Graphics Reference
In-Depth Information
in the Mesh properties. Notice that the field marked Current Level becomes active. The current subdivision
level can be anything between 1 (where the polygons are divided into four polygons) and the level set in the
Subdivision Level field. Changes made in lower subdivision levels will propagate to higher levels so, for
example, if you create some skin detail on a character and then decide to change the bridge of the nose, the
change can be made in a lower subdivision level without harming the fine details previously created.
Choosing the Proper Subdivision Level
When sculpting a model, it is important to know how to properly use the subdivision level. Choosing
a level depends on a few factors: the amount of detail needed, the complexity of the base mesh, and
your hardware capabilities. Obviously, the last criterion is rather static unless you upgrade hardware. As
a good baseline, most modern high-grade laptops or low- to mid-range desktops can generally handle
around 3-4 million polygons relatively easily and 5-6 million if treated carefully. Keeping meshes hid-
den (or at a lower subdivision level) when not in use will allow you to work with more complexity on
most systems. Higher-end desktops can handle more polygons, and with increased RAM and video cards,
a higher level will be attainable. It is usually best to test your system with simple but highly subdivided
meshes to get a good grasp of your capabilities. When you know the limits of your hardware, use what
you need for the subdivision level on a particular object, but choose wisely (remembering that each level
will multiply your poly count by a factor of four) or you will tax your system, slow your workflow, and
risk crashes.
Now that you have created mesh for testing sculpting, set the subdivision level to 6 (note that when you
increase the Subdivision Level, the Current Level will automatically match). There are two essential pieces
to every sculpting tool: the tool type and the brush type.
You use several tools in a typical sculpting session. But for the most part, the Push, Smooth, and Carve
tools cover most of your sculpting needs. The Push tool pulls geometry away from the surface. The Smooth
tool softens the details on a surface (much like blurring pixels in a Photoshop image). The Carve tool creates
an indent in the surface of the mesh.
When choosing a sculpting tool, there are a few simple conventions to remember. Simply clicking and
dragging (or drawing on the tablet) performs the standard operation for the given tool. Holding the Control
key while sculpting inverts the effect of the tool. Holding the Shift key converts any tool into the Smooth
tool.
Most of the other sculpting tools (Flatten, Smudge, Move, and Spin) work as their names suggest. The
Tangent Pinch tool pulls in geometry from within the brush radius and serves to sharpen otherwise rounded
and undefined details. This tool is excellent for tightening the overall look of the sculpted mesh in areas of
sharp detail. The Emboss tool raises and lowers the area under the brush shape by dragging right and left,
respectively. This tool can be particularly effective for creating details that can be described by a grayscale
image map (for example, buttons, rivets, or screws).
Figure 5-21
shows examples of each of the sculpting
tools. Take a few moments to experiment with these tools on your own and familiarize yourself with each of
them before moving on.
Figure 5-21:
The sculpting tools in action
