Introduction to Sculpting in Blender 2.8 - Sculpting Essentials

Haggai sending a warning from flip normals here and in today's video we are going to be showing you how to get started with sculpting inside of blender 2.8 and you know a lot of advancements have been done to sculpting in blender over the last couple of years blenders actually become a really nice sculpting software now you can actually create some really cool things in there now this cult was made in blender 2.8 so not highly advanced not super detailed but you're really able to control the forms quite nicely now the first thing you want to do is just select your object and then go into sculpting mode so for those who haven't navigated in blender before I'm just to keep in mind this default blender navigation that we're using middle mouse button is to rotate around then you hold shift and middle mouse button to pan around control and middle mouse button to zoom in and out you can also hit Alt + middle mouse click on any point on your sculpt to Center in on that point this can be quite helpful if you've dragged your mesh around and all of them the sort of like camera pivot is offset somewhere so all middle mouse click on your mesh I also just want to add that we are using a tablet here and that we highly recommend that you use a tablet there are a lot of questions whether you can sculpt for the mouse and technically you can do that but this is gonna cause all sorts of issues for your hand and wrist and shoulder and everything plus your scopes just aren't gonna look that good so if you're just getting started maybe see if you can get like a cheap Wacom Bamboo or something you know a simpler or a similar tablet just to get started with sculpting and sculpting with a tablet it's really gonna take your scopes to the next level there's no like magic bullet when it comes to sculpting but using a tablet over a mouse is it's pretty close so the first thing we want to do is change this the default madcap which is a madcap in blender I don't think looks very nice and it also gives you an inaccurate view of what your model actually looks like so if you zoom further out you can see this cavity map that gets applied gets more and more intense so if you just go out to your viewport shading click the madcap I usually go with like a default white one here and then just turn on turn off cavity so you can see it pronounces your details quite a lot and gives like a pretty accurate view of what your model actually looks like almost doesn't look like the same model after exactly so you know for some people you might want to turn on cavity and change this to world it takes some of the cavity nessa way but still enhances the detail so this can be nice for maybe presenting your model because it gives it a little bit of ambient occlusion kind of look to it but for sculpting and for most things I just turn it off all right so just a it started here there are a few settings that we need to cover and then we'll get into into the brushes and how to actually sculpt so you're along the top here we have sculpt mode you can switch between object mode and sculpt modes really easily there and then you can see there's a context aware menu where you sculpt brush and hide masks live this is just like this is a default thing in blender but perspective and orthographic you can do with a numpad 5 this is just this can be super helpful when you're sculpting and you don't want to get distracted by a perspective it's really important that you remember to turn perspective back on again the number of times when you sculpt to something you don't have perspective on your mesh just starts to look weird the same thing with local view that's just to isolate whatever mesh you have selected yeah if you scroll through entire model with with perspective off north of you like it's not gonna work you're gonna have to basically redo the entire thing and this here up here is a sort of quick select for your sculpt menu you can see the only thing as toggle up here is symmetry X symmetry X is just it lets you sculpt on two axes as one so you just you just have to do F the work basically so this is just a quick navigation menu to help you toggle that on and off a brush you have unified size as the the default which is checked unified size is actually quite nice because you see the repped reticle here that's the size of my brush so i'm currently on the draw brush and if i switch to something like the sculpt the clay strips brush you can see the size remains the same if i go to brush and i change on tick unified then make this brush really big go back to draw you can see the size this brush is now a lot smaller so i just recommend putting this having this on by default because it just makes it a lot easier to switch from brush to brush way you ensure that all your sculpting is like the same size basically and then a few more hotkeys here for when we get into masking it's just to get you familiar with the new and you actually have a place that you can check these hotkeys and it's not all it doesn't all live like under the hood somewhere alright so basic sculpting in here is pretty simple let's go back to our original brush I'm just gonna drag this menu out so we can see it a little better and see what the names are the draw brush is the default brush and you can just you can change the brush size with the F key and change so now it's gonna be a big brush and then you can change the intensity with shift F so shift f you see the closer you get to the center it's 1 or like a hundred percent intensity and Syria or intensity so you know default is around 1/2 and that just gives you a nice look like it's some brushes you want to keep them at one to really push the detail level you don't want this for all brushes most brushes I would recommend keeping it around maybe something like 0.5 and in order to actually sculpt you just hit the left mouse button if you're using a mouse but with a tablet you know you just press on the tablet and then you just start sculpting a really cool feature when it comes to scoping this is pretty standard and all sculpting tools now as you hold down control and that subtracts your sculpting so you can go quickly between adding form and subtracting form oh this is this is pretty handy when you're sculpting because you don't always want to add form your oftentimes want an area between the two yeah I get used to this and just try it out a lot when you're in the beginning because you're going to be going between adding and subtracting constantly yeah and then as with all brushes selected actually an option that you have is that you can hold down shift and that lets you smooth out your detail level so sometimes you want to get rid of some of the details that you've done to create new details the holding down shift just allows you to do that again one of the brushes you could be doing probably all the time again yeah so in order to make sculpting a little bit nicer there are a lot of settings within blender that you can you know take on and off I'd recommend leaving most to default but I just want to go over a few of them here and just to give you an overview of what it is so under the brush settings next to your brushes here you have this option which is called accumulating so by default maybe this is better to show with the clay strips if you just keep sculpting eventually your brush is going to get to a point where it doesn't want to add more detail so with accumulate on it just keeps building and building and building on that detail let me show you if I just turn it off it like it hits a it hits a peak and then it just doesn't want to add more detail here for me it's totally personal preference I feel I have more control over form and can quickly add form if accumulate is turned on yeah I always I always keep this on this well I used to keep it off now this is in C version years ago but same exactly same concept I used to sculpt with it off but again my personal preference is changed so whatever you want to do here yeah and these these items here and the top menu can be found over here as well there's and as well as here but there's a lot of different ways to to access these these settings the next one is gonna be front faces only this should be on by default run faces only basically means that it'll only sculpt on whatever you can see in the view so if I have a really large brush you see it makes this weird artifact look and think beautiful but it's actually intentional it means that it leaves this stuff alone whereas if I turn it off and I start sculpting again now you can see okay there's no artifact but it actually starts to move out whatever is behind the mesh so maybe for most of the time when you're sculpting like on a spot like this you don't want that weird artifact is you can turn it off but whatever you're doing surfaces that are really close together like maybe you're sculpting ears for example the the flesh in the ear be the same in the mesh it's gonna be really close together so with a really big brush size it can be really easy to go through the mesh that's where front-face is only it's gonna be really really helpful next up we have the smooth stroke which we find over here and stroke so smooth stroke just allows you to make really well smooth strokes so by default if I just make a stroke here you know I just go around and super responsive one to one with my cursor shift s or just it enables you've just enable on enable then you can see we get this like little stroke behind it and that's like a delay you see the brush doesn't actually start to do anything until we've hit the threshold which is the radius of 75 pixels if you want an even smoother stroke and turn it up to I don't know something crazy you can see we get a really smooth stroke so this is really helpful especially if you're sculpting detail maybe you have like this cool Renaissance style dress or something that has really baroque details or like your sculpting I don't know an opera or something that stroke here can be really helpful for that because it makes it completely smooth I also find this really useful if you do more stylized characters where you really have to control your curves if you're doing something very very realistic in terms of character you might not want it on but but particularly for like we really need to control your curves this is this is essential yeah other things in the stroke menu are if you look at this the clay strips one you can see we get this faceting or the stepping in the stroke this can be really cool for you know your initial concept where you want to look very sculptural but if you want to do something more polished and you want to get rid of that you can change the spacing right now assisted it's set to 10 percent sedative something lower right now it's one it can slow down your brush as well if you set it too low but it just give you a much much smoother stroke yeah this is how I prefer to work I prefer to remove brush strokes as early as I can really just develop the form again personal preference now another thing in here is the stroke method which I'll show you in conjunction with the fall-off method so fall-off is if you change the brush size you can see right now it's black in the center and then it just phase out completely linearly on to the edges where it's completely transparent now that's just a completely linear fall-off from center to the outside so if we change the fall-off you're in is the draw brush for example I found this really cool example if we just if I do this like that now you can see the follow that has changed now there's a lot more detail on the outside and there's no detail on the inside if I just start dragging stuff out here and looking a lot weirder now but you can play around with this fall-off in conjunction with something like the stroke and say you said it's a drag dot drag just drag dot just drags out one instance of your brushstroke and then you know you can make a we call it like a Cheerios alien okay like a Cheetos Abel so you know definitely experiment with that or you can just set it back to the default one here so there's a lot of really cool things that you can do with that most of it I would leave by leave to default but remember the accumulate setting and also smooth strokes is it's also it's definitely gonna be gonna be your friend now the next thing which is really important when you're working with sculpting is that a blender is going to be the dying topo Dyne topo is a way to create more resolution for your mesh now this mesh here wasn't just created like this you know that's more multiple revisions of more and more resolution being added on top we can see this if we turn on the wireframe you can see it's a pretty dense mesh so we just added more and more detail constantly actually leave the wireframe on so this is easier to show so what is dine - oh well dine topo basically lets you subdivide your mesh but selectively if you work with 3d before especially in blender you know you can add the subdivision modifier to subdivide your entire mesh to get more detail dine topo is kind of like that but localized so if we turn it on also the hotkeys control D if you want to turn that on now let's see why not have a set to constant detail if you said a bag relative detail should be default and then once we start sculpting let's just sit back to her I think we still have drag dot enabled headed back to space now once we start sculpting you can see based on what our detail size is it's going to give us a different detail level a relative detail is relative to your your cursor size to the compared to the mesh so if you zoom in more you're gonna get more detail you swim out you're gonna get less detail so it's a pretty pretty simple concept actually probably the most useful is gonna be constant detail where you get to pick a resolution say 20 or something and then it's always gonna be 20 no matter what your brush size is no matter how far away you are from the mesh it's always gonna stay at this value so you have a lot more control I think with the constant detail but it's really personal preference that's what I want to cover is brush detail which is like a combination of the two so it takes your brush size into consideration which is based on your it's it's a screen based curser so the further you are in on the mesh the more it's gonna change and also once you start changing your brush size the smaller it is the more detail you're gonna add you have to be a little careful with this you don't want to make your brush too small and start adding too many details as it can severely slow down your your sculpting if you if you add too many details at once it might also look really weird as well if you have really like triangulated areas with extremely high areas or density as well yeah you might want to you might want to like have some hierarchies here where at the back of the head is really low res and then it gets gets denser and denser as you get closer to the eyes for instance and now just to give you a quick overview I don't want to go through all the brushes because I don't think all of them are very good this is the case with all sculpting no matter which software you're sculpting in most of the time people always ask like oh so what's what's the magic brush what's the brush that you using for specifics are always one this wrinkle that you made here what was that brush and it's like the reality is maybe you use a handful of brushes so draw let's just turn on diner topo because we don't want to slow this down what we're drawing here or sculpting you know the default draw brush is really good for adding volume and if you combine that with maybe something like a lower intensity shift F to change that you know you can add some really nice volume really quickly and you can you can get this very fleshy feel you go in some places with a smaller brush hold down control smooth it out a little bit and add some contrasting detail on the other side and that way you can build up form really easily so this brush is excellent and it's a really good all-purpose brush the next one I use most of the time is actually gonna be clays play strips I can't really use clay that much because clay is a place very soft for me I'm personally I just like a harder stroke I suppose I can add more detail with this and you combine this with the accumulate option find it they are up there and with accumulate on I can really build up volume really quickly you know you go across the form like this maybe you add more intensity something like this you smooth it out a little bit and then boom you have a really nice jaw you can make you can do nearly all your sculpting only with this brush yeah basically when I'm sculpting I'm usually sitting with this brush for the majority form and then I'm using the draw brush to add more specificity let's say I need like some like the line around the mouth or the eyelids and all these kind of things is really good for they work really well together it's not a competition it's just what brush is good for yeah there's a brush for or whatever you need you know it's not there's definitely cases where one brush will perform better than another so it's just figuring out what that is and getting comfortable with them another one is the inflate brush so inflate is really nice if you want to add fat volume to to your mesh so in places like this maybe you want the lids to be more baggy you want to add some like a feel of some gravity to it you can come in with the inflate brush and just add that a little bit maybe smooth it out just the ted inflate brush is really good for that I used to fled a lot when I've been adding wrinkles and pores and stuff to my models if you want to really enhance them inflate is fantastic for that yeah and then the crease brush it's like it's like a dual action brush it cuts into your mesh and I think it also pinches it a little bit so you can see it actually starts to create these really tight wrinkles again you know maybe this is something that you want to use around the eyes or you want to use it for form buildup you can use it for scars and I like that and just vary the form a little bit maybe around the lips maybe you have some really try lips you have a scar around the lip you can do that a really cool thing about this brush is that so the default action is to cut in which you've noticed is like the opposite of all the other brushes you hold down control and you can do the opposite of that and add some really hard edges next to what you've just cut in and that way you create this almost shell like hard surface especially when you're sculpting maybe organic creatures and get a really cool feel anything like that that this technique is fantastic in particular like Morgan was saying if you're stroking my crustaceans yeah few years ago we worked on Pacific Rim - and there was a character which was the crustacean and I was using this brush all the time to create that kind of shelling just hold on a control key to really get these lovely creases it's better to work so much yeah it's pretty handy and when you can do if you feel you don't get enough pinching from this is you can just go in with the pen with the actual pinch brush and then just pinch it together a little bit that just makes it a little bit tighter so next one is gonna be the scrape brush and the scrape brush just flattens out the form a little bit you go in here with a scrape brush you just flatten out the form this can be really cool for making hard surface concepts if you want to sculpt those maybe you're doing something more organic and make like you can come in here not with too high intensity I don't like to keep the intensity all the way at one you do this and get some really nice and edgy ihe edges you do it on the opposing side as well and you get this really hard edge as well you can combine this with the crease brush when you hold down control to emphasize this edge even more and now you have a really hard edge here I got a weird alien ear it's really nice to use these brushes which may give you gives you planes and a beginning phases of sculpting yeah cuz you it's so it's so easy with all these precious that you get these incredibly washed out volumes it just it just really looks like a potato hmm where they're dressed is there are no just no shapes for anything but if you can just make these nice planes then it can go over it afterwards and then smooth it out here the next one is going to be the crab brush so the grab brush you can grab a piece of your geometry and move it around it's a very simple brush that's all adjust you know that's that's about it but it might seem simple but it's super powerful like if you've already done something in your sculpting you want to change the proportions of it maybe this character needs to look more feeble he's thinner he's been in like a prison camp or something for 20 years never been fed anything except for ash or something that's a terrible diet has no nutrition at all you know you use the grab bars to just really quickly move it in and out no again you can choose the intensity for this whether you want more or less maybe the default intensity is it's pretty good or what it is like 0.3 or something so but definitely play around with that the grab brush is again top three brushes that is you 100% if you if you had to remove everything from sculpting apart from three brushes this one would have to be there then you have the snake hook snake hook might not seem like an essential brush and it isn't we're done but it's really good for constantly so let's say I was working on something like this and like I want a different shape to the ear you just take the snake hook brush and you can drag out some shapes now you have to be careful with this because you are messing up the form this is where you'll have to go in with the dine topo and just remesh this again because you see it actually does it just stretches that's quite a lot but that's sort of segues very nicely into the next brush which is the simplified brush so with simplifying enabled you have to also enable and simplify it doesn't actually deform the surface it's like if you set any brush to zero intensity they're basically the simplify brush so here let's say we do constant detail of my virus on it and you just go over this and now you have a rematched ear so now we've created more topology you see here there's like 10 faces or something and now we actually have topology we can work with and if it's too low with the simplify brush you can just go back in and smooth over it now one issue you run into when you go from low to high like this is that you can see your surface actually doesn't change so if we go out of wireframe again this is quiet messy now and that's where you can turn on auto smooth like I wouldn't use auto smooth with any other brush I think but with the simplified brush you can actually work quite nicely because as you start to simplify the surface you can smooth it out as well so it just allows you like this one action is the first simplifying and then coming in with a smooth brush so this is the little optimization tip so next up we're gonna look at how to clean up your geometry now this probably doesn't happen that much but maybe for some reason you're testing out something on only one side of your mesh so you have symmetry enabled by default and symmetry on the x-axis so if I just disable that now it's what we talked about in the beginning of the video now you can see I actually only have sculpting detail on one side of the mesh and this might be perfectly fine this this might be what you want but maybe maybe you did this by accident and you're like 20 hours into a sculpt and you can't put suck a lot when there was a button and there is though the annoying thing is you can't I got it I don't usually like to work with Dyne topo on because it slows down your sculpting a little bit but let's say I did this hit control D to turn on down topo again and now the remesh menu sort of like gets unlocked for us so really cool thing about the Remus menu here you can see we can symmetrize your the mesh so right now he has a messed up brow but on the other side he has really nice brow you just click symmetrize from minus X to X which is going to be this access to this axis and then it just mirrors it over but you can do this on other axes as well a great example would be the the z-axis so from minus the plus is it gonna look also works so this way you can really experiment and do crazy concepts I suppose if that's what you wanted to do I'm just a very interesting concepts done this way where are you yeah looks exactly what you so something like that that's where this is really powerful so it gives you the freedom to work on maybe one side you don't want to be bothered with the other one you just symmetrize it and pull it over now another cool option here is gonna be the detailed flood-fill this is dependent on your menu item this only appears under constant detail I think so with this I'm not gonna do it because just gonna take too long but essentially you can see I have a lot of different levels of detail let's say I set this to around 2026 I think this was the detail that we painted here then I click this button my entire mesh is gonna get this detailed level so we're gonna lose a lot of detail so you might ask why whatever want that well you probably don't want it if you go the you go down in subdivisions but if you want to add more detail to your mesh you could crank this up and say detail flood film and that's just going to add more detail to your overall mesh so it's quite a handy option just have to be a little careful with it all right so getting into the nitty-gritty here the next thing is gonna be masking masking is an essential feature when you're doing any sort of sculpting and you might ask why would I ever need to mask anything can't do that in real life but in 3d if we enable the mask brush here you can see we can start painting on top of the mesh so we're basically it's not like real paint it's just like a temporary mask as our putting masking tape on top of your things yeah we're tube you know so it means you can't you can't touch the area which is the mask now so now if I just hit key for the grab grab brush if I start to move this out you can see I can actually I can actually affect the masked area so this can be quite nice if you want to do specific things around the mask or if you want to add like some really hard detail like this you can see now it's unaffected this would take a long time to sculpt and you would actually also ruin your detail here but with the grab tool in conjunction with masking you can like pull it out and change the form quite drastically masking is really again top five features of sculpting it if it might not seem like much what you are going to be using this constantly and now the hotkeys for masking you can find up here as we showed you before so if you press ctrl I you can invert the mask and I can you know mess around with what you had mask before you can also hit ctrl M or sort alt M to clear the mask it's just old anything and blender I suppose at this point you just old anything that's the adverse action which is really cool but a really cool feature this is how I usually work with it I'm a scary out that I want to work on then I hit ctrl I to invert it then I go up to hide mask and say hide masked that way I can work purely on this area and maybe if I wanted to work from it behind maybe you had an ear that poked out so I couldn't actually see this area it's a really nice way to just isolate an area really really quickly what I would use this specifically for is let's say you need to close the ice then you can you can mask the lower lid and move the upper lid down and invert the mask and then move the lower little lid up yeah it's a really cool way of of closing the eyes and then with alt H so H for high if you press the H key you get the hiding up both H just inverts that hold em again to undo the mask so if you just move further down underneath the mask feature we have the mask box which does the same thing except now we can just drag it out you can also hit the ctrl shift and left mouse button and then you have a LAN su that you can just sort of like drag out this is I think probably the most useful because it's a very organic way to just quickly mask masking area out and then in conjunction with the the hide mask feature this this just becomes really really powerful I would use the the rectangle here for let's say you want to cut away the head to mask a bastard body now you can quickly this mask you can make those mask and neck out yeah so you have a nice clean mask for that and then you can also go in let's say with the box mask and then hold down ctrl and that sort of like takes away from this this mask as well if you want maybe you have a really hard harsh selection here you can go in with your mask brush and hold on shift without it doesn't actually smooth the mesh it will just smooth the mask so maybe if you're looking for something specific you want to do like a really soft gradient you can come in afterwards and and smooth out the mask like a smoothing mask tool basically and then finally we have a hiding box so just showed you that a little bit before but this is just a quick way to do it you select the tool and that hides everything that you hit you can click in the viewport to unhide it but if you're in any other tool what you can do is you can just press the H key and there we go now you can hide stuff and then again alt H - to undo that basically very handy so the last thing is gonna be like a bonus feature it's if you're working on multiple objects you can see here I'm actually only working on one but you has two eyes as well so let's say I wanted to work on the eyes as well you can just go up to sculpt mode or hit ctrl tab go into object mode select your eyes ctrl tap again go to sculpt mode and now we can actually move [Music] you move this around and sculpt on this the one thing you have to keep in mind especially if you have something like this right now for me I have symmetry turned on so once I start sculpting on this it it looks a little bit weird you can always go on turn off symmetry and you can sculpt on multiple objects like this so I think that just about covers everything you need to know in order to get started with sculpting in blender 2.8 we will do new tutorials as well where we show you how to actually sculpt and not just how to use randomness on this nice Mass Effect character yes but we just wanted to separate the two out so we can truly focus on making awesome stuff so if you have watched this and if you watch it in the future maybe look on our channel for an updated video on how to actually do some sculpting and also if you are interested in if you're new to our channel and you were seeing this for the first time we have a lot of sculpting videos on our Channel and for see brush now that is a different tool but the sculpting principles are exactly the same so if you really can't wait for us to make specific blenders called videos we have a lot of stuff there wish you're gonna they're gonna translate really well when it comes to pure sculpting technique so thank you guys so much for watching and let us know if you want to see more blender content in the future and specifically what kind of content you want to see make sure to leave a comment down below like subscribe and turn on notifications thanks guys you

Channel: FlippedNormals

Views: 444,907

Keywords: 3d, sculpting, zbrush, concept, maya, tutorial, autodesk, film, vfx, animation, flippednormals, henning sanden, morten jaeger, creature, character, texturing, substance painter, substance designer, education, foundry, pixologic, nuke, art, art fundamentals, art school, art tutorials, blender, flipped normals, 3d tutorial, learning 3d, learning ZBrush, 3ds max, cubebrush, blender guru, b3d, blender 3d, blender sculpting, 3d sculpting blender, dyntopo, blender 2.8 sculpting, 2.8, 3d beginner

Id: A-Wq8K8icpQ

Length: 31min 8sec (1868 seconds)

Published: Thu Aug 15 2019