 Hello. Hello. Hello. Welcome. Hello. Welcome. Welcome. Nice. Okay. It's working. Thank you. So how did I name this thing? Speed sculpting live session, I guess. So let's actually go back to the final browser. So at the start of the year, I actually made some sculpts for the sculpt January. So I kind of restricted myself to just like about an hour to sculpt each of these things, which, okay, usually I went over time, so that was exciting. But yeah, I'm going to take these kind of as an inspiration of like, okay, I'm going to take like a simple concept like a drawing that I made, and I'm going to see if I can sculpt that thing in an hour. So there's also a little workshop on the Blender Cloud, if you're interested with for some tutorials or something, where I go a bit more in depth into these things and techniques. So let's just close this. So also, I hope you watched the talk by Pablo de Barra yesterday about the new sculpting tools because I am going to use Blender 2.81 for this to kind of show off the new tools a little bit, just as much as I can cram into an hour. So let's see, while still getting something, like a little bit of a result out of it. So yesterday, he talked about like how to use them, how they kind of work. So now let's kind of see them into action, I guess. So I guess let's just get cozy, sit down, relax. I don't have a chair though, so you are more fortunate than me right now. And I have my Latte Macchiato, comfy. All right. So I made this thing, this drawing, you might recognize it as the little Susanna Ward pose, like heavily adjusted, so making it a bit more stylized and cartoony. So let's just get, let's just get right into it. I'm just gonna readjust myself here. So basically, at the start of it, like usually I have like a sphere over here, just simple. And I'm just going to like block out everything, kind of moving stuff around. So usually I start with the head. So in this case, I'm just going to build something from just simple spheres. Also, I built like my own little pie menus and stuff like that to kind of optimize it for myself. So I can just like take simple spheres. Usually I also use cubes from time to time, just keeping it simple and just starting to kind of like lay out just like whatever we need for the head. I also already like installed a little camera over here to the side. So that kind of helps me out of like, I only have an hour, so I need to be efficient about how much I can actually do in this time frame. So usually I just kind of go from, yeah, whatever I see from the camera perspective, just screw everything else. So I'm just gonna lay out some stuff over here. By the way, a lot of this is going to be me in silence. So get used to that. I'm going to commentate as much as possible over it, but let's just see. So far, just everything in object mode. Once we actually get to, we want to mirror some of this across. Usually what I do is just, first of all, I like go over all of this, apply the scale and rotation just to not get any weird sculpting issues and mirror it across, oh wait, alt D duplicating it. So we keep the object data linked and mirroring it across on the other side. Just so when I sculpt on one of these ears, actually the changes are already applied on the other side, but this thing still keeps its own kind of rotation and everything. So next up, I can already kind of see, okay, it doesn't quite fit into the camera perspective. So we can just kind of go into camera perspective and kind of realign it so that it roughly fits into what the drawing shows. I can also change the pivot point to the active object. This usually helps to rotate everything across a certain point. Also something I didn't do with the ears right now, just change the pivot to actually the usual rotation point. This usually can be very useful just to not constantly rotate and then translate as well. So I'm just going to continue just creating these little spheres. Usually I create two spheres over here for the shoulders. These I'm just going to duplicate and also we can just like take this guy over here. Oh wait, I'm just gonna create a new sphere over here. Scale up along the X and this is gonna be our arm for now. We can just like realign the 3D cursor, set origin to 3D cursor and now we actually have this as the rotation point. Or not quite. We can just duplicate this all across. And yeah, I basically here on the side with this little window what I basically did is just set the shading to a single color and then just made that black and that way we keep kind of an overview over the silhouette which can be very helpful. You can just do the same thing over here with the legs. Since we still have the axes aligned, we can just scale it along everything except the local X axis. Make it thicker. Just getting everything kind of into place. Yeah, I'm just gonna duplicate these. I'm pretty much almost done with this step. So yeah, the only thing right now I'm kind of missing are the hands, the feet and the tail. So the tail I'm just gonna create it from a simple, come on, from simple cylinder, scale it up, set the pivot point over here to the selection, set the origin to that point and then we already have somewhat something that we can eventually use as a tail. That's good enough. There we go. So I'm gonna skip the hands for right now but so these guys still have their local kind of orientation so we can use symmetry to save ourselves some time. So I'm just gonna use the trim brush, trim away some of this because we have kind of the face over here which can be like a bit of this flat plane. So right now I'm just trying to think in like the most simplest shapes possible. So what are kind of the shapes that we see in the drawing and the concepts. So we kind of have these like really prominent eyebrows over here. I'm just gonna move back the ears. We have like a really large kind of almost triangle formation with the head. Can smooth it out a little bit more and I'm gonna actually change this to vertex colors. Also again made like my own little menus to quickly not even having to go into these kind of menus anymore, clicking all the buttons but actually just like going to certain presets. Also I can really recommend to just like make your own shortcuts for everything. Like basically all of these tools in the side I gave them like custom shortcuts especially the new ones because a lot of them just don't have a shortcut and I tend to use them all the time. And some of them I just simplified the shortcut completely like I think was shift K for a snake hook. I just made it X then gave the draw brush the shortcut D and just something that is mostly on the left side of the keyboard. Also for like clay has a shortcut C so I just made alt C for the shortcut for the clay strips brush. Also use the colors for the different brushes. This can be super helpful to not just like read the different brushes that you made. Like what brush I'm currently using you can just like immediately see it by the color of your brush. Also I think the most noteworthy thing that I usually just say for the longest time while sculpting on anything your model is going to look like crap. Just get used to it as long as you kind of already have like the kind of a vision and shapes in mind then it's fine. You'll get there eventually. It just takes a bit of time and effort. Also you might recognize this is actually the clay strips brush but I mixed it with the auto smooth over here with also with pressure sensitivity so that way if I do apply a lot of pressure I get a lot of the clay strips brush effect but there's a bit of smoothing going on already so it's mixing the influence with the smooth brush but then once you apply fewer like less and less pressure it just becomes a smooth brush. So you're kind of doing two brushes in one basically which can be very helpful sort of getting there and also even though the the grab brush got massively improved basically by some added functionality and the new fall off curve presets which can be just way more accurate and especially for smooth fall off brush behavior it can be super useful to just use those instead. The grab brush works way better now you don't get these bumpy surfaces but I still really like to use the snake hook a lot of the time just because of the it's I mean the two brushes are basically the same it's just on a core behavior level it's just that the snake hook kind of dynamically lets go of geometry and picks new geometry up as it goes and just yeah I don't know while I'm defining the shapes I really like using it. One negative side effect of like having all your shortcuts on the on the left side of your keyboard is you tend to click the wrong ones often so I'm like I have like alt D for the draw sharp tool which basically just like the draw brush with a better with like a sharper curve to it but then at the same time I have alt C which is like right next to it and I constantly press the wrong one so I still need to figure that out and then eventually like eventually you might stretch your geometry a bit thin so eventually yeah use the remesher which is now integrated into blender so I can just remesh it and bam instant it also has the shortcut to control R for your information also I assigned a shortcut for wireframe overlay so I'm using that one all the time so that's very helpful also don't spend too much time on one area of the body because like I might just like keep going with the with the face but at the same time the the body is still just fears so it can be really helpful to just like bounce from one area of your scope to the next to keep everything kind of at the same level of progression because especially if you have a deadline if you set yourself a time of one hour at some point you need to stop so it's kind of weird when you have like a nicely detailed head and then the rest is just cubes or something also I hope the display the interface resolution is good enough okay I heard a yes in the audience paths between the up to just oh yeah I mean you could if you want there's this nice setting over here which is lock object modes if you just like half that disabled you can just like set one object like the Lopolec to be in sculpt mode and then alt select another object set that one to be sculpt mode and then just like switch between the two and they're just all set to be in sculpt mode but I find it sometimes a bit unpredictable so I usually just like leave it on also since there's no clear indication which object you're currently editing in sculpt mode I think they used to be like a bit of a color overlay over it that the object that you're in sculpt mode in was always a little bit brighter but yeah maybe that should come back eventually in 2.8 used to be in 2.79 but yeah for example the tail we still have it kind of like in the straight angle which is not very nice and we like based on the drawing it would be nice to have it kind of in this curve what I would usually do is just like take the snake hook and use the rake setting rake setting which like gives it a bit of like rotation but there's also this new post brush so I can just like it's it's usually a bit choppy the way that it looks but I can just like take the post brush let's go into the camera perspective over here set this one back to be silhouette and I can just go in and not block what I'm seeing with my own hand just start posing the tail over here nice and easy and like I mentioned this in previous videos that I did that I would you I would try to like set up a little rake basically for this you just start adding bones so I can like start just like basically what I'm doing with a post brush just doing that with individual bones but now it's just a brush which is amazing I can I can just like roughly get it into shape remesh use the inflate brush inflate a little bit use the snake hook I could I could also just like enable dynamic topology since that one still I actually rarely use dynamic topology nowadays which is very very fascinating because I was relying on it for so much but the remesh is just so much faster and the performance is just such a massive increase so I almost never use it anymore the two cases really where I'm still using it is when you want to like pull out snakes basically with a snake hook brush or if you if you want to have like you have a certain area in your sculpt that you really want to have detailed you want to have a lot of resolution there so you can just go into dynamic topology and just use the simplify brush over here which just basically has that one function of sub divide like remeshing your your topology that you're sculpting on so I just merged all of these objects and I'm just gonna remesh them and bam it's all done this used to be super just control up yeah does it immediately so it's basically instant with a pretty good topology actually it's not that bad I'm just gonna disable symmetry at this point and hmm oh no UVs vertex colors and everything that that's just gone so it basically destroys your entire object and just reme replaces it with with a new one but there's for sure going to come like in the sculpt in the experimental spoke sculpting branch there were already like features in place where you can like transfer your vertex colors for example and the only thing that's still in here is you can take an option over here that says preserve painted mask so if you remesh your mask is still going to be there which is quite useful but yeah eventually I hope there will be like an option to just like kind of estimate UVs that you had or vertex group especially like face maps once that becomes a thing in sculpt mode to kind of like categorize your different parts of the mesh so yeah now I'm just starting to merge these control are and it's done all of these objects have like individual resolution set so it's kind of it can be annoying to just like go in here and set it another one for every one of them so there's actually a little hidden feature of just like selecting all of these all of your objects and just going into sculpt mode remesh holding ALT and then setting a different number and applying and now every object actually has this resolution set it's a bit hidden there should be like this kind of feature should be clearly communicated but it's there if you want to use it I'm also not even using the crease brush anymore almost this there's still like cases where I really want to use it but usually like late in the in the sculpting process when I really want to polish some some aspects some areas because the crease brush basically it's just a draw brush but it actually pinches the areas that you're sculpting on but with that can like cause some weird stretching with your topology and mess up your sculpts which can be annoying to fix basically with a lot of smoothing but with a draw sharp it just adds a sharp curvature to it a short profile so that saves you some time just going over it with the inflate brush to like make the upper part a bit thicker so yeah and once you're happy with these things you can basically just merge them change the arms a little bit and I should finally start adding hands so this can just be done by simple cubes if we look at the hand and we want to do it quickly we can just like add a cube over here select these edges oh yeah median point pivot point scale this down add another cube for like the fingers we can fix a lot of weird issues in sculpt mode anyway so this can just be like really rough just merge these apply scale and rotation and remesh or first set a higher resolution my arm is actually getting kind of tired usually have the keyboard actually in front of me is leaning over to the side it's going to be pretty uncomfortable so yeah the hand position is already way off we want it kind of over here which is interesting so yeah the arm like there's there's often so much faking going on just like with the length of the limbs and what actually what's actually plausible so it's in the end it just needs to kind of work from the camera perspective that's the most important thing especially when you set yourself with such an insane time limit of just like an hour it's no time no wiggle room you just need to go with it with the hand just to make it a bit simpler for ourselves just again alt D duplicating it control M along the x-axis and now we have a hand over here kind of I guess it can't be seen as a hand right now if you squint a bit so sketch basically in the fingers place strips and kind of a thumb so I can just like no local view this thing and then in the other viewport over here we still see what we're doing relative to the rest of the body kind of works for now again like keep it simple for now you don't need to polish everything as you go you can keep it super simple and eventually come back to it if you have time and polish it more yeah but I really want to add a bit more detail to the face right now so we can also increase the resolution another good thing with the remesh is you can actually go way more high res than with dynamic topology and still have a relatively good performance but also in this case like once you go really high at some point the smoothing is not enough that comes with the remeshing so everything is kind of odd now so one thing you might want to do is like smooth over it with a smooth brush but there's also these handy mesh filters over here that let's just let you apply a certain operations to the entire mesh anything that is not masked off so I can just set it to smooth just go over it and everything smooth you can also do that with inflating scaling and there's for sure going to be more thing or things or just you can just add noise over everything maybe at some point there will be like a texture support which would be insane oh no symmetry at least like now with 2.81 with new sculpting features you also have this handy indicator of that you're actually using symmetry right now so this actually also works with all the symmetry settings so you could just like go nuts over here with the tiling and radial symmetry and just like oh my god so many curses so you actually get a nice preview now of whatever your your settings are with the brush also the brush orientation that you see over here that like nicely follows the surface of the of the model it's not just a vision neat visual thing this is actually tied to this normal radius over here which you could set like really low and then it like snaps like crazily to like basically like over here like a like three like four percent of the radius of your brush so just like it uses that to sample the orientation of the brush which actually does define the orientation that you're extruding outwards that you're like adding or subtracting to and especially for like flattened brushes that's insanely useful so hard surface sculpting is so much easier now like I wish I had this when I was sculpting the rocks on spring Jesus so many new brush settings now actually for hard surface sculpting it's really useful I'm just gonna move this out also keep rotating around your model like don't just like work from one one view or something you need to be constantly aware of you all the shapes and forms that you have but also at the same time like if you only have one hour then you also need to cheat a lot of it but still having like really strong shapes from all perspectives that can be super helpful and appealing when you actually render the thing because you also need to think about like how does this look when it's actually cast shadows on itself so change this bit higher control R and immediately remaches as a force going to be limits like if you set it insanely high and you remesh to something like with 5 million polygons then yeah you need to wait a bit but still it's way faster than the same option over here in dynamic topology where you can just like detail flood fill everything that's good you're gonna wait like many many minutes to for that to actually be finished while in with the new remesh or you get it in a like 10 seconds it always looks hideous until it doesn't that's the general rule of sculpting also I forgot the nose just gonna add a subdivision surface modifier perfect hmm yeah I guess I could add like an entire Suzanne head and just like leave the nose and delete everything else I could have actually like started from this from the Suzanne head as a base mesh but I just really wanted to do this all from scratch also because if you look at the thing it is going to be looking very basically vastly different oh didn't didn't do it no yay okay I'm just gonna set the pivot point to be active element I want to rotate the head a little bit and now it's just going to take the center object as the pivot point to rotate around now it's really just about like I have kind of the basic shapes there so now I want to match it to the concept art I can just like freely move it around however I however I want in the end make the nose a bit smaller the mouth object around can also hide the arms which can be very distracting this is this is way too much for an hour still I'm gonna try yeah I think at this point I'm just gonna merge these two objects again remesh bam done with dynamic topology it was constantly important that I smooth all the time and I'm still doing it even though like I don't really have to I don't need to fight all these artifacts anymore yeah and at some point you can also just like disable the symmetry yeah I'm just gonna add the eyes now I'm just gonna use it I'm just gonna do it whereby just like adding geometry over here I could already insert like spheres to it but it's actually kind of nice to first like have like oh no symmetry to actually just like add like a temporary bulge to this also I'm I am using the clay strips brush but then just like with the smooth with the smoothing at the same time just like with less pen pressure so actually becomes quite as like a multi-purpose brush it becomes quite useful it's still hideous thank you yeah at some point it's just also just wise to like screw symmetry just move stuff around can also just like go to the camera perspective and do it from there just cheat the eyes we don't have time to make it work from every angle so yeah that's kind of there a little bit somewhat yeah also something that you can do is just like what I generally like to do I wish the reprojecting of the of the the vertex colors actually still worked but you can actually just like start painting over it with vertex colors just to see how it looks with different elements but I'm just gonna leave it for now that comes in later so pupils of course are still missing oh Jesus oh yeah at some point increase the strength of your smooth brush with the higher resolution definitely need it oh Jesus I'm actually gonna drop this it's getting too warm no I'm gonna add the spheres now it's time yeah when you just sculpt in the eyes like that it's just it's not round you really need the real spheres as a reference so now I can just fix the forms also another little trick of just like if you're not using like auto depth or like any of these fancy preferences to like rotate around your 3d cursor position and just like hold alt and middle most button click on any area and it's going to recenter oh it's going to recenter on any of these parts sorting out these bumps this takes usually the most amount of time I feel bad like spending so much time on the on the head and we don't even have feet yet I might actually just like reuse the hand however bad it looks but hey it's already kind of there if we squint it's gonna apply the scale which inverts the normals and just recalculate them I was really going back and forth when drawing this like how how should the feet actually look because monkeys and apes like the our feet are just going all over the place every species has like the shapes are just crazy it's just weirdly deformed it looks unnatural just making that look appealing would be really difficult and you really need to go cartoony oh geez definitely apply rotation if you want to use the snaco brush because for some reason the rotation of this brushes actually also is being manipulated by the rotation of the object which makes it just bug out good enough for now and then again all the duplicate put it into place control M can move up a bit also at some point the pose really needs to be adjusted we just compare the silhouette of this it's not really there by the way another little thing like you don't need to use the pulse brush if you want to I mean you could also just like use the new rotation like the new transform tools and it's actually a really neat little trick where you can just like now with a mask expand that was like mentioned in Pablo's talk just like shift a just like expand a mask outwards and it's just going to snap the the pivot point of the transform tool to the edge of the mask which is like especially when you want to pose everything like you merged already all these objects together so you can't rotate them individually just like being able to mask off an entire like limb or something and it just like works that's really powerful this guy with it a lot of the times I don't even use the flatten tool that's like besides the using the snake brush for basically everything is instead of the grab brush I use the smooth brush for flattening everything just if you set it strong enough it can be like actually a really good way of smoothing out surfaces as long as you're not too high-poly already with like a relatively low resolution it should be fine also in case of the eyes you can also just mask out parts of it just to be sure that it actually matches again set this to yeah vertex colors just control I I can use the mesh filter to just like inflate this inwards if I wanted to or outwards and again about this thing by the way also if you like if you already like you don't need to completely like repaint the mask if it doesn't fit can also just like if you notice oh I actually wanted to be a bit bigger you can hit a and you get this little pie menu over here that actually lets you be able to grow your mask or shrink it to just like invert it clear it smooth the mask or make it sharp so that's really handy but yeah I need it to be a bit positioned over here I should actually get used to always using this time and you invert this in yeah I wish at this point it would already look a bit better but yeah also a crutch that I actually rely on sometimes especially when the time is running short you don't need to always create new geometry for everything like for example I did paint in like some eyebrows and eyelashes and what I could use at some point it's just like I could just paint it in with vertex colors especially if it's already like if it's such a dark element it can be useful of just like obscuring these areas just painting it in instead of just modeling everything now I actually wish I had the second screen with like some references like this smile it's so weird to sculpt which is like actually another point just like if you want to if you want to sculpt something tricky and you don't quite know how to do it keep like some sort of reference on the side that can just like save you time experimenting around and trying stuff out so yeah at some point you could just like go in here and shift K paint set vertex colors what the now it works and then go for an even darker color and just start actually over here and just start painting in the iris especially with the eyes I would actually start vertex painting them really soon just because it can be such a helpful guide of just like finding the appeal and actually knowing where everything is colors can help a lot I also like to just like add these little highlights over here as actual geometry so yeah now I could actually go in here and start drawing in these eyebrows you know so you could just go in and do the same thing for the eyelashes what I usually like to do is just mask out an area and sculpt mode and extract the mask as a new geometry which is actually really not nice and easy to do now you can just like go in here click mask mask extract and bam you have a new object you could just like really quickly and easily make eyebrows and stuff like that especially hair anything hair related but I also clothing and stuff like that can be really helpful oh I'm in scope on still painting masks once you have these little elements painted in you could actually go in and just like just sculpt over it just adjust the shapes so that it kind of looks right I said I think I got like five minutes left so I didn't get very far you can also go in and just like select all of these objects objects and merge them temporarily at least and that way you can like just sculpt over them all at the same time if you plan to do like some broader proportion changes which definitely happens and it's okay if like everything morphs a little bit if it like becomes really weird from other angles because in the end in this case we do want it to look kind of right from the camera perspective can again go into vertex paint mode over here start painting in these fur patches there we go that's already looking kind of closer to the thing that I want of course like in the end you can spend so much time afterwards polishing this thing and the more time you spend on it the better it will look and also with like one hour I will I am rushing things so you could go at it way more methodically and actually sculpt the limbs with a bit more attention to detail and stuff like that but I do not have that luxury right now it's going in with the inflate brush oh yeah and actually one last thing you can just like merge all of this control R I can also increase the resolution a little bit scope mode you can also find the remesher settings in here in the object data if you want to so it's not all based on scope mode you can actually access this at any point in time again all of these little artifacts over here this is like already like a lot so just like take the mesh filter smooth bam done and I also actually really like to just like experiment with brushes so I actually made this little hair brush over here so I did paint in some hair patches which is kind of insane but I could just like then go in here and I have like a texture applied to it and I could go control F rotate the texture and pull out kind of hair strands over here mostly it's nice to have for the silhouette of the sculpt doesn't need to be super accurate super pretty also at some point just like setting everything to smooth shading is nice so yeah it's it's getting there I guess times almost up I cannot stress enough like definitely try to add some some eyelets it's always going to look better with eyelets there we go and yeah the hands are still really crude but I guess this is unavoidable also since I duplicated these and then mirrored them across it's basically impossible to sculpt on both hands I need to sculpt on one of them that the one that still has the scaling set to one or okay somewhat one if I'm sculpting on the other one then every brush effect is just going to be inverted also rematching like you can just remesh this object and the other object is going to get that same effect and if you want to have it smooth shaded there's also an option over here smooth shading I just generally like to have it on flat shading because it's an immediately intuitive way of actually seeing the resolution that you're working with I think I can work on the hands more than this it's actually set it back to silhouette shading and just try to move stuff around kind of match the pose more also again here brush it times up this is as good as it's going to get all right all right awesome that was one hour so you can always pick this up again polish more to spend more time on it but it's not quite the point you don't want to have a polish you don't necessarily want to have a polish piece of course you always want one but speed sculpting is really just more about like okay time management how what path should I take what shortcuts should I use just optimizing your workflow and cutting corners depending on how much time you have and still ending up with something that is a result something that you can actually say yeah that was that was kind of what I was going for so yeah I I can recommend actually setting yourself like an hour time in from time to time just like to see what you can get out of that time but if you want to have an actual like kind of polish piece then yeah you need to have more time but if you're interested in this sort of thing there's also the the there's multiple challenges online that actually do these kind of things where you like you do like a spit sculpt where you have only 45 minutes and then you post and share your results online or there's like events like Sculpt January and Sculpt Timber that where you have like it's basically like Inktober where you just like have one day for each sculpt you just need to have a constant output every day one of them and then with like a predetermined calendar of topics so if you're interested just try it out it's actually very helpful in like training how fast you can get something done and yeah I guess that's basically it thank you very much for coming