Add transcription for: frames_zips/CGMA_IntroAssetCreationGames_DownloadPirate.com_Week 3 - 4 HighPolyDesigningTechniques_frames.zip

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+{
+  "text": " Now I wanted to show some of my workflows for actually designing shapes that I'm not 100% sure about. So as I went through this model and I was starting to design different areas of it, I was looking at the references for say things like the legs and trying to figure out how I could actually translate that from something organic on the actual beetle to a more hard surface design. And so I was often starting with the basic shape that we see. So if we look at the leg here, you can see that the the foot is very, very obvious because it's broken into these segmented pieces. So that's kind of easy to translate into hard surface chunks. And then we have the femur and the tibia and those areas are a little bit more loose in terms of what they are. They've got this section here has a bunch of spikes on the end of it. And then you can sort of see how it connects up to the knee joint there and then this section here for the femur we can see that it's a bigger sort of larger block so I wanted to figure out how to actually translate those into some sort of hard surface design so there's a couple of techniques I used for that and this is a section of the femur this is the final high poly that I created here and I'm just going to show a couple of techniques of how I do that so the first one is actually using a Technique in blender called Meta balls. This is the shape that I actually generated using the Meta balls And you can see how that relates very closely to our final design and final shape So so let's go over how we create Meta balls and use them to design our shapes Here for the robot so the first thing we're going to do is press shift a to add a Meta ball And you can choose from the different primitives Don't worry about the one you select because you can always change this out later, but we'll select the ball for now It's going to come in pretty large So we're going to move that to the origin and just scale that down So we have something to work with and so this reacts like clay so as we tab into edit mode here We can press shift a to add another metaball will add a ball again It's going to move it that's where the 3d cursor is so we can move our 3d cursor back to the center here And you'll see that as we move this around it's Deforming and sort of combining together like two pieces of clay so we can use that to create really organic shapes We can scale the Meta balls up and we can move them and rotate them around and position them And then if we bring the properties up here, you can change the options here So we can select the different elements and it will highlight which one as we select it and we can change our shape And depending on the shape that we select we have different options. So with the ball we just have the basic options for stiffness and radius. So we can play around with these options to change the size and things like that. And then we can also swap it for different ones. And depending on the object we'll have different controls. So you can see here for the capsule we can make our capsule larger. If we select say the cube we can change x and y values in the overall size of our object there. And then as well as that we can also use this negative to subtract away from the shape. So this is going to cut away our shapes. At the moment you can see the resolution of this is pretty low. So to increase that you need to drop this number. And I usually find 0.1 is pretty good. You can see the topology that we're using with this one. And then 0.5 is also a little bit more dense so we can come in there and then I tend to find when working with this what works quite nicely is to turn off the negative so you can see the shape that you're going to be combining with and then set it to negative so you can see the result as you work there. So to build up the shape that we have here we would just keep adding in different ones so we could start maybe with the capsule and we'll just rotate this so we can get sort of 90 degree rotation there and then just move this into position. I'll just scale him up a little bit and I tend to find playing with the radius is better than using the scale depending on what you're trying to do here. So you can build up the shapes and we can shift E to duplicate and we'll just scale our radius of this a little bit. So we can start to create these types of shapes and if we wanted to cut out our form there let's try and select this into being a more of a cube shape and then I'm going to scale this down and And with the cube, the larger the radius, the more rounded out this sketch. So as we bring this down in scale, you can see that it's becoming a sharper cube. And we can use that to negatively impact and cut away our shape here. So nice and easy. And then we can play around with our stiffness control. Wanted to say smooth this out or sharpen up the result. You can sort of see how that's giving us a different look there. And then as we sort of combine these together, you can move another one and then maybe look at rotating that to get the particular look that you want. So it's really nice because it's like deforming the shapes almost using clay and playing around with the different scales and things here you can definitely get the look that you're after. So just experimenting with that and if you want to add form and volume you can always add in new shapes and then just start to scale those up and that's going to impact the overall volume. So you can definitely play around with these And because this is all dynamic, it's very easy to get those organic designs that you're after using the MetaBalls can also apply Materials to these as well. So you just Change the material over here. We can choose Let's do our plastic here and then you can visualize how it's going to look when you're finished And then once you're done with this you can just convert this into geometry. So usually I would just press F3 to search and do convert to mesh and then this is going to turn it into a Mesh that we can now edit and work with so for sculpting Usually what I would do was get some basic geometry And then I would actually just draw my design directly in 3d on top of the model So this is a just wanted to show this example of the sculpt It's really really rough But it gets the idea across of what I wanted to do for a portion of the head here So you can see roughly what this was looking like and I can just draw things in so to approach that it's really straightforward We'll take this leg piece again So if you have any subdivision or anything you'd want to collapse that down So you just press ctrl a to collapse it and then you can come into sculpt mode And you have a few options to play with when it comes to the topology You can either do a remesh and for something like this you need a pretty low value to get a good retopology for that You can see that's what it looks like when we remesh. I think this one was done With remesh you can see that there and then you can start to just manipulate The geometry with your sculpt so I like to use if I'm trying to push and pull forms out I'll use the draw brush. This is pretty nice for just adding volume or taking away volume I'll press G to use the grab brush. This is like the move brush if you're used to Z brush so you can again manipulate the geometry there. And then if I wanna sculpt away, I'll sometimes use things like the great brush does something very similar, more like a trim brush. This is pretty useful as well. So we can actually sculpt away our edges. And then if I wanted to draw lines in like this, I would use the crease brush so we can sort of draw in lines. you can see one of the things is you can overdrive the intensity. So by default, it won't be that strong. I've also enabled the stabilized stroke here. So if I just turn that off, you can see I can draw the design. So if we're doing things like panel lines, or if you wanted to slice stuff up, this is pretty good. If you need symmetry as well, you can turn on the symmetry here. So you can see that we've got symmetrical sculpting there as well. If you wanted a lazy mouse type approach like we have in ZBrush, you can turn on the stabilized stroke and this will do a nice smooth curve. So this is great for this particular example. That's what I did. I actually had this guy, I did the lazy mouse approach and I just came in and I just started to draw out my design like this to visualize what I wanted to do. So that can be pretty handy when it comes to actually designing out your objects and everything here. So I definitely would advise that. The other thing you can also do, if you didn't want to work with the remesh, is you can use the Dino Topo mode as well, and this will effectively dynamically change the topology. Depending on the size of the brush, so if we sculpt in with a big brush, you'll see that we get slightly larger topology there. When we go in with a smaller brush, you'll see that we get more dense geometry, depending on the size. be pretty handy as well if you're trying to easily quickly manipulate things. So for the case of this, I didn't really use a whole lot of tools to do that. I was just using the basic tools just to figure out how I wanted my designs to work and where I wanted panel lines and cuts and things like that. So it's almost like doing a sketch or drawing something out. We're just doing it in 3D. So I'm not worrying too much about the sort of topology of this or worrying too much about the quality of it, I'm just using it as a way to draw out my design. So this is definitely something that helped me a lot. So I used the combination of the sculpting technique and the MetaBalls technique to help me figure out my designs when it came to actually designing the look of the robot.",
+  "segments": [
+    {
+      "text": " Now I wanted to show some of my workflows for actually designing shapes that I'm not 100% sure about. So as I went through this model and I was starting to design different areas of it, I was looking at the references for say things like the legs and trying to figure out how I could actually translate that from something organic on the actual beetle to a more hard surface design. And so I was often starting with the basic shape that we see. So if we look at the leg here, you can see that the the foot is very, very obvious because it's broken into these segmented pieces. So that's kind of easy to translate into hard surface chunks. And then we have the femur and the tibia and those areas are a little bit more loose in terms of what they are. They've got this section here has a bunch of spikes on the end of it. And then you can sort of see how it connects up to the knee joint there and then this section here for the femur we can see that it's a bigger sort of larger block so I wanted to figure out how to actually translate those into some sort of hard surface design so there's a couple of techniques I used for that and this is a section of the femur this is the final high poly that I created here and I'm just going to show a couple of techniques of how I do that so the first one is actually using a Technique in blender called Meta balls. This is the shape that I actually generated using the Meta balls And you can see how that relates very closely to our final design and final shape So so let's go over how we create Meta balls and use them to design our shapes Here for the robot so the first thing we're going to do is press shift a to add a Meta ball And you can choose from the different primitives Don't worry about the one you select because you can always change this out later, but we'll select the ball for now It's going to come in pretty large So we're going to move that to the origin and just scale that down So we have something to work with and so this reacts like clay so as we tab into edit mode here We can press shift a to add another metaball will add a ball again It's going to move it that's where the 3d cursor is so we can move our 3d cursor back to the center here And you'll see that as we move this around it's Deforming and sort of combining together like two pieces of clay so we can use that to create really organic shapes We can scale the Meta balls up and we can move them and rotate them around and position them And then if we bring the properties up here, you can change the options here So we can select the different elements and it will highlight which one as we select it and we can change our shape And depending on the shape that we select we have different options. So with the ball we just have the basic options for stiffness and radius. So we can play around with these options to change the size and things like that. And then we can also swap it for different ones. And depending on the object we'll have different controls. So you can see here for the capsule we can make our capsule larger. If we select say the cube we can change x and y values in the overall size of our object there. And then as well as that we can also use this negative to subtract away from the shape. So this is going to cut away our shapes. At the moment you can see the resolution of this is pretty low. So to increase that you need to drop this number. And I usually find 0.1 is pretty good. You can see the topology that we're using with this one. And then 0.5 is also a little bit more dense so we can come in there and then I tend to find when working with this what works quite nicely is to turn off the negative so you can see the shape that you're going to be combining with and then set it to negative so you can see the result as you work there. So to build up the shape that we have here we would just keep adding in different ones so we could start maybe with the capsule and we'll just rotate this so we can get sort of 90 degree rotation there and then just move this into position. I'll just scale him up a little bit and I tend to find playing with the radius is better than using the scale depending on what you're trying to do here. So you can build up the shapes and we can shift E to duplicate and we'll just scale our radius of this a little bit. So we can start to create these types of shapes and if we wanted to cut out our form there let's try and select this into being a more of a cube shape and then I'm going to scale this down and And with the cube, the larger the radius, the more rounded out this sketch. So as we bring this down in scale, you can see that it's becoming a sharper cube. And we can use that to negatively impact and cut away our shape here. So nice and easy. And then we can play around with our stiffness control. Wanted to say smooth this out or sharpen up the result. You can sort of see how that's giving us a different look there. And then as we sort of combine these together, you can move another one and then maybe look at rotating that to get the particular look that you want. So it's really nice because it's like deforming the shapes almost using clay and playing around with the different scales and things here you can definitely get the look that you're after. So just experimenting with that and if you want to add form and volume you can always add in new shapes and then just start to scale those up and that's going to impact the overall volume. So you can definitely play around with these And because this is all dynamic, it's very easy to get those organic designs that you're after using the MetaBalls can also apply Materials to these as well. So you just Change the material over here. We can choose Let's do our plastic here and then you can visualize how it's going to look when you're finished And then once you're done with this you can just convert this into geometry. So usually I would just press F3 to search and do convert to mesh and then this is going to turn it into a Mesh that we can now edit and work with so for sculpting Usually what I would do was get some basic geometry And then I would actually just draw my design directly in 3d on top of the model So this is a just wanted to show this example of the sculpt It's really really rough But it gets the idea across of what I wanted to do for a portion of the head here So you can see roughly what this was looking like and I can just draw things in so to approach that it's really straightforward We'll take this leg piece again So if you have any subdivision or anything you'd want to collapse that down So you just press ctrl a to collapse it and then you can come into sculpt mode And you have a few options to play with when it comes to the topology You can either do a remesh and for something like this you need a pretty low value to get a good retopology for that You can see that's what it looks like when we remesh. I think this one was done With remesh you can see that there and then you can start to just manipulate The geometry with your sculpt so I like to use if I'm trying to push and pull forms out I'll use the draw brush. This is pretty nice for just adding volume or taking away volume I'll press G to use the grab brush. This is like the move brush if you're used to Z brush so you can again manipulate the geometry there. And then if I wanna sculpt away, I'll sometimes use things like the great brush does something very similar, more like a trim brush. This is pretty useful as well. So we can actually sculpt away our edges. And then if I wanted to draw lines in like this, I would use the crease brush so we can sort of draw in lines. you can see one of the things is you can overdrive the intensity. So by default, it won't be that strong. I've also enabled the stabilized stroke here. So if I just turn that off, you can see I can draw the design. So if we're doing things like panel lines, or if you wanted to slice stuff up, this is pretty good. If you need symmetry as well, you can turn on the symmetry here. So you can see that we've got symmetrical sculpting there as well. If you wanted a lazy mouse type approach like we have in ZBrush, you can turn on the stabilized stroke and this will do a nice smooth curve. So this is great for this particular example. That's what I did. I actually had this guy, I did the lazy mouse approach and I just came in and I just started to draw out my design like this to visualize what I wanted to do. So that can be pretty handy when it comes to actually designing out your objects and everything here. So I definitely would advise that. The other thing you can also do, if you didn't want to work with the remesh, is you can use the Dino Topo mode as well, and this will effectively dynamically change the topology. Depending on the size of the brush, so if we sculpt in with a big brush, you'll see that we get slightly larger topology there. When we go in with a smaller brush, you'll see that we get more dense geometry, depending on the size. be pretty handy as well if you're trying to easily quickly manipulate things. So for the case of this, I didn't really use a whole lot of tools to do that. I was just using the basic tools just to figure out how I wanted my designs to work and where I wanted panel lines and cuts and things like that. So it's almost like doing a sketch or drawing something out. We're just doing it in 3D. So I'm not worrying too much about the sort of topology of this or worrying too much about the quality of it, I'm just using it as a way to draw out my design. So this is definitely something that helped me a lot. So I used the combination of the sculpting technique and the MetaBalls technique to help me figure out my designs when it came to actually designing the look of the robot."
+    }
+  ]
+}