Speed Sculpting with Rhino 7 SubD

my name is kyle houchins i'm a technical trainer for mcneil and today we are going to do getting started with rhino 7 for mac and we're going to do a little bit different type of gig today if you've seen any of my other videos i wanted to talk about specifically sub these today and it's it's kind of one of the newer well it's not kind of it's it's one of the most exciting features of of version seven and it's a whole new style of modeling and it's a whole new way of thinking about modeling if you're coming from a nurbs background you may have not been exposed to this type of thinking if you're coming from a polygon background you're like yeah i do this every day so that's that's what we're going to talk about today and and what i'm going to try and do is actually go through several models very quickly and talk about this concept of speed sculpting right this idea of i've got a sketch i want to blast something out i want to get the foundation built and i want to then have you know the the building blocks i need in order to start iterating and and doing some design in 3d um which is the entire goal here right the entire goal with everything that i try and teach while i'm doing this stuff is to make sure that we are designing in 3d not just modeling right modeling is a modeling is a technical skill and we're certainly going to cover lots of that but designing in 3d is something that as the tools improve as the speed of the tools and the quality of the tools improve we are able to move some of the design process and some of the design iteration and thinking from 2d into 3d and and i'm going to asterisk that and say i've started in 2d obviously because there's some images on the screen here some sketches to start with but the idea is that we spend less time sketching right this is a sketch that that and don't look too closely at it here um it's it's a really kind of a scruffy sketch right it's it's a two-minute thumbnail uh just to establish the basic proportions and kind of what i'm thinking about and then the goal is to spend less time in 2d more time in 3d and make decisions where they actually matter right if we're making decisions in 3d and we're designing in 3d we can actually see what it really looks like because we all know we can lie cheat and steal on a sketch right i do it you do it everybody does it right and and i don't know how many times i've had sketches from really talented designers on my desk and they say you know build it you start to build it and you go oh there's some magical thinking going on in here and you actually have to solve the problems in 3d so the goal is to have a conversation with yourself or somebody else in 2d very quickly thumbnail scratches everybody goes yep that's kind of what we want to do and get to it right once you get to it and you start building in 3d you can make those decisions and see what it actually looks like once you know what it actually looks like you can make your decisions and move forward and get the thing to a machine so that you can actually hold it in your hand at some point which is the entire goal of kind of what we're doing here so um this this project is going to start the same way that i start basically every project it's with a sketch right i've imported this using the picture command if you're not familiar with the picture command you simply type picture in the command line hit enter it'll bring up a file browser you'll find your picture and you'll drop it into the scene once you've got it dropped into the scene you can pick the object go to your materials palette notice that whichever image or whichever material gets uh selected with this yellow border and then you can change the object transparency down here in order to decide how much you know fade you get on that image the less amount we put on there and then more amount and it starts to fade more or less right so we can adjust this and and and do it in a way that makes sense right if i pull it down here it becomes more opaque you can see the sketch if i pull it up here it starts to fade out so it's easier to model over the only other adjustment that i usually make to all of my pictures is i throw them on a layer and then so that way i can turn them on or off using the visibilities and then i also move them out of the modeling window and the reason that i do that is if i build something in the center of the scene around the origin and the uh and the image is also set up at the origin the object will bisect the image and it becomes difficult to see um what it is that you're trying to model here today so so place the picture drop it back in space if we go to the front view which is where we're going to be building mostly today you can see that it's registered fine and does all that but it needs to be one of the benefits of having it on a layer you can lock it and now we can work over it with no problems so because this is a symmetrical object i'm only going to focus on one side because you can always flip and go from there and if you've seen any of my earlier sub d videos you know i'm a big fan of what i like to refer to as paper doll modeling and paper doll modeling is modeling something black right we're cutting it out with a pair of scissors out of a piece of paper and then we and then we add thickness or shape or capture volume or something like that to it for a later date in this case this is going to be paper doll but it's going to be kind of accelerated paper doll and the goal is instead of laying out one single face which we usually do right and then the typical paper doll thing would be i would hold down the command key and i would start dragging out here and add faces like that right we're going to actually use curves to get there a lot faster and so i'm going to pick a curve the most important check box here is sub d friendly i want to make sure that that box is checked because that means that this curve is going to uh is going to propagate sub the objects if i didn't check that box and i would extrude the curve or do something like that it would extrude a poly surface or a surface and in this case as i draw this curve and it behaves very similarly similarly to what you would expect any nurbs curve to behave like so we're still going to use our rule of three three points to make a corner and then we can come in here and make a few modifications to get a little bit closer to our artwork we'll call that good and then i can simply grab this and start scaling hold down shift which makes a uniform scale and then hold down the command button and i can extrude out a ring of sub-d faces and that's great except it's equal all the way around the outside and that's kind of not what i want i actually there's a little bit of a thick thin going on in this object so what i'm going to do is i'm going to copy paste i'm going to shift drag and scale and then i'm going to actually adjust my curve a little bit so that i build in the actual shapes that i want right and so come over here and i'm gonna grab these points and just sneak them in just a little bit like that and you can see that we've kind of captured the shape of that frame i'm ignoring the the temple landing pad for the for the time being um and let's pull let's pull these guys out just a hair more and by the way i'm going to move pretty fast during this video so if you um don't try and don't try and keep up with me or model along with me just take some notes and then we're gonna post this video on youtube uh later and so that you can follow along at your own pace so once i've got my curves built here we're gonna go back to the sub-d menu and we're going to just use the sub loft and i'm going to just grab these two curves i'm going to loft them together and you can see that it makes a beautiful ring of sub-d surfaces and this is set up with the natural shape segments it's got 13 segments i can also adjust this and using my middle mouse button roll up or down and if i roll up it just adds more faces which is not really all that useful if i roll down i can reduce the number of faces but you see that my shape starts to fall apart see how that starts to come apart as i go down so you have to make kind of a judgment and say okay how many faces in here actually do i need in order to capture my shape and in this case i'm going to just stick with the recommended which was 13 which was the natural shape segments but you're not stuck with that you can always you can always change that if what you want all right we're in box mode here and i like to refer to box mode as the modeling mode and smooth mode as the adjustment mode and so i like to model in box mode specifically because it helps keep the model organized right and it keeps us from getting lost and it keeps us from causing problems like this where if i was to pull a face and cross itself and hit the tab key this still looks okay in smooth mode right that that actually looks like it's okay but if i go to box mode you can see that it's actually a little tortured and we don't want that so i like to model in box mode so that i can keep track of what's going on and i can um i can fix any problems if they arise and and i always like to use the the mantra of clean box mode is going to equal clean smooth mode and so what i can do now since i have this i'm going to hide my curves use cell curve and then hide and then i'm going to just mirror this around zero and it's gonna make a copy then to make the bridge i'm gonna pick these two edges and i'm actually gonna use the bridge command to make the bridge and i have to decide how many segments i need in here right one segment just goes left to right if i come up here and roll my mouse button two segments gives me a center line now the center line is useful because that gives me one two three edges which is going to allow me to be able to not only modify the shape like this right but it's also going to allow me later down the road to modify the shape like this right you need three points to make a corner three points to make a transition and so we set ourselves up for success there by being able to do that all right i'm going to move these edges up just a little bit like that and i'm going to move this edge a little bit up like that and that gives me a perfect spot where i can just go and extrude that and adjust and that gives me my temple landing pad now it didn't propagate over to the other side because i didn't use because i mirrored it but mirror doesn't necessarily have history to it so i'm actually going to run the reflect command and i'm going to apply that reflect starting at 0 and i'm going to pick this side to reflect over and you can see that that change now does propagate across the center line and the cool thing about reflect is it is actually it is actually live so as i pull this it adjusts both sides which allows us again to go faster so now if i go to smooth mode you can see that i'm really pretty close to what my original artwork was these edges are a little softer than i was hoping which means i could probably add another edge here but i'm going to save that for later on down the road now the cool thing is is because we've got the frame built right and we can we can obviously just add some thickness to it or do whatever we need to do but it doesn't have any shape and there's a couple of ways we can do that we can go to the top view and i can shift command drag all of these points out here and then i can use the bend command and because we're using reflect i can start at the center line and just bend one side of it and it's going to bend the rest of the object in a nice procedural way right this keeps everything nice and smooth but an even better way to do this is if we had an object and if i go back to my standard toolbar and i grab just a sphere and we'll go center i'm gonna stick that at zero i'm gonna make it big because want to let's try to think of a good reason i was making it and i stick it back in space here and basically what i want to do is i want to take this object and i want to follow this shape well i can do that very simply if i turn my points on here here and i grab those points and i project them using project and i'm going to project them onto this object and what it does is it just takes those points and it moves them in space until they collide with this object i can delete this now and you can see that my glasses have this beautiful procedural bend to them right so let me hide this because i'm not using that guy anymore and now i can take and add my shape and i'm going to go to the menu up here and i'm going to go to sub d and i'm going to offset the sub d i'm going to offset it backwards and my offset distance i don't know what my units are here this might be massive so let's just give it a shot that's actually not bad so that gives me that gives me my frame right now this is creased and so it's got sharp edges on it so i'm going to double click this entire edge go back to my sub-d menu and i'm going to remove that crease which softens it up same thing in this i'm going to soften the insides of these and then every time i do these webinars somebody from the eyewear industry sends me a firm but polite email telling me that i'm a and that's not how you do glasses and i know we're just talking about shapes here man settle down um glass is the way they actually do glasses you start from the lens and you build out you don't build from the frame into the lens so if you're actually looking for a career in eyewear um ignore everything i say here because you start with the lens and build out but in this particular case i want to just talk about how to build these kind of forms and and you know capture space and stuff like that so i want a sharp edge on this but i don't want it too sharp so i'm just going to throw a little bevel on here and then i'm going to double click both of these edges and remove that crease and that gives me a soft edge but it still has a little bit of definition we're going to do the same thing out here i'm going to bevel this slightly and then we're going to remove these creases and that gives us a lovely kind of soft but still defined shape now we need to add the nose bridges and so i'm going to pull those right out of here so i'm going to pick this and use the extrude dot and i'm just going to pull that shape out and then i'm going to go back to my front view and i'm going to go to wireframe so i can see what's going on and i'm going to shift drag this edge pull this up shift drag this edge command shift drag sorry i should drag that edge pull this down here and that gives me the basis of my frames and if i go back to shaded view you can see what we've got here right so this gives us in how many minutes are we talking here now in 14 minutes with a couple of minutes of me blabbing um we've got something that we could actually throw through a printer right and so the next step that we want to do is try and and work on the temple so i'm going to actually hide this for the time being and then we're going to go take a look at the temple we're going to do the same thing that we did before we're going to use a curve again we want to make sure it's sub d friendly let me just start up here i'm going to just draw a curve like that right and in this case i'm going to copy paste again i'm going to bring this down and i'm going to turn my points on and then i'm going to make my adjustments on this curve now why did i copy paste instead of just drawing a new curve well the reason for that is if you copy paste your original curve then you get the parameterization of the original curve copied over to the other curve right so when i go to make a surface the curves match i guess is the is the easiest way to explain it and so i'm not going to have to worry about any like crazy crossing in my iso params or anything like that it's all going to kind of line up and just be okay so i've made these curves i've got it pretty much set out the way that i want i could kind of miss the shape here so let's fix that i need to like increase the size of my curves a little bit a little thin i can see them but you guys probably are having a hard time seeing them all right and we're going to pull these down just a little bit there we go so we've got our shape right we've drawn two curves again we're just going to go sub d loft this is a super effective way to get there quickly and we're going to go ahead and use the recommended this is this is actually pretty good in fact i actually i take that back i may add one or two in there just to just to make things interesting i usually try and recommend using as few edges as you need but this edge right here is going to give me the ability to be able to bow this part of the frame in or out and then these edges down here are going to give me the option to be able to adjust a little bit if i add one more it doesn't really buy me anything so i'm going to just leave it i'm going to say okay now i want to sharpen up these edges out here so i'm going to grab those two points right there and i'm actually going to crease those and that's going to give me a square end on that and then i'm going to leave these edges down here soft but i am going to just adjust them a little bit like but kyle you're adjusting in smooth mode yes i know in this particular case we can do that and then i don't like the the distribution of that one the way that it's kind of coming in at an angle so i'm going to move that angle just a little bit like to have like nice kind of railroad track layouts on these things so go to our perspective view we're gonna do the same thing sub the offset and i'm gonna use the same i'm gonna flip it i'm gonna use the same thickness so that everything matches just say okay and then in this case i'm going to leave these guys let's bevel this edge let's just go there right now give it to me oh my curve is there can't decide between the curve and the edges there we go so let's bevel this i always like to say i do the dumb stuff on my videos so you don't have to double click to get the entire edge shift command double click by the way and then i'm going to just remove that crease and so what that does is it gives me a nice soft subby part but i can also adjust it to do whatever i need right because i laid it out the way that it needed to be laid out so let's bring everything back not you skipping ahead a bit i'm gonna hide this guy again and then i'm gonna just place this i'm gonna relocate my gumball i'm always located here we go and i'm going to stick this let's see which edge is going to go where this one is going to go out here and let's move this back to there and then we're going to rotate it negative 90. and that gives us we go to the right hand view that gives us the basics of what we need to do to see what this thing is going to look like right so in 20 minutes call it 15 because i think i battled for the first five we've got something that we could actually sit and throw through a printer now the nice thing about this because it's sub d and this is the beautiful thing about sub d is if you want to do iterations you know does this have a flatter part or is it higher or is it you know lower does the curve accelerate from the inside or the outside or does it do something like this or you know now that you have this thing built you can throw your first version through and then you can do second version third and fourth version fifth you can buy at the end of the day you could have 50 versions of these things that you could throw through a printer and when you come in in the morning they're going to be all ready to go you can test them and see how they work so that's the beauty of this kind of sub d speed sculpt kind of thing right so not not doing details not getting into the details on that if we were going to detail this out i would probably at this point convert i'd make a copy and i would convert that copy to nurbs and i would do my detailing of nurbs right i try to use subd for the things that subd works great for which is which is roughing stuff out organic forms things that need to be iterated on a lot um you know stuff like that and then once it comes down to doing the detailing i switch over to nerves because nurbs is great for that all right so let's uh let's move this i'm going to change this object layer and then we'll hide everything here and let's take a look at the next example which is this drill and i'm going to hide this and unlock it first i did the same demo yesterday for the windows folks and my audio died on me so i had a beautiful recording but none of the audio came through so um so we're doing an encore today all right so this drill and and if if you can see the sketch it's kind of light but it's got this kind of mechanical element on the top but then it's got this soft kind of organic shape at the bottom right and if we're going to build this we would use the things that make sense and the top part up here we would probably build in nerves and it looks like my grid snap is on for some reason i have my ortho snap on ah there we go and so i would do a standard nurbs build on this part right i would just do this as a revolved surface pull that out to there i wouldn't even worry about the end of this thing because let's lock this again and then we would just revolve this going to be a surface i'm not going to bother doing a sub d and i would let that roll right this last part down here i'm going to just extract this surface i'm going to change its degree from two to three and then turn the points on and i'm going to add a few more a few more points in here so if i go edit control points i can insert control points and i'm going to do one and two and that gives me extra points that i can then come on now i broke it in two pieces let's rebuild it let's do let's do eight and eight rebuild now we've got points that we can play with and so what i'm gonna do is i'm gonna shift click this handle and i'm just gonna scale it to zero we're going to just bring these guys in and just collapse these let's do setpoint i'm going to set these xyz and then we're going to set it to the center so last and then we'll just slide it back out here oops misbehaving happens to the best of us grab this and then just drag it out and when we get all these points lined up you can see that we get this nice kind of rounded end and so this works great for this type of thing so i can just pull this out here and again i can adjust this by pulling these edges farther or closer it's sharper if i go close it gets softer if i move far away and that gives me everything i need for this most this kind of stuff all right clearly someone didn't clean up from their last demo all right so we've got the basis of this and now we need to look at the handle right this would be the difficult thing to build if you were trying to do this in nurbs then we're going to go back to what we did before right so we're going to go to our nurbs curve it's going to be or sub d friendly and then we're going to just draw the basic outline of what it is we're trying to build and i'm not even going to really sweat this too much i'm going to ignore the trigger because it will likely be trimmed out later and i've got the basis of what i need really quickly right so i'm going to go back and i'm going to go sub d i'm going to do sub d loft and it's going to give me i'm going to turn the corners on because i want those to stay put and it's going to give me a little bit of a mess here so i'm actually going to adjust the shape segments and i'm going to come up a little bit because i may actually pull some of these out you can see right around 11 see how that kind of straightens out a little bit see how this is like that's getting a little too crazy we don't need that much but if we go down actually down is not bad it's not pulling the part to shape too badly actually i like that let's go with that let's go with about six so we're going to say okay and then we'll go to wireframe and then i'm going to hide my curves and then we can just pull another box mode we can pull this thing a little bit better back into shape all right this got a little a little crazy out here so let's straighten out some of that that's another reason i like box mode because it really like the sins are very very visible you can really see when you have made a hash of it very quickly and it's much easier to fix all right let's see how close we are not bad again the idea is to get to capture the form very quickly and then design this thing in 3d so now we've got we've got our basic shape right and i'm going to isolate this and i don't have any way of adjusting the shape in this direction right because i've only got i've only got two points i've got one point here and one point here i don't have anything in the center so i'm actually going to just add i'm going to add a an edge right down the center of this thing and i'm going to use the insert edge tool which lives here um actually i want to use this one insert point so i'm going to start here and i'm going to just draw this right where i want it to be and that gives me an edge in the middle and the cool thing about that is now that i've got an edge in the middle i can pull this and pull this shape in or out like that right so that gives me my crown of this shape so i'm going to add a little bit of crown to this and then i'm going to move it away from the origin because that's going to determine how thick it is i'm going to mirror around zero and then bridge is like blendserv for subbies so we're going to bridge this together and i'm going to use one edge down the middle because again that gives me the ability to be able to adjust the crown in this direction so i'm going to go ahead and run that and i'm going to do the same thing over here command shift click man shift click command shift double click fills in the inside bridge same thing i'm going to use two segments there and apply so now if i go to shaded mode you can see that i've got the basis of this handle and i can adjust the crown in this direction right you can get flatter thinner more tapered same thing here right that gives me the ability to be able to adjust that crown if i didn't have that center line i wouldn't be able to do that and then i can then start getting into this thing and then sculpting it and saying okay well what actually is happening here does this does this thing need a little more shape in here and see how i can watch the highlights update does that make a little bit more room for a thumb right if i pull this up like this i can start tracking highlights and see what's going on do i like the way the light is falling on this thing does this need to move up or down does this highlight track high or low now we're designing now we are not just modeling we're actually making decisions that impact the look feel and function of this product which is the goal right that's what we're supposed to be doing i'm not supposed to be just beating our head against modeling tools trying to figure out how to make rhino work right we're supposed to be designing and so this is where it starts to become fun you can undo redo all day long and play with this stuff you can make copies and iterate that's where the fun begins but i digress because we don't want to talk about details i want to talk about roughing stuff out i'm going to double click this edge down here i want to close the bottom off and i'm going to start scaling i'm going to hold down shift and then i'm going to hold down command and you can see that that actually starts extruding the corner in there then i'm going to grab the extrude dot and i'm going to pull down twice and then i'm going to start scaling shift command and i'm going to just scale that down to capture the bottom now i would probably close that up but if i was going to send it off to a printer but the goal is that we get here very quickly and so now i can take this edge and i can determine like how does that impact the drill like does it come up like this or does it come like what does it do and if i bring it up like that then you know maybe these faces around here are too thick and or maybe they're not thick enough and if i change that i can see what happens i can see where that intersection happens and make a decision about how i want this intersection to look and you know if if i don't like how this is crowned up in the center like that i can grab these two edges and i can start scaling it and change that see how that line changes now we're designing that's the goal all right so i'm going to call that one done so let's throw this all on the drill layer and we're going to hide that and then let's take a look at a really difficult one let's look at a skull and i kind of showed the last page of the book here but if you were to tell me a year ago that or two years ago i guess minus seven's been out for almost a year now but if you were to tell me uh two years ago that i was going to be able to do uh you know a human skull or a monster skull or anything any kind of skull in rhino i would uh i would have i would roll my eyes and said good luck with that um the goal here is again where subdi allows you the speed flexibility and adjustability to be able to capture these kind of extraordinarily organic shapes and all you have to do is just break it down into its basic shapes and make sure that you're building your topology to follow and in this case we've got three main elements we've got the eyes we've got the nose we've got the exterior shape of the head right and and skulls are vaguely spherically shaped um unless your head is shaped like mine which is has a little bit of a pointy top on it so assuming you have a normal shaped head we have to kind of figure out how to work with these elements so again we're going to do the same thing we did before we're going to start with a curve we're going to draw sub-d friendly curves to capture these shapes and i don't like that so i'm going to back off a little bit and i'm just going to call that good because we're going to adjust this further let me lock this i'm going to mirror this and looks like i'm a little off-center on my sketch so let's fix that because that'll make me crazy so let's do this grab the sketch and slide it over there we go and i'm going to mirror this again there we go that's better let me lock the sketch again so now i've got the basis of my of my layout and then i'm also going to just draw the nose and i'm going to start and i'm just going to do one half of it and then i'm going to mirror this and then i'm going to use the match command which is going to allow me to average these curves together to tangency same match do the same thing down here and that way we just know that they touch their average they're tangent they're good and we'll join all right so we've got a symmetrical layout right now and and the one thing i will tell you about about any type of anatomy modeling and you probably know this from art school but um don't make it symmetrical if it's if it's we're going to start symmetrical but you want to add asymmetry to the thing otherwise it'll look weird it'll fall into what's called the uncanny valley and the uncanny valley means that you've done a a character or a or a humanoid type object that looks real enough that you're buying it as a human object but not real enough so that you're comfortable with it so if you've ever seen the the movie the polar express all of the characters in that movie fell so far deep into the uncanny valley where they just look weird and creepy that so we don't want to do that so that's my little spiel on skulls or people or whatever characters so i'm going to shift drag scale this curve i'm going to hold down the command key and i'm just going to extrude out a ring i'm going to do the same thing over here shift drag hold down control pull out a ring same thing here scale command we're going to pull out a ring on that and actually it looks like my curve lost its sub d friendliness and the way i can tell is when i pulled that out see how it's got a center line on it if this was if this was a sub d it wouldn't have that and if i pick it you can see that one open surface added the selection so no problem i'm just going to rebuild i'm going to make it sub d friendly and i'm going to crank up the point count here and you can see that it falls right back into place so i'm going to just rebuild that now if i shift drag scale see how it's just one ring that's a good way to know whether or not you're in sub d or not now this probably has too many edges in it so i'm actually going to pull a few of these out and i'm going to do that just by clicking and deleting shift command clicking actually and deleting sorry everybody's like i click delete and it doesn't work well that's because you aren't doing what you're supposed to do because i didn't tell you the right thing to do sorry my bad all right so let's do something like that which is a little a little closer to what i was looking for and then we're going to just start sticking this together so i'm going to go from here to here and i'm going to bridge i'm only going to use one and then i'm going to go here to here same thing and then i'm going to go from here to here and then i'm gonna go here to here nice thing about the mac interface is as you're if you're doing a repetitive thing over and over again i can just click my two edges and i can hit the right mouse key and it brings up the same function again now in this case i bridged across here but see i've got a center point down here so i actually need to add one edge in there and say okay and then i'm gonna take these two edges and just stitch them together and that brings out the basis of our of our face here and so now i'm gonna i'm gonna go this way and i've got one two three edges that i kind of want to work with so i'm actually going to pick these three edges and i'm just going to do this i'm just going to pull them down and then i'm going to go to box mode i'm going to grab this point and i'm gonna grab those two and stitch and do the same thing here one two three and i'm only going to come down one edge so i'm just going to pull this down grab that and this stitch now i've got another edge down here and another edge down here so because we want to go fast i'm actually going to grab all of these and do them at the same time so i'm just going to pull down one more stitch stitch and looks like my face has got a little tortured in here so i'm actually going to pull this down a little bit like that and now i've got now i've got this kind of layout through here let's do it like this double click and then i can pull this entire thing down and then scale to zero which is going to flatten that out and then scale it in which is going to bring it down like that now i can make a few adjustments here i like scale for adjusting stuff in subdies because it gives you a symmetrical response and i'm going to add these guys and i'm going to scale in 1d but i'm going to hold down command and i can extrude out those faces see how this is starting to go fast so we're starting to like and i'm i'm purposely not doing this symmetrically because i want it to i want it to have some asymmetry to it and i probably would even go back and like mess with the eyes a little bit to make like this occipital a little different than this one just just slightly otherwise it'll look weird and you won't know why like your brain will just go something's not right here that's the uncanny valley just do something a little bit like that now we've got the tops up here let's bring this out and then we're gonna get this entire row we're going to pull up scale in and then pull up again to the top and flatten it by scale zero and then i'm just going to pull these guys into a vaguely round shape all right nothing hard here yet we haven't done anything that's very difficult oh we made batman oh we made that man that's awesome [Laughter] now dc is gonna see me all right so we've got this we've got this thing made out right we've got our bases and we can decide whether we want to add faces take faces away or do all that kind of stuff but i'm actually not going to worry about it but how do we get this to turned into uh turned into a shape or turned into an actual skull well i'm going to do the same thing we did with the glasses i'm actually going to come in here and i'm going to make a center sphere and i'm going to make it fairly big and then i'm going to pull this up like that and i'm going to project this onto the sphere this is like a really fun trick and so you don't have to worry about like deforming all that stuff yourself because we're just going to project it right onto the sphere let's try it again yes that oh i'm gonna do it or fell onto this there we go that's better now we can delete this guy we don't need them anymore and we've got the basis of our skull right so we've started to actually capture some form now there's a couple of ways that we can finish this guy off it looks like looks like i've done this a few times alright here we go 30 years of professional modeling coming at you folks all right so there's a couple of ways i can add the rest of the form here i can just grab this part and i can just extrude it back and i can shift command scale and then i can extrude back like that shift command scale and then i can extrude back again and shift command scale something like that right and that works it's pretty pretty nasty at this point but it does work the other thing i could do is i could actually just build a sphere a sub d sphere something like this and bring it down it's massive something like that and then i would just delete these faces here and probably these faces and then it would just be a matter of trying to bridge this all together and this probably doesn't have enough faces so i subdivide it once and then we can start one two three one two three just kind of pick my way through here and i would probably do just one face here to keep things simple and then two three four two four oops nope not you guys nobody invited you guys stop it one two three four oh come now opps if i pick accurately two three four one two three four there we all right he did go right and then i would just work my way around this right and if i if i was being lazy which i kind of am um let's just reflect this whole thing and i'm gonna put the mirror plane here and pick this side and then we get the whole we get the whole thing wrapped up and we can decide whether we want to keep this edge or not we delete it just turn that into an n gone or we can leave it triangle triangling off or we can stitch these two points together doesn't really do much there but we can figure out how to deal with that later but in the meantime we've got the basis of our shape we can start pulling out the eyes we can start messing with the brow we can start pulling out the nose you can bend it to get a better shape all right so now it starts to give us the basis that we can that we can work with but again this is like and that and this is the point where you'd go get reference right instead of just making this up i would get some actual reference of what the skull looks like and start start tracing over it instead of using my you know really janky sketches um but but the basic layout is the same right you're going to start with the eyes you're going to bridge them together you're going to bridge the nose then you're going to work your way around and then once you've got this this is now a piece of clay you can push and pull this and do whatever you want to do with it you know and i'm absolutely positively stoked that we made batman so now you've got the basis for anything that you want to do as far as a character is concerned right and so once you get a nice base skull like this save it off put it in a file somewhere build a clipart file of sub departs because this stuff is so easy to modify build a sub build this a a clip art file of all your subdue bits and then the next time you need to do a character just pull ahead in and move and mush it around right next time you need to do a pair of glasses pull your glasses you know buck in and mush it around and you'll be done in eight minutes instead of 30 minutes right so now we're talking about going really really fast and being able to like really like quickly iterate through concepts and and get to a place where we spend all of our time designing and less of our time you know modeling technicianing right which is which is the whole goal here all right so so that's the that's the the skull and the last one that i wanted to talk about was something um even more complicated than a skull which would be something like a car right and in this case it's the old 60s race car it's based on an old chaparral race car and the way to lay out a a skull right is there's a formula you start with the eye sockets you pick and you're in the nose socket and you make a ribbon and you bridge it together and go from there the the same way that a skull has a formula cars have a formula and the formula behind cars is you start with the wheel arches and so i'm going to start with a subd cylinder and i'm going to pull this out to make one of my first wheels and then i'm going to just go and i'm going to just grab this piece and extract it and i want to extract just that strip and the reason for that is i'm going to use that as a basis for my wheel arch and so i'm going to place that there and i'm just because i already have it i'm going to drag tap alt and make my rear wheel as well and then i'm going to delete a couple of faces and then i'm going to start moving this around in fact i might delete that and i'm going to just start pulling this into shape we'll call that good because we're going to try and go fast and then we're going to do the same thing back here i love the immediacy and the the kind of instant gratification that that sub d modeling provides it really kind of works well with my hummingbird-like attention span um i've always felt like as a designer that my brain can go faster than my hands can go and that's changing i'm starting to feel like the tools can keep up with my head now and that starts to become really fun so we've got our wheel arches i'm going to double click i'm gonna not do that let's make our corners stay put so let's go sub d and we're gonna crease those corners so that they stay flat and then i'm going to grab this edge and i'm going to shift drag command i'm going to extrude a ring out all right this should look familiar now you did the same thing with the eyes drag shift command and drag out a ring and this is the basis of everything that we're going to do going forward so i'm going to grab this edge and i'm just going to line up my rockers like that and how how big this ribbon is um determines how much landing the wheel arch is going to have so if if the wheel arch is really thin and blends into the body this will be a really thin ribbon and this card actually has a fairly generous blend into the body work so i'm going to leave it a little bit wider and then we're going to do the same thing we did with the glasses in the skull i'm going to take these two things i'm going to bridge and now i'm going to add some edges because i need to be able to capture some additional detail in here so i'm going to throw about five edges in there and say okay a little wireframe so we can see the sketch and we'll just do this in box mode as well and then we're going to just pull this stuff down to start capturing more of that shape pull the face out see how fast this goes this is this is fun so we get to make stuff really quickly now and same thing in the back i'm just going to pull this out and then this entire edge right here i'm going to add one more row because that's going to let us bend this thing over and this edge i may drop this edge a little bit and then i might want one more edge along the bottom so that i can roll this you can roll this bottom over so let's go and insert a few points so that way now this edge we can use that as a brake line and move the and the rocker under so let's grab this and this we're almost done so if you're time sensitive i'm gonna bend that in a little bit and this edge in a little bit i might need one more edge in here so let's add another let's add another row of edges in here let's start up here there we go so now i can grab these guys down here bend that in this whole row up here i'm probably going to take and bend it over a little bit like that and then if we switch to shaded mode that's a crease we're going to get rid of you can see that we get the basis for what we're trying to do here i'd move this away from the center line which would determine how wide the thing is and then we would simply bridge the entire thing together i would use probably two sections so i get a center line and then if we wanted to add cockpit we would just extrude that down okay and very quickly with the exception of this crease we have the basis of what we could then use to put together the rest of this car right so the idea behind this is i just wanted to make sure that we were covering how to think about things how to think about topology how to think about capturing space and maybe this maybe this model doesn't go any farther than this in sub d and we mash it around a little bit and we do some modifications to it and we add a little bit of shape to the nose and then maybe what we do is we go into nurbs and we do all of the rest of the detailing maybe this is as far as we go and that's the whole concept behind you know speed sculpt speed using subdue to go fast using subd to kind of visualize the shape in fact i've even mashed something together in subd really really ugly just to capture the form and see what the model is going to look and feel like and then i'll actually go back and if it requires if it's the type of model that requires i'll actually go back and build the whole thing in nerves using my subdue stuff as a 3d control drawing so there's a lot of ways to use this stuff that can be that can be super valuable um when you're in the concept and design phase and you're trying to you know you're trying to capture form and get your idea down as quickly as possible i find that subby is a really really good tool for that so this is about as far as i want to go today as far as this kind of stuff if you are interested in more subdies stuff please check out our um our mcniel youtube page which is here and i threw this in the comments this is where all this stuff is going to live this one is a good the subdued modeling and rhino this trike is a very good from the first line part all the way down to the rendered piece if you want to see a project all the way start to finish this is this is a good place to start um and then there's you know several other uh things in here there's a chair that i did uh if you're if you're a mac person um this let's see where is it now it's going to be it's going to be deep in this playlist somewhere but this this chair right here getting started lino 7 for sub d mac this is a very simple very easy sub d project to get going with that that also goes start to finish with all the detailing as well as this faucet down here that's another good one if you're looking for more um more subtly stuff the seat down here again also more sub d stuff but a little more complicated we get a little deeper into the details and how to handle that so um so those would all be resources to take peek out so any questions um anything i can answer before we before we take off we're 1003 which is pretty good for an hour to do four models go ahead and hit the chat with any questions if not i will let you go and thank you for joining and i will catch up with you next time we do these about once a month and um so keep an eye on the website uh and the forum for the announcements on when we're going to do another one and um if that's all i'll leave you here my name is kyle hodgson's i'm a tech new trainer for mcneil go make great stuff thanks bye

Channel: Rhinoceros3d

Views: 6,674

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Id: k9LMoGBrVzk

Length: 66min 56sec (4016 seconds)

Published: Thu Jul 29 2021