Mas­ter Sub­stance De­signer sculpts

Dis­cover how to sculpt in De­signer

3D Artist - - CONTENTS -

In this tu­to­rial we are go­ing to learn how to create a high-qual­ity fig­u­ra­tive piece in vol­umes and com­posed of sev­eral el­e­ments us­ing sub­stance De­signer. We will dis­cover how to create com­plex and pre­cise shapes, en­hance their vol­ume and mix them to­gether. to achieve all of that, we will work the el­e­ments in sep­a­rate sub­graphs be­fore build­ing the fi­nal scene in a mas­ter graph. We will also use sep­a­rate tools like the per­spec­tive and De­struc­tion nodes to save time. even­tu­ally, we will find out how to layer ma­te­ri­als ac­cord­ing to our sculpt.

01

Set up the project let’s start by cre­at­ing a new sub­stance with the pbr Metal­lic/rough­ness tem­plate. the name you en­ter here is the first graph – let’s call it ‘sa­cred bust’ and it will be our mas­ter graph. in this graph, we will com­pile all the sev­eral parts of our char­ac­ter made in sep­a­rate sub-graphs. let’s set the Out­put For­mat up to 16 bits in the pa­ram­e­ters Win­dow to avoid any arte­facts and add some ao and Opac­ity Out­puts. to do so, create two new Out­put nodes. For each new Out­put, set up the iden­ti­fier, la­bel and us­age ac­cord­ing to its use – for ex­am­ple, ao and am­bi­ent oc­clu­sion.

02

Block out the head by right-click­ing on the pack­age of the sub­stance in the ex­plorer win­dow, let’s create a new sub­stance graph and call it ‘Head’. First we need to set up this graph op­tion just like we did with the mas­ter graph. For ev­ery out­put, put the op­tion ‘vis­i­ble if’ at 0 ex­cept for the height. now let’s start the sil­hou­ette by mov­ing sim­ple shapes like squares and discs with trans­forms and blend those in add Mode. set the tiling Mode op­tion of your trans­form nodes to no tiling and the Mip Map Mode to Man­ual.

03

Sculpt the head now that we have a prim­i­tive shape for the face, we need to sculpt the big vol­umes like the cheeks, the eye­holes and the chin. in or­der to do that, we are go­ing to add or mul­ti­ply sim­ple blurred Vol­umes on the head. like we did be­fore for the sil­hou­ette, let’s grab a shape and trans­form it – but here we need to blur it be­fore the blend to avoid hard in­ter­sec­tion arte­facts. play­ing with the opac­ity of the blend is also a good way to keep things smooth at this step. You can blur your shapes with a non­uni­form blur be­fore ap­ply­ing it to the face if you want to ma­nip­u­late it with an asym­met­ric de­for­ma­tion.

04

Cre­ation of the eyes each eye is com­posed of two eye­lids and an eye­ball. For those three vol­umes, we need to work their sil­hou­ettes in­di­vid­u­ally, just like we did with the head, and use bevels and non­uni­form blurs un­til we have ob­tained our main shapes. next, blend those parts to­gether with blend in Max Mode. the pupil can eas­ily be cre­ated by sub­tract­ing a shape on the eye­ball be­fore blend­ing it with the eye­lids. us­ing lev­els and paraboloids blended with low opac­ity on the shapes can help to con­trol the vol­umes even more.

05

Make the mouth First we need to sub­tract a shape like a pa­rab­o­loid where the hole of the mouth is sup­posed to be on the face. now, just like how we did with the eye­lids in the pre­vi­ous step, use shapes with trans­forms and non­uni­form blurs to create each lip sep­a­rately. When we want to en­large a sil­hou­ette or round the edges of it, we can use an edge de­tect with the edge width set to 1 and round­ness set to 1 or 2. to create the nice ori­en­ta­tion and vol­ume of the lips, use a non­uni­form blur on your shape with an in­ten­sity of 5, aniso of 0, asym­me­try of 1, an­gle of 90, sam­ples of 16 and blades of 9. this will give a di­rec­tion to the sculpt.

06

Shape the nose like with each of the steps above, start with the sil­hou­ette by adding and sub­tract­ing sim­ple shapes to each other. use two bevels with pos­i­tive and neg­a­tive val­ues and blend them to­gether to give the main vol­umes. next we need to push the nose bridge back by adding a trans­formed gra­di­ent as a mul­ti­plier. trans­form a pa­rab­o­loid to create the ex­te­rior of the nos­trils and Max it on your vol­ume. af­ter that, sub­tract a pa­rab­o­loid with a 0.3 opac­ity to sculpt the bot­tom of the nos­tril and then take away a smaller pa­rab­o­loid to dig the nos­tril hole it­self. ap­ply a sym­me­try to ob­tain the full nose and at this point we need to make sure that we don’t for­get to bal­ance the range of height at each step so that we can keep con­trol of the over­all vol­umes along the way.

use shapes with trans­forms and non­uni­form blurs to create each lip sep­a­rately. When we want to en­large a sil­hou­ette or round the edges of it, we can use an edge de­tect with the edge width set to 1 and round­ness set to 1 or 2

07

Block out the oc­to­pus create a new graph for the oc­to­pus. For this part, we’ll be work­ing the body and each ten­ta­cle in­di­vid­u­ally. Do the sil­hou­ettes first by trans­form­ing sim­ple shapes like discs. use a non uni­form blur to trans­form the sil­hou­ettes into vol­umes. then use a level node to clamp the black and white val­ues. to fin­ish, blend the dif­fer­ent parts of the vol­umes to­gether with a blend node in Max mode. Don’t for­get to play with lev­els to ad­just the depth of ev­ery el­e­ment and gra­di­ent for the ori­en­ta­tions. build the eyes, tongue and teeth sep­a­rately then blend them in Max mode on the oc­to­pus.

add a pa­rab­o­loid shape in the hole, a crown around the cup and slope blur it to sculpt it a bit. now we can du­pli­cate this whole setup and ad­just the steps to fake an an­other suc­tion cup ori­en­ta­tion

08

The oc­to­pus’ suc­tion cups in an­other graph, ex­trude a disc with the per­spec­tive node to create a cylin­der. add a non­uni­form blurred disc on top of it and sub­tract some di­rec­tion­al­ity warpped cir­cu­lar shapes. then add a non­uni­form blurred disc to the bot­tom and use the re­sult to dig a hole in the cylin­der. add a pa­rab­o­loid shape in the hole, a crown around the cup and slope blur it to sculpt it a bit. now we can du­pli­cate this whole setup and ad­just the steps to fake an an­other suc­tion cup ori­en­ta­tion. ex­pose ev­ery ori­en­ta­tion – four could be enough – and bring this graph into the oc­to­pus graph. now trans­form as many suc­tion cups as you need along the ten­ta­cles.

09

Build the bust We need to build the bust in one graph but use sep­a­rate pieces for the belly, breasts, up­per part with col­lar­bones and scales col­lar. the belly is sim­ple – it’s just an an­gu­lar round cylin­der. Make the breasts from trans­formed discs and then ap­ply a non­uni­form blur on it with asym­me­try to push the vol­ume. You can sub­tract mor­phed lines on the breasts to en­hance the vol­umes. the up­per part of the body is a sim­ple sil­hou­ette en­hanced with non­uni­form blur on which we can sub­tract shapes to create the clav­i­cle holes. to build the col­lar, create a sep­a­rate graph with dif­fer­ent scaled ori­en­ta­tions. Drag and drop this graph in the bust one and move the dif­fer­ent scales with trans­form to build the col­lar.

10

Create the hands in a sep­a­rate graph, break down the hands into sev­eral parts to make the palm and the fin­gers. create the palm the clas­si­cal way – sil­hou­ette first with shape in add blend, en­hance vol­ume with non­uni­form blur and sub­tract shapes from it to create the palm lines. For each fin­ger, sim­ply create a dif­fer­ent cylin­der for each pha­lanx with a disc to ex­trude with the per­spec­tive node. blur the in­ter­sec­tions be­tween the pha­lanxes and be­tween the fin­gers and the palm it­self. create the arms on the side with sim­ple vol­umes and drag and blend them with the hands to ob­tain the com­plete arms.

11

Con­struct the heart in a new graph, break the heart down into dif­fer­ent parts – the main vol­umes, sec­ondary vol­umes, the sev­eral ar­ter­ies and the gears. the or­ganic parts of the heart are made as usual with a sil­hou­ette en­hanced by non­uni­form blurs. the ar­ter­ies are made from disc ex­trudes with the per­spec­tive node and then bent with a direc­tional warp. create dif­fer­ent gear sil­hou­ettes with splat­ter cir­cu­lars and discs blended in add Mode. For more in­for­ma­tion, check the box­out on the op­po­site page on me­chan­i­cal parts. to break the con­ti­nu­ity be­tween the heart and gears, add a slope blur to slightly sculpt the or­ganic heart sur­face.

12

Build the char­ac­ter now that we have ev­ery sub-graph, we can drag and drop them into the mas­ter graph. use lev­els or His­tograms to bal­ance each el­e­ment and trans­forms to place them cor­rectly. blend the part in Max mode to create a be­liev­able re­sult. be care­ful that the Mip Map op­tion of your trans­forms is set to Man­ual to avoid arte­facts. Don’t hes­i­tate to do some back and forth, re­tak­ing the de­signs of the parts that com­pose the char­ac­ter so that we get the re­sult we want – it’s all about it­er­a­tion. com­pile the mar­ble and metal­lic parts sep­a­rately to be able later on to sculpt them in­di­vid­u­ally.

the or­ganic parts of the heart are made as usual with a sil­hou­ette en­hanced by non­uni­form blurs. the ar­ter­ies are made from disc ex­trudes with the per­spec­tive node and then bent with a direc­tional warp

13

Sculpt some mar­ble create a cloud 1, squeeze it ver­ti­cally with a trans­form and blur it slightly. next, blend a pa­rab­o­loid in Mul­ti­ply on top of it be­fore splat­ter­ing the re­sult four or five times in Max. put the height of your char­ac­ter in the greyscale in­put of a slope blur and the setup that you’ve just made in the slope in­put. set the slope blur sam­ples to 32 and the in­ten­sity to 0.025 in Min Mode. add a non­uni­form blur on a bnw spots 1 with asym­me­try, Mo­saic greyscale and slope blur it with a blurred cloud be­fore slightly sub­tract­ing the re­sult on your main height. lastly, blur a cloud 1, Histo scan it with con­trast, bevel it and use that recipe to slightly sub­tract el­e­ments on your char­ac­ter height.

14

Shape the metal be­cause we’ve al­ready sculpted the heart in its own sub-graph, here we are just go­ing to sculpt the wheel. create a bnw spots 1, use a non­uni­form blur on it (8, 0, 0, 0, 0, 16, 9) and mul­ti­ply the re­sult on the main height with an opac­ity of 0.2. now we need to splat­ter a ridged bell, in­vert it and mul­ti­ply it on the main height with an opac­ity of 0.1 . at this point, we could use a non­uni­form blur with a cloud to smudge some of the vol­ume parts. now blend the wheel and heart back to­gether with a blend in Max mode.

15

Ma­te­rial lay­er­ing part one to be­gin with, drag and drop two mar­ble ma­te­ri­als into the scene – that way, you can work on ev­ery layer at once. it is pos­si­ble to down­load these sb­sars on­line or we can build our own in sep­a­rate sub­stances. create a Ma­te­rial blend node and set the chan­nels ac­cord­ing to the scene – base color, nor­mal, rough­ness, Metal­lic. create an Hbao (true, 100, 16, 1, true) from the height and Histo scan it to iso­late the up­per part vol­umes. then in­vert this and use it as a mask for the Mas­ter blend. through play­ing with the value of the blended albedo and rough­ness, we can slightly en­hance the vol­ume of the ma­te­rial.

You can work on ev­ery layer at once. it is pos­si­ble to down­load these sb­sars on­line or we can build our own in sep­a­rate sub­stances. create a Ma­te­rial blend node and set the chan­nels ac­cord­ing to the scene

16Ma­te­rial lay­er­ing part two re­peat this setup but this time ac­cord­ing to the cur­va­ture, the pos­i­tive ao and a fac­ing nor­mal mask. it will create an ef­fi­cient and be­liev­able lay­er­ing of ma­te­ri­als that will en­hance your vol­umes. We are able to keep the same two sb­sars and play with the albedo Hsl or use an­other sb­sar for more va­ri­ety. to create some­thing more re­al­is­tic, we can mul­ti­ply a grunge map on your masks be­fore us­ing it for the Ma­te­rial blends. nor­mal com­bine the nor­mal gen­er­ated from all those ma­te­rial blends on the nor­mal cre­ated from the char­ac­ter’s height. Ma­te­rial lay­er­ing part three Drag and drop two metal and one ox­ide sb­sar into the mas­ter graph. blend the two dif­fer­ent met­als ac­cord­ing to an edge mask gen­er­ated from a histo scanned cur­va­ture, then darken one of the met­als and blend it again – but this time ac­cord­ing to the val­leys of the cur­va­ture. to fin­ish, add ox­ide ma­te­rial on top of it based on how a con­trasted cur­va­ture would be eaten by a con­trasted grunge. Ox­ide is non­metal­lic so the mask here needs to be very con­trasted. go back to the step when we merged the non­metal­lic and metal­lic heights, sub­tract the first height with the re­sult to iso­late the metal­lic parts. con­trast it and use that as a mask to blend the mar­ble and metal lay­er­ing.

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