Sculpting in Blender 101: Making of Sharky

welcome everyone to my sculpting 101 in which we're going to be working on the making of Sharky this video is part of the starting symbol Series in which we're going to learn sculpting with simple and basic concepts in this video you will learn about my mindset the study of the reference how to prepare for work and the modeling itself so please stay tuned sup everyone welcome to engo 85 I'm Nemesis as previously mentioned we will be sculpting Sharky that's the name I gave him this is a concept from Nicolas avori that I found in Pinterest I am leaving the link in the description below in case you want to follow along in this video we will focus only on sculpting meaning that the painting and the rendering of the model will be fully timelaps so let's get started I would like to start talking about my mind set when sculpting the first thing I think about is the purpose what is it that I'm trying to achieve I want to improve I want to practice I want to learn more about the tools and I want to get my art to a better place I also set my mind to understand that I'm not seeking for Perfection I want to have fun I just want to have something good enough to which I feel satisfied having this in mind I can relieve myself from any pressure and and having this out of the way and ready for the next step which is studying the reference in this reference we have Sharky with an NE a knife and the one without it and of course we will be working on the one without it just to keep things simple since this reference is almost 100% in a profile view I could skip this step as I will be tracing over in blender but I wanted to show you this in case you would like to apply it to your own workflow I like to take the the reference and Trace over it to understand the shape better as I mentioned in my starting simple video link in the description with this I focus on things from the reference that I might miss unless I pay a lot of attention from there I like to start thinking Which shapes I will be using for example for the F for those I'm thinking about using Cubes but for the bottom ones I'm thinking about using planes the main shape I know for sure I will be using a sphere and I will be pulling the mouth and the tail then for the wounds I will be using vdm brushes having this clear and out of the way we can now move to blender for preparations I begin by adding a cube to serve me as a starting point and size reference for the image I add this one by pressing shift a then pressing control on the number three on the top number row not in the numad I can subdivide the cube next is to add an image reference Again by pressing shift a and pressing on image and then reference from there you just have to navigate to your image location now I can position the image to match the sphere and to keep it all organized I press f2 and rename the [Music] reference now I change some of the settings in the O data property I really don't like to see the reference when I'm working in perspective that is why I un check the box so I can only access it from the orthographic view I rotate the image pressing R then 180 in the NAD and press the Z key I do this as I like the face of the shark to be in the front when I go into autographic view I like to keep the reference in front by clicking on this box to properly see the mesh I check this box and drop the opacity and from there I can reposition the reference by pressing s i scale the reference to fit the mesh to avoid moving the reference while working in the outline panel I disabled the selection if you cannot see this option just press the filter icon search for it and select it and that's it for the preparation part so now we can move on to the modeling sculpting part of this video as you may already know on the left side you can have the tool panel but you will be seeing a lot this wheel which is an Addam called scopt wheel plus paint and it is what I use all the time when switching brushes and tools I will leave the link in the description in case you want to check it out to begin shaping my model I will use the grab brush but a bit differently as I will set it to project this you can find it in the fall of [Music] tab having this setting on the brush will influence the mesh based on the projection of the view this way I make sure that the shape is even on both sides of the model if you want to know a bit more about how I use the brushes you may want to check this [Music] video after turning on my symmetry I start moving the mesh to get it closer to the reference at this point this sphere even though is subdivided I'm still working with just a few vertices since I have not yet applied the modifier when I have the shape almost matching the reference then I proceed to apply the modifier so I can have more vertices to move and shape in [Music] place a great tip to improve the visibility of the mesh when tracing over a reference is to use a matte cap this one in particular which pretty much makes the center of the mesh transparent leaving the visibility focused on the borders having shaped the mesh according to the reference profile then I move to the front autographic view to start shaping the sides pushing them in and making the top and bottom more narrow a very common mistake we make as new sculpting artists is to remain for too long in the autographic view without moving the mesh always pay attention to the form of your model from all sides and make this a habit happy with the overall starting shape I can switch my grab brush to the sphere mode as I will be sculpting in a more uneven way from this point and moving forward [Music] now that I have the shape I was looking for I can switch back my mat [Music] cap at this point I will begin to pull them M onto matching the [Music] reference getting the proper shape will be impossible with the current mesh due to the low number of vertices to correct this I remesh my motel pressing R in sculpt mode and give it a resolution of about 400 then I press control R to apply the remesh do not rush when remeshing you really want to take your time on a lower resolution as it is easier to move the vertices and normally you want to increase it to a higher resolution when you are working on the smaller details having a more densed mesh I can now reposition the model to to better fit the reference now I'm going back to my trusted mat cap for some minor adjustments from the side view I start shaping the tail [Music] please remember to keep rotating your model to get a better sense of the overall shape switching back the mat cap I review the model from different angles blender any other software it crashes so remember to save from time to [Music] [Music] time I feel that now it's time to add the fins in object mode I add a cube pressing tab I go to edit mode and enter in vertex mode for a better control I scale by pressing s until I get an approximate size then by pressing G I move the cube in position not having a front view reference forces me to guess the correct size and at this point becomes handy to have more references as I will need more vertices to shape the F pressing control R will add an edge Loop and by scrolling the mouse I can increase or reduce the number until I'm happy this way I get more vertices to play with by pressing alt Z I switch to x-ray mode this will allow me to select all the vertices in my view so I can move them at once then selecting in pairs I place them based on the reference now it's time to smooth the edges of the fin by adding some subdivisions but first I select the faces on both sides you can select one face and pressing control and clicking on the last one you will select all the faces in the closest path then pressing shift I select the top face on the other side and again with control I select the rest pressing the letter I I insect the faces what I'm doing is adding support Loops this will help to retain the shape of the fin when adding the subdivision modifier I add my modifier with two subdivision levels for more resolution then I review the shape from all angles until I'm happy I know that I want to make more adjust adjustments and with a grab brush in sculpt mode this will be an easy task as I have a good starting point for the back or Cowal fin I follow the exact same process as for the top or dorsal [Music] fin back to scof mode I push in the tail at tiny bit for a better connection with the fin I reviewed the model from all sides to make sure that even though this is a stylized character it is still believable for the fins at the bottom or pectoral fins I'm using ples I could have used cubes as well but since I will rotate them the planes makes it easier to to manipulate as I do not have to move the vertices in pairs the modeling is the same as the one used for the other fins knowing that the F will be the same on the other side I proceed to add a mirror modifier to have it properly mirrored I can use the main body as a Target but I like to use a plain axis as I know I will not move it later so I can avoid any issues I rename it with F2 so I can easily find it when I need to use it again to give some thickness I use a solidify modifier and play with it until I'm happy with the size for the rest I follow the same process applied to to the other fins happy with the current shape I will now rotate the fins for more control I go to the overlays Tab and click to be able to see the origin point then in the options drop down menu I click on origin and with the move tool I can reposition the origin point at the top of the fin this way my rotation will be done on that area [Music] placing the fins back according to the reference will be easily done in sculpt mode with a grab brush I take this time to do some minor adjustments in the object data property I increase the opacity of the reference as it is time to give more personality to my model by adding more thickness around the face in preparation for the mouth by pressing the letter M you can access the mask brush and mark the area you will be working [Music] on by increasing the strength of the brush I can add my mask using less pen pressure once the area is masked pressing control I you can invert the [Music] mask and now with a clay strips brush I can begin to add volume to the face and cheek area of Sharky for refinement parts of the Mask can be removed with the brush selected and pressing [Music] control I like the current shape but it's time to add more resolution to work with more details bear in mind that remeshing will make you lose your mased [Music] area with a draw brush and pressing control I carve the eyce sockets then with a grab brush I adjust the shape as a placeholder I'm adding a sphere for the eyes with the mirror modifier us using my plane axis as a Target object I scale move and rotate until I more or less match the reference to have something looking more like an eye I tend to go to the object property and in the viewport display tab I checked the wireframe box now I can use the center point of the sphere as the iris of the eye using the clay strips brush I start adding the eyelids back to my mask brush I paint the mouth area and with controll i i invert the selection using the grab brush while holding control I start to push in the mouth then with the clay strips and holding control I carve away some of the mesh while smoothing pressing shift with a smooth brush with the grab brush I reposition the mouth matching the reference using the draw sharp I made the holes for the nose with the same brush and with a reduced strength I sharp the borders of the nose to start giving a more stylized look to the model I also Define the areas around the cheeks using the mask brush I Mark the area for the small back fins or pelvic fins by inverting and pulling [Music] this time with the snake hook brush as mentioned before with a grab brush I can now move the fins in place positioning the csor on top of the fin and pressing alt Q I can switch between them without having to do it in object mode with a grab brush and moving vertices in edit mode I do the last adjustments before combining all the parts together before joining the parts make sure to apply the modifiers this can be done quickly by selecting the parts then pressing contr a and clicking on Virtual geometry to mesh with all the parts selected and holding shift we click in the main mesh and with contrl J We join them together back to sculpt mode and to fully combine the mesh we need to remesh it you want to pick a good resolution to avoid any artifacts to quickly smooth the model I use a filter in smooth mode then clicking and dragging the cursor to the right I can start smoothing with the clay strips and smoothing I work on the transitions minor adjustments are done here and [Music] there in the area where the mat caps are located I picked the flat lightning this is a great thing to do as you can appreciate the silhouette of your model and check if by looking at it you can quickly tell what is it that you're modeling this one will be also useful for small [Music] adjustments back to my regular matte cap I move the mesh until I'm happy for the Gil openings I use the drop sharp with a reduced strength but this time with a stabilized stroke for more precision with a mix between the scrape crease and draw sharp brushes I flat sharpen increase some areas looking for a more stylized look most of the work at this point is repetitive [Music] with the draw sharp I add more details for the teeth I use fears that I scale and then shape in sculpt mode when I'm happy with how it looks I can duplicate them with shift d remember to use a mirror modifier to save you some time with a sphere I add a simple [Music] tongue with the draw sharp I add more [Music] details [Music] since I have most of the teeth done it is time for the last round of sculpting on Sharky for this I will be using the multi-res modifier but this one works best on a quad mesh so I will first retopologize the model and for this I use a great addon called quad remesher if you don't have it you can get a 30-day trial believe me this is so helpful from here I pick a resolution and just run the add now I add the multi modifier with three subdivision levels as you can see some of the details have been lost but I can quickly get them back with a shrink Ram modifier for the ram method I use project then as a Target I look for my main model this is why it's so good to name your objects to correct the artifacts just click on the negative box back in scope mode I can do the more fine details and refine [Music] ERS I add more teeth to match the reference for the final details I use vdm brushes and subdivide the model for more resolution then I just pick some areas to add details and switch on and off the Symmetry to add more [Music] randomness [Music] from this point forward I will do the Nom sculpting part which goes beyond this tutorial so I will timelapse the rest if there is anything from this video that you would like a more in-depth explanation please let me know in the comments I hope you have learned something from this video please do not hesitate to leave your suggestions to improve the channel and please do not forget to like share and subscribe thank you for watching and enjoy the rest of the the time lapse see you [Music] soon you it out it [Music] [Music] out [Music] me [Music] [Music] [Music] you [Music] it it I can tell you want me turn it [Music] up [Music] you [Music] [Music] you [Music] [Music] I you [Music] me show you it up it up [Music] you

Channel: Ngon85

Views: 6,588

Keywords: #Blender #Sculpting #Shark #Stylized #Blendersculpting #3D #Digitalart

Id: UPXx79T2U08

Length: 30min 3sec (1803 seconds)

Published: Sat Feb 03 2024