So now we wrapped up the basics of the general head sculpting and we can
go over the time lapses that I recorded for the creation process of rain,
so let's get into it.
Uh This will give some good examples of what my workflow was while pointing out also
towards good and bad practices that I did as mentioned before.
I used the screen cast keys add on to
display the shortcuts and any mouse keyboard input.
I used in the corner of the screen but they come
and go pretty quickly since the time lapse so they are
actually barely worth it. But
if you want to slow down the video or stop at
any moment to see what I did or what I pressed
it's there.
I started out by sculpting the simplest head shape but instead of
merging a sphere with the cylinder and all the other separate objects,
I just shape the sphere to resemble the full shape.
I went in a bit eagerly and immediately started
carving in the eye sockets and adding the nose.
I can really recommend to get the basic head
shape going first before adding any secondary elements.
Don't forget to enable dynamic topology of course
to get more resolution dynamically while you sculpt
after adding the primitive neck and ears with cylinders,
I started refining the face even more.
I don't think I was um
I don't think it was a very good idea to start sculpting the
mouth this soon since I was still sculpting the surrounding and underlying forms.
This has made it a bit more awkward to get everything into shape,
but one thing I can really emphasize is just keep going.
Your sculpt is probably not going to look very good early on,
but if you keep refining it and change things it will eventually turn out good.
My main plan at this point
with sculpting the head was to define the basic shape of the head
and add all facial elements as soon as possible
to start experimenting with the actual design.
I already knew that this first sculpt would be female.
So the shapes are of all less boxy in this case and way more rounded and smooth.
I also knew I would make the eyes and
nose rather big and white and the lips relatively full
instead of adding the ice separately.
At first I sculpted them roughly into the eye sockets. For now
this basically makes it easier to make broader changes without
changing objects or sculpting multiple objects one after the other.
I also placed all objects a bit higher so that the world
origin is at the base of the bust sculpt for now it's not
really a big change since I just do it to not have the
three D cursor and the world access in the face of the sculpt
but you can also hide these vieux port elements in the
overlays pop up menu if you don't want to see them.
Of course from time to time,
I switch on the Wireframe overlays with my personal shortcut shift.
Z I do this to check the exact resolution.
That dynamic topology is giving me at this moment.
I obviously spent a lot of time on the face first while ignoring the back of the head,
Pretty much the temple and other areas could have used a bit more work at this point.
A pretty important tip for me at this stage is too
often switch between Ortho graphic and perspective in the view port.
Well,
perspective gives you a more accurate representation
of what the scope will look like
to anyone later on off a graphic can help with dynamic topology with relative detail
switched on since the detail level is based on pixel size and having everything off
the author graphic will give you a
most basically the most consistent detailed size possible
autograph.
It will also give you a way better view of comparing the proportions of the sculpt.
I'm also only really using basic brushes at this point.
To be honest, for most of the sculpting process,
grab snake hook and smooth are constantly being used for small and broad changes,
draw crease
and clay as well as clay strips are used to add final volumes and details.
You can get basically almost anything done with just these brushes
for the lips.
I also use the pinch brush to pinch the area between the lips of it afterwards.
You can also use the inflate brush to add a bit more thickness and
volume and shut the lips on each other just a little bit more.
But the tip,
I will likely repeat a couple of times is keep rotating around your sculpts.
The lips for example might look good from one angle
but they need to look good from every angle.
Make sure the flow of the lines and the shapes
is looking good from any angle and don't keep any
unwanted bumps intact.
If you are in control over your surfaces and
don't allow any lumps to rule your sculpt,
then uh this will really push the quality
of the sculpt drastically upwards for the nose.
I pretty much immediately went for the stylization since I wanted to add a
hard edge on the bottom part to separate the nostril area from the rest.
Over time I'm going to drop the hard edges more and more,
but it's good to already mark the elements you want to pronounce in the design
so far.
I sculpted a lot with smooth trading but flat shading has the advantage of giving
you a clear view of the resolution of the mesh and just in general,
the geometry that you're working with.
Use this to your advantage at any point by just switching between the two
to switch between them.
You can just toggle, for example, the option in the dynamic topology options,
I didn't just stop at temporarily sculpting the eyes but also the eyebrows.
This is all just to get a better perception
and impression of the design for the moment,
since these elements can be, can really change a lot during the sculpting process
at some point,
it's a good idea to define the neck and maybe even the shoulders further.
Instead of spending all your effort on the face first
again, keep switching what you are currently sculpting on,
Don't Scope one area to completion and then keep others completely abandoned.
All areas should roughly have the same level of progress
once I was pretty satisfied with the progression on the face,
I replaced the sculpted eyes
with spheres.
I did the same modifier set up with a mirror modifier
as in previous lessons and added a few
subdivisions to give the I a good amount of resolution.
Then I hit them with H and masked out the original
eyes that were sculpted onto the head with a mask brush.
Afterwards, I inverted the mask with the shortcut control I
and pushed and smooth the eye socket to make room for new eyes.
At this point,
I also started regularly renaming objects to keep the outline on
the side organized and basically a useful overview of the file
when I was finally masking out the iris and the pupil of the new I object.
I used the mask tools add on for the first time in this recording,
it offers a lot of extra functionality like growing shrinking,
smoothing sharpening and even saving masks,
I will use this adult more often later on. But right now I noticed
that my painted mask is always a bit too big.
So instead of redrawing the mask over and over again until it's right.
I opened the sidebar with the shortcut. N and in the mask tools tab. I use
the button mask less to shrink the mask down incrementally
for the islets.
Make sure that they conform well to the eyes
instead of sticking from it from in irregular ways
just like the mouth should conform to the teeth underneath.
I also removed the sculpted eyebrows to smooth out
the forehead and define the browse underneath better.
At first I used the mask tools add on again
to instead extract a mask as a new object.
This is quite a useful feature, but a bit of a hack. So expect a bit of bucks to happen
but to extract the mask,
you first need to mask out an area that you want to have as a new object.
Then you can click on outline, relax
in the mask tools interface
in the bottom to make the boundary of the
mask less jagged but align the edges more smoothly.
When you then click on duplicate it will duplicate the masked faces as a new object.
You can then add a solidify modifier either in the modifiers tab in the
Properties editor or by clicking the solidified button in the mask tools panel.
The thickness can be defined in that panel as well,
apply the modifiers and start sculpting on the new eyebrows mesh.
I didn't end up keeping this object for the
long term for reasons I'll be getting into shortly
but for now at least it's a really good
representation of just having the eyebrows separate to just
sculpt on the head itself
without the eyebrows really in the way
I also added a hard edge on the brow leading down to the nose.
It's important when adding hard edges in your
design to find a balance with rounded surfaces.
The hard edges are kind of like adding outlines to
your line drawing and the smooth surfaces are empty spaces.
So how many hard edges are necessary to read the face
better and how many would overload the face with too much detail
once I get into polishing the surfaces and features a bit more in detail.
I switched to a more high contrast madcap to
give a better view of high frequency surface details
for this,
I used one of the old man 27 9 Met
caps which is included in the resources folder of this course
for the years.
I did the same thing like in the previous lessons,
but much more simplified from the start.
First off, the ears are a lot thicker
in this model and quite round. So I basically exaggerated
the alpha helix and made a very simple round anti helix in the center.
There are many ways of style izing the ear and I
can recommend to look up different styles online For inspiration,
I finally started to pull in every object
together to blend their transitions properly as well.
With all of that done, it's time for the next big step, which is adding color.
Yes.