Sculpting Kickstart // Part 1/3: Tools & Settings

[Music] hey everyone today we're gonna be going over sculpting in cinema 4d cinema 4d has some really powerful sculpting tools and today we're gonna go over all of the different tools and all the different settings to kind of show what they do if you've never done sculpting before this is the tutorial that you should watch you'll have a pretty good understanding of it from A to Z once you're done with this this tutorial series what we're also gonna do is we're also going to model this 3d Homer head so that you can see some of the use cases for some of these brushes some of the brushes you're gonna use all the time and some of them you're only gonna use for a little bit for very specific cases and you'll see that once we model this we're also gonna go through Reeth apologizing and workflows within sculpting and also I'll show you how to use vector displacement in the standard c4d in order to have very low res transferring really high res displacement into a really low res mesh it's gonna save you a ton come render time and yeah let's go ahead and jump into it okay so we're in cinema 4d right now what we're gonna do is we're just gonna go ahead and start with a sphere a sphere is normally you know depending on what you're sculpting once we get to the Homer head we're actually going to be using a capsule but a sphere is a good place to start to show what everything does I'm gonna go up to my display and I'm gonna do garage shading lines so that we can actually see what the mesh looks like and then we're gonna go over to our type and change it to hexahedron this is a really good one because you get all these quads if you had the standard one you see up here you've got some tries and it'll create like a really gross mesh now if you're gonna go through and reach apologize then you're going to be creating a new mesh anyway but if you're not if you're just doing like a sculpt didn't want to just do a single render and not worry about rigging or anything like that then you'd want to go over to hexahedron because it creates a more all right so now that we've got that the biggest thing with sculpting I'm not the biggest thing it's just one thing with sculpting is that your stuff needs to be editable so we can go ahead in here and hit C or you can hit this little button right here to make editable now let's go ahead and jump into our sculpting layout all right so now that we've got that what we're gonna do is we're gonna hit subdivide and now you see it didn't really do anything but it did so it did nothing to the mesh but up here in our objects you can see it added a sculpting tag to our sphere and then in our sculpting layers it set it at level zero so level zero is basically the mesh that we're starting with and as you subdivide you see we get more topology as we subdivide our level goes up so we can work in a lower level we can work in a higher level now why would we want to do that so lower levels like zero or one are good for like big moves like say you do the grab tool and you grab it like that you know normally if if if you're doing big moves like this and not detailed once you you can be in a lower level you can still do stuff like this in a higher level I just have a tendency to work in the lower level and then increase it as I want to do more and more detail so let's undo that a couple times let's get back to our circular mesh and let's go ahead and look at what we've got so subdivide you've seen that increase and decrease you know will increase and decrease your subdivisions so if you want to go through and make some changes on a lower level or increase it and make some more details on a higher level you can go ahead and do that volume mesh we're going to come back to that okay so we've got pull grab smooth wax knife pinch flatten inflate amplify fill repeat and scrape any erase so a lot of these tools have all the same settings down here now once you realize that it makes it easier to understand a lot of these sculpting things so normally when you jump into a program and you're like oh I'm too nervous I don't know what to do because there's so many different settings once you realize that a lot of these settings are exactly the same you really only have to learn one tool okay so let's start with pull what does Paul do so pull will do exactly like it says and it will pull the mesh out so as you can see actually let's start with this so you can see here I've got my brush and if you hold down the the middle Mouse and go left or right it will make your brush bigger and smaller and if you hold down middle mouse and go up and down it will make the brush pressure higher or lower or more intense so you can see right here we've got it really high and so it's pulling it really well and then you'll see here we've got it really low and it doesn't seem to do much at all okay so that's the important thing to understand now in here in our settings you can see as I adjust the size the size goes up and the pressure goes up as well so you can you can go through and you can change it here but I like to visually see it versus like trying to guess and then come out here and then guess and try to come out here so yeah that's a good place to start okay so in our poll what does Paul do Paul pulls the geometry so it pulls up the geometry and if we're creating different things we can pull the geometry and stuff like that if you want to create some cool wormy things or like create a brain or something like that you can do that the the pull is also really good for when you're using brushes and we'll get into that in a second okay so let's undo the first thing is link size link pressure link symmetry and back face so link size link pressure and link symmetry what does it do so watch my watch my tool as I switch from pole to grab okay so you see how it changed size significantly because previously when I was grabbing I was using a large large brush in order to grab now say we wanted to link all of the together if you do link size link pressure and link symmetry when I switch over to grab it stays the same or smooth or wax or any of these they will stay the same and if you unclick them pull go back to grab let's make it bigger let's go back to poll see and so they they they differ in size us now so what is back face back face if I unclick it and I'm inside the mesh and I'm trying to like sculpt and stuff you see nothing happens now if you click on back face basically it's working from inside the mesh and it allows you to deform things from inside the mesh so if I turn it off nothing I can't do anything I have to be outside of the mesh so yeah that's what back face does ok so keep visual size what does that mean so if we have this clicked and then as we zoom in and zoom out you'll see that the brush size actually stays the same relative to where we are now if we unclick keep visual size it's going to stay the same size brush so as i zoom in you see the brush stays the same size relative to the object not relative to camera so let's do that do that see pretty cool now preview mode on surface or screen so right now notice the the circular thing is going along the surface and changing if we change it to screen it will stay flat the whole time so and then you can do off if you want to just take the preview thing off I prefer to work in on surface okay so brush presets let's not worry about that right now you know size and pressure steady stroke okay so if we click that on and we bring this down now you'll see a little blue line following right behind it and what this does is that it actually smooths out it like makes the the movement on your your brush a little bit smoother so let's go ahead let's do our length a little bit higher to show it so you can see so as you're going along it actually doesn't start doing the poll until the very like back area of the blue so like you can really see if you're trying to make these really detailed things and get into specific crevices and have specific movements you can you can very easily move around cool okay so that's steady stroke you can turn that off and then the blue line doesn't come up anymore you know let's see spacing okay cool let me undo this and clear that out spacing what spacing does is now it's it's really low right now so you don't really see it let's bring this up a lot what it's going to do is it's going to space out then let's bring up our brush amounts a lot you see it's making these little dimples these little dots its spacing out basically the brush so instead of doing one long stroke it's actually spacing out the strokes let's subdivide that a couple times so you can see it yeah you can see as we go along it's doing that this is really good for like if you're wanting to create like I don't know say like a cool neat little skin or something on like a like a reptile or something or if you want to give someone some really bad acne yeah or not whatever but that's basically what spacing does and the percentage is how far apart you do this facing okay let's look at edge detect so I've got a poll and it's I've switched it over to a cube because it's a lot easier to see what the example is with a cube because it's got very obvious angles so you'll see my brush is a lot bigger than the areas that we're going to be working and so as I pull notice it doesn't pull the edges of the cube there it stays and just pulls the middle parts that's because this angle is a 90-degree angle and we've set the angle to 45 so it's gonna ignore everything higher than 45 so see as we go along it's gonna ignore that but it is actually going to do this edge because we have a 45 degree or less than a 45 degree angle here all right cool and that's edge detect draw mode we've got freehand drag rectangular drag dabs line lasso fill polyfill rectangular fill and you'll understand this pretty quick so freehand is just exactly what it says it's freehand you know you can go through you can make whatever strokes you want so drag rectangular as you can see as I drag out it drags it up so let's go ahead and let's bring our pressure up and bring our size up as well you can see as we drag out it's dragging up that area which is cool and this will work really well once we've got a brush you know we can actually set a brush and we can easily find where we want okay so drag dabs what I'm gonna do is I'm gonna go in here and adjust my fall off real quick on my brush so that you can see it a little bit better so drag dabs is what it does is when I press down it follows along with my mouse until I let go so I can go through and I can kind of like really art direct where I want my poles to go and this one will also be really good once we're using brushes as well so all right cool that's drag dabs what else let's take off edge detective next is line so you can draw a line out just pressing a couple times and then right click to set that line cool we bring down my thing and then say you wanted to create like a star or something like that you do that there we go we got a star sweet next is lasso fill so we're creating a lasso and then that pulls that area so you go in create great great about the poem and that pulls out that area and then the rest of these are very similar you've got polyfill you're basically creating like a polygon but you know or creating a shape it's like a linear linear selection and then rectangular field rectangular fill is just a rectangle and it's in a 2d space or whatever but in that 3d space all right cool let's undo that a couple of times all right cool now direction we've got normal XYZ and camera so most of the time you're gonna be working in normal because basically that's gonna be following the normals of the clips yeah that's gonna be following the normals of the of each individual polygons now if we change that to X it's only gonna go along in the x axis so it's only going to be pulling as you can see in the X direction same with Y and same with Z so y-you see as we go along it only pulls up in the Y direction and then Z you see it only pulls along in the Z direction so that's easy and then camera it's going to be pulling towards wherever the camera is so if you're working up here and you want it pulling towards the camera you can see that's what it does there cool but most the time you're gonna want normal and then build up now build up is very interesting it took me a little bit to understand it because it seems very similar to pressure but what build up is think about it as it's a multiplier of the pressure it's not exactly a multiplier because you're not multiplying the pressure by 50 times but it's it's it's adding to the amount of pressure so say for example we've got our build up at 50 and our pressure there we go through and we create this let's bring our build up down and you can see it it adds less pressure it basically you know divides or multiplies the amount of pressure that you're using so we'll go ahead and do that and then invert is if you want to invert it now that we've gone through this I want to show a couple of little things that you can do so when you're going through let me undo the invert as this is a this brings it up really well let me go ahead and reset my fall-off - okay so as you're going along and sculpting say you want to smooth some things out so instead of going over to the smooth button and start smoothing that out you can actually hold the shift key down and that will smooth everything out for you so as you're holding down the shift key and going along you can smooth this stuff out now say you want to invert it and you don't want to come over here and hit invert you can hold down the ctrl key and that will invert whatever brush you're on you see that cool son do that a couple times alright next off is fall-off now you saw what I did earlier the fall-off is basically the fall-off of the brush so right here we've got a pretty even fall-off you can see the shape of the curve right there shape of the curve but if we were to bring this up all the way you can see it creates a very plateaued flat looking fall off right there do to do and you can see link size link pressure link symmetry back face keep visual size in preview mode are all on no matter which ones you press ok let's look at stamp so stamp has all the same stuff up here down here we've got a stamp preset we can load we can use a stamp image material let's go ahead and click on use stamp and you see it activates a lot of these different settings now when I'm using a stamp what I tend to do is go up to my presets and then in our presets sculpt brush presets we've got a ton of different stamps that we can use in here so for example let's go to organic and let's go ahead and grab these scales so when we double click on this you see it brings it up in our image and it brings a little preview of it down here if we click use fall-off or unused fall-off whatever and then in our settings you'll also notice that it automatically if we're using brushes up here it automatically turns on some different things such as spacing for this one in particular so as we go through let me increase this so that you can see I bring up my pressure you can see it's actually spacing it out but you can use that stamp in order to create this this scales type thing so which is awesome because then you don't have to go through and physically sculpt like skin or something like that on any sort of like creature or person that you're creating and you get this really cool looking skin or a topology which is neat and then we can export that out to a normal map or a displacement an app later and we'll get to that so as far as the stamp let's look at rotation so watch this as I'm making these adjustments like the preview gives you a little preview of what it is flip symmetry if you have that clicked on you can flip the X or you can flip the Y why would you want to do that well if things start looking too similar you can flip the Y and then go through and do the stuff flip the X so that you've got the X and y flipped and then you can turn them both off you know and so it helps create differences throughout your stamp by using the same stamp gray value now this one might be a little bit hard to understand go ahead and smooth some stuff out so we can actually so I can show you so if you've got a gray value of 0 what it's going to do is it's going to see if I can let's bring up our multiplier it's like 100 so you can see it it brings it up from the mesh okay so imagine mesh is like the mesh is like 0.5 okay because this gray value goes from 0 to 1 so 0 we're going to bring be bringing it up from the mesh if you go to one it's going to be sinking it in from the mesh so for example here we go this is at you know one and then this is at zero so it brings it up versus kind of indenting it alright cool okay next up we've got follow if we this is this is kind of hard to understand but basically the brush will rotate along with your with the stroke so let me subdivide this a couple more times so you can kind of see this okay so we've got a really high mesh right now let's unclick follow so you can see so as it goes along it just creates that brush you can see when we're super high-res this brush looks really cool right there's no rhyme or reason to the way everything is laid out but say we wanted to create like some some like like a ridge along someone's back you know or like a crocodile with its Ridge along there what we can do is we can do follow and it will create the same type of thing all the way along you can see how this has no rhyme or reason but this actually follows it with the stroke cool all right so let's undo that let's go back a couple of subdivisions cool so use fall off if you don't want it to use the fall off you can see as I click that it just it goes straight into it there's no fall-off at all let's see so we can click that back on if there was an alpha Channel if you clicked alpha it would use the Alpha Channel this one does not have an alpha Channel so that option is not there so show depth is just for the preview down here the higher areas will be shown in green and then the lower areas will actually be shown in red so if you're wanting to see a preview of the depth let me use fall-off and you can kind of see that a little bit better and then all right so bilinear let me let me subdivide this a couple more times to see if we can see what this does if we unclick bilinear and as we're going along then let's click by bilinear it's really hard to see for this but basically what it does is it the abrupt transition between pixels this is it can be softened by clicking bilinear it's hard to see here but if you're getting some rough transitions between your between your your brush as you can see here i guess it kind of softens it a little bit it's hard to it's hard to see mostly i just click it on and then enclose now let me back up a little bit what inclosed does is in close you can see it changes here what it does is it it fits the square because this image is actually just a square it's not circular it will fit it within the circle stamp if you do if you hit in close it will make the edges all the way to the edge you can see it changes size so if we hit in close and then let's increase our subdivisions a couple times you can see it creates the the square the whole square which may not always be what you want see because then we can just smooth it out around the edges if we wanted you know gross so yeah that's what enclosed does so let's go ahead and back up a couple alright that's done with stamp symmetry we have local world and work plane so if we want to work right now local let's click on X&Y you can see we get whoops you can see we get two dots that show up along the x and y so whatever we do here mirrors it on the opposite side which is great because it means most of the time if we're doing like faces or something like that we only have to do one side like if we're creating like an ear or some eyebrows or something like that we only have to do one side and that'll be you know the same for Y Z Z X Y so if you want to do all four that's kind of cool so if you want to create this cool like you know neat looking thing here you can have them all clicked on it once there's a get kind of neat that's kind of cool you know great organic gross looking egg all right at symmetry we can also do in world so say for example right now it's gonna look the same let's see where's my yeah it's gonna look the same but say for example our object was moved over here when we do our poll and we go over to world you'll see here it doesn't do the same because the world coordinates are basically here this is where Center is so world you can see like if I'm doing here it's doing the whole world coordinates you know and X X Y Z you won't really see anything because it's like there's nothing over here to sculpt if that makes sense and then we're playing like your work plane on your yeah your grid right here for example you know that'll create symmetry there so that's it let's see let's go back to local and then let's change our coordinates back to see room mmm and then go back over to that okay cool now we can do radial let's go ahead and do this let's bring this down and you can do radial symmetry see as I'm doing this it's pulling it out in a radial pattern so a number of radial strokes you can see a preview right here so we'll get five right so let's unclick this and see if this does anything so yeah if you want to turn off like if you want to do a radial symmetry versus like along the X or Y axis you can do that and that depends on it all depends on where you start which is cool you know let's subdivide that one time bring our butt brush down as you can see as we're going along that's super cool right there that's pretty neat you know mm-hmm all right and you can select your radial symmetry oh man if you want to do that so you can see a preview of it as well see that now we can see X Y C if you're wanting to set the specific plane where the radial symmetry is like right there I've got it on Y Z let's go to point and dew point is kind of like what we were doing before all right cool um custom point okay let's look at custom point now if you just click on it nothing's really going to happen let me increase my decrease my brush size let's do a subdivide again I can kind of say this and then increase our so if we go to our symmetry and then we do a radial 6 and we do custom point let's go ahead and turn this off right now so right now you see that it's creating 6 radial strokes from the center now that's because we've got it off if we click it on let me go back what we need to do notice this little center dot right there that's where our point is going to be all right so we can go when we can make this let me increase my my strength a little bit more and then let's subdivide one more time so we get to see it a little bit better so you can see that little center part is where it is now if I change it's always going to stay in that center part this is because we've got custom point on so if we want to change that point what we have to do we right-click and then that will set you see the new point so then we can work from there out so let's go over here we right-click and that sets the new point so that's what the custom point is and so that way we can work our way out or we'll know where the point is and we can work our way in cool now number of radial strokes you can see the example down here this is six the more you bring up the more radial strokes you're going to have let me bring down the size and you can see let's see let's make a custom point there as we go along sweet now it's got nine points if we increase more undo let's make a custom point now we've got 13 points awesome okay so there's a radial gap angle basically this is like a a branching type thing so if you do if right now we've got five individual points and let me let me go ahead and show this so what we're gonna do is we're gonna Jack this up all the way to 90 and you'll see it now only has two that it's shooting off but there are five strokes right here so as we do this let's set a point it does five but only in two directions so as we go down you can see it's adding more and more per main point so right here we've got five going off in that direction and if we go down we'll have five going in each of those directions so the number of radial strokes if we bring this up you'll see we're adding more and more strokes and that's just the amount of gap in between each of the big or the main center once so you can see zero there's gonna be eight awesome okay so radial gap if we increase this you can see kind of what the this gives you a preview of what the pattern is going to look like it's going to add more more things on it so you can see as we go along it gets bigger let me make a smaller brush so you can see for example you see it goes along and it creates more of these strokes so if we were like to increase it a whole lot you can see it creates some cool things like that that's pretty red all right okay stencil now stencil is similar to stamp in a way but you'll you'll see it as soon as I load up a an image okay so I'm gonna click on use stencil and then I'm gonna open up just a little stamp that I made now you can see instantly what happens now I think the the default is like 90 and the angles 0 I was playing around with this and the scale is one to match your full size so you see it brings up this image that I have here that I just made in Photoshop real quick and as we say we click on here and pull it up you'll see it does the stencil based on wherever the stencil is on your screen mm-hmm so you can change your transparency as well and then let's just click you'll see boom so you see it creates that stencil there of the actual thing which you know I like the the stamp better you know but that's that's just me if you want to do something where you're actually like stamping something on you know or doing a stencil like that's cool you know I would need to bring down I would want to bring down my my brush strength a little bit you know but check us out so just stamp our stencil and there you go so within this we can change the transparency of it on screen we can change the angle if we want and we can change the scale so for example we can do something like that say and as we move you can see it has done a stencil of that now you can tile X ILY c so you could create multiple stencils of it and then boom let's turn that off and didn't do anything next oh why oh yeah because I only win one area so you can see it's a go along that's kind of cool all right all right I'll give it to you stencil now it's kind of neat so you create a waffle you wanted to create a waffle you could use a stencil pretty easily yeah that's kind of neat and so you could work like say for example you wanted to work just in like the top and you want it to stencil right so let's go ahead and do this we could work entirely in that and we could create a waffle there you go so pretty easy then once we come out we've got that waffle pattern let me turn these off so you can't see him anymore that's pretty cool cool and then you can adjust the scale the translate you know if you want to move it on the X or Y child X&Y you saw what that did flip x and y if you want to flip them and then the same gray value as the symmetry where it's it either pushes in or pushes out based on what the great value is awesome let's move on okay so the modifiers can be used let's go ahead and click it on and I'll show you so we've got smooth pinch inflate so you can use these in addition to what you currently have so what your current tool is so pull if I wanted to pinch as well and I wanted to turn that strength up let me subdivide a couple times you can see as I'm oh I've still got the the symmetry on let's turn off the radio let's go over here so if I'm pulling I need to turn my strength up let's subdivide one more time so as I'm pulling I still have a stamp I'll turn that off as well alright so as I'm pulling it's also pinching as well so I can create this neat little Ridge now same similar with smoothing so let me let me turn off pinch so you can see what it would look like normally then I turn it back on and it and she said you know and I think you can also do this with your fall off as well but it's sometimes sometimes it's cool to use the the modifiers so pinches it it inflates it now let's turn off pinch so it'll inflate it as well let's turn up the strength a lot so you can really see what it does versus if we don't have it on it kind of looks similar but it inflates it just a little bit so that's what the modifiers is think of it as being able to add an additional type of tool to the current tool that you're using so that's all the settings mm-hmm now let's check this out look all the same settings exist for almost all of these things all of the tools the the only thing jiz that are different are within the initial settings so as I click through you can see a lot of these have some different settings with them so for grab for example has Direction which direction it's the same as our direction here normal Mouse which way it's grabbing so for example if we grab only along the x-axis it's only going to grab along the x-axis you say okay I've kind of messed with this a little bit mmm to show you what example the surface distance does so like say we've got a mouth or something like that if we've got it unclick and we're just trying to move the bottom part it moves the top part a lot if I unclick this it's only gonna move that it's basically going to see the distance between the two surfaces and only adjust that okay so smooth has all the same settings as well steady stroke spacing edge detect you know all that the only difference one here is flood so if we go ahead and click on that you can see what it does is it smooths the entire mesh a lot so flood flood flood flood flood if you're just wanting to smooth out the entire mesh mmm wax you got the build up invert wax mode flow over or valley so all these are the name the build up the invert flow over a valley so let's go ahead and create some stuff and I can show you what it does so I'm just gonna go ahead and pull some areas let's go into wax and what we're gonna do is we're gonna click on flow over so you can see it flows over our initial pulse that we had done now if I click over valley what its gonna do is it's going to leave those there and kind of build up on top of it okay cool and then knife let's go ahead and clear these out knife knife is for like kind of it pinches in a way it's similar to the pinch tool and that it kind of cuts out areas this is good for like if you're creating mouths you know you can do that and then you can do the pinch tool as well to kind of put them together yep so the knife you've got the amount of pinch and the amount of push so pinch versus see oh sorry that was a lot more pinch and this is a lot more push see so it pushes in the amount and then the amount of pinch is how much it's cutting in let's go ahead and bring that down so you can see that's pretty cool let's see pinch pinch is similar where it just pinches the topology together so this really works hand in hand with like a knife or if you've got a like an inverted Pole or something it will pinch the the topology together and then pinch is really good for creating details or kind of amplifying those details so say for example you go through and use the knife tool in order to create some wrinkles and stuff you can use the pinch tool to really amplify those those so say for example let's go ahead and just do this I can undo use the knife tool and I'll go through and I'll create like some wrinkles and stuff right and then what I can do is I can grab the pinch and that will my brush is too big right now but I can go through and I can do this and pinch the things together - like really amplify those wrinkles and stuff you see all right let's undo no new settings on pinch flatten the only ones here are fixed plain and smooth so what flatten does is it basically flattens it so if we were doing like some boots or something and we wanted to flatten it to the workplane what we could do is we could do this here you know or some shoes or something like that or proves you can flatten that towards the workplane and so that it's nice and flat we can smooth that out if we wanted to and then you then you get a good transition from the flattened one all the way was it so smooth that out then you see you get a flattened like foot or hoof or whatever you want to do let's see and that's working towards the work plow plane if you do mouse down that will flatten it towards where your mouse where you click on your mouse so if you click here it's going to flatten it only in that area if you flat if you click here it's only gonna flatten it in that area to that area okay what does custom plane size do okay I just clicked it on and if this is the first time using it you won't see a plane here what you'll have to do is you'll have to hit control and then click on it and you'll see a plane pop up now as we move around that's going to be the plane that it flattens to so as I click there that's where it's going to flatten to see so and then if I want to come over here and I can hold down control and click here it will flatten to that plane now now we can change the the plane size and the depth as well so let's see let's change the depth to let's click here and then okay so the depths fine and then as we flatten it it will flatten to that plane cool all right that's what custom plane size does and then we can do smooth and that will smooth it out as well so let's go ahead and click there it will smooth it out as we're doing our little boy yeah it will smooth it out as we're doing our our flattening okay so that's flatten and now that I've destroyed this one enough let's start over with a new sphere all right inflate let's look at what inflate does inflate will inflate the area let me go ahead and bring the brush size up it's similar to the pole but as you can see as I'm inflating it blows it up like a balloon and you can go ahead and inflate and inflate and inflate sometimes you'll notice as we're inflating you only have a couple of polygons so you'll need to sometimes subdivide in order to get it to look really smooth which also increases your subdivisions everywhere else but if you want it to look pretty smooth you need to do that alright so all of these are the same versus flood flood will similar to the smoothing flood where it will just increase the entire thing now why would you want to do that I'll show you a use case example here once we get into masks so interactive flood you can actually do it this way as well instead of just clicking on it once bump up own pretty cool okay so use material for interactive if we wanted to use a let's go ahead and just show you so let's create a new material and the important thing is with using the materials they need to be in the color Channel so let's go ahead and create a checkerboard surface and let's do like a 5x5 now in our attributes of our inflate let's go ahead and select our material and then we'll go back to our attributes so we're now using that for our inflate and you'll see as we go along it inflates it based upon the material okay had to start over to cinema crashed on me but I'm gonna just subdivide this and what we were doing was the inflate let's go into mask real quick and what I'm gonna do is I'm gonna draw out a mask okay so when you click on mask it it draws out and it allows you to draw a mask on right okay so what does this do think of it like Photoshop now I'm holding down shift in order to smooth that out what we're gonna do is you see it creates a mask up here that we can click on and click off if we want let's go ahead and invert that mask okay now when we go into our inflate and we interactive flood it's only going to be messing with the area of the mask so we can keep on inflating if we want that we can inflate it again so we're only inflating that area and then we can go to our mask and we can clear our mask out if we want to do that sea masks are super super useful anytime you're wanting to only adjust one specific area to your your sculpt and within our mask settings within our mask settings we've got masks we've got invert mask we've got clear mask let's go ahead and make a mask again and we've got hide masked so we can actually hide the topology if we wanted or show masked there's pretty cool as it's it's very very cool so uh let's see so for example what would you want to hide and show masks so let's go ahead and create this mask right whoops so I'm going to do this and then I'm gonna hide it hide mask then if I'm wanting to pull see I can't do anything but I could use this back face and I could adjust from back here there's cool you know if you don't want to like get way inside of it and like you know mess with it there you can use the mask feature in order to hide and show those polygons so show masks and then we'll just go ahead and clear that mask is super super powerful the masking ability all right so now that we've done inflate let's go ahead and do amplify amplify we'll kind of amplify the the different things that you've done so let me go ahead and let me clear and get me back to my starter sphere mm-hmm and then let's bring this and then I'll bring my pressure up so I go through and I've created this little lines and then we'll go through and we'll amplify this so it's only going to adjust those specific areas it's going to like kind of amplify that now if we click over here it brings it up a little bit but it will really amplify the The Strokes that you've done with this so for example here's another example let's subdivide that again let's go ahead and go into our poll I'm gonna go into stamp let's grab a preset here bring this down presets sculpt brush let's do organic and then I'll grab some scales for example you stamp oh that's a stencil interesting okay let's do skin okay so let's subdivide this one more time let's pull let's make sure all of our settings are right let's bring that up you can see let's bring it up a whole lot more and add our build up so we can really see it mm-hmm for example then we go into amplify and it's really going to increase the details on that a lot so if we subdivide that one more time you'll see it it amplifies the details all right then Phil Phil is going to fill in the different areas kind of like smoothing but not it's going to take the areas where there's ridges and then just kind of kind of build up build it back up to the top height of our of our topology say and builds it up around the around the parts that are sticking out oops cool repeat Pete and repeat were in a boat he fell out it was left repeat repeat is similar to the stuff that we've done with poles where we're creating the steady stroke and creating the stamp that's similar what repeat repeat we'll use specific brushes within here so for example if we go into our presets and we go to zippers these zipper ones these specific zippers use a repeat so you can see once we click on that it goes into our stamp it loads that in and the settings it also does the steady stroke so you can see let's see let's bring the brush size or the the amount and then let's subdivide it oh boy that's a pretty dense mesh you can see it follows along and does that specific stamp so if you're going through mm-hmm that's kind of neat that could be used as like a Ridge for like a dinosaur or something but if you're going through and you're looking at all your sculpt presets sometimes they'll use poles sometimes they'll use grabs sometimes they'll use repeat this one in particular is using repeat there we go cool zippers what else do we have and then we've got scrape okay what a scrape do well a lot of traditional sculptors will scrape away stuff in order to let me throw on my symmetry so you can see Oh where's by a lot of traditional sculptors will scrape away stuff in order to like you know chisel out more areas and stuff in order to build things out if you're used to working that way this is this is what you can use in order to do that but it basically just kind of scrapes away areas so that you can really like it's almost like you're sculpting with real clay where you're just scraping off the clay cool all right and then erase will erase everything that you've done and it will get it back to that original mesh that you've got cool all right so now that we've got that you've seen masks you've seen so divide you've seen all these tools let's look at volume mesh so when we click on volume mesh what it's going to do let's go ahead and do a few sculpting things oh cool we've still got that on there now if I click volume mesh notice it it reach apologises it which is fine but if you look at this topology it's kind of gross you know when you're working in sculpting sometimes this will be good and sometimes they won't if you're if you're you sculpting like a face or a character or something you're gonna want to have really good topology and something like the volume measure doesn't give you good topology so you actually need to go back and read to pologize it yourself instead of relying on the volume measure now with that said here's something neat that you can use with the volume measure so say for example we've got this face now let me go ahead and subdivide it because once you put it in a volume mesh it messes everything up or it takes away the sculpting tag so say we've got another piece say where may a hat right let's go ahead and do the hexahedron let's make it editable let's go to our sculpting will subdivide it will subdivide it again and then we'll go ahead and create this hat right so let's go ahead and pull this thing out you know this area out let's subdivide it again all right cool so he's got this neat little beanie right on top of his or her face right so say we want these to be one mesh what we can do is we can go into our objects we can select both of them and then click on volume mesh and it creates it into one mesh now here's the problem with it when you create one mesh it's also creating one UV so if you want the hat to be a different color as like say the face you would have to go back and read to pologize it anyway or you would have to go into a program like substance painter or use body paint in order to do the different colors so I'm not a huge fan of volume meshing it's great for doing just simple sculpts that you're not really needing to worry about the topology but when stuff like this where you could be sculpting for character animation I would tend to stay away from volume meshing unless you plan on actually read apologizing the entire thing again so that's the end of part one now we've gone over the tools so in part two what we're going to do is we're going to sculpt a little Homer head and you can see how these tools actually work and what will be the workflow when you're creating the initial sculpt going into reach apologize and then having the the good you v's for texturing so stick around for that one [Music] mograph calm an online resource for motion graphic artists start your week with the mograph podcast industry news interviews with your favorite artists and terrible humour watch live shows and interviews from mograph events like nab see grap half res and local meetups this is exactly what I should be doing our mograph talks feature live demos and motivation from artists all around the world sometimes you got to make stuff that you're not gonna put on your reel and I'm not here to judge what if Rick and Morty show up for the countdown of Midnight's that's where I peaked in life in my career [Music] you're from the people that create your software design your render engines and artists that are changing the face of modern motion graphics you get that render done yeah you better Frank frame what mograph tutorials and online classes will teach you about cinema 4d After Effects as well as other popular software and render engines during HR studio take the render settings pick the HDR plan reflection and gorgeous join the conversation in our live sessions I'm gonna live forever subscribe today and get the latest updates on our YouTube and other social media channels subscribe to mograph calm [Music]

Channel: Mograph

Views: 8,984

Keywords: Render, Mograph, Mograph.com, Cinema4D, Maxon, Learn, Houdini to C4D, Red Giant, workflow, sculpting, kickstart, series, learn, how to, intro, mesh, transfer, retopo, retopology, retopologize, sculpt, tools, settings, matt milstead, vector, displacement, vector displacement, low-res, homer, homer simpson, simpson

Id: 4P0nuYMkbNc

Length: 56min 48sec (3408 seconds)

Published: Sun Jun 28 2020