Viewers: in countries Watching now:
In this course, author Dan Ablan walks through the process of understanding the MODO workflow while learning to create 3D models and animations. The course teaches fundamental tasks, such as modeling polygons and applying materials with the Shader Tree, while exploring scene building in depth through advanced lighting, camera, and animation techniques. The course also covers MODO's schematic tools and shows how to render animations for various playback media.
modo's hair, painting, and sculpting tools really give you some flexibility to create cool organic surfaces and materials. But when it comes to sculpting, there are just a few little things you need to know in order to get these things to work. So what I'm going to do is add a very simple model, just to introduce this to you. So I'll hold the Shift key and add a Sphere. Easy enough. I'm going to press the D key, and we're going to zoom in. And in the Paint tab, you can see Sculpt tools. I'm going to select Carve. When I do, I automatically get a nice little brush right here.
I'm going to right-mouse just to create the size of my brush, and then I'm literally just going to click and push around. I want you to think of this as virtual clay. That's all there is. And we're able just to push this around. The key to this of course is making sure that your Subdivision Surface is on, which the Tab key. But if you move the tools down, the Tool Properties down a little bit, there is a thing called Multiresolution. This is new for 501 and if you click on that, you're going to get a little warning that says, "Multiresolution works with Catmull-Clark subdivisions." Now we talked about Catmull-Clark subdivisions earlier when we did the hairdryer.
So we're just going to say Yes, and what that's going to allow us to do is add some really specific detail. So while this model is good for these bumps, what if we needed tiny little carvings in here? Well, that's something I might do in the past with a bump map. But what if I really truly wanted them carved in? How would I do that? Well, I would need to really heavily subdivide that one area in order for the geometry to fall in and out of those grooves. But now with the Multiresolution, I don't have to. So I'm going to up this to about 5, and then I'm going to come back in here and change my Brush Size pretty small, and watch what happens.
As soon as I start painting in here, I've got a very tiny, nice little carving that normally I couldn't do. But with the Multiresolution it's only subdividing where I'm painting. Notice that each one of these polygons is still pretty large, but look at the detail I'm able to get inside there. And that's not a bump map; it's actually carved in there. It's true groove. So the Multiresolution is exceedingly powerful, allowing you to create intricate grooves like this on objects. Think about coins and people's faces and even landscapes on larger scales.
Now, if you come down here to the bottom and you open up this view, you'll see that there is sculpting, and these are models you can work with. So let me just turn off this sphere, go to a blank mesh, and let's double-click this head. Press the A key to fit. And here is just a blank head you can start working with to actually sculpt. There is also another one here. There's an alien, and there is quite a few other things in here you can work with. We can go to the Brushes, and you can pick these. You can even go up to these Sculpting tools and use those.
So quite a few things just to play around with. But let's get back over here and talk about some of these other tools. I'm going to turn on the Sphere again and turn off this head. Press the A key to fit. So, Multiresolution really helps us create some nice geometry. You can have the Max Level set to 5, but the Current Level we can bring down a little bit. What happens with that is that, okay, well, we know that we're painting with some more detail in there, and something like this works really well. It allows me to be a little more flexible, as far as painting and working in the OpenGL, because the computer is not redrawing and regenerating those polygons each time, but I do know that when I render, I'll actually have that high-res geometry.
You can then go to Smudge, and of course right-mouse to change the size of the brush and kind of smudge these around, pull that around. You can go to Push, and you can push the polygons. As you do this, if you hold the Ctrl key, you can go the other way and push those in. Hold the Shift key and you can actually smooth that out, in case you don't those. It's almost like erase. You can hit Flatten of course, and just flatten an area out. So, it's kind of neat. You can put just really interesting dents in something.
I've actually done car accidents this way with Flatten. I've done quite a few different things with teeth using the sculpting tools. I've actually even changed furniture with some of these tools. You would think, oh, that's not something so organic. But the idea is that it's often hard to physically move polygons into a shape you want. But if you have something like Push you can very easily just push these into the shape you need, and that often works better than just trying to push and pull polygons.
You can do Emboss like this. You can also then go a step further and put text in there and sculpt that in. You can use different types of brushes, create your own, right down here like this. If we come down to the Emboss, there is a Procedural Brush, the Size of it, the Type of Procedure, like Cellular or Dots, and sculpt that in like that. We want to create just some nasty bumps on something, perhaps somebody has some kind of disease and you want to put that in there.
I've used stuff like this actually for carotid arteries. Build a tube and just kind of sculpt this in to give it a very organic look. And this looks a lot better for things like that. Before using procedurals, this actually can be just even a little bit, a little bit more intense, a little cooler. Then of course, you put your surfaces on there, and you can paint on it and just really go to town. So, just a quick overview of how that sculpting works. In the next video, we're actually going to do a little bit more of a project, and you can actually see these in action.
But load up just a simple object, subdivide it once, and give these Sculpt tools a go, and see how it works for you.
There are currently no FAQs about MODO 501 Essential Training.
Access exercise files from a button right under the course name.
Search within course videos and transcripts, and jump right to the results.
Remove icons showing you already watched videos if you want to start over.
Make the video wide, narrow, full-screen, or pop the player out of the page into its own window.
Click on text in the transcript to jump to that spot in the video. As the video plays, the relevant spot in the transcript will be highlighted.