all that paint information.
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| Painting color| 00:00 | Painting in Sculptris is generally not as
advanced as painting in ZBrush or Mudbox.
| | 00:05 | It's meant for sketching with color
more than it is for creating finished
| | 00:10 | quality texture maps.
| | 00:11 | However, there are still some very cool
things that you can do with it that you
| | 00:16 | can't even do in much more advanced software.
| | 00:18 | Add to that the fact that by being
less advanced, it's also less complicated.
| | 00:24 | You can just get down a business with
painting color in Sculptris without having
| | 00:28 | to learn a lot of controls.
Let's see how it works.
| | 00:31 | Once you bring a model into Sculptris,
it's going to look like it's covered
| | 00:34 | in gray checkerboard.
| | 00:36 | This simply means that there is
no color yet; it's a blank canvas.
| | 00:40 | So let's fill the whole thing with a color.
| | 00:42 | I'm going to pick a color from our swatches
here and let's make it kind of a sandy brown.
| | 00:48 | So I'm going to decrease the saturation
here and let's see, let's pick something
| | 00:54 | that's a little bit more like a brown.
| | 00:56 | A little bit lighter, okay
that's good, and click OK.
| | 01:01 | Now let's click the Fill button or hit Ctrl+
F to fill the entire model with that color.
| | 01:07 | Now, let's change the color to a brick red,
maybe a little bit higher saturation,
| | 01:14 | a little bit more reddish, and okay.
| | 01:17 | So we've got the Paintbrush Mode activated;
hit D on the keyboard if it's not active.
| | 01:26 | Now you can just simply
paint with the paintbrush.
| | 01:31 | You can also pick an
alternate color to paint with.
| | 01:34 | So what I'm going to do is click
Invert, so it switches the foreground and
| | 01:38 | background color, and now let's change
the background color to something else,
| | 01:43 | maybe kind of a greenish color; click OK.
| | 01:48 | So, now you can also paint with this
color and if you want to switch back to the
| | 01:52 | brick red, just hold down Alt and just
start painting with the other color, the
| | 01:58 | background color, or you can just click
Invert and turn the background color to
| | 02:02 | the foreground color.
| | 02:08 | The paintbrush behaves pretty
much just like you'd expect.
| | 02:12 | You can change the size and the
strength just like in sculpting brushes.
| | 02:16 | So go ahead and paint all of these
bony plates with this brick red color.
| | 02:20 | It could take a little bit of time, so
I'll just let you do that on your own.
| | 02:25 | One setting that can make
this easier is the Heightmask.
| | 02:29 | With this setting turned on, Sculptris will
only paint on the raised parts of the model.
| | 02:34 | So now we don't have to be so careful
about where we paint because Sculptris is
| | 02:38 | only going to paint on the
areas that are raised up.
| | 02:41 | It does get a little bit of paint on
the recessed areas, but for the most part
| | 02:45 | it's only painting on the raised areas, so
that helps us paint only on the bony plates.
| | 02:52 | Now let's switch the Heightmask mode to Cavity.
| | 02:55 | In this mode, the painting is only
going to happen in the recessed areas as
| | 02:59 | opposed to the raised areas.
| | 03:00 | So I'm going to hold Alt while I paint.
| | 03:04 | And now this green color is going to
get painted only in the recessed areas.
| | 03:12 | One thing that I like to do is to use
just a darker version of the color so it
| | 03:17 | looks kind of like it's in shadow.
| | 03:19 | So actually let's change our color to
kind of that sandy brown, except just a
| | 03:23 | darker version of it, and click OK.
| | 03:28 | So I'm just going to zoom in a little
bit closer here and let's change our
| | 03:34 | angle a little bit.
| | 03:36 | So now I'm painting with the Cavity
mode and the Heightmask, and just simply
| | 03:41 | painting shadowy areas.
| | 03:47 | One last thing about painting: you can
use Hiding, just like in Sculpting Mode,
| | 03:51 | to make it easier to paint on just
the objects that you want to paint.
| | 03:55 | So I'm going to hold down H and
click on the dewhopper's body.
| | 03:59 | Now we can fill with white to fill just
the parts that are visible and not worry
| | 04:04 | about changing the color on the hidden parts.
| | 04:09 | So for example, we could come into
the eyeballs and we could paint them a
| | 04:14 | specific color, without worrying about
painting on the rest of the eyelids of the dewhopper.
| | 04:19 | Actually I want to turn off
Cavity Mode here and Heightmask.
| | 04:23 | Now with the dewhopper hidden, we can
paint on the eyeballs without worrying
| | 04:26 | about painting the eyelids as well.
| | 04:33 | And actually you might notice that
this kind of looks like it's in Symmetry
| | 04:36 | Mode. This is actually because both the
eyeballs are occupying the same part of the UV Map.
| | 04:40 | Basically it means if you paint on one
of the eyeballs, the other eyeball is
| | 04:44 | going to get the same painting.
| | 04:45 | Alright, go ahead and hit Ctrl
+H to bring everything back.
| | 04:51 | So that's the basics of
painting color in Sculptris.
| | 04:53 | There are no fancy paintbrushes or
blending modes like you might find in other
| | 04:57 | programs, but as far as something that
just lets you jump in and start trying
| | 05:00 | out different color ideas,
Sculptris works great.
| | Collapse this transcript |
| Painting with textures| 00:00 | Painting colors is great, but sometimes
you want to paint things that are more
| | 00:04 | complex or detailed.
| | 00:06 | Rather than painting all those things
by hand, you can use a photograph of the
| | 00:09 | detail and paint it right on your model.
| | 00:12 | Again, this feature is not as robust
in Sculptris as it is in most other
| | 00:16 | 3D painting programs.
| | 00:17 | But as far as a tool that can give
you quick and dirty results, you'll be
| | 00:21 | hard-pressed to find
something that is easier to use.
| | 00:23 | We've got our dewhopper with some
basic coloration; now it's time to give him
| | 00:28 | some more detailed color.
| | 00:29 | Let's load up an image by clicking on
the Texture swatch and now let's load
| | 00:32 | up an image by clicking on New, and let's go
into our Exercise Files and get the shell.jpg.
| | 00:41 | Finally, let's make it active by clicking on
the image here and then we need to Enable it.
| | 00:47 | Okay, let's see what happens if
we just paint with it like this.
| | 00:50 | I am going to zoom in a little bit
closer so we can see more what's going on.
| | 00:54 | Okay, so I'm going to just paint.
| | 00:58 | Okay that's kind of interesting, but it
looks like we need to play with some of
| | 01:02 | the settings in order to
get the most out of this.
| | 01:05 | So I'm going to hit Ctrl+Z to undo
that. One thing I might want to do is
| | 01:09 | increase the size of the brush.
| | 01:11 | So you can see that there is kind of a
little preview of the image before it
| | 01:15 | gets stamped out, so I'm just going
to hold down the spacebar and increase
| | 01:19 | the size of the brush.
| | 01:20 | Let's stamp out the image. I'm just
going to hold down with the Wacom stylus. I
| | 01:24 | am just moving it around a little
bit until we get a single stamp.
| | 01:29 | There. You can see it stamped out a little
version of that image right there on our model.
| | 01:33 | Okay, not bad, and actually let's try this again.
| | 01:36 | And what I want to do is actually increase
the strength so it's a little more opaque.
| | 01:40 | Okay, it looks like I stamped
one out there. Okay, great!
| | 01:43 | So I transferred that
photographic detail right onto our model.
| | 01:48 | Okay, let's try something else.
| | 01:50 | I'm going to hold down the
spacebar to get the Hotbox.
| | 01:53 | Go ahead and click and drag on
this little version of the image.
| | 01:57 | What it's going to do is
rotate the image around.
| | 01:59 | So if we want to apply the image in a
different angle, all we have to do is just
| | 02:04 | release it at a different angle
and we can try stamping with this.
| | 02:07 | Now let's try some of the other settings.
| | 02:10 | I'm going to hit Ctrl+Z just to undo what
we've done so I can see a little bit more clearly.
| | 02:15 | Now, something else I want
to do is turn on Airbrush.
| | 02:18 | Remember, this is going to create kind
of a separation between different stamps,
| | 02:22 | so if I move the cursor quickly, there
is a little bit of a gap between all of
| | 02:26 | the different stampings.
| | 02:28 | If I undo that and let's say if we turn
Airbrush off, Sculptris is going to try
| | 02:33 | to create more of a continuous line of images.
| | 02:37 | So let's undo that and turn Airbrush back on.
| | 02:42 | So as it is right now, if we brush with
this texture on, every little version of
| | 02:48 | the texture that gets created
is facing the same direction.
| | 02:52 | That might be what you want, but there
is another feature that's kind of cool.
| | 02:55 | If I hit undo and just turn on
Directional, what this does is it forces the
| | 03:00 | image to rotate into the same
direction that we're moving the cursor.
| | 03:04 | Let me just shrink the size of the brush
down; it might make it easier to see this.
| | 03:08 | So I am just kind of brush around in a
circle. You might see that it's rotating
| | 03:13 | each individual instance of that stamp
to match the direction that we're moving.
| | 03:17 | So it's really up to your preference
if you want to turn that setting on.
| | 03:21 | One more thing you can do is turn on Random.
| | 03:24 | What this does is it actually causes
the brush to rotate a random amount for
| | 03:29 | every time it stamps out a version of it.
| | 03:32 | So that creates a more chaotic effect.
| | 03:34 | Okay let's undo that, hitting Ctrl+Z. Okay,
we're done with texture for right now
| | 03:39 | so I'm going to turn off Enable
and let's load up a brush image.
| | 03:45 | Go ahead and click on that and let's
open a new image and let's pick the
| | 03:50 | rhinoskin.jpg, and then go ahead and
click on it one more time and then Enable it.
| | 03:58 | Brush images work a lot like textures,
except instead of painting the many
| | 04:02 | colors of an image directly onto the model;
| | 04:05 | it uses the brightness values of an image
to control how a single color is applied.
| | 04:11 | Let's get a different color here. Maybe I
want to paint with kind of a dark brown color.
| | 04:17 | Let me just move the model to make it
easier to see and I'll increase the size
| | 04:25 | of the brush just to make
it easier to see as well.
| | 04:28 | Okay, so when I brush with that it's
actually painting that brown color but in
| | 04:33 | the pattern of the image.
| | 04:35 | Let me undo that once. I'm going
to try to get it just a little bit.
| | 04:40 | Okay and let's close, so
let me try it one more time.
| | 04:43 | It can take a little bit
of practice to get this.
| | 04:45 | Actually what I want to do is turn off
Random and let's see if I try this one more time.
| | 04:51 | Okay, that's a little bit better.
| | 04:52 | With the Random on it was actually
causing multiple stamps to be flipped around
| | 04:56 | at different angles, so
that's not what I wanted.
| | 04:58 | Well you can see you can get some of
that nice skin texture right there into our
| | 05:02 | painting with the brush image,
let's try this couple of more times.
| | 05:09 | Okay that was a little too much;
| | 05:11 | I kind of held it down too long.
| | 05:13 | Let me try it one more time here, okay
so that's pretty nice, you can get some
| | 05:17 | really cool effects that way.
| | 05:20 | So the settings for the brush image are
pretty much the same as for the texture.
| | 05:23 | You know you've got Directional and Random.
| | 05:26 | One other thing you can do is Invert.
| | 05:28 | So if we turn this off, you're
going to get the opposite effect.
| | 05:31 | So whereas when we're painting before,
there was kind of a darker color, it was
| | 05:36 | painted in the cracks.
| | 05:37 | Now let's see what happens.
| | 05:40 | So now you've got the darker color
painting in the opposite, so it's kind of
| | 05:44 | like an inverted effect.
| | 05:46 | So Texture and Brush images are
great because they allow you to use
| | 05:49 | photographs to create detail that
would otherwise be very difficult or very
| | 05:54 | time consuming to create by hand.
| | 05:56 | I use them all the time to add
details and textures to a 3D paint job.
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| Painting bump maps| 00:00 | Although Sculptris allows you to
sculpt to fine details in Sculpt Mode, there
| | 00:04 | are a few situations where you
wouldn't want to or even wouldn't be able to.
| | 00:09 | For example sculpting really fine
detail requires that a lot of triangles be
| | 00:13 | created in the mesh.
| | 00:14 | This can slow the computer down
and even make texturing impossible.
| | 00:18 | Another scenario is when you're
working on a model that can't be changed, for
| | 00:22 | example a game character where the
model is already made and textured.
| | 00:26 | If you were to sculpt more details on
it, it would ruin the precisely modeled
| | 00:30 | mesh as well as its laid out UV maps.
| | 00:33 | In these situations, you can paint
bump maps to simulate sculpted details.
| | 00:38 | Let's see how it works.
| | 00:39 | So, I'm going to start out in Paint Mode
on just a regular sphere, so that it'll
| | 00:44 | be easier to see what is going on.
| | 00:46 | Okay and let's switch to the Bump Brush,
and something else I want to do is just
| | 00:51 | shrink the brush a little bit and zoom in.
| | 00:53 | Then I go ahead and paint with that.
| | 00:57 | So it looks like we're sculpting.
| | 00:58 | We can hold down Alt and now it
looked like it is sculpting inwards.
| | 01:04 | Painting bumps simulates the effect
of sculpting without actually changing
| | 01:08 | the shape of the model.
| | 01:10 | So let's rotate around the side a little bit.
| | 01:11 | If this were actually sculpted, you'd
be able to see the silhouette of the
| | 01:15 | model changing here.
| | 01:18 | So, this is good for sculpting really
fine details that would be trouble to
| | 01:21 | create in Sculpt Mode.
| | 01:22 | So I'm going to zoom in and shrink the
brush really small and see how you can
| | 01:26 | create really fine details in Bump Mode
rather than making this in Sculpt Mode.
| | 01:32 | Now, because this is not true sculpting,
I don't recommend using it to make any
| | 01:37 | big changes to the model, just small details.
| | 01:39 | So if you were to try to do something
really big, let's try something like this,
| | 01:45 | just a lot of really big bump detail.
| | 01:47 | See what happens? It just starts to
look fake because there's not actually any
| | 01:52 | change to the model.
| | 01:55 | If you want to remove a bump, you can
activate the Flatten Bump tool, and this is
| | 01:59 | just kind of a like an eraser, just
goes in and removes any bump detail.
| | 02:10 | You can also use brush masks and
textures just like we did with color painting.
| | 02:14 | So let's make sure we go back to the
Bump Brush here and let's enable the Brush
| | 02:20 | image, and actually I'm going
to load up a different image.
| | 02:25 | Let's get the crease.png and then go
ahead and click on it one more time here.
| | 02:32 | Make sure it's enabled, and let's change
the size of the brush. That's about good
| | 02:35 | right there and let's paint with this.
| | 02:38 | So it tries to simulate the effect
of the Crease Brush in Sculpt Mode.
| | 02:42 | And it's looking a little dotty, so
let's turn on Airbrush Mode and just make
| | 02:47 | sure we sculpt kind of slowly.
| | 02:49 | And it should make a cleaner line.
| | 02:50 | And same as always, you can hold down Alt
and it will look like it's sculpting inwards.
| | 02:58 | Okay.
| | 02:58 | Now let's open up the Dewhopper Exercise File
to see how this can be used on a real project.
| | 03:07 | And that's okay, we don't
need to keep the sphere.
| | 03:10 | And yes, we want to go into Paint Mode.
| | 03:13 | Okay, so let's zoom in a
little bit closer on the dewhopper.
| | 03:17 | And I'm going to zoom in, rotate the pen,
just want to get a little bit closer
| | 03:25 | to kind of his belly area. Perfect!
| | 03:26 | All right, so let's change the brush
image. Let's go back to the rhinoskin and
| | 03:35 | enable it and make sure
we are in Paint Bump Mode.
| | 03:42 | Also, I'm going to
increase the size of the brush.
| | 03:48 | Okay, so let's see what
happens if we try to paint with this.
| | 03:54 | Okay, so it stamps out a little bit of
texture. It's a little bit hard to see.
| | 03:58 | So I want to undo that and let's
increase the strength somewhat and I'm going to
| | 04:04 | increase the size of the brush a little bit too.
| | 04:06 | Okay, that's a little bit better
and it looks like we need to turn off
| | 04:10 | Invert, because it looks like the crease is in
between the skin bumps; it is bumping outwards.
| | 04:17 | So I'm going to undo that and
let's try it one more time. Great!
| | 04:22 | So, it transferred that photographic
detail right on to our model; gave it
| | 04:27 | a nice bump texture.
| | 04:29 | So let's see if we can
apply this on other areas.
| | 04:31 | I'm going to shrink the size of the
brush a little and stamp with it here,
| | 04:37 | maybe a little bit bigger.
| | 04:38 | So really it's kind of just a trial and error
kind of thing to stamp on some of this texture.
| | 04:44 | But once you start applying it around
the different parts of your model, you can
| | 04:47 | really make some cool effects.
| | 04:50 | Go ahead and experiment with painting bump maps.
| | 04:53 | Creating this kind of fine detail would
be much harder to do in Sculpting Mode
| | 04:57 | because it would require the model to
have so many triangles that it could
| | 05:01 | really slow down your computer.
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| Masking in Paint mode| 00:00 | When you make a mask in Sculpt Mode,
the model turns a darker color to show you
| | 00:04 | where the model is masked.
| | 00:06 | That works great in Sculpting Mode,
but in Paint Mode, it can get confusing
| | 00:10 | because you might not be able to
tell what is masked and what is simply
| | 00:13 | painted a darker color.
| | 00:15 | For this reason, masking in
Paint Mode is a bit more complicated.
| | 00:19 | In this video, I'll show you everything
you need to know about masking in Paint Mode.
| | 00:23 | Let me zoom in on the dewhopper so
we can see more clearly what's going on.
| | 00:29 | In Sculpting Mode, you'd paint a mask
simply by holding down Ctrl and brushing.
| | 00:35 | In Paint Mode, there are controls for
activating, editing, and displaying masks.
| | 00:40 | So let's go into Edit Mode first.
| | 00:43 | Come on over here and turn on Edit Mask.
| | 00:46 | In this mode, you can paint
masks just like in Sculpt Mode.
| | 00:49 | So let's try brushing on here.
| | 00:52 | So the entire model is masked by default.
| | 00:56 | So any brushing you do will remove the mask.
| | 00:59 | If you want to add mask, just
hold down Alt while you brush.
| | 01:02 | Okay, so now let's do
some painting with this mask.
| | 01:05 | We need to get out of Edit Mask Mode,
so we can go back into Painting Mode.
| | 01:09 | So, we've got Enable Mask now activated,
which means if we paint with a color,
| | 01:16 | that color will go only where the
model is not masked. So if I paint over
| | 01:22 | here, nothing happens, but we can paint
orange anywhere that that mask was not applied.
| | 01:27 | This is great for
protecting certain areas from change.
| | 01:31 | Unfortunately, and I think this is a bug,
but masking doesn't affect painting bump.
| | 01:35 | Okay, so let's hit Ctrl+Z to undo that painting.
| | 01:39 | Now there's one more setting you want
to understand, and that's mask hiding.
| | 01:44 | You see, since the mask darkens the
model wherever it's applied, it can distract
| | 01:48 | from the coloring or even confuse you
by making you think that the masked area
| | 01:52 | is just painted a darker color.
| | 01:54 | So for that reason, I
sometimes like to hide the mask.
| | 01:56 | So go ahead and do that by clicking Hide Mask.
| | 01:59 | Now let's try to paint.
| | 02:04 | So I'm painting all over, but it's only
applied in that area where the mask was turned off.
| | 02:11 | So with Hide Mask turned on, you can't see
the mask but it still has the same effect.
| | 02:16 | Finally, you can turn the mask on and off.
| | 02:19 | So let's go and turn off Enable Mask.
| | 02:23 | And I'm actually going to switch
the colors too by hitting Invert.
| | 02:27 | And so now, the mask is not active at all.
| | 02:31 | You can just paint anywhere you want
and if you turn Enable Mask back on, now
| | 02:35 | that blue is only going to be able to
paint where the mask is not applied.
| | 02:40 | So actually this is a lot more
advanced than the masks in Sculpting Mode.
| | 02:45 | In Sculpting Mode, if you wanted to
turn off a mask and then turn it back on,
| | 02:48 | you would have to repaint the mask each time.
| | 02:51 | So basically, masks in Painting mode do
the same thing as in Sculpting Mode, but
| | 02:54 | there are just a few extra things to know.
| | 02:56 | You can use masks to
protect some areas from change.
| | 02:59 | I use them all the time to help me focus
on painting in particular areas without
| | 03:03 | worrying about messing up other areas.
| | Collapse this transcript |
| Painting materials| 00:00 | Before we get started with this video,
I just want to point out one thing.
| | 00:04 | We're doing this video on a PC.
| | 00:06 | Now, so far in this course,
we've been using a Mac.
| | 00:09 | However, the features we're going
to use in this video may not be fully
| | 00:12 | supported on the Mac.
| | 00:14 | If you're on a Mac and what I'm doing
in this video isn't working for you, your
| | 00:18 | computer might not be fully supported.
| | 00:19 | So, just like in Sculpt Mode, you can
change the underlying material that a model
| | 00:25 | should look like whether it'd be
shiny, dull or reflective for example.
| | 00:28 | However, what can you do when a model
should have several different materials?
| | 00:34 | On our dewhopper, the current
material works great for the skin, but for the
| | 00:38 | eyes and the inner mouth, they should
look wetter and shinier, and the boney
| | 00:41 | plate should look a little bit harder.
| | 00:44 | In this video, I'll show how to paint
different materials to different parts of the model.
| | 00:48 | So, the first thing I want to point out is
how to deal with the materials built in color.
| | 00:54 | So let's make this a little bit more
obvious by picking a material that has color.
| | 00:58 | So I'm just going to scroll down to Strong Rim.
| | 01:02 | Now let's turn the material's color on and off.
| | 01:07 | In Paint Mode, a material can be
displayed with or without its built-in color.
| | 01:12 | With color turned off, the material is
used just for its light and dark values.
| | 01:18 | This is so that the color of the
material doesn't interfere with the
| | 01:20 | color that's painted.
| | 01:22 | However, you might want the material
color to combine with the painted color.
| | 01:26 | So in that case, turn on
the Colored switch. Okay.
| | 01:29 | So let's turn off Colored and
let's go back to the default material.
| | 01:33 | Okay, now let's add a second material.
| | 01:38 | You do that by clicking
on this dot to the right.
| | 01:40 | Now, we need to pick a material for this channel.
| | 01:43 | So I'm going to scroll down and find
Material3--it's this one right here--and
| | 01:47 | you can see it's kind of got
a shiny reflective look to it.
| | 01:51 | So let's click that.
| | 01:52 | Now you might notice that the
model hasn't actually changed.
| | 01:55 | We need to go into Edit Mode and
actually paint with this material before we can
| | 01:59 | see it on the model.
| | 02:00 | Alright! So I am going to zoom in on the model.
| | 02:04 | And let's get up close on the
mouth and just start painting with it.
| | 02:08 | Okay, so you can see it's
looking much more shiny.
| | 02:15 | If you accidentally paint somewhere
where you didn't want it--like, for example
| | 02:19 | up here on the nose--you can just
hold down Alt while you paint and it will
| | 02:23 | erase that material.
| | 02:24 | So, I just want to make sure
I've got it all over the mouth.
| | 02:35 | Okay, looking good.
| | 02:36 | Now, let's paint the eyes.
| | 02:38 | Now, I don't want to accidentally paint
the eyelids while I'm painting the eyes,
| | 02:41 | so what I'm going to do is undo that and
then hold down H, click on the model so
| | 02:46 | I can hide it, and now we can just paint
directly on the eyeballs. Okay great!
| | 02:54 | Hit Ctrl+H to bring back the model.
| | 02:57 | Okay cool, so the wet parts of the
model now have a material that really
| | 03:01 | makes them look glossy.
| | 03:02 | Now, let's pick another material.
| | 03:04 | Let's go into go into material slot 3 and
let's add Material8 and let's turn on Edit Mode.
| | 03:13 | I'm just going to zoom out a little bit
so we can see the boney plates better.
| | 03:17 | And I'm just going to paint with this material.
| | 03:20 | So it's slightly different than the
skin material, maybe a little bit shinier,
| | 03:24 | but it's not quite so shiny as the wet material.
| | 03:28 | Okay, that's good enough for
demonstration purposes. All right!
| | 03:34 | Let's make one last material.
| | 03:36 | Now, it's going to be for
the inside of the mouth.
| | 03:38 | So, you can see how the current
reflective material is kind of shining
| | 03:41 | here inside the throat.
| | 03:43 | So we want to get rid of that so it looks
like the throat is going down inside the mouth.
| | 03:47 | So let's make another material and add one.
| | 03:51 | I am going to scroll up and find a flat texture.
| | 03:56 | So, this material doesn't have any
sort of shading information at all.
| | 04:01 | So, if we go into Edit Mode and paint
with this, you can see it just totally gets
| | 04:05 | rid of any sort of
lighting or shading or reflection.
| | 04:08 | So now it looks like that
throat is going all the way back.
| | 04:11 | One last thing, you can temporarily
hide a material's appearance with the Hide
| | 04:15 | Switch, basically like
turning that material on and off.
| | 04:20 | And if you decide that you don't want
a material anymore, you can just click
| | 04:24 | this X, and delete it.
| | 04:25 | This is one of the features
that I just love about Sculptris.
| | 04:28 | Even much more advanced softwares
like ZBrush don't allow you to paint
| | 04:31 | materials like this.
| | 04:33 | You can do it in Mudbox,
but it's more complicated.
| | 04:36 | In Sculptris, as you can see,
there's little more to it than just adding
| | 04:39 | material and painting it on.
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| Exporting texture maps| 00:00 | Painting color and bump maps in
Sculptris is great, but what if you want to use
| | 00:04 | these maps in other programs?
| | 00:06 | For example, in Maya for an
animation or in Unity for a game? Sculptris
| | 00:10 | allows you export the paint and bump
that you create so that they can be
| | 00:13 | applied in other programs.
| | 00:15 | To work with maps, you'll need
to turn on Show Advance Tools.
| | 00:19 | Don't let the name fool you;
| | 00:20 | they're not really all
that advanced or complicated.
| | 00:23 | First, let's export out our color
painting by clicking on Save Textmap and just
| | 00:29 | go ahead and give this a name like Color.
| | 00:32 | Save it wherever you like.
| | 00:33 | Now, I'm going to open
that map in an image viewer.
| | 00:38 | So, Sculptris simply saved all of the
color information into this texture map
| | 00:42 | that now, we could load up into
pretty much any other 3D program.
| | 00:45 | So I'll just going to close
this and go back to Sculptris.
| | 00:48 | The next button is Open Textmap.
| | 00:51 | This simply loads up a color
map and places it on your model.
| | 00:55 | So let's say that you took the map
that we exported earlier and made some
| | 00:58 | changes to it in Photoshop.
| | 00:59 | You could then save it and load it back up here.
| | 01:02 | The next two buttons are for
exporting the bump painting.
| | 01:06 | You can either export a normal map or a
bump map version of your bump painting.
| | 01:10 | Basically, a normal map is a
more advanced version of a bump map.
| | 01:14 | Unfortunately, you can't load a
bump or normal map into Sculptris.
| | 01:18 | The last two buttons are for
editing your color map in Photoshop.
| | 01:23 | Let's see how we can use it to clean up
these seams on the underside of the model.
| | 01:27 | I'm just going to zoom in a little bit
more closely, so we can see this better.
| | 01:31 | So, you can see there's a little seam
here where the texture doesn't totally
| | 01:34 | line up the way it should.
| | 01:36 | So, I'm going to click on Export PSD and
let's call this Seamfix and click Save.
| | 01:44 | Alright, let's take it into Photoshop.
| | 01:46 | We'll just open it up from where we saved it.
| | 01:51 | Now, it looks kind of a like a render
of what we were seeing in Sculptris, but
| | 01:56 | you can actually edit this texture now
in Photoshop and then save it out again.
| | 02:00 | Any edits that you do should
be done in this paint layer.
| | 02:03 | So, what I want to do is smudge around
the colors in this image so it kind of
| | 02:08 | blurs out this seam.
| | 02:09 | I'm going to get this Smudge tool and I
want to make sure that Sample All Layers
| | 02:14 | is turned on, so that it's actually
going to smudge the color in the background
| | 02:18 | and place that smudging into the paint layer.
| | 02:21 | One thing I also want to do is turn
off the Shade layer, because the shading
| | 02:25 | will get in the way of the color.
| | 02:27 | Alright, so I'm just smudging and kind of
smearing that seam together. Okay, pretty good.
| | 02:39 | Now, be aware that when you're
editing like this, you can only edit what
| | 02:43 | is currently visible.
| | 02:44 | So, the top of the model which is not
currently visible or maybe parts that are
| | 02:49 | overlapping other parts, those
parts can't be edited right now.
| | 02:53 | So let's go ahead and just save this
and let's open it back up in Sculptris.
| | 02:59 | Import PSD and let's find that
seamfix.psd. Open. Alright.
| | 03:07 | So, all of those adjustments that we
made in Photoshop are now fixed here, in
| | 03:11 | our texture, in Sculptris.
| | 03:13 | One last note is that the materials that
we painted in the last video, like this
| | 03:16 | shiny inner mouth and eyes,
those things cannot be exported.
| | 03:20 | Unfortunately, that's just
for viewing in Sculptris.
| | 03:24 | In this video we had looked at some of
the exporting options in Sculptris as
| | 03:27 | well as some of its limitations.
| | 03:29 | With the ability to export textures,
you can now use the colors and bumps that
| | 03:33 | you painted in other programs.
| | Collapse this transcript |
|
|
5. Artistic Sculpting TheoryUsing Sculptris artistically| 00:00 | So far, we've been looking at the
features of the program and how the
| | 00:03 | tools work and that's an important part of
making art, no matter what media you're using.
| | 00:08 | But there's also another component
to making sculptures and art that are
| | 00:12 | important no matter whether you're drawing,
sculpting with clay, or painting on canvas.
| | 00:16 | There are artistic skills to be learned
that can help the work that you create
| | 00:20 | to be more appealing and more expressive.
| | 00:22 | The artistic side of what we're doing is
different from the technical in a few ways.
| | 00:27 | For one, the technical side is more absolute.
| | 00:29 | For example, the Grab tool
always works in certain ways.
| | 00:32 | However, when it comes to artistry,
there aren't any solid rules that you
| | 00:36 | should always follow.
| | 00:38 | Also, when you learn how to use the
Grab tool, that's it; you just know what it
| | 00:42 | does and how to use it.
| | 00:43 | However, with art skills, you can
practice your whole life and still be learning
| | 00:47 | more every time you sit down to sculpt.
| | 00:50 | So I just want to emphasize that what
I'm going to talk about in this chapter
| | 00:54 | isn't a checklist that you follow and
then suddenly you have a great sculpture.
| | 00:57 | It's more like things to keep in the
back of your mind as you work and also,
| | 01:02 | artistic skill is something that
you develop after lots of practice.
| | 01:05 | So in addition to the technical and
artistic lessons in this course, I'm
| | 01:09 | providing a training regimen that you
can follow on a daily basis to improve
| | 01:14 | your digital sculpting over time.
| | 01:16 | It will even translate in the
better traditional sculpting.
| | 01:19 | I call it The Speed Sculpt
Challenge; let's see what it involves.
| | 01:23 | You should devote at least 30 minutes, but
not more than one hour every day to sculpting.
| | 01:28 | Don't sit and think too long
about what it is that you'll sculpt.
| | 01:31 | Pick something and get down to it.
| | 01:34 | You can do a sculpt of something that you
have around you, something you see in a
| | 01:37 | photo, something from
your imagination and so on.
| | 01:40 | Try to do a variety of
types of things from day to day.
| | 01:44 | Also, don't stop and think
about how to do anything.
| | 01:47 | Just take your best guess about the
tools and techniques that you think
| | 01:50 | will work and dive in.
| | 01:52 | The next time that you're faced with a
similar problem, try to solve it in a
| | 01:55 | different way or with different tools.
| | 01:57 | You'll want to focus on
sculpting and nothing else.
| | 02:00 | No music, no movies; turn off your phone and
chat windows. Just sculpt for 30 to 60 minutes.
| | 02:06 | Don't keep working on it past one hour.
| | 02:09 | I know that it's tempting to want to
make everything finished, but if you
| | 02:12 | start with the mindset that you can take as
long as you want, it'll cause you to dilly-dally.
| | 02:17 | After one hour, you stop.
| | 02:19 | It doesn't matter how good or
bad the speed sculpt turns out.
| | 02:23 | It's like physical exercise.
| | 02:24 | You do it to get stronger,
not to prove how strong you are.
| | 02:28 | For example, if all you can lift is
five pounds, then you lift five pounds to
| | 02:32 | get strong enough to lift six.
| | 02:34 | If all you can sculpt is a messy blob,
then that's what you sculpt to get good
| | 02:38 | enough to sculpt something better next time.
| | 02:40 | Save each sculpt in a Speed
Sculpt folder on your computer.
| | 02:44 | After a month, take a look through
the saved sculpts to see your progress.
| | 02:48 | If there's one sculpt that you feel
that you'd like to expand into a more
| | 02:51 | finished project, then go ahead and do that.
| | 02:54 | For the next month, make another folder
called Speed Sculpts Month Two and do it
| | 02:58 | all over again and again, every day, every month.
| | 03:02 | After a year, compare them to
see how much you've improved.
| | 03:05 | This is the training regimen that I
created from myself to get better at sculpting.
| | 03:09 | It is really changed how I work.
| | 03:11 | Not only can I sculpt faster, but
the quality of my work has improved
| | 03:14 | drastically as well.
| | 03:15 | I highly encourage you to set a
commitment to practice sculpting everyday.
| | 03:20 | It is not only been a great practice,
but it's also fun, rewarding and even
| | 03:24 | relaxing when you don't have to
worry about making something finished.
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| Blocking out the big shapes| 00:00 | Usually, the first step in creating a
sculpture is the most important, but it's
| | 00:05 | not often given the attention that it needs.
| | 00:07 | How you start a sculpt has a lot to
do with how it turns out in the end.
| | 00:12 | By establishing a good blockout, we
can create a solid foundation for the
| | 00:15 | rest of the sculpture.
| | 00:16 | In this chapter, we're going to use
traditional artistic principles as we
| | 00:20 | create this mechachicken.
| | 00:21 | The first thing I want to do before
sculpting anything is to think about what
| | 00:24 | volumes or masses I will need to create.
| | 00:27 | Most things that you sculpt can be broken
down into about three to seven major shapes.
| | 00:33 | If you're using a photo or a real
object as reference, try squinting your
| | 00:36 | eyes until it's blurry.
| | 00:38 | This can help you ignore to fine
details and see just the major shapes.
| | 00:42 | So for this chicken, the major shapes are
the head, the body, tail and the feet and legs.
| | 00:50 | I want to establish general
shapes for those things first of all.
| | 00:53 | Now, as I work, I have a
printout next to my monitor.
| | 00:57 | If you have two monitors, that's
usually a good place to put reference as well.
| | 01:01 | So let's see, let's start a blockout of
this. Usually I like to use the Grab
| | 01:05 | tool, and what I'm going to do is just
try to bang this sphere into the basic
| | 01:12 | body shape and then just very quickly
start building into the neck and the head.
| | 01:16 | I'm not trying to get it perfect and I'm
not trying to shape it exactly correct.
| | 01:25 | What I'm trying to do at this point is
get the positions and the sizes of these
| | 01:29 | different shapes accurate.
| | 01:30 | Okay, let's compare this to the reference again.
| | 01:37 | Okay, that's pretty close: at least close
enough to when I talk about the next point anyway.
| | 01:44 | So, one thing that I'd like to think
about a lot at this stage is to look at
| | 01:48 | the negative spaces.
| | 01:49 | So, look at this finished version, how
there's negative space, for example, right
| | 01:53 | here between the head and the body and the tail.
| | 01:57 | Something you can look for as you
work is to see if the shape of that
| | 02:00 | negative space matches.
| | 02:01 | So, you can see that the shape is a
little bit different here than it is here, so I
| | 02:07 | might want to adjust this.
| | 02:08 | It's like, I might need to bring
the head up a little bit higher.
| | 02:17 | Okay, let's see. Also, there's particular
negative space here so I think I might
| | 02:23 | need to bring the legs a little bit
lower and make them a little bit bigger to
| | 02:27 | make that negative space the same.
| | 02:33 | There's also a negative
space right in here as well.
| | 02:36 | So I'm just going to adjust my model to
match that negative space a little bit better.
| | 02:44 | You can also think about negative
space from a design perspective.
| | 02:48 | You can actually create appealing
shapes in negative space that will increase
| | 02:52 | the appeal of the overall
character in the sculpt.
| | 02:55 | So if you're trying to sculpt an
existing design, making sure that all these
| | 02:59 | proportions get carried over
into your sculpt is crucial.
| | 03:02 | Once you get good at eyeballing these
kinds of relationships between shapes,
| | 03:06 | you'll rarely need to use
image plane reference images.
| | 03:10 | You can just train your eyes to observe the
relative sizes and shapes between objects.
| | 03:14 | Another tip is to use a flat
material to help you see the silhouette.
| | 03:18 | So I'm going to switch to Flat Texture.
| | 03:20 | Now the whole sculpt is a flat gray which
really helps us see the outline of the design.
| | 03:25 | In this mode, it can be easier
to see if the design is working.
| | 03:30 | Whenever you're designing an object,
it should be easily identifiable by
| | 03:33 | its silhouette alone.
| | 03:35 | If the sculpt doesn't look distinctive
with the flat material on it, it's a good
| | 03:39 | indication that the overall masses
and proportions could use some work.
| | 03:42 | Okay, so I'm going to put a
different material back on, as I continue to
| | 03:47 | sculpt, like Material8.
| | 03:48 | All right, so the mechachicken
looks a little bit lumpy, but that's okay
| | 03:52 | because at this stage, we just want
to get the overall forms established.
| | 03:56 | Getting a good blockout is one of the most
important things you can do when sculpting.
| | 04:00 | It's the foundation for all of
the details that will be made later.
| | Collapse this transcript |
| Building in the secondary forms| 00:00 | After making a blockout, a common
beginner mistake is to skip right to
| | 00:04 | sculpting fine details.
| | 00:06 | Let's face it, sculpting all the
little wrinkles and bumps on a character is
| | 00:09 | fun, but before you get to that stage
there are secondary forms to create.
| | 00:13 | If you sculpt fine details directly
on to the basic blockout, the result
| | 00:17 | will lack structure.
| | 00:19 | Let's look at some techniques that I
use for getting good secondary forms.
| | 00:22 | Just like the overall character is made
up of about three to seven major shapes.
| | 00:26 | Each of those shapes is going to be made
up of about three to seven smaller shapes.
| | 00:31 | The wings, the tail feathers, the head
with its beak and the helmet, all have
| | 00:36 | smaller shapes within them.
| | 00:38 | So I'm just going to show you a few
techniques that I'm going to use to get the
| | 00:42 | intermediate shapes created.
| | 00:43 | For example on the head it's got a
really blocked-off shape, so I'm just going
| | 00:47 | to go in with Crease, set to inverted, and
just kind of sculpt harder edges into it.
| | 00:58 | Same for the beak; I'm going to use
the Grab tool and just try to get the
| | 01:03 | angle and the shape and the outline of
that beak a little bit more accurate and
| | 01:07 | maybe a little bit more appealing.
| | 01:08 | And you want to work fast here; you
don't want to get bogged down and trying to
| | 01:13 | make it exact and perfect. There's
going to be plenty of time for that later.
| | 01:17 | Let's go ahead and use the Crease tool
here to kind of separate and create a
| | 01:22 | little definition between
the helmet and the beak.
| | 01:26 | Maybe I'll sculpt in that kind of a
visor hole that he's got in his helmet.
| | 01:31 | That's kind of place holder for now.
It doesn't need to be too specific.
| | 01:36 | And one thing I want to do is
get this crest thing in here.
| | 01:41 | So let me show you one technique that
I like to use to make things like this.
| | 01:47 | First, I'll go in and mask out where
it should grow from and then I'll invert
| | 01:53 | that mask, get the Grab tool
out and start yanking that up.
| | 02:04 | That's what's going to look kind of jagged
and crinkly, and it's actually a lot of
| | 02:08 | weird things happening in here, but
we can always clean that up later.
| | 02:12 | What I want to get is the overall shape.
We could always makee it nice and clean later.
| | 02:16 | Okay, with the basic shape in there
then I can just get rid of the mask hitting
| | 02:23 | Ctrl+D and we could just smooth
out any of these weird wrinkles.
| | 02:27 | Okay, let's look at the tail feathers.
| | 02:32 | So, in the finished version, it's kind
of broken into the separate little tail
| | 02:36 | clumps but that should be pretty
easy to do with the Crease tool.
| | 02:40 | I am just going to sculpt in like a little
definition between those segments on the tail.
| | 02:51 | Okay, let's look at his wings.
| | 02:53 | So he has got these wings and they
kind of create a little extra volume on
| | 02:57 | the side of his body.
| | 02:58 | So I'm going to come in with the
Draw tool and just sculpt those on.
| | 03:02 | You want to work kind of loose here.
| | 03:07 | You don't need to get bogged down in details.
| | 03:09 | A lot of times I like to get the Grab
tool out to refine any shapes that I make.
| | 03:15 | Okay, now let's look at his legs.
| | 03:17 | It's got these kind of weird spring
kind of legs here so I'm just going to use
| | 03:23 | the Crease tool to create those shapes.
| | 03:26 | So first of all this creases inwards a
little bit, and then for the next row
| | 03:32 | --actually let me increase my detail
so I get a little sharper crease--
| | 03:35 | now let's hold down Alt and go around
again, just going to pull it out and then
| | 03:43 | crease inwards, so on and so
forth all the way down the legs.
| | 03:49 | So I'll just leave it right there since
it would be kind of repetitive to do the
| | 03:53 | whole thing that way, just to save time.
| | 03:56 | Okay, there's a few other things to
do on this like to get the little chin
| | 04:04 | waddle thing and the spikes on the feet,
but basically it's all done with the
| | 04:08 | same techniques that I've shown already.
| | 04:10 | So I'll just let you go ahead
and do those things on your own.
| | 04:13 | I just wanted to demonstrate the
importance of getting the secondary forms.
| | 04:19 | And something else that I've been
doing is kind of working all over.
| | 04:23 | I didn't try to do a very finished work on
the head while ignoring the rest of the body.
| | 04:28 | And that's a mistake that sometimes a
lot of people will make, is just focus
| | 04:31 | on one part and then completely finish that
before moving on to the rest of the sculpt.
| | 04:36 | I find that it's better to work out the
whole sculpt evenly so that there aren't
| | 04:40 | any parts that are significantly
less detailed than any other part.
| | 04:43 | This is especially important if
you're designing as you sculpt.
| | 04:47 | If you put a lot of work into one area,
it might not fit with the rest of the
| | 04:51 | design once you work the other areas.
| | 04:54 | And just like in the previous video,
it can be helpful to squint your eyes as
| | 04:58 | you look at reference images
to blur out the fine details.
| | 05:01 | That'll help you see the secondary forms.
| | 05:04 | If you start sculpting fine details
without the medium shapes, it'll end up to
| | 05:08 | be a lot of work if you have to fix it
later, so I'm constantly on the lookout
| | 05:12 | for these intermediate forms as I work.
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| Maintaining a sense of structure| 00:00 | One of the more common problems that
beginners have with their sculptures is
| | 00:04 | that they lack a sense that
there's anatomy or solidity to them.
| | 00:08 | All of the details seems to be on the surface.
| | 00:11 | Depending on the type of sculpt that
you're making, there are a few different
| | 00:14 | ways to think about structure.
| | 00:15 | Let's look at the options.
| | 00:17 | One approach is to build
the model up anatomically.
| | 00:20 | This is useful for sculpts to have
particularly pronounced musculature.
| | 00:25 | To do this, you would start with the
skeletal structure and then sculpt the
| | 00:27 | muscles and flesh on top of that.
| | 00:29 | So we've got kind of a basic
skeleton structure here and it's not a true
| | 00:33 | skeleton of course, but it's more of an
artistic skeleton that shows the basic
| | 00:37 | landmarks that are
underneath the flesh and main muscle.
| | 00:41 | This can be a good place to
start if you already know anatomy.
| | 00:44 | For example, you could come in here and
start building on muscles on top of the
| | 00:49 | skeletal structure. So, the pectoral
muscles for example, could come in here and
| | 00:54 | then of course you could have the
deltoid up on here and then you could sculpt
| | 01:04 | the way that the pectoral
comes in underneath the deltoid.
| | 01:07 | Of course, I don't have time for a full
anatomical lesson here in this course,
| | 01:13 | but if you have an anatomical knowledge
already or you want to put an effort in
| | 01:18 | to learning it, I would really
recommend that because they can never hurt to
| | 01:21 | know too much anatomy.
| | 01:22 | I just want to demonstrate the way
that you can lay muscles on top of a
| | 01:30 | structure, like sort of a skeleton structure.
| | 01:33 | We can get the triceps back here.
| | 01:38 | Of course, this can take a long time.
| | 01:44 | I could spend probably days working
up all the different connections and
| | 01:49 | muscular overlaps and all that thing,
but if you want to approach a model this
| | 01:54 | way, it could be really beneficial
because you can get a really solid sense of
| | 01:59 | the structure by starting from the bones,
then building a muscles and then fat
| | 02:02 | and skin on top of that.
| | 02:04 | Let's look at another approach.
| | 02:05 | I'm going to open up another exercise file.
| | 02:10 | Let's get the mechachicken.
| | 02:11 | With other kinds of models like cartoony
characters or hard surface objects, the
| | 02:19 | underlying anatomical structure
may be less important or even nonexistent.
| | 02:24 | In these cases, I like to emphasize
structure with creases and hard edges.
| | 02:28 | So, for example, let's look
at the wings on this character.
| | 02:33 | So, it's a little bit soft right now.
| | 02:34 | It doesn't feel there's a lot
of structure underneath here.
| | 02:37 | So, one thing I like to do is use the Crease
brush and use this to really define hard edges.
| | 02:49 | By using this brush, it really creates
a nice separation between the wing and
| | 02:52 | the rest of the body, and then you
could even create a little bit of extra
| | 02:55 | definition by creasing outwards.
| | 03:00 | So this really helps the wing feel
like it's a separate object that has a mass
| | 03:05 | of its own and a structure of its own.
| | 03:07 | Of course, there is the little
definitions between the individual wing
| | 03:14 | structures within the wing.
| | 03:20 | Each one of these can have its own
extra little structure built into it.
| | 03:23 | So, it's not really about the tools you
use exactly; it's the way you're thinking
| | 03:30 | about how this character is made, what
his underlining structure is, and how he
| | 03:36 | might move if he were animated.
| | 03:39 | Without this kind structural attention,
sculptures tend to look lumpy, soft or undefined.
| | 03:44 | Try to think about structure
at every phase of sculpting.
| | 03:47 | It's not just something
that you add on at the end.
| | 03:50 | The more you practice it, the better
you'll get a keeping structure in the back
| | 03:53 | of your mind as you work.
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|
|
6. Sculpting a Vehicle ConceptBlocking out the basic shape| 00:00 | Let's face it, vehicles are complex objects.
| | 00:03 | It can seem daunting to sculpt one
and you might not know where to start.
| | 00:07 | This chapter is going to follow a
series of steps that can make vehicle
| | 00:10 | concepting more straightforward.
| | 00:12 | By taking at one phase at a time, we can
design this vehicle in a way that keeps
| | 00:16 | us from getting overwhelmed.
| | 00:17 | So, let's get started.
| | 00:18 | I'm going to start out in a fresh
Sculptris scene, and let's make sure the
| | 00:22 | Symmetry is turned on; that's good.
| | 00:24 | So, when I'm designing a vehicle, I
like to just work really fast and really
| | 00:27 | loose. I like to get the Grab brush out,
and really just start yanking things around.
| | 00:32 | Just trying to come up with some sort of
a concept for how this vehicle might look.
| | 00:39 | I just like to look at it from all
kinds of different angles and just to try
| | 00:45 | pushing things into different proportions.
| | 00:46 | Let's see, I'll make the underside
flat, right from the start. Oops!
| | 00:55 | I had Invert turned on.
| | 00:59 | Now, it should work correctly.
| | 01:01 | So I'm just trying to find an overall
shape that's appealing for this concept.
| | 01:07 | I want to think about what kind of
a vehicle it is. Is it a fun car for
| | 01:14 | zipping around town?
| | 01:16 | Is it an aggressive car
for dominating the highways?
| | 01:19 | Is it a classy vehicle for riding in style?
| | 01:23 | The types of shapes that I make are going
to be informed by the use of the vehicle.
| | 01:27 | While it's easy to play with shapes
right now, it's a really good time to
| | 01:36 | experiment with different
shapes and different designs.
| | 01:40 | At this stage of the process, I like
to use all of the different brushes, but
| | 01:43 | set to a very large size, so I can
make really big sweeping changes.
| | 01:51 | One rule of thumb is that I don't want
to make any fine details, like anything
| | 01:55 | that I would feel bad about having to change.
| | 01:57 | So, let's say, if I were to do something
really fine like this, and then I wanted
| | 02:01 | to make a really big change to the
vehicle, I might feel bad about it because it
| | 02:06 | would be like destroying
that fine detail that I made.
| | 02:09 | What I want to do is not
actually think about making anything
| | 02:12 | really too fine detailed at this point. I
want to be able to work really loose and
| | 02:17 | free and not be constrained by any fine details.
| | 02:20 | I think the Flatten brush is
going to work really nice here.
| | 02:28 | I can give some nice angles to the vehicle.
| | 02:34 | Something else you can do at this
phase is to use the Crease brush and try to
| | 02:38 | work in a little bit of angularity
or some hard corners into the design.
| | 02:42 | I'm just being really loose.
| | 02:48 | I'm not getting too specific about any
shapes that I make. I want to be able to
| | 02:53 | play with it, and change things up at any point.
| | 02:56 | I'm not going to worry about making
the actual wheels at this point, but it
| | 03:02 | can be a good idea to place little holes
and fenders where the wheels will eventually go.
| | 03:07 | When I'm designing a vehicle, I
usually like to make several different basic
| | 03:11 | designs up to a point,
kind of very loose like this.
| | 03:14 | It only takes a few minutes to do and
it's always good to have a variety of
| | 03:18 | designs to choose from.
| | 03:19 | This is because if I'm going to
invest several days in fully sculpting and
| | 03:23 | designing a vehicle, I want to make
sure that it's based on the best basic
| | 03:27 | shape that I can make.
| | 03:29 | If I only do one design, how
could I know that it's the best?
| | 03:33 | If you make 10 different basic designs,
then you have a much broader range of
| | 03:36 | designs to choose from and you can
be more confident that the design you
| | 03:40 | continue working on is
better than all the others.
| | 03:43 | For the sake of time, I'm not going to
subject you to watch this sculpted to 10
| | 03:47 | different concepts, but I highly
encourage you to do that, not only as a great
| | 03:51 | practice with the tools, but
it's the foundation of good design.
| | 03:55 | The basic mistakes I see a lot of
beginners make is to not give themselves
| | 03:59 | enough options to choose from.
| | 04:01 | Instead, they just go with their first idea.
| | 04:04 | The problem with this is that most
people's first ideas are not as strong as the
| | 04:08 | ideas that they would come up with,
after some deeper exploration, so give your
| | 04:12 | self some time to play with various designs.
| | 04:15 | It only takes a few minutes per sketch,
then save out a file for each sketch so
| | 04:19 | that you can compare them later.
| | 04:21 | I also like to save out an image of the
model so that I can use an image viewer
| | 04:25 | to easily flip to various designs.
| | 04:27 | It's a really easy way in Sculptris to do that.
| | 04:29 | Just go into Options and click Save Image.
| | 04:35 | Let's place this in Chapter Six.
I'm just going to give it a name like
| | 04:40 | design1, click Save and Sculptris is
actually going to do a very quick render of that.
| | 04:50 | Now, we could open it up in an image viewer.
| | 04:52 | If you had all bunch of different
designs, you could compare them very quickly
| | 04:58 | in an image viewer like this.
| | 04:59 | This is where we'll leave the vehicle
concept in this video, just detailed
| | 05:03 | enough so that the design
intention is showing through.
| | 05:06 | For example, with this car, you can see
I'm going for a retro inspired roadster.
| | 05:12 | Avoid the temptation to start adding
headlights and door frames and fine details like this.
| | 05:17 | Just give yourself several different
designs that are up to a very basic
| | 05:21 | detail level.
| | Collapse this transcript |
| Sculpting the intermediate details| 00:00 | After working up some basic design
sketches, it's time to pick the best one and
| | 00:04 | continue sculpting it.
| | 00:06 | This is where you make decisions
about the intermediate details,
| | 00:09 | details that are smaller than the
big shapes that we've made already.
| | 00:13 | Again, this phase of the process involves
experimentation and requires you to work loosely.
| | 00:18 | Feel free to save out different
versions and pick the best one before moving on
| | 00:21 | to the finishing steps.
| | 00:24 | The design that I decided to
continue with it is this more
| | 00:27 | futuristic-looking car.
| | 00:29 | As you can see it's just the basic
shapes, but it's enough to get a sense of
| | 00:33 | where the design is headed.
| | 00:35 | Now, let's use all of our tools again
to get clearer picture of what this
| | 00:38 | car should look like.
| | 00:39 | So let's use the Grab tool
to build up some side mirrors.
| | 00:42 | I'm just going to zoom in a little bit
more closely here and just pull out a
| | 00:50 | shape for the mirror and then I could
come in and tweak the shape a little bit.
| | 00:55 | It's something that looks a
little bit more like a mirror.
| | 01:00 | Don't worry about any fine details like a
seam between the mirror and the frame yet.
| | 01:04 | Those kinds of details are still
too fine for what we're doing now.
| | 01:07 | You can also use the Crease brush to tighten
up various edges and corners around the design.
| | 01:13 | So, let's say we want to have a little bit of
a sharper line going around the fender here.
| | 01:21 | You could just the Crease brush to
tighten that seam up and maybe have a little
| | 01:28 | bit of a corner that kind of follows
around here and then goes into the mirror.
| | 01:36 | So, these are various design decisions.
| | 01:38 | You know, for example, I might want to
change my mind at this point and kind of
| | 01:43 | just blur this out and put that
crease going in a different angle.
| | 01:47 | So let's say instead of there, I want to
have this crease coming up around here.
| | 01:53 | So these are the types of
decisions you can make at this point.
| | 01:57 | You should be able to make it very
easy to change your mind and put things in
| | 02:01 | different places and smooth them
out and make changes very quickly.
| | 02:04 | This is also a good time to
experiment with the placement of various panels
| | 02:07 | like doors and windows.
| | 02:09 | So I would like to use the
Draw tool for this and let's see.
| | 02:13 | Let's lower the strength a little bit so
we don't make too many triangles as we work.
| | 02:18 | And I'm also going to shrink
the brush size down really small.
| | 02:23 | Let's see how this works.
| | 02:24 | Let's try and get a good angle on this.
| | 02:30 | Okay, so let's say that the
side door would go right here;
| | 02:35 | I'll shrink the brush a little bit more.
| | 02:42 | Okay, so I'm just kind of putting in a
line where the door frame could go and
| | 02:48 | it doesn't have to be perfect. It's going to
be a little bit sketchy at this point still.
| | 02:56 | This is just to get a sense
of how the design should work.
| | 02:59 | It's not going to be any
sort of finished product.
| | 03:07 | So let's take a look back and see
how that fits with the whole design.
| | 03:14 | Okay, so that's an
interesting place to put the window.
| | 03:17 | I should be able to feel free at
this point to make any sort of changes.
| | 03:20 | So if I don't like how this line is working, I
can just smooth it out and put it somewhere else.
| | 03:26 | Back to the Draw tool. I'm just going
to shrink the size again and I'm just
| | 03:34 | going to try a different angle on that.
| | 03:36 | We'll put an angle right here.
| | 03:42 | Okay so maybe that's working better.
| | 03:43 | I'm going to hit W to turn on the
Wireframe and so we can see all the extra
| | 03:48 | triangles that are made
by making these fine lines.
| | 03:50 | And so it's actually created a bunch of
triangles here and where I smooth that
| | 03:54 | out, it still got the triangles.
| | 03:56 | So what you might want to do is get the
reduce brush out and just remove some of
| | 04:00 | those if your computer is
slowing down like mine is.
| | 04:12 | This is also a good time to play
with the locations of vents, headlights,
| | 04:15 | spoilers, windows, exhausts and so on.
| | 04:18 | So, let's see about putting a
ventilation port somewhere. Let's see.
| | 04:25 | I'm going to put one in front and one
thing I'm going to do here is mask off the
| | 04:31 | shape of a vent and then
create that shape later.
| | 04:40 | And actually, I want a little bit
more detail as I create this mask.
| | 04:43 | Okay, now I can hold down Ctrl and
click anywhere and invert the mask.
| | 04:48 | And now I'll get the Inflate brush
out and just kind of push that in.
| | 04:57 | And maybe I'll use the Grab tool as well.
| | 04:59 | I'm just going to rotate the car around.
| | 05:01 | Let's turn on Global Mode and just grab and
pull and just yank that vent under the inside.
| | 05:11 | Sometimes the Grab Tool doesn't
work so well when you've got a mask.
| | 05:15 | So if you turn on Limit, it
usually works a little bit better.
| | 05:22 | Okay now I can clear my mask with Ctrl+
Shift+A and then refine the shapes here.
| | 05:28 | I might want to use the Crease tool
and a Smooth, to kind of clean up the
| | 05:33 | shape a little bit.
| | 05:34 | So I smooth that out, and now I'm just going
to use the crease to tighten up that edge.
| | 05:43 | Okay so that didn't take too long and it
gives us a nice little sense of how the
| | 05:47 | design of that vent might work
with the rest of the vehicle.
| | 05:50 | Of course every car design is different,
so every design is going to require
| | 05:54 | different details at this stage.
| | 05:56 | You should still fell free
to make big changes as well.
| | 05:59 | So if you realize that you don't like
the fender shape, you should feel free to
| | 06:03 | just come in and smooth it out or just
completely get rid of it and change it.
| | 06:08 | Maybe let's move it, it's a
completely different shape.
| | 06:12 | I'm going to make a really big brush here
and we'll just get this whole thing forward.
| | 06:24 | That's the power of digital sculpture,
is that it allowed you to make these
| | 06:30 | kinds of changes at any time.
| | 06:31 | This is also a good time to add some
wheels so we can get a sense of how the
| | 06:36 | vehicle works with some wheels in place.
| | 06:37 | Now wheels are basically cylindrical
shapes and those are better modelled in a
| | 06:43 | polygon modeling program, but it can't
hurt to import some simple cylinders to
| | 06:47 | get a sense of what the
car looks like with wheels.
| | 06:49 | So I'm going to open up an Exercise
File; it's just a simple OBJ of some
| | 06:55 | wheels, just basically a cylinder
really. Let's click Open and we want to add
| | 07:01 | the object to the scene.
| | 07:03 | All right, so we get our little
preview of where this wheel is going to go.
| | 07:07 | I'm just going to click here and you
might need a little bit of adjustment with
| | 07:14 | the size and the positioning, so I'm
just going to go into the Grab tool, make
| | 07:18 | sure it's set to Global, and
let's just position this wheel.
| | 07:21 | Okay let's do that again, let's import
the same OBJ and place it in the front
| | 07:32 | wheels and we just need
to make this one smaller.
| | 07:41 | So, Scale Mode, make sure Global is
turned on and XYZ is turned on as well so
| | 07:45 | we scale it uniformly.
| | 07:46 | I'm just going to bring the
size down and move it into place.
| | 07:50 | Okay that's good enough for now.
| | 07:55 | Go ahead and keep designing out
variations and intermediate details.
| | 07:59 | Don't worry if they're a little bit
lumpy or if your lines aren't quite straight.
| | 08:03 | There'll be time to fix those things later.
| | 08:05 | You don't want to start working on
those really fine details until you're
| | 08:08 | certain that the intermediate details are solid.
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| Adding the finishing touches| 00:00 | As we finish up the concept car, I
want you to keep in mind that Sculptris is
| | 00:04 | not meant to create finished car models.
| | 00:07 | It's a sculpting tool that's very
useful for sketching out ideas and
| | 00:11 | experimenting with different designs.
| | 00:13 | But if you try it to use it to make
a rendered quality car model, you'll
| | 00:17 | probably end up very disappointed.
| | 00:18 | So our goal at this stage is to get the
car ready for remodelling in a program
| | 00:22 | that's better suited for
finished car modelling like Maya or Rhino.
| | 00:27 | So let's finish the car up.
| | 00:28 | Basically, what I'm trying to do
here is clean up any problem areas.
| | 00:32 | I want to remove any unnecessary
triangles so that the model is lighter and
| | 00:35 | easier to work with in other programs.
| | 00:38 | So I'm going to turn on Wireframe with
W and let's look around for any places
| | 00:41 | where there is unnecessary triangles.
| | 00:43 | So it looks like there is some here on
the bottom and also probably some here
| | 00:47 | on the top as well.
| | 00:48 | So I'm just going to get the Reduce
brush out and just clean up some of this.
| | 00:53 | Okay, that should be good enough for now.
| | 00:59 | Another thing I might want to do at
this point is to refine any shapes of the
| | 01:06 | car that might still need work.
| | 01:07 | For example the body of the car is
overlapping the wheels in a few places.
| | 01:11 | So, right here you can see
that it's kind of an overlap.
| | 01:15 | That wheel shouldn't be hitting the body
of the car; that would not drive very well.
| | 01:19 | So what I'm going to do is hold down
H and click on the wheel and I'm just
| | 01:23 | going to hide that, so I can work on
the body a little bit so I can make sure
| | 01:28 | they don't overlap.
| | 01:29 | So I'm going to go into the Grab tool
and just try to scoot this around a little
| | 01:33 | bit so I can make more space for that wheel.
| | 01:36 | All right, let's hit Ctrl+H to bring
the wheel back and let's see how that fits
| | 01:43 | in there. Okay, much better.
| | 01:45 | Another thing to fix up is a little bit of
lumpiness that's kind of all over the model.
| | 01:50 | So I'm going to switch to then my
Smooth brush, actually any brush will work,
| | 01:54 | but I can just hold down Shift to go
on a Smooth Mode and lets just try to
| | 02:00 | smooth out any weird lumps.
| | 02:05 | I might also want to go into the
Flatten brush and just kind of work with that.
| | 02:09 | It will work kind of like sandpaper
to just sand down any rough areas.
| | 02:18 | Okay, so I could spend quite a while on
that, but I'm going to move ahead now.
| | 02:23 | This is also a good time to think
about specific details like how panels
| | 02:27 | should join together.
| | 02:28 | So let's try to find the area
that's not totally resolved yet.
| | 02:32 | So maybe like this area, right here
where the hatchback comes down in the back.
| | 02:36 | It's not entirely clear how
this is going to work mechanically.
| | 02:39 | So this might be a good
point to try to figure that out.
| | 02:43 | Maybe I'll come in with the Crease brush.
| | 02:44 | Its something that's working a little
bit better from a mechanical standpoint.
| | 02:49 | We try to figure out where hinges would be.
| | 02:57 | So maybe I could figure out
where a license plate might go.
| | 03:03 | Something else you can do is turn
off Symmetry and try to work in any
| | 03:07 | details that are asymmetrical.
| | 03:09 | So, for example, a gas cap: maybe the
fuel gets loaded in on this side and we
| | 03:16 | don't want to have a gas cap on both sides.
| | 03:19 | And maybe there's a little notch right
here where you can lift your finger into
| | 03:27 | it and open up the gas cap there.
| | 03:29 | Don't need to get too specific, just
try to work out a simple design for
| | 03:34 | how this might look.
| | 03:39 | You can also put in maybe
exhaust pipes or anything else really
| | 03:45 | Remember that for most purposes, this
car will have to be remodelled in a program
| | 03:49 | that's more suited for hard surface modeling.
| | 03:51 | So really, I'm just sculpting enough
detail to act as a guide for when I remodel it.
| | 03:56 | Now if I'm working for a client, I
usually send them images of the car at this
| | 04:00 | stage to get final approval of the design.
| | 04:02 | Once you know you're done sculpting and
designing, it's time to export the model.
| | 04:06 | Let's go to OBJ Export and you can
save the model wherever you like, or you
| | 04:12 | could even go into Paint Mode and
experiment with different colors and
| | 04:15 | materials on the car.
| | 04:19 | So that's it with the concept car and Sculptris.
| | 04:21 | Be sure to check out my course on
vehicle modelling where I take this concept
| | 04:25 | sculpt and turn it into a finished
polygon model that's ready for animation
| | 04:29 | and rendering.
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|
|
7. Extended Sculpting DemoStarting from scratch| 00:00 | So far in this course, I've been
showing individual techniques or
| | 00:04 | discussing individual topics.
| | 00:06 | But for this chapter, I'm going to
bring it all together in a whole project.
| | 00:09 | I'll show you everything I do from
start to finish, so that you can see the way
| | 00:14 | I work on a real project.
| | 00:15 | I'm going to be sculpting this
caricatured bust of a friendly old man.
| | 00:18 | I'll talk about the tools and
techniques that I am using as well as my
| | 00:22 | thought process as I work. Here we go.
| | 00:25 | So just like any other sculpture, I'm
going to start out with a sphere and then
| | 00:29 | use the Grab tool to just kind bang
the overall proportions into shape.
| | 00:36 | And I'm looking at a print out of my
reference on a piece of paper next to my
| | 00:40 | monitor, so I can look back and forth
between the reference and my sculpt and
| | 00:44 | just make sure everything is looking alright.
| | 00:46 | A lot of times I'll have dual monitors set up.
| | 00:49 | So I'll have my reference in one monitor
and then be working in one of the others.
| | 00:54 | And you can see I just kind of
switch back and forth between a couple
| | 00:57 | of different tools.
| | 00:58 | Sometimes I'll use the Grab tool.
| | 00:59 | Sometimes I'll smooth out lumps.
| | 01:01 | Sometimes I'll use Inflate to
sculpt the shape a little bit.
| | 01:05 | So it's not like I go in order of like
one tool at one point and a different
| | 01:10 | tool in a different point.
| | 01:11 | I'm just kind of jumping to
whatever tool is useful at the moment.
| | 01:16 | So now that I have the really big
shapes in place, I want to get some of the
| | 01:20 | secondary shapes as well like the nose.
| | 01:21 | I'm not trying to get it perfect and I'm
not trying to shape it exactly correct.
| | 01:27 | What I'm trying to do at this point is
get the positions and the sizes of these
| | 01:31 | different shapes accurate.
| | 01:33 | Sometimes I'll sculpt shapes on and
sometimes I'll use Grab to pull them out.
| | 01:37 | It's really just up to your
preference how you want to do it.
| | 01:40 | I just go back and forth, so
there are lots of ways to do it.
| | 01:45 | Sometimes, it can take a little
back and forth to get the right shapes.
| | 01:49 | Sometimes, I'll sculpt them a little
bit and find that not really liking how it
| | 01:53 | shaped, so well, you erase that or
smooth it out and try sculpting it again.
| | 01:58 | It's really just kind of a back and forth
process, trying to find the right shapes.
| | 02:03 | One of the challenges in doing a kind
of cartoony or a caricature sculpt like
| | 02:08 | this is that you're not
trying to get perfect anatomy.
| | 02:11 | You're trying to balance something
that looks believable with something
| | 02:15 | that looks appealing.
| | 02:17 | So, I'll have in the back of my mind,
kind of a sense of what the anatomy should
| | 02:22 | look like in a real person, but also
balance that with something that just looks
| | 02:25 | fun and appealing for the character.
| | 02:27 | So, as I try to hollow out the mouth,
sometimes I run into problems with the
| | 02:32 | polygons kind of
crunching in on themselves.
| | 02:35 | I might turn down the detail so that
it doesn't create too many polygons
| | 02:39 | while I'm sculpting.
| | 02:42 | I'm being careful not to get
into any fine details at this point.
| | 02:45 | I'm really trying to look for the major
shapes and the divisions between those shapes.
| | 02:52 | Once you get good at eyeballing these
kinds of relationships between shapes,
| | 02:56 | you'll rarely need to use
image plane reference images.
| | 02:59 | You can just train your eyes to
observe the relative sizes and shapes
| | 03:02 | between objects, get the intermediate
shapes created and just kind of sculpt
| | 03:08 | harder edges into it.
| | 03:11 | So I'm using the Crease tool right now
to kind of define the corners and the
| | 03:15 | edges and the divisions between shapes.
| | 03:18 | So, I'm just sculpting out
the shape a little bit more.
| | 03:21 | I'm trying to get a nice
appealing overall curve to the head.
| | 03:24 | We want to work fast here.
| | 03:25 | You don't want to get bogged down in
trying to make it exact and perfect.
| | 03:29 | There's going to be
plenty of time for that later.
| | 03:32 | So now that I've got the eye socket done,
I want to come in and get some of the
| | 03:36 | more specific shapes for the eyes.
| | 03:38 | I'm just going to sculpt in like fine tuned
eye details like the shape of the eyelids.
| | 03:43 | So, one thing I'm noticing is that
my proportions are a little bit off.
| | 03:49 | I think my eyes are little too far
apart and I think maybe they need to come
| | 03:53 | down on the head a little bit.
| | 03:55 | So, before I get into any fine details,
I want to make sure that I'm adjusting
| | 03:59 | all of these proportions, making
sure that they're not too far off.
| | 04:02 | If I had put a lot of fine details in
and then I tried to adjust that, those
| | 04:06 | fine details could get ruined.
| | 04:08 | So, I'm not even going to put the time
and effort into things until I know that
| | 04:12 | my proportions are correct and that
my secondary details are accurate.
| | 04:16 | The mouth is always tricky.
| | 04:20 | I usually have to do a lot of re-
sculpting on the mouth to get it just right.
| | 04:25 | That looks like some polygons have gotten
kind of pinched up or crunched together.
| | 04:29 | Sometimes you need to smooth it up
before the Reduce tool will work.
| | 04:32 | Since this is a cartoony model, I
don't need to really spend too much time on
| | 04:38 | the inside of the mouth, and most of
it is going to be blocked by the teeth,
| | 04:42 | that I'll make eventually anyway.
| | 04:43 | So I just basically need to make a hollow space.
| | 04:46 | It doesn't need to look
particularly refined or special.
| | 04:50 | So after I make any adjustments, I like
to zoom out a little bit and just kind
| | 04:54 | of get an overall sense of
how everything is looking.
| | 04:57 | It looks like there are some large scale
adjustments to be made all over the face.
| | 05:01 | Again, I'm trying to mix realistic anatomy
with something that's stylized and cartoony.
| | 05:06 | It's not really about the tools you use exactly;
| | 05:10 | it's the way you're thinking about
how this character is made, what his
| | 05:14 | underlying structure is and how
he might move if he were animated.
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| Detailing the face| 00:00 | For a sculpt like this, what I think is
important is that it looked believable
| | 00:04 | and that it looked appealing.
| | 00:05 | So if there is any sort of anatomical
details that are realistic, but aren't
| | 00:11 | helping that sense of appeal, I'll
leave those details out sometimes.
| | 00:16 | Again, I'm trying to mix realistic anatomy
with something that's stylized and cartoony.
| | 00:21 | The Grab tool is great for making
these kids of little adjustments.
| | 00:27 | I really like how the Crease brush
makes some nice sharp division between
| | 00:31 | different facial features.
| | 00:35 | Now, I'm going to make the ears.
| | 00:38 | Ears are very similar from person-to-
person in reality, but a stylized ear is
| | 00:44 | going to be a little bit more simplified.
| | 00:48 | Usually, after I make something, I'll
adjust its position, so I think this
| | 00:51 | ear is hanging a little bit low on the face,
so I'm just going to skew it up a little bit.
| | 00:57 | It's interesting how once you make
a certain facial feature, like the ears
| | 01:00 | for example, then you notice that the
shapes around it might need adjusting too.
| | 01:05 | After I made the ear, I realized that the
back of the head needed to come in a little bit.
| | 01:10 | Of course, I'm always looking at the
model from different angles, making sure
| | 01:15 | that it looks right from different views.
| | 01:18 | One thing to watch out for is, when a
shape is kind of thin like this, your
| | 01:22 | sculpting can actually
affect the other side of a shape.
| | 01:25 | So that ear is kind of thin and the
sculpting was actually affecting the
| | 01:28 | back side of the ear.
| | 01:29 | These ears are kind of cartoony, so
I'm not really going to put too much
| | 01:35 | more detail into them.
| | 01:36 | I don't want them to look too realistic.
| | 01:38 | I'm just going to use the Reduce tool
here to get rid of some excess polygons,
| | 01:44 | and I think we're getting into
some finer tune adjustments now.
| | 01:48 | All the secondary shapes are
pretty much where they need to be.
| | 01:51 | Now, I just need to go in and just
make sure that all the lumpiness is worked
| | 01:55 | out and make sure that my forms
are a little bit more precise.
| | 01:59 | I just want to get an overall view every
once in a while, just to make sure that
| | 02:05 | everything is looking correct.
| | 02:07 | When I'm doing cartoony characters like
this especially, I use the Crease tool
| | 02:12 | a lot, just don't get a really nice sense
of separation between the facial features.
| | 02:18 | Now, it looks like the overall proportions of
the face need just a little bit of tweaking.
| | 02:23 | I'm just trying to get a balance
that looks appealing, but is also
| | 02:29 | anatomically believable.
| | 02:30 | I just wasn't totally happy with that mouth.
| | 02:34 | I'm going to try something else with it.
| | 02:36 | That's one of the great things about
digital sculpting is that if you don't
| | 02:40 | like the shape or something, you just
smooth it out and try something else.
| | 02:43 | It usually doesn't take a
lot of time to fix it up.
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| Adding eyeballs, eyebrows, and teeth| 00:00 | So let's get some eyeballs in here.
| | 00:02 | It always helps the character to look a
little bit more realistic and believable
| | 00:06 | if there are some eyeballs in there.
| | 00:08 | It can really bring the whole face together.
| | 00:11 | Now, this guy has kind of beady little
cartoony eyes, so they're definitely not realistic.
| | 00:16 | So with the eyeball in place, we can
make some more fine tuned adjustments to the
| | 00:19 | eyebrows and the eyelids.
| | 00:21 | Since this guy is kind of cartoony,
I'm want to give him separate eyebrows,
| | 00:27 | just kind of like a strip of clay if this
is a real-world sculpture out of actual clay.
| | 00:35 | You could just get a roll of
clay and just stick on there.
| | 00:38 | I think those excess triangles were
causing a little bit of creasing or little
| | 00:44 | bit of lumpiness in the mesh.
| | 00:46 | So I'm just going to make some teeth
out of a single sphere and just kind of
| | 00:51 | bend it into a tooth shape.
| | 00:53 | It doesn't even need to have
individual teeth in it, just kind of the overall
| | 00:56 | shape of a row of teeth
across the top of the mouth.
| | 01:00 | Since this is a cartoony sculpt, I can
really take liberties with the stylization.
| | 01:04 | I don't have to be a slave to reality.
| | 01:06 | I'm going to hide the head a little bit.
| | 01:10 | It's sometimes hard to work on those teeth
inside the mouth when that head is in the way.
| | 01:14 | Now, that the teeth are in place,
it's a lot easier to see exactly what
| | 01:21 | adjustments I need to make to the lips to
get them to fit around the teeth better.
| | 01:25 | It's time to make his
suit and his shirt and tie.
| | 01:28 | Now, here's another case where
I'm going to cheat a little bit.
| | 01:32 | This isn't a realistic human character.
| | 01:35 | So I want to make the shirt and
the tie out of one solid piece.
| | 01:40 | If you were making a realistic character,
you, of course have the shirt as one
| | 01:44 | object, and then the tie as a separate object.
| | 01:47 | But this is kind of a cartoony character.
| | 01:49 | We can build it all together and
have a kind of clay sculpted look.
| | Collapse this transcript |
| Adding the body and clothing| 00:00 | So what I'm going to do is actually
mask off an area where the collar is
| | 00:05 | actually, and then once that's masked
off I can puff up that area where the
| | 00:11 | collar is and kind of make it feel like
it's raised up or separate from the shirt.
| | 00:15 | I just want to make sure I've
got every part of that masked off;
| | 00:20 | I don't want to have any tiny
little holes that aren't masked.
| | 00:23 | Now, I'm just going to use the Inflate
tool and I want to hide the head because
| | 00:29 | it's getting in the way a little
bit and I'll just puff up the collar.
| | 00:33 | It's a little bit wrinkly around the edges,
but that won't be too hard to clean up.
| | 00:37 | I'm just going to smooth it out a little
bit and then go in with the Crease tool
| | 00:42 | and sharpen up the edges.
| | 00:45 | One thing I really like about
cartoony modeling like this and caricature
| | 00:49 | sculpting is that you
don't have to be super precise.
| | 00:53 | It can look a little bit wobbly, a
little bit lumpy, and it actually kind of
| | 00:56 | adds to the character.
| | 00:57 | It kind of looks a little
stylized, like it was made out of clay.
| | 01:01 | Now I don't worry about making it too
perfect unless I'm of course sculpting
| | 01:05 | something that's a real work
object rather than a cartoony object.
| | 01:08 | I'm pretty much going to do
the same thing for the tie.
| | 01:16 | I just want to adjust how the knot of the
tie meets with the part that hangs down.
| | 01:21 | I want to get it to have a
little bit more of an overlap feel.
| | 01:25 | I could have possibly made the jacket
out of the same object and just sculpted
| | 01:29 | it right on top of the shirt, but I
wanted it to feel a little bit more
| | 01:33 | separate, so I am going to
make it as a separate object.
| | 01:36 | Now I'm just kind of using the existing
shirt as a guide so that the jacket just
| | 01:42 | barely fits around it.
| | 01:43 | So now I'm going to hollow out a
part of the jacket where the shirt is
| | 01:49 | visible through it.
| | 01:53 | It's always a little bit more tricky
when you have to sculpt one object so that
| | 01:56 | it conforms to another object.
| | 01:59 | If I'd made the jacket first, it might
have been a little bit more loose with it,
| | 02:03 | but then the shirt, that would have had
to made it a little bit more specific so
| | 02:07 | it'd fit exactly inside that jacket.
| | 02:09 | So it's always a little more of a
challenge when objects either have to be like
| | 02:13 | really close to each other
or conforming to each other.
| | 02:15 | It just takes a little bit more work
and tweaking to get it to look right.
| | 02:19 | I'm going to try a different
technique for the lapels on his jacket.
| | 02:24 | Like for the collar and the tie I
masked it off and then I used the Inflate
| | 02:28 | brush to kind of puff it out.
| | 02:30 | But now what I'm going to do is try to just
sculpt that thickness right on with Crease brush.
| | 02:35 | Now this is a trick I use a lot.
| | 02:40 | I like to have two creases
right next to each other.
| | 02:43 | One crease in, to kind of push it in
and then another crease on one side that
| | 02:47 | creases outwards and it creates
a really nice overlapping effect.
| | 02:51 | Then I just need to smooth out
the side that's being overlapped.
| | 02:56 | I want to put in a little crease right
here just to increase the appearance of a
| | 03:01 | separation between the jacket and the shirt.
| | 03:04 | I want to do a few final
adjustments to the shape of that jacket.
| | 03:07 | I just want to flatten out the bottom
a little bit; this isn't like a totally
| | 03:13 | finished sculpture. I'm just going to
leave the bottom a little bit loose but I
| | 03:17 | think I'll flatten it out just a bit.
| | 03:19 | So I'm just giving another look over,
just make sure there are not any big
| | 03:24 | problems and what I'm really looking for
is a way so that I can finish up all of
| | 03:29 | the symmetrical details.
| | 03:30 | Because when I start working on the hair,
the hair is very asymmetrical, so I don't
| | 03:34 | want to have to come back and try
to do any symmetrical sculpting on the
| | 03:38 | head because I'll have to lose all
that sculpting on the hair if I do that.
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| Finishing the symmetrical details| 00:00 | So now I'm going to finish up
all the symmetrical details.
| | 00:03 | So I am just trying to get
final touches on the head.
| | 00:06 | It looks there is just a little bit of
lumpiness to work out, maybe a few extra
| | 00:12 | triangles that I don't need.
| | 00:13 | So it's these finishing tweaking
steps that really take a lot of time.
| | 00:17 | I usually try to get through the major
sculpting shapes pretty fast because I
| | 00:23 | know that it's going to take a
lot of time to tweak everything.
| | 00:26 | I think I'll put a little bit of a
stylization on those eyebrows with the Flatten.
| | 00:31 | I'm just trying to make him look a
little bit sharper and crisper and I think
| | 00:37 | I'll tighten up some of these creases as well.
| | 00:42 | So I'm done with all of the
symmetrical details, so it's time to get working
| | 00:47 | on the hair.
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| Adding hair| 00:00 | Hair is one of those things
that's really difficult, especially for
| | 00:04 | beginning sculptors.
| | 00:05 | The tendency is to want to sculpt
individual hairs and for realistic sculptures,
| | 00:11 | you eventually probably do want
to sculpt some individual hairs.
| | 00:15 | However, some people just try to skip
to that point a little too fast and what
| | 00:19 | you really want to do is work
out the volumes of the hair.
| | 00:22 | There are a lot of clumps going on and
some people just try to skip forward to
| | 00:27 | stroking on individual hairs and
really you want to make you've got all the
| | 00:33 | clumps working first.
| | 00:34 | I'm just going to make it out of a
separate object and then just push it in to shape.
| | 00:39 | This is a cartoony character, so
we're not actually even going to put on
| | 00:43 | any individual hairs.
| | 00:44 | We're just going to kind
of leave it a clay look.
| | 00:46 | So I'm going to try to get as much of
the volume of the hair going before I
| | 00:53 | turn off Symmetry as possible because I
don't want to be doing work on one side
| | 00:57 | of the hair and then have to do it
on the other side as well because I've
| | 01:01 | turned off Symmetry.
| | 01:02 | So, we kind of passed the point of no return.
| | 01:05 | We turned off Symmetry.
| | 01:06 | If I were to turn Symmetry back on to
work on the face a little bit, I would
| | 01:10 | lose all that work that
I'm going to do on the hair.
| | 01:14 | What I'm looking for at this point is
the really big major clumps of hair.
| | 01:19 | I really want to establish the
spiral that's happening in his hair.
| | 01:27 | And one thing that a lot of sculptors
do when they're first learning how to do
| | 01:30 | it is they kind of make a lot of
these details just on the surface.
| | 01:34 | They don't actually build details and
the shapes out in volumes and so what I'm
| | 01:39 | really trying to do is create volumes
for all of these clumps rather than just
| | 01:43 | trying to scratch something out of the surface.
| | 01:45 | Now, some of these clumps of hair on
the side kind of create a pattern that are
| | 01:49 | combed back from the head, and you kind
of want to avoid the temptation of just
| | 01:54 | making a bunch of strokes that are all the same.
| | 01:56 | So what I'll do is make one stroke,
one size and then change the size of the
| | 02:01 | brush and make some other strokes and
I'll vary the distance between them.
| | 02:04 | I'll vary how intense they are, just
because I don't want them to all look the same.
| | 02:08 | A lot of variation is going to
help the hair look a lot more natural.
| | 02:14 | So what I'm doing now is switching to
the Crease brush and what this is going to
| | 02:17 | do is tighten up a lot of these edges
and corners on the hair and it really adds
| | 02:22 | a lot of solidity to the hairstyle.
| | 02:24 | It makes the hair go from this kind of
lumpy mass into something that looks like
| | 02:30 | it has a lot of form and volume to it.
| | 02:34 | This is something I would even do if it
was realistic sculpture--like a realistic
| | 02:38 | human--is I would also do the same
thing with all these hard edges and this
| | 02:44 | volume and the clumping.
| | 02:46 | The only difference with the
realistic sculpture is that I would just keep
| | 02:49 | pushing it further and further and
keep adding more and more detail until I
| | 02:53 | actually got down to the individual hair level.
| | 02:55 | Of course, not every hairstyle can be sculpted.
| | 02:58 | Some hairstyles are just too frizzy
or just too wild to be sculpted really,
| | 03:04 | so you do have to make some decisions about
how you're stylizing the hair to make it work.
| | 03:09 | So, this spiral is kind of the focal point
of his hairstyle, so that I want to make
| | 03:14 | sure I'm really putting enough detail into it.
| | 03:16 | I just want to tighten up some
of these lines I've already made.
| | 03:21 | Hair is one of those
things that are kind of dynamic.
| | 03:24 | It has physics all of its own, so when
you're working on it, you want to try to
| | 03:29 | strike a balance between something
that's structured and has a pattern to it,
| | 03:33 | but then is also kind of chaotic and random.
| | 03:36 | I find that a lot of beginning
sculptors have trouble with that, striking a
| | 03:39 | balance between the chaos and the order.
| | 03:43 | With practice, it's
something that you can pick up.
| | 03:45 | So, we just want to work some of these
overall proportions just a little bit.
| | 03:52 | I don't want to accidentally select
the head, so I'm just going to hide it
| | 03:56 | temporarily while I work on the hair.
| | 03:57 | Now, the hair on the backside of the
head isn't going to be as visible, so I
| | 04:01 | don't really put quite as much work into it.
| | 04:04 | It just kind of needs to look generally
okay because you're not really going to
| | 04:08 | see the back of the head too much.
| | 04:11 | Something that I like to think about is
giving some parts of the sculpt a little
| | 04:15 | bit more detail than others.
| | 04:17 | If there's going to be a focal point,
you can definitely put more sharpness
| | 04:20 | or more detail or more effort into
those areas, and then if there are other
| | 04:24 | areas that are less important, then
you can kind of leave them a little bit
| | 04:27 | more general.
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| Finishing the sculpt| 00:00 | So, it looks like we're heading
towards the very finishing touches here.
| | 00:03 | I want to do a few asymmetrical
adjustments to the face just to give it a little
| | 00:09 | bit more of an expression
or a sense of personality.
| | 00:12 | I think I want to make these
teeth a little bit crooked.
| | 00:16 | I think I'll clean up the mouth just a
little bit, just in the places where it's visible.
| | 00:21 | I don't really need to put too much work
into the mouth because it's going to be
| | 00:25 | hidden by the teeth for the most part.
| | 00:27 | One last thing I want to do
is make the model spin around.
| | 00:31 | If you go into Options, you can turn
on Turntable Animation, and this is
| | 00:35 | actually going to make the
model spin around all by itself.
| | 00:39 | So that's the finished model.
| | 00:40 | Of course, if you wanted to animate this,
you would have to re-topologize it, so
| | 00:44 | it had good topology for deformation.
| | 00:47 | If you want to turn off the Turntable
Animation, just go back into Options and turn it off.
| | 00:52 | So, there you have it, just about an
hour's worth of work and we've got a
| | 00:56 | finished caricature sculpt.
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ConclusionNext steps| 00:00 | Thanks for joining me on
this journey through Sculptris.
| | 00:03 | It's one of my favorite pieces of software,
and I hope it becomes one of yours as well.
| | 00:08 | But this is just the beginning.
| | 00:09 | Everything that you make in Sculptris can be used in
other 3D programs, making the possibilities quite endless.
| | 00:16 | From here, there are a whole bunch of
courses on lynda.com that can show you how to use
| | 00:21 | what you made in Sculptris in other ways.
| | 00:24 | You can watch my course on vehicle modeling
in Maya to learn how the concept sculpt of
| | 00:28 | the vehicle can be turned into a finished model.
| | 00:31 | Then you can watch Mark Lefitz's course,
Photorealistic Lighting with Maya and Nuke.
| | 00:37 | For the character work, there's my ZBrush
courses which show you how to retopologize
| | 00:41 | the models so that they
can be rigged and animated.
| | 00:45 | There's also an online forum where Sculptris users
can discuss the software and what they're doing with it.
| | 00:50 | Just go to zbrushcentral.com.
| | 00:53 | Sculptris is owned by the same company that makes ZBrush,
so there's actually a Sculptris forum on this site.
| | 00:58 | Just scroll down and
click on SCULPTRIS MAIN FORUM.
| | 01:01 | If you have any questions about Sculptris,
there's sure to someone who has the answer in here.
| | 01:06 | Well, this is the end of the course, so I wish you
the best as you explore what you can make with Sculptris.
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