Welcome to basic sculpting.
In this video you will learn the basics of sculpting.
Adjust your brushes type strength and size.
Understand how dynamic top policy works and when to use it.
And then finally how to find a brush.
If you've accidentally deleted it send it on straight on over in a blender.
Right so.
Well now we're over in blender The first thing I want to do is we're going to be playing with something
that's quite destructive.
So I don't want to work on our fluffy bunny for the moment.
Somebody go ahead and open up a brand new blender file with our default cube in it and I suggest you
do the same.
Now to play with the sculpting tools.
So let's go ahead and start playing with the sculpting tool so if we hop down to where it says object
mode we've got a series of options and we're going to click on scolloped mode and you will see on the
left hand side in the tool shelf the menu options change.
Down here there are different tabs going down.
We're going to be focussed on each just the tools one here and I'm going to pull this out so we can
see a bit more of what's going on and down at the bottom here.
The menus have changed ever so slightly.
So what does this do.
Well we can literally start changing our cube about now as you can see um left clicking here and it's
kind of pulling the corners of ask you about we're not really changing its shape.
There's nothing awesome going on yet.
Now the reason for that is the brush tool directly affects the underlying mesh.
So in this case there are only eight vertices so the only thing I can move are the eight vertices and
everything else is joined to that.
So if I were to add more vertices to this mesh so if we go in and quick we're doing this is probably
just subdividing it and applying the subdivision so I'm going to go over to our modifiers.
I'm going to go down on the generate column turn subdivision surface modifier.
Of course it makes it kind of spherical.
I'm just going to add two subdivisions and apply them.
So now we have some more geometry to play with and we can see that in wireframe mode as well.
We've now more FA model about now it's not moving very much at the moment as we try and move it I'm
just clicking away and wiggling around and there we go.
It starts to move up and every time you go over the top of one of those verses again it moves it out
slightly and we can see here this is the type of brush we have and we're currently adding you can subtract
of course which does the reverse and pushes stuff in there we go.
So let's flick that ad for the moment.
Now the first thing I'm going to deal with is this radius and strength.
So the radius is the size of that brush.
Now you notice it's in pixels Now this is important because if you zoom in or out on your model you
see when it's all the way zoomed out here were affecting the entire model by doing this sculpting.
If we were to zoom in and we're only affecting one vertex in fact in this case but the radius of the
brush hasn't changed.
So depending on the scale of your model your radius will differ.
Now the shortcut for adjusting the radius of your brush is the F key on the keyboard.
And if we press F now we can see we can make that brush bigger and smaller and that outer red circle
will show the new sides.
Now you'll notice that it's faded and it's faded because it doesn't affect the entire area.
Equally it affects the middle more so than the edges and that helps with your sculpting otherwise you'd
end up with a very sharp lines.
Now if that's something that you wanted then you can control that the strength itself is currently set
to 50 percent and the strength allows you to be much more gentle with your sculpting.
So imagine that this was a real piece of clay in front of us.
If you went for it really heavily with a tool you would end up making more of an impression of changing
it more than if you were very gentle.
Ultimately you can do the same amount of sculpting at 50 percent you just have to do something twice
to get the same result as if it was up at 1 or roughly speaking.
However the lower the strings it does afford you more control when you're working on something detailed
now.
Unrest set the size of our brush down a little some.
To press the F key and move it back down.
So the strength of the brush can be changed either here in the tool shelf or it can be changed with
the sheath and F key.
Now you notice it gets this way is a bit counterintuitive.
The brush gets weaker or weaker less strength when you go towards the outer edge of the circle.
The big circle here and stronger as you move in and in so you'll want to pick.
I usually leave it around 50.
But if you need to make massive changes quickly obviously you can bump the strength up and if you need
to be more gentle and subtle with your changes you can lower the strength and have more control.
Now we've already covered the add and subtract.
They basically mean are you pulling the model outwards or pushing it inwards but at the top.
We've got this picture so we're not quite doing this in order here.
But that at the top we've got a picture of a brush and if we click on that it gives us a selection and
these are the default selection.
So we've got one two three four 8 16 18 different brush types to choose from and they all affect our
models slightly differently.
Obviously you can customize these like you can anything in blender.
That also means you can unfortunately delete something.
So if I go ahead now and.
Let's say this blob won't select it.
Now during the messing about up here if you were to experiment with it if you accidentally hit the F
key which removes the users from it and creates a fake user and then click the cross for some bizarre
reason.
And on top of that so it's still there at the moment.
You can see it's just there but it's got a zero next to it.
But if I now save this blend file.
So let's go ahead and save it and brush gone test.
Now if I call quits from my blender program.
Okay now I have quitted from Blender start it back up again.
Need it bring it down on to this screen.
Make it the right size.
Okay so go file an open response and go to brush contest.
Now it's not there anymore.
So if you hadn't realized you had done this you need to get that brush back so let's cast our eyes to
the sculpting head down at the bottom.
And there's a word there that says brush.
Okay and then if we click on that there are a series of options here one of which is sculped tool.
And the one that we've deleted was called blob.
So you may have to refer to an unaltered blender file if you were to do that but here we can go ahead
and go blob and that's added it back to our.
Oh no sorry.
That's overwritten the one that was there previous which was brush sculpt Clay case and we need to click
the plus to lock clays 001 and you can see that's here.
And with that one selected we can go in and go brush.
Sculpt tool blob.
And of course rename it's here to blob.
So if you wanted to modify your tools and you actually found a brush type you light and you were working
with volts you could go ahead and create a custom type.
And now you can see there are FS all across these.
That means it's got a fake user so that when you close blender down and open it back up again you will
see this again with materials.
In fact we covered it briefly in the material section before it has a zero next to it.
It means that the next time you close blender and reopen it it won't exist anymore.
Okay so finally we scroll down here you might not have the score yourself.
There's something here that says Dean toppo or dynamic topology.
Now as we mentioned to begin with this is actually turned off.
Now when I move this is moving that single vertex about if I enable dynamic topology it gives us.
You can see straightaway it's triangulated our mesh it needs to do that it can't work with quads.
And if we go in here and start modelling you see that is adding new vertices to our model enabling us
to add a fine amount of detail to that small area.
Yet if we look at the underlying mesh all in fact it's got reflection turned on as well that's important
and have a look at that in a moment.
So this here is adding detail where we need detail but keeping the rest of our model plane.
Now that is quite important when you're modelling because in this area here doesn't need lots of geometry.
It's pointless having lots of geometry and if you cast your eyes up to the top we can see this.
This model now has nearly twelve hundred verses and if I draw some more in there it will go down.
Now why is it gone down.
Because I was zoomed out slightly.
In fact if I zoom out a lot so this brush size is the entire model and click.
It's dropped everything down so you can see that dynamics apology is very useful.
But if you didn't know that actually zooming out and using it will actually lower the amount of polygon
in your scene that could be very destructive if you've just been working on some detail.
You'd have to obviously go and undo it.
But if you'd gone past your undo buffer you'd be pretty much stuck.
Okay so final thing now on reflection.
So further down we've got symmetry.
And we can see here the direction on dynamic top ology here because we've got it enabled it is minus
X 2 plus X so if we were looking front onto our model here and this was the site we can give it some
must give it some is I suppose if you wanted or a nose and we can see that we can start building out
a model very quickly and I haven't really played with this too much going on here and we can see if
we turn dynamic top ology off.
Symmetry and symmetry lock down here is locked to the x axis at the moment which means that as you can
see here along the access it will mirror and we can change that if we want to the y axis which will
do this way and then Z access wince will do the top and the bottom.
And of course that will depend on the orientation of your model.
So one final thing to cover here is smoothing the auto smooth feature.
So as you're going around your model and adding You may end up with it not being quite as smooth as
you wanted.
Now there is a brush here that is smoothing as well which is this one here looks granya and smooth and
that one itself will help smooth out details.
If you've made too much of a sudden change in your model.
Now if we have a look back at a normal brush time let's go back to blob and we can see here also smooth.
If we turn that up as you're modelling it will help smooth out the details so it won't be as aggressive.
The other thing that you can do when your modelling is press the shift key and this will smooth as your
modelling so it's no longer doing the blob it's doing smoothing so it can help flatten out details.
If I let's go here it's up the strength to one and really bring this out here.
Let's turn on dynamic topology as well to make sure we get detail in there as well so that's bringing
it really far forward like that.
Now if we wanted to make all this jaggedness smooth Well we can just hold down Shift as I'm just going
to make the window a bit bigger so we can see what's going on.
I can hold down Shift as I'm doing this just to run over these aggressive details to smooth them out.
Now of course if you wanted a large amount of detail then you may want to go back again with a smaller
brush and add in that detail.
Now do be careful when using the smooth of course because as you can see here this lovely point that's
coming out.
If I just smooth it eventually it will end up flattening it back down because that's what it will tend
towards.
But smoothing your model out helps massively.
And we can see here that you can see all the faces.
Perhaps you don't like that of course in object mode.
What we haven't done here is set the shading to move it we set the shading to move.
We get a much better appreciation of how that's looking.
Of course when it's flat we get a much better pression of the underlying geometry.
Okay guys it's Challenge time.
I'd like you to define your bunny shape.
So the head will want the most detail since it's a focal point for our model recommends making sure
symmetries turned on it's going to make making your model much much better.
Now use reference material for an accurate shape although if you do want to caricature your bunny rabbit
then please do so.
It's cheap.
Remember this is your model.
There's no right way of modelling a bunny.
As long as everybody sees it as a bunny that is great.
Now do models the is at this stage to using whatever method you want an ad to use is for the eyes and
keep them as a separate object for now.
Now I would suggest with the IS themselves that too quickly block model a couple of years basically.
And then join them to the rest of the mesh rather than trying to use the sculpting tools to create is.
Although if you want to do that do give it to go have fun with it.
Pause a video now give that a go.
Now because of the length of the solution for this video the actual solutions will not be in this lecture.
It will be in the following lecture.
So get creating your bunny and I will see you in the next lecture.