we explore the sculpting tools and
smooth out all of our sheeps in our time
together today here in the sculpting
Shack my name is Pat and let's get
started
we've been working a long time in
preparing for this stage and the
sculpture of our little grizzly bear
project and I am so excited let's jump
in and start sculpting where you start
working on my bear and physically start
smoothing out the shape so we have a
nice solid foundation for us to sculpt
on and there's a couple things I want to
make sure that are set up and ready to
rock and roll before we start that
smoothing process first and foremost
it's really important that our symmetry
for our brush is enabled and we can find
those options right here see this little
option this is our symmetry tools and we
want to have symmetry along the x-axis
now I'm just in the regular standard
brush over here
and with symmetry on you can see that
anything that I do to the left side is
automatically done - there we go to the
other side and that's the product of our
symmetry operation so make sure that
your symmetry is enabled simply clicking
on the X will give you that option I'm
gonna go back in time a couple steps
here and the next thing that we need to
explore is the impact of the size of our
brush tip itself and that's represented
by this blue circle on the model itself
that's our brush and specifically we
won't look at the inside one now if we
want to change the brush we're going to
hold down the F key and then drag our
mouse left and right to establish a new
brush a brush size I want to make mine a
little bit smaller and then with a
smaller brush we have a smaller area of
impact on the model itself so two little
things to be to note before we get
started here I've got to have our
symmetry on and we're gonna control our
brush size with the F key now if you
don't like using the keyboard shortcut
you're more than welcome to go up into
your brush properties up here at the top
of the screen and change a number of
different things including of course the
radius that's the brush size as well in
addition you also may want to experiment
with the strength of your brush okay
this is an incredibly organic process
and you don't want to experiment with
different strengths and different brush
sizes to help you get the feel for the
brush
okay this is your model you can make
this look however it is that you want to
look and all these tools do is just
provide us as an extension of our
imagination so get comfortable making
some changes to the radius and the
strength I think you're really going to
enjoy it okay so let's go ahead and
start smoothing out all these shapes
because naturally I want this to look a
little bit more organic then you know
blocky as it is and we're gonna be using
the smooth brush for us to do that and
we can find this smooth brush right here
inside of our brush palette let's go
ahead and activate this smooth brush
okay be mindful the strength of the
smooth brush is something that we're
gonna want to look at because that's
gonna determine how much of this is
smoothed out and what I'm looking to do
like I'm gonna increase my strength just
a little bit what I'm looking to do is
to eliminate the transition between all
of these shapes now pay real close
attention to the direction that you're
smoothing okay now if you look at what I
have done here I initially just want I
want yonk smoothing out that transition
right there which is creating this kind
of weird the lip now at this stage it's
not the end of the world we can always
go back in and fill that in in a minute
but if we're mindful of the direction
that we're smoothing it may save us some
energy I'm gonna smooth this way going
down the mesh I'm gonna smooth with the
flow of the sheep that I'm trying to
make let's go ahead and start that
process again ya see I'm just going
across it like that and that lip is not
as noticeable okay we're gonna go back
in and fix a lot of this the goal now is
just to smooth out these shapes and get
something that works yeah it's not as
noticeable as it was before and that's
okay I'm gonna make my brush size a
little bit a little bit bigger excuse me
that way I have some more control and
we're gonna focus on the rear here now I
want to start creating a much softer
transition between the hip of the leg
and the top of my bear itself and
remember smooth with the direction you
want the topology or the sculpture to
flow just don't go you link and kind of
smooth it out like that it could be
mindful
of how all these shapes are forming
together it really does get your brain
in your imagination in the right mind
flow I'm just gonna I'm going to
increase the strength II a little bit
yeah oh that's much better cuz now I'm
having a little bit more of an immediate
effect on the sculpture itself and I'm
liking that I'm trying to see and
imagine as much as I can hear how all
this is gonna work together yeah if we
go down is we continue going down here I
want to preserve this lip so y'all said
you got to be continuing to think about
these forms just don't go in here and
smooth everything out okay now we've
completely eliminated that wonderful
crease that was given to us by the
cylinder and the sphere in the earlier
stage so be mindful of how these forms
are working together instead of going
across the shape like this I'm going
down it towards kind of the underside to
continue to preserve some of this in
here some of this lovely transition the
same goes for the tail okay just don't
go wrong we can smooth it all out and
just make a look not so hot right so we
want to keep some of it yeah I mean just
very lightly brushed on that side and
we're up and running okay so the biggest
mistake that people make is not changing
their brush size and the intensity of
their tools while they're working with
it
here's a great example I want to start
smoothing out this leg here if I was to
leave the brush size in its current
fashion you can see that's having a
pretty intense effect across the entire
shape and I've lost all that lovely
detail in there I'm gonna go back in
time we've lost all of our all the
proportions of our knee so I want to
make my brush a little bit smaller and
I'm gonna reduce the strength of it as
well and again I'm sculpting with I'm
smoothing with the form I'm not trying
to remove every single faceted edge I'm
looking to increase the accuracy of the
shape
if you have to go over it a couple times
it's part of the process right we're not
you know as they say rome wasn't built
in a day
sculptures aren't made in one moment
it's a process of refinement over many
many passes now in this first stage of
the smoothing out the form pay real
close attention to or keep them remember
the purpose it's just to kind of
eliminate all these blocky shapes and
start getting something that looks a
little bit more organic the in the next
phase of this we're going to go in and
start moving these shapes around pretty
dramatically to create some really good
forms because I don't think I'm really
too happy with the way that this hip is
flows is working out and that's okay
we're going to fix that in the next
stage I like to go through the sculpting
process as linearly as I can focusing my
entire energy I'm just smoothing out
these masses smoothing out these simple
shapes to give me a better a much better
understanding of how the sculpture is
gonna work let's make the brush a little
bit bigger increase the strength too
yeah why we have a little bit of a
remesh problem here that we get a fix
with that shoulder blade yeah I got a I
got to go back in and fix that and I
think what I'm going to do is I think I
might I might go back to my previous
stage and remesh to get rid of this and
this is another reason why we want to do
this stage in an entire pass because if
I had gone in and smoothed out the back
and done all this high detail sculpting
on the back I would have that work just
would have been completely lost because
I found a technical error on the front
here the dinette that I now need to fix
so by doing it in passes doing each
stage individually on its own it saves
us some time and energy in the long run
I know it seems almost like a waste of
energy you know because we want to be
able to go in and make it kind of
perfect on the first go around like I
like I'm really resisting the urge to
grab the to change my brush over to grab
tool and make the hump and and to fix
some of these mistakes in here but
it's not where I'm at at the moment
right I'm just smoothing out these
shapes to give me a good solid base to
work on the primitive forms that we were
working with earlier or just the block
out that wasn't the model itself this is
the actual sculpture so we want to give
it some time some energy yeah and we'll
go back in and fix some of these forms
here in a second and at the next stage
like these little these little hard
edges I'm gonna try smooth out real fast
just to kind of give it more of an
organic feeling to it yeah I'm liking
that so a lot of these Anatomy cues that
we're missing want to come back in and
fix in the next pass the next stage but
that's by design we do one thing we mat
we smooth it all out and then we advance
onto the next stage of sculpting if
you're scatterbrained and doing little
bits here and there you may run into a
problem like I have here that will force
you to go back in and Reese Culp some
big areas okay all right so let's just
start to finish some of this up here
real fast and I remember sculpt are
smooth with the forms themselves that
way we have a nice foundation to work on
I'm brushing downwards this way to start
establishing look hard because of the
smoothing that I've done I've already
just started to create what's eventually
gonna be a really great neck muscle in
there same with this in here I'm not
just gonna go mmm across the seam okay
if we smooth this way we can start
creating a much more pleasing form and
give us a little bit more information as
we continue to go through the process of
sculpting now the ears are gonna get a
tremendous amount of work okay they're
not gonna eventually be little spheres
as they are now we're going to go back
in and fix those here in a bit and make
them more more like a little curved
curve planes let's just get rid of some
of this blockiness
and the mouth is another area that's
going to get a tremendous amount of work
but we can already start to see and
didn't do these denting at the bottom
let's just fix these get rid of some of
the sharp corners and edges obviously a
bear is not gonna have cubes for their
feet and this is an opportunity for us
just to kind of return some of those
organic
sheeps back into the modeling the model
itself okay
I think it accentuated the heel of the
bear a little bit too much in my block
out and this is an opportunity for us to
start looking in finding that sculpture
yeah it's a cool shape I like that BEC
it doesn't have to be perfect yet we're
gonna be spending a lot of time on the
sculpture but now it's starting to feel
more like a bear it's starting to feel
less like a whole bunch of spheres
cylinders and cubes and more like a
sculpture of a three-dimensional bear
keep in mind we're going to be doing
this sculpture through a whole series of
passes we're not looking to make a final
finish super polished incredibly
detailed sculpture at this moment we're
gonna refine the model and each pass is
gonna allow us an opportunity to layer
in new detail into that pass so it's not
about making a final finished super
hyper realistic model now we're gonna
get there each pass gives us an
opportunity to focus our energy and most
importantly our creativity on the level
of detail that we've included in that
pass thanks for joining me in the
sculpting Shack today we'll see you next
time
