It’s late here and I had another window opened. I meant to close that window but accidentally closed Blender without saving the work I put on modeling the gums for the teeth. Luckily “File -> Recover -> Auto Save…” solved the problem. Make sure to always have “Auto Save Temporary Files” checked in the Preferences.
This is one of the reasons why I mute the CMD+Q (for quit) so that I don’t accidentally close Blender. Just this time I haven’t muted it since I had no plan to model anything in Blender yet. Right now just experimenting.
This head could be done much quicker with Sculpting, but I decided to go with Box. There’s something about pushing points around with the Mouse, the thrill you get… With Sculpting you use the tablet, with pushing points, you use the Mouse.
It’s too risky to manually customize your keys via the editor. I did that in the past and a newer version broke it. This time I’m doing it via scripting which is much easier and more readable! The way to go about this is create two functions, and then set/disable as many as you like. Once you’re satisfied with your customization, you put the *.py file into the scripts/startup folder.
This is a well known crease technique. With Blender, select a string of edges that you want to turn it into a crease, and do a Alt+V, position it, and then do a Loop Cut (Ctrl+R) in the center. Push it inward and you have a nice crease effect.
Recently I tried to reverse this via Python scripting in Blender. I knew what needed to be done but failed in my first attempt because the indices of edges get randomized after you deleted or removed any of them. It was chasing after the wind, so I thought of another way to go about it and today it finally dawned on me. This is my way of brute-forcing it, and it works, even on multiple creases at once.
This script only works effectively on a crease pattern. This can be turned into an addon and bind it to a hotkey easily. Let’s see if this can be appended to the delete menu.
When I first got my own computer back in the late 90s, programming was one of the things I explored. BASIC, Pascal, Assembly etc… but I didn’t get very far with it. There was no YouTube that teach you programming at the time, and I was on my own with books at a young age. On top of this, my mind is wired for visual art and I pick things up in art a lot quicker than in programming.
Now here in 2020, there are tons of tutorials and courses on programming! What a fun time to explore programming if you’re just starting out. As for me, my passion is in visual art. The little knowledge that I have with coding are only used for automating tasks, which is the topic of this post.
Those on Windows have AutoHotkey, a free and open-source scripting language that allows users to easily create small to complex scripts for all kinds of tasks. For those on macOS and Linux, they’re out of luck because there isn’t a software like AutoHotkey for them (to my knowledge).
For Blender Artists, we have Python, built-in. I do a lot of things via shortcuts, and I have many times remapped keys for Krita and Blender. Last year when I installed a new version of Krita, it broke my keymap. The same happened with Blender. Recently I learned that if you’re going to make changes to Blender’s keymap, keep it to the minimum otherwise there’s a chance of it breaking in future version(s). They recommend Scripting and that got me looking into it.
I’m the kind of person that like my keys to be smart. I want to accomplish more tasks with less keys, which is not possible with Blender without Scripting. To give an example: The “J” in Blender is for “Connect Vertex Path.” I want the “J” to accomplish more than one tasks depending on the context. If two or more objects are selected, I want the “J” to combine (join) them into one object. If two or more vertices are selected, I want “J” to “Connect Vertex Path” but if two or more edges or faces, I want “J” to “Subdivide.” But if I’m in Sculpt mode, I want “J” to pick a “Snake Hook” brush (for example).
This setup is very powerful, and it’s how key customization should be done!
It’s interesting what you’ll encounter as you move away from character modeling.
I wanted to straighten all the vertices diagonally. The most common way to go about doing this is “S” (for scale) and then Axis [X, Y or Z] and then “0.” But to achieve this diagonally, you need to reposition the Gizmos. After a bit of thinking, my approach is this: Set the Transformation orientation to “Normal.” And Transform Pivot Point to “Active Element.” Select all the edges that you want to straighten… make sure not to select the straight edge first. The edge that is straight should be the last to be selected, so that it becomes the active element, and all other edges will line up.
This will work out perfectly if your active element is actually “perfectly straight.” But what if it’s not? You can manually reposition it so that to the human eyes it looks straight, but you can’t be certain that it is.
Luckily, I had the outer ring untouched the whole time. I used that edge as the active element. And voila!
Just think ahead. Make a duplicate of an edge from the start and leave it there in case you might need to use it as an active element to straighten your vertices down the road. If you know of another way, I would love to hear it in the comment section.
LoopTools is a free addon that comes with Blender, disabled by default. I believe the reason why it’s not on by default is because if all addons were enabled, it would clutter the app. For example, I’m not into animation, so I don’t need all the extra features for animation in Blender enabled by default. So… if you’re a modeler, LoopTools is a very useful and handy addon to speed up your modeling. Once you get into shading, Node Wrangler will be your friend. Know what you do and enable the addons accordingly.
Here’s a LoopTools’ Curve feature. By selecting the first, mid and last points, I was able to create a curve that matched the blueprint.
I have used Wings3D before, on Windows. It’s a great software if all you’re into is 3d modeling. I don’t know how people manage to model hard surface (talking about complicated stuff) in it, but for character / creature modeling it was a joy when I first used it.
Currently I’m on macOS, but am planning to switch to Linux later on for Blender and Krita. In the meantime, I want to revisit Wings3D to see how things have improved but Wings3D doesn’t play nice on macOS (navigating the viewport with mouse) for some reasons
One of my future projects is called “Observational Modeling.” A PDF with video demonstrations on modeling what you see, with an emphasis on observing and simplifying. Taking this idea from “Observational Drawing.”
Modeling things from your imagination, or just making things up as you go isn’t the best way to grow your modeling skill. It’s also hard for others (and you!) to judge your skill or progress. But if you model an object or things that exist in the real world, then others will have something to compare to. Think of it this way: If you model or sculpt a creature, you can get away with it with lots of details. But if you try to model or sculpt a well known person, no amount of details can cover up your inability to capture the likeness of that person.
If your goal is to become a character modeler, then by all means, start with character modeling. However, if your goal is to improve and grow as a modeler in general, then I recommend that you start with hard surface. As for me, I started off with creature/character, and now struggling a bit with hard surface. Both have its own challenges to overcome.
Here’s a model I did earlier. The reference looks simple. So I thought! But don’t underestimate. A reference of the thing you want to model might look simple, but you won’t know the challenges you’ll face until you begin modeling it in the 3d viewport. Since this is based on a reference, I can look at my model and see which area I need to work on/improve. If this was purely from imagination, there’s no way to know where I struggle or where the challenge lies. Hence, observational modeling is the way to learn, grow and improve.
The Mirror modifier can save a lot of time, but in Edit Mode, how do you model the top and not have to repeat it for the bottom? And is that even possible? If I repeat the same for the bottom it can be tedious. Perhaps there’s another way, but that would mean I have to start all over? I don’t have enough experience with hard surface to answer this. This is an example of one of the challenges I faced with something that looks simple.
I came across a Maya tutorial and was inspired to do a test model of a weight plate.
The math is basic. I’m planning to convert that tutorial into Blender for others to follow, but there’s one problem I’m trying to work out before I get to writing it. Two modifiers were used: Mirror and Array (in that specific order). The problem? Mirror has clipping to prevent vertices from crossing (blue), Array has merge but it doesn’t work like Mirror (Red). Not sure if it’s even possible to have Array clips like Mirror. It would definitely save a lot of time from having to go about fixing it in a round about way.
EDIT: After playing around with the Array modifier, it seems like clipping is not possible. Merge first and last is the closest one can get.
This is my first time doing Isometric. I have come to realize that this is a great way to practice for the following reasons:
It doesn’t have to be 100 accurate. You can be casual and learn in the process of modeling. The image you see above is based on an actual basement. Even though it’s based on it, it doesn’t have to look exactly like it.
You don’t have to model the entire environment. Just the corner and what you want to communicate.
You can experiment with rendering or save that for later and just focus on the modeling.
Modeling non-human forces you to know the tool. I find myself looking up for tutorials on curves and setting the Origin.
Blender has come a long way! You can create a lot of amazing renders for glass, metal, rubber etc… Here’s a test scene that I put together that didn’t take much work. However, to make things look unique and creating real world materials, with stains, scratches, and many imperfection that we see in the real world, is an art in itself.
I don’t see myself specializing in this area. It takes a lot of work! I have seen some samples of the node trees that people put together to create a specific material (all done procedurally), and it’s like a programming language—the logic and math that went behind it boggles my mind.
My focus is mainly on concepting and the art side of things. I don’t focus that much on the technical side of art such as the Node system of Blender. However, it’s still good to know how things work, and to know enough to make a few changes here and there. But for more advanced looking procedural materials, I would definitely go down the route of purchasing them from those that are specialized in this area.
With that said, here are a few resources that I find helpful to give you an idea of how the Node system works. Knowing how it works will help you to create non-procedural materials (less technical compared to procedural). This knowledge will help you later down the road if you do get into compositional nodes:
Last March I wrote a short post to talk about how sculpting the hand can be a challenge without the ability to quickly pose the sculpt. You can read it here. Today I found out that 2.81 has it and you have no idea how excited I am. Someone posted a video demonstrating that brush here. Earlier I reopened that unfinished hand sculpt file to test out the brush and it’s amazing.
This one below is another test to see how convenient it is with modeling. All I can say is WOW. You can tab in and out of “Edit Mode” to “Sculpt Mode.” Edit Mode to model, Sculpt Mode to use the Pose Brush without damaging or make any changes to your mesh poly count! I’m impressed.
Recently I borrowed a Cintiq 13HD from someone to try it out to see if it’ll help me with line art—if it does I’ll have an easier time on deciding whether I should get a better one later on—but I can’t seem to get it to work on my MacBook Pro. So I’ll talk about something else.
Last year I asked a very skilled cartoonist what tablet he was using, whether it’s pen or display. He told me that he works better with a display tablet because he gets to see his hand and stroke at the same time. That really got me to think, because I noticed that I have no problem sketching on the fly with a pen tablet. However, I struggle when it comes to refining that sketch! When things are loose, and accuracy isn’t that important, I have no problem with a pen tablet. But if I want to add weight to my lines, and to bend or curve it a certain way, then I find myself undoing it a lot because I’m looking at the monitor and not my hand.
I hope to write a post and talk more about this in the future.