Good morning my readers,
Sorry for being quiet for the last few days, it has been quite a busy week. Anyway, today I would like to discuss some research that I have done on organic modelling and sculpting techniques, so let’s jump in!
What is organic modelling?
Organic modelling is the opposite of hard-surface modelling. Hard-surface models include man-made things like architecture, cars, pillars, technology, machinery. Anything with a smooth and solid surface, with well-defined, sharp edges, can generally be considered a hard-surface model. Organic modelling is anything with a loose or flowing, natural form. For example, trees, landscapes, creatures,characters, foliage, and rocks in their natural states.
What is sculpting?
Sculpting is technically also a 3D modelling technique, but there are some key differences. Sculpting programs like ZBrush or Mudbox allow the artist to work with ‘clay’ like they would in real life. In Max or Maya, you are restricted to manipulating vertices and polygons. While you are technically doing the same thing when sculpting, the focus is away from topology. The artist will push and pull at the sculpt, creating smooth, organic, flowing surfaces. This is particularly handy for muscle definition.
On the left: a sculpted bull.
On the right: a modelled bull.
You can certainly tell the difference between those two bulls!
“Sculpting looks so much better! Why would anyone ever use polygon modelling in their pipeline?”
As this is a research blog, I’m going to use that question as a prompt for some link-dumping.
http://forums.cgsociety.org/archive/index.php?t-903082.html
In the link above, CG Society user InfernalDarkness responds to that very same question:
“The root of the answer comes down to two main factors, both of them being based around animation, as opposed to still renders of objects (sculptures) that never move. It’s about topology, and how the model will deform when attached to a character rig.
Poor topology means your mesh will not animate predictably and important techniques like facial animation, expressions, and even simple movements will fall apart or look horrible, or bend and stretch in ways you don’t want. You can’t just rig up a model and go to town with it and expect to have decent results.
Topology is also very important when texturing. But modern tools like Zbrush and Mudbox work in conjunction with Photoshop instead of against it (BodyPaint) much easier, these days. And you can retopologize characters in these types of sculpting programs now with decent results too.
But to make a long story short, if you’re not animating, it doesn’t matter how you sculpt. You can use as many polys as you want. You don’t even need a displacement map if you have a decent workstation; I often use full high-poly models straight from Mudbox.
But if you’re animating, you need to know low-poly techniques if you want your models to ever be usable. Sculpted animation (displacement maps) is then possible, but your model needs to “work” first. Rigging up a high-poly model is not only ridiculous but very anti-productive in an animation pipeline – you want your animators to have a simple rig they can use on ANY workstation, really. Even a laptop. This means you need a nice low-poly model too, generally.”
Basically, high-poly sculpts with crazy amounts of unpredictable topology can be a real pain in the ass. New technologies like Topogun allow sculpters to retopologise their sculpts quickly and efficiently, with high-quality results (if you know what you’re doing, that is. This is why it is so important to have a good knowledge of polygon modelling before learning to sculpt, as you need that understanding of edge flow and topology.
I’m going to pop a few tutorials I have found below that outline good sculpting workflows and work practices. If you’re hungry for more, please go to my ‘Sculpting Techniques’ Pinterest board here:
The video below is a fantastic introduction to sculpting techniques in ZBrush, covering cross-hatching, smoothing brushes, the standard brush, and edge polish (unrelated, but the edge polish tool is good for hard-surface sculpting too!). On top of all of those tools, he covers much more as well!
Another important thing to remember when sculpting is that you don’t need to rush into high subdivision levels. It’s important to start by blocking out big shapes and forms at a lower subdivision level, working your way up to smaller forms and details. Otherwise, you may lose a lot of your definition. It’s just a good habit to get into. 🙂
Well, that will do us for this post, I think. Remember to check out my sculpting Pinterest board for more tips and tricks!
Thanks for reading,
Che Hubbard.
Che "Goodle" Hubbard's Art 