Welcome to adding detail with sculpting in this video will see that detail can be added to our model
in various ways.
We're going to use in this case the multi resolution modifier to create derived data.
Now what I mean by derived data is it's implied data is generated by a blender and anything that's generated
for us saves a lot of time whether it's a render of an image or extra geometry of our model using that
derived data is better than trying to produce it manually because it would take forever and we're going
to sculpt the rest of the facial detail that we need.
Now there are other options.
You can manually move vertices Bout's and add more verses that is ill advised.
The more detail you have on your model the harder and harder it is to work with.
That's why the tools like the multi rays modifier exist so or even subdivision modifier that's why it
exists so it's based upon your basic model that you've got with the bare minimum amount of vertices
in it.
And then we can smooth things out with various other techniques and the complete answers of course could
potentially paint the details straight away.
So once we've got our wrinkle maps and everything else all sorted on our model we're probably not going
to do that in this particular video.
We still got the the main features to bulk out but you could potentially if you were a skilled artist
paint in the details that were necessary.
We're not going to do that at this point.
Okay.
So without any further loop Let's hop straight on over in a blender.
Okay so back over in blender there are a couple of things we need to sort out before Ideally we get
to sculpting this area here is absolutely horrible.
Now I've got a worry here that's the model itself is going to end up looking horrible.
If I don't sort this out before we get to using the malty rez tool am special in sculpting some skin
to pull that out there try not to create too much of a bump around me eye itself and it just basically
looks like some of the I is not forward enough.
I think it's going to be literally as straightforward as that so I'm going to go into wireframe mode
to see if I can grab the virtex I need and pull that forward and up and over.
Okay that is looking better.
I'm not quite liking this huge area here inside there so I'm going to move the I A little bit about
again using a bit of artistic licence here.
And just view it from the side to make sure it's.
No that's that's fine.
That's also not too far off.
The only thing we've got here now of course is.
Yeah that's fine.
Is this area at the top where we've got this.
I eyelid.
That's not really over the I at the moment so looking at it from this angle and would turn on proportional
editing that's going to be very useful.
I'm literally going to pull the eyelid up into that roughly the right place.
Now of course one of the issues here is the eyelid is a three dimensional object is a lip over the eyes
so we don't really want it intersecting the I we just want it to literally be a lip over the eye so
we can play about this about with that for a little bit to try and get it in the right place and that
is almost there.
It's going to decrease the size of my proportional on her didn't have proportional editing turned on.
I thought I did that would have probably helped.
Moment ago.
So that's almost there.
Let's bring this up a little and this one down.
And again tweaking and tweaking and tweaking to you get roughly the right shape for you want.
Okay.
So that's looking better I need to redefine the top of the eye.
But I think I can do that in sculpting.
That's looking much much better.
Let's look at it from the front again and again there's actually a ridge that runs round the I.
Right at the very bottom GRC.
There we can see it.
And I don't have that ridge at the moment.
It would be nice to have it.
So I will model that in due course.
But let's get on with this sculpting.
I'm going to get rid of the subsurface division modify big cars the multi resolution modifier is going
to do that for us.
So let's go ahead we can't apply it in object mode.
So subdivide.
I'm going to go to five times and that's going to give me 2 million polygons to work with.
And I can see a problem straightaway we get a ridge.
This mirror ridge down the middle of our model.
Now that's not a big issue at this particular point because all we need to do is apply the mirror modify
boom it's all sorted now.
One of the issues may be that later on you need to come back and do something to one side of the model
and you want it to be mirrored on the other and not sculpting because when we sculpt when we go hop
into sculpt mode.
Elise you've changed your settings so just a reminder there's a symmetry on the tool shelf mirrored
along the x axis so I'm automatically going to have a mirror going on or out without needing to worry
about that.
But if you need to alter the actual underlying geometry you'll have to reapply the mirror modify it
the easiest way to do that is to hop round to the front.
Go to a wire frame mode put a border select on select half your model and delete the vertices.
And there you go you've now got half a model that you come back in and add a mirror modifier to and
you should be roughly back up to where you were before.
Okay.
Now the other thing that we'll want to do before we really start getting to sculpting is trying get
this low poly mesh not to look so cluttered around the high itself because that looks a little bit horrible.
And if this is the mesh that we're going to be applying a normal map to once we've generated it.
This whole mess around the eye itself may cause this problem so I'll cut.
I'll come back to that and saw the how it looks okay once we've actually applied stuff or no it doesn't.
We've got a face crossing over there so are there are a couple of things to sort out.
That's right.
So let's go ahead and apply our mirror modifier.
But we were in edit mode.
We're in now in sculpt mode let's be an object mode and apply that mirror modify.
There we go.
Okay.
So we've got a little bit more to sort out of this.
I hear not to worry we can come back and do that but let's have a look at the nose.
Okay so remember when you're sculpting I'm going to knock back the preview before I go any further to
three.
So when we're moving around in the viewport it's not quite as busy.
We're down to a quarter of a million rather than 2 million polygons.
OK so now we've got a decent level when we go to sculpting you may find a little bit of a slowdown when
switching between them and just a reminder of your sculpting tool so you got your brush types here.
Feel free to play with them.
I do like Clay strips for instance under the eyes.
Then you can hold down Shift to smooth that out.
And there we go we start to start to get a bit of definition to the skin there.
And let's say the bridge of the nose if I wanted to build that up I could go along and do that here
as well.
I added a bit around the eye there.
There we go.
So we can start building that up very quickly.
You've got to control the size of the brush shift and efforts to control the strength of the brush.
We've got radius and strength here as well on the top shelf.
Now one of the things that often gets people is when you've zoomed out like this Your brush is very
very big even though you've not changed it.
If we zoom in it can be very very small creating very minor detail.
So there are pluses and minuses to zooming out just bear in mind that the radius of your brush is also
affected by the zoom level you're currently at.
K. A final few things down here.
Often it's quite nice to have a texture on your model as well.
And this is a texture for the brushes self we want this texture of texture.
Yes is this texture so we can go ahead and create a new texture and there's nothing there at the moment.
But this new texture will now be available.
We can see texture 0 0 1 I presume yep is over here in the texture's tab.
Here Okay so there's nothing there at the moment but what we can do here is instead of the type of being
an image if you've got an image great you can use that.
But for instance here I can go to all which is the one I had like let's just do marble just for the
sake of it.
Now we've got that so you can see that the brush itself is going to have a marbled affect to it.
Sunday is going to smooth that sound along there and let's try something like inflate.
So now when I when I'm actually painting on the model of we got the harp not applied the textureless
apply a texture and there we go we start getting some wrinkles in the skin rather than just a smooth
lump.
So if you've got I mean this is far too small for here so let's try bumping this up to five by five.
And that should bring out the detail a little bit more.
Oh there we go.
So if you wanted to create veins on the surface or something along those lines you can use textures
to help you do that.
I mean this would be someone with a serious illness.
But now we can hold down Shift and start smoothing out that detail so it's not quite what doesn't come
through quite as much then.
And of course if you've got I mean that's blurring it's but you can see adding some texture to the skin
can add much more detail.
In fact if you are doing a zombie you know having veins or something like that coming out of well that's
that's just brilliant.
Now I mean that could be a burn on someone's face or something on those lines.
Of course if you're into zombies it could be a zombie thing.
Okay.
So now we've explored the different brush types and the starting of the sculpting.
It's time for a challenge.
Okay I'd like you to go ahead and add your detail so make sure your low poly mesh is neat.
I've got that problem with my I was moving things about without really thinking and end up pushing some
geometry through itself of China sculpt with geometry pushed through itself.
You end up with some horrible pinching that even smoothing something out is not going to help with Apply
your mirror modifiers he don't get a horrible crease down the middle and set up your malty redd's modifier.
Be cautious of how high triangle count you end up with.
I've gone up to five subdivisions and that's given me two million.
Of course it will depend on the number of polygons you have to start with.
That's fine for sculpting and then lower down at the actual preview setting much lower so you can see
what's going on and in the viewport when you're in object mode much more smoothly.
Remember to save your work or even save as the process you're about to do is destructive.
You are changing the geometry so it can be very difficult especially with sculpting.
The uh don't rely on the undo buffer when you're sculpting when you're sculpting you're going to do
lots of little brush strokes and will very easily go over the amount of underuse to get back from to
wherever you want to go.
Fair enough if you make one or two mistakes but if you decide no I don't like but I want to go back.
Well you know kind of stuffed because you've changed the underlying geometry start sculpting your macro
detail.
Okay so were talking about the areas around the nose the lips.
Bring out the cheek bones the jaw line etc. start moving those bits about and start really defining
the overall shape of your model.
It's very basic at the moment.
We're going to hone in on that detail and then go ahead.
After you've done the macro detail to add in some fine details do you want to add in a couple of wrinkles.
Do you want to add in a fold in the skin.
Perhaps there's lots of different options but we can already see.
Remember the texture brush.
You don't have to do something quite as extreme as the zombie or the burn victim.
I've just done a home but you can use less air noise texture to start putting in little dimples in the
skin as well.
Okay.
Share your word in the discussions after you've done this.
They're going to be epic.
They're going to look really good.
So are you proud of your work.
Make sure you share it okay.
Pause a video now and give that a go.
Okay guys welcome back.
Let's go hop back on over into a blender and start applying some detail.
Okay so let's go ahead and start adding some detail.
Now I've got a couple of things to do here.
Number one I need to make sure that the base mesh is good to go.
So let's go ahead and sort that out now.
So I'm going to apply the mirror modifier.
Can't do it in edit mode so we're going to apply that mirror modifier.
Now one of the things I have to bear in mind I'll just turned off the cage and viewing it in edit mode
is that my mesh needs to be relatively clean and needs to be the final low poly version that I want
to go for now.
In this case this is quite low poly but the eye itself is a bit of a mess so I'm going to have to go
and sort that out and the inner sticks out quite a bit.
Now before I go ahead Russian delete things and do lots of other things that would potentially destroy
what's there.
The first thing to do is look at any geometry that's necessary that's important and then start working
from that point forwards.
So this in itself I suspect is going to be quicker to delete the what's there and remake it with everything
in the right position including the eye.
Because if we look at the eyeball itself note the eyeball is in the right place so I'll be careful when
I move that that's Or I don't move that.
But the rest of the eye is not quite right.
So let's go in here.
Okay so the first thing I'm actually going to do is apply a level a sub surface the Vission.
So I've got some more geometry to work with and that is going to be about as low a poly as it's going
to go.
This is where the detail is going to be.
Now I need a lower level like this because when we get to the details where the eyes are all around
the is they're just going to have it's simply going to be too pointy to work with.
But I think this I itself I'm going to have to go in and actually do some major surgery so I'm going
to go ahead and do that now and I'll be back in a few moments.
Okay so after doing a little bit of modelling I've read done this.
I hear now we can see what it looked like before on this side here.
So I've actually gone in and removed some unnecessary face loops and I probably do the same around the
rest of this model especially on the fore head.
It's going to be too much detail needed on the fore head so I can select a particular face loop and
dissolve the edges and just basically thin it out a little where it's just not necessary.
Now the remaining thing here of course is because I've done it after applying that mirror modifier.
I will in fact need to whiz round to the front.
I'm going to go to wire framo to do this with border select and actually select all of those vertices
and delete them.
And because I'm happy with the general layout for the moment I can go ahead go to the mirror modifier
and just click apply whilst in object mode.
And um back ready to start sculpting.
So let's bring a model back round.
I've applied a multi rose here I'd do that again.
So multi resolution modifier.
And I'm going to subdivide it and I'm going to pay attention here.
I'm going to subdivide it four times should take me to just under two million triangles gives me a nice
area to work with.
I look quite sad there at the moment with the expression on the face.
A whiz round into the profile modes and we can use that to work on the shape of our model and I will
see you guys back in a few moments after I finish sculpting I'm going to start work on the nose.
So the nose itself is coming along really nicely and I wanted to take this opportunity to just show
you the clay brush itself these clay strips.
They're one of my favourites so I'm just going to muck around here do it in more detail later on.
I've applied some under the eye there and then I can literally hold down Shift and smooth that out and
then add a few more and smooth those out.
It's very easy to build up let's say in this case bags under the eyes or things like that.
It just helps make detail where you need to build something out or have a crease in the eye line.
And let's say at the top here we want to bring that out.
We could do very easily and of course I'm not going to keep most of those changes I'll go back and sort
them out.
But the clay brush itself is very very powerful and the smoothing afterwards just hold now shift will
automatically goes over that's moving that enables you to get out rough things or where it's pinched
in too much say on the on the.
I hear I can see this.
This Crisco running down here just kind of smooth that out a little.
Perfect.
Okay so I'm back and this is what I've got so far.
So we've spent a couple of minutes sculpting out here.
I've literally skipped backwards and forwards between sculpting level so if I wanted macro detail I
could put tahn and then bring it back down in to fine a detail level for I've never gone over Level
4 and I've also remember to apply the base which then goes ahead and changes the underlying mesh to
do well to match or sculpting a bit more closely.
Now what I have found that did was it ruined my nose it pushed the geometry through itself but that's
not a big problem because it just meant I need redo it any way because it wasn't suitable for the mesh.
So this is our underlying mesh at the moment.
Oh my word.
There's something crazy going on here.
Did I just do that yes I did.
Phew.
I thought I'd sculpted something crazy I just accidentally clicked and moved to town.
Good job of swotted that Skinner saved my work.
The final thing I think I'm going to do here is the chest areas not looking too great compare it.
Well it's not had anything done to it yet.
So using some clay strips thinking about where the muscles lie I can add a few bits of detail in here
and literally smooth them out as well and that will help with the underlying shape.
Excellent.
How is yours coming along.
Hope it's looking good.
I'm really proud of mine.
I hope you are of yours to remember to practice lots.
Share your work in the discussions and I will see you guys in the next lecture.