Introduction: Sculpting in Blender (Tutorial EN)

Just another WordPress site

Introduction: Sculpting in Blender (Tutorial EN)

this video is brought to you by when their Street hi everyone my name is sahajiya Reinhardt from against us brothers calm and in this video I show you how to sculpt a creature in blender this tutorial is a kind of introduction into sculpting but I will show you the whole topic on a practical example that means I won’t show every single button you can click on but you will get a very good feel about how to sculpt in blender after watching this video as foundation and reference I’ve painted a concept art in mischeif I wanted to create something like a dinosaur mount but it should not look too realistic and because of that I’ve added some kind of crustacean scales on the surface of this animal to make the sculpting process a little bit easier we searched in the internet for blender sculpt tools and click on this github link here then we click on download dip and then we have downloaded the blender sculpt tools add-on this we easily can add to blender simply click on file user preferences here on add-ons and then click on install from file then we navigate to the downloaded zip click on that and then we click install from file now you can see there scalp Tools UI add-on is listed up here then we simply enable it and click on save user settings though this add-on always keeps enabled now we find the scalp tools settings under the scalp tab in the tool shelf but what exactly you can do with the scalp tools you will see during this video we have this reference image you can put it on a second screen and just start sculpting by watching on this but we also can make things a little bit easier for us by just drag and drop the image from an external source into blender and then this image will be automatically set as background image you can see it if you press numpad five for the autographic few and then for example numpad 1 from the direct front view now you can see it in the background the settings for the background images you find in the properties menu here you can for example adjust the opacity if this image should be showed up in front or behind the objects and also you can adjust things like the position scale and the rotation of the image so now before we can start sculpting we need a base mesh the base mesh is nothing else than a basic shape you can sculpt from this could be a sphere or you can shape the basic forms of the object you want to sculpt to make things a little bit easier as base mesh you basically can use any kind of mesh object personally I always start with cube subdivided using the subdivision surface modifier and then I start shaping this object for this I simply extrude some of the faces add some loop cards and simply shaping the object by transforming some of the vertices this is not about details it’s just for having a very rough shape we don’t make things too complicated because it would be a little bit hard to shape the arms and the legs directly from this body but this we can do way easier by just merging separate parts later on to create the leg I simply select one of the faces press shift D to duplicate it and then I press P selected to separate the selection so we have a separate object in object mode I add the more modifiers so this plane gets mirrored and now in edit mode I shape the legs yeah I take care that the upper part of the leg is moving a bit into the body so the toes we do later and the same way I create the arms I simply duplicate another face this I can do directly inside the leg object and then I shape the arms according to the reference image the same thing I do we the toes I model one toe and then I duplicated and position it on the foot and all throw the same thing with the fingers everything happens in the same object but that’s not a problem we can separate this later then I rotate the fingers so it looks a little bit more interesting so when I’m done with all the parts I simply press P in edit mode nothing needs to be selected and then I click on by loose

parts then all the separate meshes will be separated so we have single objects in object mode and as you can see here now we have all the fingers and toes and so on as separate objects yeah and this is my finished basement roughly you can imagine the mount animal in this but this has no details sponsor time yeah the blender online when a farm service when the street sponsor is this video personally I never would recommend anything that I don’t like or haven’t tested and today I want to present to you when the street one there you pay a fixed price of $50 per month and this allows you to basically when they’re unlimited certainly there are some little restrictions compared to the traditional paid rendering using such a when the form or the infos you can read on the website the link is in the video description eventually you save a lot of time because when terrine goes much faster especially if you enter a lot this is a great option personally I’ve used when a street one a lot in the last weeks you can work on your computer without getting plugged from your vendors and this is great you just upload your blend files and let when the Street to the west after that you can download the windowed files yeah just take a look at it at vendor st slash one sponsor time over for sculpting and blender it’s very useful to have a clean user interface and no objects disturbing our sculpting flow and because of that readjusts a few poor turbid so the sculpting makes more fun at first what you can’t see I have moved the camera the lamp and so on to another layer so that’s not in our way anymore then I hit N and in this properties menu under shading I enable ambient occlusion with this option a shadow will be added to all the corners and holes and so on and with this option enabled we can see the shape of the object we are sculpting much better below you can adjust the settings of this ambient occlusion you can adjust the strength the distance for the size of the shadow and adjusting the samples will increase or decrease the quality of the shadow also very useful is to enable the met caps here you basically can enable a kind of material that will be applied to the whole scene and all those is met caps including a kind of lighting and according to the met cap you choose you have a different kind of lighting personally I like this one the most it looks a little bit like clay and using this matte cap you can see the shape of what you are sculpting even better and the last thing we do is we enable only render here under display and then as you can see all the helping objects and lines in the 3d viewport are disabled like the grid the 3d cursor relationship lines and so on and now we only see the object and nothing disturbs us if you now hover the mouse over the 3d view for example you can hit shift space and then we enable the full-screen mode of the 3d view pressing this again will disable this or using alt f10 we can enable the complete full-screen mode without any menus but you still can press T and N to open up the tool shelf and the properties menu because there we find all the sculpting settings and tools for the sculpting certainly we don’t want to leave the arms and the legs separate because we want to merge everything so what not really what work is if I join all the parts using ctrl J because so the objects are just merged into one mesh but the different parts are still separate available in the edit mode it looks like that the parts are sticked together so the geometry is not really connected to each other and as you can see in scalp mode this would not really work because of that we will use the sculpt tools add-on we have installed in the beginning of this video this add-on has a lot of options but we only will use two of those in this video all the parts are still using the subsurf modifier and some of them are also using the MOA modifier and so that we can sculpt on this object in this shape we have to apply all these modifiers that means all the changes that the modifiers are doing

with the shape of the object will be applied so that it can be edited in edit mode and also in sculpt mode and so that we don’t need to do it for all the modifiers separately we simply can select all objects and click here on apply mods to apply all modifiers from all the selected objects so now we want all the different parts really connected to each other so I hold down shift and then I select the legs the arms and at last the body and now we use one of those boolean operations up here we also could use a boolean modifier but with this it is way faster so we simply click on Union and now all the parts are really merged together you can see when I fly into the body now we have this wheel holes to the arms and to the legs that means these parts are really connected to each other for now we don’t merge their fingers and the toes because now we want to concentrate on the wife details and later on we simply can merge them to the mesh the same way we did it with arms and the legs so now we switch to the scalp mode down here certainly the object has to be selected because scalp mode just works like edit mode you only can edit one object at the same time up here in the tool shelf under tools we find their sculpting settings up here when I click on this image we can switch the Prussia’s about the brushes we’ll learn more doing this video while sculpting the creature but as you will see we only use very few brushes we use again and again then down here we can adjust the size and the strength also you can do it quickly using F in the viewport for the size and shift F for the strength then we can enable add or subtract to add something with a brush on the surface or to remove something but also you simply can enable one of those options and while sculpting simply hold down control to enable the other option for example if you have enabled add press control to enable subtract temporary down here under symmetry lock X is enable and a mirror that means all our brush strokes will be mirrored in the x-axis and especially for sculpting characters this is very useful because we only need to sculpt one side and this is automatically moved to the other side in the end we can disable X mirror so we can add some non symmetrical details so we’re sculpting and blender there are basically two different ways one way is to add a multi resolution modifier and to subdivide the mesh and with this given subdivision we can sculpt the mesh the good thing about this modifier is that our base mesh will not be destroyed that means we always can change the resolution or disable or delete this modifier completely but in this video I want to show you the more dynamic dynamic topology sculpting also called tuned topo using this method the mesh will automatically be subdivided according our brushstrokes and so we easily can add in some areas more details and in other areas less details and all that happens without subdividing the whole mesh and in the end that means we can save a lot of polygons as you can see the downside of this sculpting is that the mesh will be destroyed but more about that later without enabling anything and when I now sculpt on the surface of the object you can see the current surface will be distorted without adding or removing anything and because of that I now click on enable tint opal for enabling dynamic topology here you could enable smooth shading but I would recommend to leave the flat shading so you can see more clearly where you’ve added details and where not then the option relative detail is enabled that means the closer you get to your object the more details you will add while sculpting and the far you are way the less details will be added personally I won’t recommend this option because certainly you always have to zoom in and zoom out while sculpting and so you accidentally could add too many details in some areas where you don’t need it especially in the beginning we just want to sculpt the very well details and because of that I would recommend to set this option to constant details so we can determine our detail

size and no matter how far you are away or how close you are to the object that details you will add are always be the same and so we have the full control when we want to sculpt what kind of details first we start with a rough details then at some point we lower the detail size so we can add more details and so on and so on then we have this option detail we find method with this option we can set up if the edges should be subdivided or collapsed or bows at the same time while sculpting on the object so for example if you choose subdivide collapse that means lenda always tries to have the same subdivision so if we have at some point too much details and sculpt over it it will be collapsed and if you have two less details it will be subdivided so all in all I recommend using this option subdivide collapse because in most cases this gives the best results alright these are all the settings we want to set up now we can set up what level of detail we actually want to use for sculpting now I can click on this pipette symbol and after that I click on the mesh and then the detail size will be automatically adjusted and show us what level of detail the mesh already has as you can see in my case this is about 6% and the lower I set this value the more details I can add to the mesh as mentioned before we want to start with the rough details so I set this value to 8% in my case in your case this can vary a bit so before I start sculpting some words about a graphics tablet because I don’t use the mouse to sculpt but instead I use a graphics tablet from Wakeham that’s basically the company which provides the best graphic tablets on the market and for sculpting and blender it’s important to adjust the settings of this graphics tablet on Windows you find this in the system settings under Wakeham settings don’t mind that UI is in German but here I have set up one of the buttons on the pen to be the middle mouse click like pressing the mouse wheel on a wheel Mouse and as you know in blender you have to press the middle mouse button to navigate in the 3d viewport and now I have full control only using my pen so I don’t need to use the mouse anymore because I simply can press this button for rotating when I press shift and this button I can pan the view and while holding down control and this button I and zoom the view and this way I simply can sculpt and navigate only using the pen alright now I choose a brush I mainly use for sculpting namely the clay stripes brush so when you start sculpting and get more into it it can really help to know the shortcuts for all the splashes and certainly I don’t want to tell you all the shortcuts in this video because luckily for you we have already created the sculpting sheet sheet together with a friend Manuel and on this cheat sheet you find all the shortcuts for all brushes you can use in the blender scalp mode let’s overview you can download for free on our website the link is in the video description yeah that you simply can print put it on your wall and study it while sculpting okay now I want to show you the smooth brush because this we will use a lot for showing this I switch to the smooth brush up here and if I now paint on the mesh you can see it will be smooth but it will not be subdivided and that’s one very important thing and the small workaround is to select another brush like the clay stripes brush and now carefully click a few times on the surface so the surface will be subdivided and after that we can use the smooth brush to smooth this area but you don’t have to switch to the smooth brush manually all the time you simply hold down a shift for enabling the smooth brush temporary though that means I use a clay stripes brush and click on the connection between the body and the legs and the arms and after that I hold down shift and smooth this area and now you can see the arms or legs and the body is really connected and it’s already mentioned while sculpting you simply press F for changing the size and shift F for changing the strength of the Posche so on the first step I start to slightly adjust and smooth the surface for this I mainly use the clay stripes

now on the nose of this creature we have some kind of horn and there are two brushes to create something like a horn the first one is the grape wash but the problem with a gray brush is as you can see no new polygons will be created while pulling out this horn that means the faces will be stretched and this is not really useful so I would recommend to use a snake hook brush because as you can see here with this brush you can pull out this horn and new polygons will be created and also very useful if you increase the size of the brush you can adjust the overall shape of the object using this snake upwash so now we have to be creative basically now again I mainly use the clay stripes brush to adding details to the surface for example the jawbone while holding down control I delete some parts on the throat for example and for shopping edges I use the crease brush and with this two brushes I can add the main details to the creature your little tip if some parts of the mesh disturbs you like the hands or the feet for example we can create this box mask using alt + B and after you’ve set your box you can see only what’s inside is still visible and all the other parts temporarily will not be displayed you can disable this mask using alt P again and as you can see this is quite useful because arms and legs don’t disturb us anymore so step by step I click on the surface and after that I smooth the surface with a smooth brush to remove all these ugly parts on the surface using the crease brush I add some lines to the lower part of the body and also I sharpen the lines between the arms and the legs for example and from time to time I also use a snake hook brush to adjust the proportions of the body yeah all in all this is a quite creative yes and in this process it’s important for the beginning not to exaggerated with the details because in blender scalp mode if we increase the details too much the viewport starts lagging that means try to sculpt as well as possible as long as possible so at this point the overall surface has a quite good shape it’s smooth enough and now we are ready to add the smaller details and for that we also need the fingers and the toes so I switch back to object mode and apply the modifiers of the fingers and the toes using the sculpt tools apply mods and after that step by step I join the fingers and the toes to the body using the Union option of the sculpt tools now with alt + B I – I can draw a box mask around the hands and now we have to take care because the fingers already have a very high detail level and if the detail size is too high and sculpt above the fingers you can see I destroy the fingers because we have enabled this subdivide collapse option because this collapse option collapses all the finer details so we get a whopper level of detail yeah and because of that I decrease the detail size so that we are sculpting in a detail size like the fingers already have yeah in the first step I smooth out the connections between the fingers in the hands and then step by step I add more and more details take some parts away so we get this shape of the hand and as you can see mainly I use a clay stripes brush and with a crease brush I add this lines to the hand without an B I can disable the Box mask again now I adjust the arms and then similar to the hands we do the same thing to the toes and the feet and now it’s really important to look at references certainly this is a fantasy creature but anyway we can have a look at wheel references like human anatomy or other anatomy from animals for example like dinosaur Anatomy or from other animals like dogs or whatever basically it’s about the muscle structures we have to somehow copy from real-life Anatomy to this fantasy creature now I start to scout the mouse and no matter what you are sculpting or creature an animal or a human I always would recommend to use

the quiz brush to create the mouse at first I tore this line where the mouth should be again with a snake oak brush I adjust their horn in the front and then I use a blob brush to create this hole where I want to place the eyes for creating the eyes for my sculpting’s I basically always use the same workflow for that I add a UV sphere add the more modifier to it and in edit mode I rotated for 90 degrees so this tip where all these polygons are merged basically is looking to the front then I select one loop which basically defines the size of the pupil then I press shift s and click on cursor to selected then the 3d cursor moves to the center of the selection down here in the header of the 3d view I switch the pivot point to 3d cursor then you can see as a manipulator is on the position of the 3d cursor then I select the front part here and press s for scaling Y for the y axis and negative one to scale it in the negative direction and now you can see we have this hole basically in the eye now I enable smooth shading at the subsurf modifier and an edit mode using ctrl R I add this loop cut to sharpen the edge of the pupil and we are done with the eye and when I move the eye to the side in edit mode you can see the mode version of it and now I simply have to put it on the white look on the head of the creature up to this point we only use dynamic topology for sculpting but so that you’ll learn how to sculpt using the multi resolution modifier I showed this workflow on the saddle for that I add a plane at the mirror and the subdivision surface modifier then in edit mode I cut this into pieces delete the one side because we are using the moa modifier then I adjust the size of the plane and now I model using the traditional modeling tools a simple saddle that means I define quite clearly how the shape of this saddle should look like that means for sculpting we only will add the smaller details the bigger details we already define while modeling in this case I use the subsurf modifier so I see how the saddle will look like when it is smooth and subdivided that means now I deletes the subsurf modifier and apply the MOA modifier and after that I add the multi with illusion modifier when I click on subdivide you can see this modifier does nothing as as a subdivision surface modifier does the only difference is that this modifier stores the sculpting steps that means every time I could lower the steps sculpt in the rougher subdivision and after that I can increase the subdivisions and still all the sculpting strokes remains no matter on what of these detail levels you sculpt on that means in this way we are quite flexible with this modifier so now as we know it from the dynamic topology sculpting we add the finer details to the saddle that means I again use a clay stripes brush and the Cui’s brush for shopping this edges here I simply use a crease brush and why sculpting I hold down control to invert this brush so we can create the sharp edges and as you can see I only add tiny details because if I add two big details some of the faces could distort and that wouldn’t look nice so I only can add this tiny things so here you can see my finished settle and the great thing is that I always can disable or completely remove this modifier and especially the possibility to disable this modifier is very useful when you have a lot of details in your scene then we can disable this modifier for the 3d view but for rendering this modifier is still be valid that means in the viewport we can navigate smoothly but for rendering we have a detailed level of a finished sculpted model all right back to the creature not to the future so the settle I sculpted after sculpting the basic details of the creature because now we can sculpt the final details around the settle one important thing when you leave the sculpt mode and turn back to it you always have to enable dynamic topology again you can do it by simply pressing control D so now we want to take care about the crustacean scales and important details on the surface and for

that the curve settings can be very useful this curve basically shows us the profile of our brush and this we can adjust manually or use one of these presets so and you can see how this affects the press for example when I use this very pointy curve you can see I can paint this very sharp edges and this curve option is individual adjustable for every brush so you can adjust the curve according what brush you are using and what you want to sculpt yeah and using a strong clay stripes brush I paint these scales and using the Cui’s brush I define the muscles on the limbs you back here on the tail we can see another important thing when I sculpt on sin or flat surfaces you can see it also affects the other side and here on the tail this is not really useful and to avoid this we simply can enable one faces only under the brush settings and now you can see when I sculpt on the sin part of this tail it only affects faces we can see from our view that means the faces on the other side will not be changed and now I sculpt step by step all the important details when I’m done with the important details I decrease the detail size even more so we can add the very fine details and especially in the important parts of the body like the head in this case I take care that the details are looking especially beautiful especially the head or the face from characters are the most important parts because this is a part we are the fewer looks at first yeah now I take a look at all their details I have already sculpted and with a finer detail size i we find all this details on the scales for example I add sharp edges using the add crease brush between the scales I use the subtract crease brush to deepen the parts between the scales also using the crease brush I add folds on the skin where the skin is moving basically near the legs and the arms yeah that means basically I try to refine everything so that we don’t have any ugly areas on the surface yeah after a while you will get a good feeling about the sculpting but certainly this will take some time especially that you know when and how to use the different brushes for example to create the scales we also could use a mask but then I can paint this mask on the surface this is colored in black as you can see and when I now sculpt over the non mask parts you can see if the mask parts will not be affected and then down here under height mask clear mask I can delete the mask or you simply press alt M another cool thing what I don’t show in this video is that you can use textures for sculpting the settings for this you find under the texture panel in the tool shelf and there you can simply use black and white textures for your brush and as you can see here when I now Scout on the surface the texture affects the brush and this way you could create scaled texture put it on your brush and in this way add a lot of scales in a short amount of time yeah but in this tutorial I don’t want to increase the detail level of this creature too high and because of that I don’t use any brush textures and about these final things that I’ve added here I don’t want to talk too much because this is not sculpting basically I edit this straps using the snapping options you can

enable in the header of the 3d view by clicking on this magnet and so you can snap the faces to other surfaces and this way I could easily create the straps for the saddle and the Waynes then I use two simple edged basically in combination with the skin and the subdivision surface modifier to create these buckles here yet in this way I more loads the final details for this creature now our creature has a very static and symmetrical pose and there are different methods to create a more interesting pose but in this case our creature has a lot of polygons and a very bad topology and because of that the easiest way is to create a simple armature object so I don’t want to create a rigging tutorial here but basically you add an armature object and an edit mode you add the different bones for the different body parts and then adjust everything so that it fits in this case I keep it quite simple and so I don’t add bones for the fingers for the toes and so on when I’m done with a bone skeleton I switch to object mode select the body and then with shift I select the armature and then I press control P and select with automatic weights the same thing I do with eyes a saddle so straps the buckles basically all separate parts and after that when everything works fine I can post this by selecting the armature object and switch to pose mode and in this case I just want to create static figure that means I don’t want to use this armature skeleton to animate this creature so I only use this armature skeleton to create a more dynamic and interesting pose after you’ve posts this creature it’s very important you can’t sculpt using dynamic topology on the creature while having an active armature system respectively an active armature modifier because then we get ugly sculpting errors so that means after I’m done with posing I apply the armature modifier and then if I like I can add more details in sculpt mode and also in this stage I would recommend true disable symmetry lock in the sculpt mode and add non symmetrical details to this creature so it looks a little bit different on both sides yeah now we are done with sculpting all in all for this creature including all the details and so on it took me about 1 hour and 50 minutes at this point this sculpting is only usable for static renders imagine this is a figure you have sculpted in real life from clay for example and you can put it on your desk and nothing else we have here right now but anyway this sculpting you also can use as foundation for a character for a wheel production every switch to edit mode you can see the topology of this creature is extremely bad and certainly we have way too much polygons for example if we want to texture this creature we have to create a UV map and for that we need to add seams to the mesh and with this topology this is basically not possible also if you would add an armature system for animating this creature with this bad apology the deformation would not really look good that means in the next step we would recreate this body using we topology to create the shape with a nice looking and working topology that there you only would concentrate on creating a nice topology and the great thing is you don’t have to concentrate on the actual shape because this we already have created while sculpting but this topic is not part of this tutorial there are a lot of tutorials about this already you can find on the Internet but what you can use very good who is models with a bad apology are procedural materials and in one of the next tutorials I show you how to create this 100% procedural dry clay material in blender and this material you simply can drag and drop on your model and then it simply looks good because it automatically fits to the whole surface yeah that’s it with this video I hope you enjoyed it and learn a few things if you want to see more of my sculpting works have a look at my personal YouTube channel there I already uploaded a

couple of sculpting time lapses and I guess when you know the fundamentals of sculpting you can learn a few things from just watching this time lapses linked to my channel in the video description if you want to improve your 3d skills I would recommend you to join our free weekly CG challenge there you also can win very useful prizes every week more infos about it you find on our website the link in the video description I hope you enjoyed this video I have put a lot of effort and time into this if you want to support my work simply share this video and tell your friends about it another way to support us is to buy our latest blender video training movie see equation the link for that also in the video description and another possibility to support our work is to support us on patreon all the infos you find on slash Z Reinhardt the link is in the video description and to finish this video I want to thank all the people that are already supporting us on patreon thanks a lot guys I hope we see us in our next video again goodbye you