All Sculpting Brushes Explained | Blender 2.91

this video i'm going to do my best to cover all of the brushes in blender as a version 2.91 i'm going to just kind of go over the different uses for these brushes so first thing we're going to do is just to set up a sculpt mode you can click down here and you'll have a sculpting workspace you can also go into object mode here and switch the sculpt mode but if i click this tab up here this will have a layout completely for sculpting and yeah so we can see here we have the brushes and up here we have the different settings for the brushes which is also repeated right here this stuff is the same as what is shown up here and over here we have these view settings so we can change appearance the matte cap and this is just different ways of viewing the surfaces of the mesh just different ways of shading it yeah i'm going to go with this matte cap i find that kind of easy to read and the colors aren't so distracting before we go over all the different brushes i have to go over how to create a geometry that's good for sculpting because right here this geometry is very limited for sculpting if i'm using this brush and i run over this with my tablet we can see that this is not uh you know deforming in a very freeform way and that's because it needs more geometry uh and we can fix that with dinotopo that's a way of dynamically adding topology to the mesh with this brush it automatically adds triangles to the area where i'm sculpting it's right there we can see it adds triangles and then there's a single one here where i haven't drawn but immediate you can see if i go to wireframe view what it's really doing so if i start drawing here it breaks all of that into smaller geometry and because this is set to relative detail if i zoom out i'm going to lose a lot of detail right there but if i zoom in we get more detail and you can keep zooming in and getting more and more and uh and if you you have a slow computer you might want to use another method for retopology because it can uh it's actually making your computer working harder than it probably has to because it's constantly adding more geometry as you're sculpting so i'm going to toggle this off by checking it or you can do control d to turn on or off and uh yeah so this is called remesh and this wouldn't work if this is checks if this is checked right here this is faded so always make sure that's unchecked and if we click remesh see it's it's creating this other topology and uh you know looks very nice it's actually uh not perfect topology it's all it's all quads which people you know love it's it's good for presentation it's easier to read maybe than triangles more organized uh but you know if you were to go into edit mode a lot of the perks of having clean topology like clean edge flow don't really exist here where if i run up here the loops are kind of going in a lot of different directions um so this is just a just useful just as for sculpting but uh you would have to go through other methods for creating clean topology um yeah it's just not made for that purpose while it might be seen as you know used in that way so i'm going to turn off wireframe because that's kind of distracting we don't really need that for sculpting but it's nice to look at and if so you know if we sculpt here it's not adding extra geometry uh but like if we were to say i could use this for example this grab brush um and then we can use f to change the radius of that if i bring that out i wanna we also have this overlapping geometry which you know kind of messes it up where the geometry is flipped right there if i use ctrl r it's going to clean that up and now we have more geometry there using flake tool you know bring that out and you know now we have that extra geometry right there um but so we have to do that manually right ctrl r or the remesh button right here do the same thing if you want to change the amount of detail for this sculpting you can change it with the voxel size right here because this is the foxworthy mesh voxel is like a 3d grid so it's deciding where to create points based on this 3d grid just to break it down um so uh right here we could change this but i actually like to do it in the viewport with shift r i find that's a lot more intuitive because we can just uh you know use the squared as reference to see how much detail we're adding be very careful not to make it too big so if it's 0.01 and you then you click remesh it's going to crash blunder because it's just too much for it to handle you know unless unless you have a very powerful computer that's going to be the case but you know even this much like if we look down here you could right click here and click scene statistics to see how much geometry you have we currently have 20 000 verts we could go up to a million in the case on my computer which is i think pretty average um and but you know you won't know a lot and know until you you try it and uh you know try it once and i don't it won't break your computer you can handle a lot more geometry than you would with dino toppo because it's not constantly recalculating that you just kind of create more geometry when you need it and uh and so those are the main things of topology and now i'm gonna go over these brushes you know just the different uses that i've found for them first one is the draw brush you can just use this just to add you know mass to something basically and the the falloff it is smooth and this this is important because that's a key differentiator for some of these uh like the draw sharp brush is you know you can change this to work just like this brush because the falloff is instead sharp so that's and this is exists as its own brush feeds is very useful for blocking in details so you might use these together you know switching between them uh you know just to create forms and um but yeah the key difference here is the falloff is sharper but we can make that smooth just like this brush but now it's still going inwards we can change that to positive you know so now these are doing really the same exact thing um but yeah so just something to keep in mind with these brushes you can do a lot to customize them for different uses and it is a little bit redundant uh you know just some of the brushes kind of serve a similar purpose um you know a great uh useful things like you could just use one of these brushes oftentimes i just use uh the clay brush the clay strips brush which are very similar i'll talk about that in a second where you can uh you know you you're gradually adding detail um and so default is plus so it's going up if i hold down control it goes down which is very useful and uh and yeah so the main difference between these two brushes is they are both strips of clay they're both inspired by that sort of texture in traditional sculpting when you add a strip of clay onto something just kind of a flat surface uh you know when you're adding clay that ends up giving this texture that the brush also gives but the difference between these two is this one smooths things out while you're sculpting and this one gives you a sharp line and i prefer using this one when i'm sculpting because i can actually see what i'm adding and still once you have more resolution it's kind of easier to see the overall effects of this so you can see uh how rough this actually is when you update the resolution um yeah and and you could end up smoothing these later if you're on the shift key that activates actually this brush right here um which does the same thing the smooth brush just to smooth things out later so and then but it doesn't like switch to it so once you let go of shift it goes back to the draw brush so you can just add stuff and then smooth it out thumb brush is also uh inspired by you know actual sculpting so you're just kind of nudging something in that direction so imagine a thumb is like the main finger that you use for sculpting typically don't use other fingers in the same way so that's why it's using that yeah if i spin it it actually sort of swirls that around yeah and you notice we're getting that messy geometry we're kind of running out of stuff here so i'm going to remesh again that's you know very important a layer brush is key for adding a specific amount of detail so if i don't lift up this pen it's just adding it on that layer if i do it again it'll add on top of it but there's actually this hidden properties panel over here if you press n or click this little tab right here and we can go to the tool menu and let's see settings oh excuse me that's in this workspace we actually already have that over here in this toolbar right here and we can see uh the most uh relevant thing for this uh this brush in these settings is uh is right here this stuff is actually a repeat of some of the stuff over here if we um click set persistent base or i think we have to check this first in the set persistent base um it's just going to add to this this level so notice once i uh add to this i can't draw in this area because it already drew up to that height and this height is established right here so i could increase that and now it's going to go only from that height to uh the base that i i just set for this brush so i'm going to remesh that this is starting to get a little messy right there so there is a cleaner geometry that we can now sculpt with um yes with inflate it's pushing it out in multiple directions uh a really useful uh thing for this is like if you have an elbow or a finger and you know you want to quickly create mass in certain areas like in the joints uh you know pushing it out on the sides that'll be that's it's useful for that um you know also if you if you have interior geometry that you want to just get rid of sometimes it'll just it's a little messy but i'll inflate that and then just to remesh it and uh remesh removes all of that into your geometry if you look in there it's now gone so that was actually a view with altsy and you can talk that right there this is coming to be a pretty funny looking sculpt um yeah so blah brush it's uh pretty similar to an inflate brush but the the way that it's adding mass i think it's more in the direction it's more similar to the drawbrush uh it's kind of like a halfway between these two that the inflate brush and the draw brush where it's pushing out more uh while you know doing a little bit on the sides like the inflate brush does um yeah maybe we'll bring this resolution down um just because don't need to overwhelm this this isn't going to be a final work of art while it looks interesting maybe just bring that in there um yeah but yeah so uh and yeah the final one here is the crease brush and this is useful for edges you can see if we want a sharp edge on something it kind of uh you know yeah creates this it's pinching it together but the pinch brush is another thing this is relevant because it's pushing it's all about pushing with these ones whereas later on we'll have this this brush the pinch brush in this this is just pinching well this one there's a little bit of you know shifting and um and pinching um so right here smooth brush we've already talked about this uh you know you can activate this just by holding the shift key on empty so usually i don't use this except unless i'm adjusting the strength here because then if i turn this way down so it's really light doesn't do much if i hold shift on this now you know whenever i access this brush that setting is the same when i hold down shift for that a common mistake is over using the smooth brush because you'll lose you might lose some of the details because you're trying to polish things but uh you know if you have like creases or something uh you that'll get lost in the way intense i'll put that back to normal negative and then that fall off so change that a bit earlier um if i so if i look at this um this crease we can flatten it and so unlike the smooth brush this is only averaging things out in one direction the direction of the brush from top to bottom whereas a smooth brush averages things out in all the directions finally we can look at these two last brushes that smooth things out um this brush and if we drag this out sorry i didn't mention this earlier but you can see all the names if we drag it out it says fill also when you roll over these as well uh when they're like this um because this is a lot to scroll down i actually like to drag this out so you can see more of the shelf right here so with this brush uh these are kind of opposites uh this fill brush and the scrape brush right here where the fill brush takes the bottom level and kind of fills it like if you were pulling water into it or something whereas the scrape brush scrapes off the top of the brush so this is perfect for creating uh hard surface materials so now we have like a nice bevel there um there's uh you might you know you might want uh if you're creating some account you might want to look into modeling but if you you know if you want a concept how something should look and feel or you know sculpting a car this might be a good go-to for um creating sort of a smooth uh trend surfaces um you know well still being kind of a natural feeling um yeah and so back to here we have this multi-plane scrape um you know this is you know in the same realm again as the crease brush we have down here but this is also useful for a hard surface because you get a nice sharp edge pinch brush similar thing but you know behaves slightly different i just can't kind of play with that to see you know which one is more useful i think multi-plane is more useful for creating sharp edges because it's not pushing things inwards it's just kind of organizing things into that right angle sort of flattening the side and this side yeah so those are those two brushes and then with the grab brush we can just drag things down and again if i didn't mention this earlier we can turn off the symmetry with this you turn it all on so now it's going in all these different directions and just kind of pulls the closest point to whatever one of these are on the sentry if it's not symmetrical so right here it doesn't have something to pull on but it's kind of goes for the closest thing but yeah we can turn all that off and there's a bunch of features over there but maybe that's beyond the scope of this video let's focus on the brushes that's why you're here right so with these off you know we can yeah just we don't need that on for this demonstration so um yeah anyway right here grab brush already showed it to you yeah just moves things around i find this really useful for uh just putting making something sure things are in the right place if you had a silhouette of a head and you're correcting like the jawline or something you can look at the edge and it's gonna might be a lot easier to see if you're doing the right thing than if you're just drawing on it because it's easier to see the edge of something silhouette if that's following the right shape than something facing you even though these mad caps help a lot and you can change them to see if like if this is clear for you um you know just looking at it in these different ways way to really have uh very clear control is moving things perpendicular to your view and that's what's possible with the grab brush um it's right here you know you could very quickly like match up an image uh to the sculpt just matching that profile well like you know when you turn it you'll have to you know do quite a bit more to make all all of it right and fit together but yeah it's helpful for that case plastic deform similar to the grab brush but um it's uh influence is outside of the radius of this circle so we can control this here but you know with f controlling size or with these bracket keys which sometimes i like to do because i don't want to move my mouse while i'm brushing something so we can brush well moving it but this last deform brush it's notice it's actually moving outside of the circle right there so it's moving up here even though the circle doesn't expand out there and that's just because it's trying to this is part of the newer brushes that are trying to be more physics based so we want it to preserve the volume in this mesh because if we just grab it it's almost as if there's nothing inside of this uh or that there isn't any constant amount of mass in this object so this kind of tries to preserve that and again there's a bunch of settings that you can change here if you don't have this open again you can use the n key to uh you know look at these settings and yeah these are pretty much the same as what we have up here so there's uh it's just for accessibility it's different things work for different people yeah snake hook works the same as grab brush except that it's it's really made for dino toppo so if we check down otapo we can compare the grab brush with the grab brush we're just moving things around there's there's actually no uh new geometry with this but with snake hook because it's made for dino toppo you can keep adding things and so if you're creating like a base mesh for a character you could very quickly make an arm or a tentacle or something you know and uh yeah so it's really good for that um yeah i'm gonna turn off denotapo and use remesh so we can you know get more detail with less work for our computer again so thumb um oh yeah so we had clay thumb up here and the thumb is going to do a similar thing uh where it's kind of pushing it but i think there's there's like a limit and kind of a swoop to um to how far we take it um so it's kind of sliding things but similar to the grab brush but it's more limited uh in strength so that can be nice maybe it's meant for like adjusting the surface of something and in in a way that's you know lighter and also more similar to traditional sculpting so the pros brush it can be a lot of fun can be a little bit hard to control sometimes but it's perfect for positioning your sculpt if you don't want to go through the step of rigging it you know if you don't need to rig it for any other reason then getting into the right shape this might be a good go-to um but yeah you can uh adjust uh it it's based on the radius so it takes this point where the mouse is and then uh you based on the radius it selects a closest point on the path and then it figures out a pivot for that so if i adjust this radius inwards it's going to only bend from where that radius starts so you know you could you know here's a here's the finger we already gave it some character there and then like like i said then played on the knuckles perfect right um and then uh yes that's that's really useful and there's some other settings that are really nice on this like scale and translate so you can change the size um of this so if you want to quickly change the size of like a leg or arm on a character you can just use it to scale it out yeah you can change the the sm you can smooth this out so it's not so sharp um but uh yeah and right here yeah i'm adjusting the scale by holding down control and the middle mouse button or the equivalent on my pen tablet because again that's what i'm using but uh yeah um so that's very useful nudge kind of similar to the thumb i like to think but there's a bit more of a swirl to it as the image suggests so if we go in a circle we can see it's swirling it so that's more obvious but like it doesn't have to be that dramatic in its use so you could if you have a swipe it's kind of reading that direction and rotating it just ever so slightly with that but yeah if you turn up the strength it's going to be more obvious rotate brush it's even more these like should be on a spectrum right thumb nudge and then rotate so that's literally going to be rotating the mesh um yeah so that's already pretty extreme yeah and then uh slide relax is great for re-topology so um especially if you're using the multi-resolution modifier so i'm gonna make another object just to demonstrate this i switched to optic mode using tab key and in my preferences i changed it to um to the uh tab for pi menu right there but if i um yeah so but i just find that a lot quicker so if i click mesh and then cube if this and if i just little modeling it's not a modeling tutorial but just demonstrate i'm adding these loops actually let's just extrude this uh once uh sure why not and then multi-resolution if i subdivide this oh it has this extra geometry to work with so if i move this out but if it remembers the original shape so if i reduce these subdivisions right here under sculpt because i'm in sculpt mode right here um you know we have this and then and then if if you you know this is kind of dramatic right here maybe we want uh there's less maybe more geometry than needed here and like this area is more lacking in comparison so we could use slide relax just brush it over and you can also smooth this out which isn't smoothing out the geometry but you know i mean it's focused on smoothing the topology there is going to be a little bit lots of information when you do slide that out but yeah if i hold down shift it kind of averages it out which is really nice for smoothing out your topology if you're trying to clean that up through the process free topology and you can see in my other videos my process for uh retopology but yeah that's very useful for that particular case um yeah i'm going to go back to switch this weird shape from my other demonstrations but if you look at this let's see where were we scrolling down here's the boundary brush okay and i'm gonna have to model another another thing because this is another specific case um we can actually just use this cube i'll take out the bottom uh because this is helpful for like shapes that are like sleeves or um so now we have these shapes here and um yeah in this case let's add more jam from these sides i could have subdivided that then whatever but yeah so sculpts and then with boundary brush we can it selects a boundary and moves it out so this is yeah like i said made for sleeves and cuffs or skirts um and some of these settings are much uh better for uh it will give you different effects for this that are kind of nice so you can smooth out an edge so if you have some weird stuff going on you can do that it kind of has this fill filter effect like the more you use it the the more the more you hold down the more it has an effect um let's see let's try twisting it um yeah and this also has a fall off here we can adjust this is constant so that's why it's so sharp but if we change it to linear undo that let's make sure linear yeah um so that now it's a much you know more natural fall off right there bend is pretty cool you can like curl up a sleeve or something um you know there we you know you have a skirt or bottom of her dress or something um yeah and so you can just kind of play with those settings and make some pretty cool things um frustrating that's based on yeah just different yeah different effects there which is pretty cool um cloth brush so much fun uh that's a new really awesome new feature in blender so let's create yet another shape um so that's shift a add we're you know in the object mode and uh um add menu right here which gives you the same thing but anyway right here we can just use the cloth brush and there are a bunch of settings here which are also very important to focus on in this case we can isolate this with the slash key right here so um yeah uh so now we don't have all those other objects in the way well they they still exist in the scene we just can't see them um oh yeah let's re remesh this again so we have more detail to work with control r um yeah we can see uh very quickly we're getting some nice details there i'm going to do another video in detail on sculpting cloth in general because sometimes this is a great go-to but you might not have as much control as if you were just to do it yourself um you know just sculpting man manually skull cloth details uh but um yeah there's really awesome things you can do just with you know physics-based brushes is pretty awesome yeah and if i if i look at these settings this is just the this deformation thing this is the key um to the different settings so you can if you want to grab it around you know pull it in a certain direction uh you know push yeah it's relative to your view it pushes it inwards uh you know and it's smoothest in the area with the most tension and everything kind of reaches towards that that's what pretty much all cloth textures are kind of based around so i expand the more i use this it's kind of like more time is passing um yeah snake hook isn't kind of a newish one but all these kind of are similar to these brushes that already used in in blender um so yeah there's it's hard not to get tired with these inflate you know has that effect which is pretty satisfying yeah uh but you get the idea for that another other important things for this is uh that you know see there are a few extra circles here we have the the heart the uh these these little extra lines are these two right here so notice these are specific to this so let's pull this out a little more so we can see what it says um because there's not enough room simulation area uh it's local so that's just based on this object they just keep that as is i think most of the time uh the limit is going to be uh so you can see yeah if i bring that up see it gets really big so that's kind of like the this establishes where the simulation exists because if it goes if it goes too far um it it'll slow down if it has like a lot of geometry i don't want to crash uh my computer during this tutorial so i'm not going to go too crazy with that but notice like the simulation has a limit there the falloff kind of smooths out where that that limit ends so this is the dotted line and this is the the uh the uh end of that so actually yes falloff is the dotted line so now it's really close to the edge you'll see here and then so you can kind of play with that uh you know get different effects but yeah you'll have typically more control if you just sculpt it yourself a lot of the time but uh you know i'll have another video on how we can best control that simplify works with dino toppo uh so this is the you would get the same effect if you use the drawbrush and turn the strength down to zero so this isn't changing the shape it's just you know it's not pushing anything it's just drawing over and simplifying the geometry and that's exactly what simplify does uh but it only works with diamond topo because that's what it's made for and yeah just like everything else it's set to the view which you can change to constant detail so now no matter how zoomed out i am it will always give me this amount of detail so that's simple if you want to simplify the geometry with mask tool this is a super useful thing in sculpting super important because it allows you to isolate an area and we lose this if we remesh it see this darker area so if i press ctrl r we lose that that darker uh painted on section and if i use any other brush let's use the draw brush so it should be pretty obvious that bring the strength back up from zero so it does something but notice if i draw around it it doesn't affect that area and uh yeah so that can be really useful um for example you know since we're talking about cloth you know if you have um if you have this cloth and don't uh when you're when you're drawing you don't want uh this will always overlap on top of itself but if we invert this and just use what we drawn true we can you'll have like an even thing over here so they're not on top of each other at the same height um but again you know when you re-mesh it uh you lose that and you'd have to repaint that so then this multi-res displacement um this doesn't really work for this because it's specific for the multirest modifier so let's go back to this this shape over here um so i'm gonna go back to object mode uh you know select this and then press tab key or go down here in a sculpt so if we notice back here if i look at my modifiers turn this down this is the original shape and then we added this geometry right here um and we could um so right here with the multires displacement modifier we can just draw that in and it'll return to the original shape let's increase the radius there and this is a subdivided version of the shape but it's it's erasing the changes that we made at this multi-res so that's why it's small to rest displacement eraser um yeah so useful if you kind of mess things up a bit and that can kind of happen if you like edit something from the base mesh or say if i uh deleted this and then uh you know you know redirected to cut or something it was it was clean up the topology um it's just let's try to mess with this a little more um yeah we get like a weird thing like that um it's yeah it's just easier for if you have messed up displacement so that didn't totally uh clear that up but yeah um all right if i let's see if i clean that yeah so we yeah this is recreating something i want where uh you get these spikes here and um and that's because this displacement is kind of messed up if you look at the original it's not bad but when we look at this one it is and yeah you should use topology to relax it you could smooth it um but this this is messed up because it was confused because we did this after we applied this multires ultra displacement is our best hope for taking that back um that's kind of a glitch that certain needs to be fixed there need to be more solutions for that but yeah here we're kind of bringing it back to the original base without you know because if we got rid of the small turrets we'd have to resculpt everything but we we just only have to erase a specific area so that's kind of important for that uh draw face sets so if you look at this and this is just a way of differentiating different areas for selecting and every time we do brush stroke it creates a new area and this is important because uh we can mask based on these face sets i'm gonna subdivide this whoa okay actually let's get away from the scary mesh so we don't have to spend time cleaning that up um but yeah if i look at this and we go back here i'm going to bring this in so i don't have to keep scrolling here uh can't read the names but yeah we can well you know i can go over this and then we can see but yeah draw face sets um if we have this every time we draw it makes a new face up and like i said it's easy for selection so if i if i used um draw brush and then there's like in the advanced settings there's stuff like face sets boundary so if i start in this right here it doesn't you know it's masking this inner area and also under options under auto masking if i click uh face sets if i start in this this face set it won't go into these other sets so it's only masked it's masking it so that only affects this area but if i go into here it's just affecting that and that can also be useful if you're posing something if you you know if you have this arm right here and ctrl r you can also use you know similar colors right here just want to point these out so i can talk about them together and you can click this there's a lasso one or a box selection for the face set so we can create these different sections if i use this and then mask it based off of the face sets we can so if i bring this down here so it's already masked based on the face that's so um it'll bend based on those areas right now it's set to scale so uh that's why we're getting that weird result but um yeah so that's just helpful for the the selection there um and then with uh the box mask just like the mask just another selection there not much to say there it functions the same way as the other masking and then again you can do lasso or line mask which you know creates a line from that area if you hold down control i think it erases the mask in that direction so this is it's kind of pointing in that direction where remove the mask you know even if i'm over here it's going to do everything that's aligned below where that line is um yeah and then this will hide your mesh so it's still there it's just hidden so um keep that in mind kind of useful if something's in the way and you want you just want to focus on a certain area um yeah and then this right here let's pull this out to see what it's called um i'm kind of blanking on the name uh line project so this uh will cut yeah so it cuts the mesh and uh right here just functions just like that masking selection or uh that i showed you before but yeah it's this is actually removing job during replacing with that flat geometry just be kind of careful it uh if you have overhanging geometry it tends to just kind of flatten that out that might be a bug that is in the process of being resolved um yeah and so notice these are all in the group so they usually kind of operate in a similar way mesh filters or a cloth filter these both apply something to the entire mesh right here notice if we zoom i think this doesn't have or if we turn a wireframe okay it actually when we flatten it out it did give us geometry here except you know some of this is really flattened and crushed into itself um but yeah let's rematch just be safe get more predictable results right and um and again so if i use this mesh filter it'll apply it to the whole mesh we can see it's set to inflate so if i turn this up and if we go more to the right brings it up and then we can bring it actually in the opposite direction so uh it's just pushing everything out based on the way it's facing we call those the direction of faces facing on normal um yeah so i'm gonna undo that let's try these other effects on this so random i think that kind of destroys you know the direction kind of randomly which is kind of cool effect sharpen so that i think that sort of strengthens the edges now i think maybe i go in other directions because it kind of seems to be smoothing it out um but maybe it's i'm just uh confused on what it's sharpening in that case um enhanced details so in any area where you have something interesting going on this will kind of exaggerate that and yeah maybe this isn't the best shape like if i use a falloff like this you know at this point i'm just kind of playing with it but yeah i also want to demonstrate for you guys um and gals if i um yeah just uh different surfaces and then um sphere i think this turns it into a sphere if you want that let's rematch this um and um yeah just kind of having fun with this right now um hence detail so that kind of brings us out this thing you kind of get these artifacts where they have sharp angles though you could undo this so there's more regular geometry and then with the cloth filter um this will this applies physics to the whole thing so right now it's just gravity which will only there's nothing it's colliding with so uh there's nothing uh you know interesting happening except for just falling down you can actually check use collisions which you could do with other cloth brush which is uh so with that you actually have to go into like the physics settings uh right here so if i turn on collision for this hopefully this will work um well let's yeah let's test it out so um so i yeah i dragged to the other side it collided with that i guess it's maybe the mass is a bit off right here um so you can you can adjust this and this will give you different effects um yeah we see we're getting a little bit of folding on the edge see it's um yeah and but yeah except from that we can do inflate um yeah i need to drag this keep forgetting used to brushing it um you drag it across the screen instead um if it doesn't have resistance it's more interesting if you use a mask right here you'll get more of a result so yeah let's drag this back in um so here when you get inflate you're gonna get more creases in that area let's turn off wireframe so let's see um let's guess let's use masking again or yeah if we if we just mask this area and then invert this um and then use the filter you get you know you can get more interesting things um um yeah and there's a lot of geometry here so it's not as clothy so i could do more with that to make that uh more clothy texturing yeah again and this uh yeah just functions like uh edit editing the face sets so there's not uh yeah growing face set you can change the settings so shrink face set so i don't have a face set here but um if i use this brush and this you just tap it grows it or it shrinks it yeah pretty cool and then these are the typical transform tools i don't always have a whole lot of reason to use these i usually prefer to go in object mode so that the origin point uh the point that the the position of it is based on it moves with the mesh but um yeah these are useful for position so if we use this uh line mask right here we just cut off this side we can go um and just rotate like a single area yeah do the same with scaling you know you name it and this this one is all the orientations combined you can kind of see how it's overlaid there so yeah this isn't really the way that i recommend it but it's nice that you can have this in sculpt i think it needs more improvements so you can rotate it from anywhere but uh yeah and uh finally annotation so if you're sort of planning out how you want to do something um you can draw on your mesh i think right now in overlays uh the annotations are turned off so make sure this is checked so now we can see what i was scribbling trying to get something to show up notice this is all being drawn relative to my view so um you know we can know go from any view but uh you know you can change this uh the snapping settings i believe so we can use surface now this will snap to the surface of the mesh which is pretty handy so if you if you wanted to plant like a you know i want the cloth to come out like this and then you know do that you can use kind of use that to think but yeah that's all the cloth brushes i hope you guys found this useful i think really the best way to to understand how these work is just to play with them and just explore these settings there's so much you can do with these and i'm going to be doing other videos on different sculpting techniques i'm going to be talking about anatomy different base meshes you can use and sculpting cloth you know a lot of different textures i think there's you know so much i'd like to explore with you guys if you'd like to see more you can subscribe and if you'd like it i love getting feedback and you know ways i can make things better and what you liked about this stuff yeah feel free to leave a comment that's really helpful thanks for watching go go make some cool stuff okay

Channel: Zak Nelson

Views: 4,720

Keywords: zbrush, 3dsmax, maya, sculptris

Id: nDdV8zzc7k8

Length: 47min 19sec (2839 seconds)

Published: Tue Dec 15 2020