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Home > Game Development > Graphics Programming > Blender 3D Cookbook
Blender 3D Cookbook
Blender 3D Cookbook

Blender 3D Cookbook: Build your very own stunning characters in Blender from scratch

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Blender 3D Cookbook

Chapter 2. Sculpting the Character's Base Mesh

In this chapter, we will cover the following recipes:

  • Using the Skin modifier's Armature option
  • Editing the mesh
  • Preparing the base mesh for sculpting
  • Using the Multiresolution modifier and the Dynamic topology feature
  • Sculpting the character's base mesh

Introduction

In the previous chapter, we built the base mesh by using the Skin modifier and on the base of the reference templates; in this chapter, we are going to prepare this basic mesh for the sculpting, by editing it and cleaning up any mistakes the Skin modifier may have made (usually, overlapping and triangular faces, missing edge loops, and so on).

Using the Skin modifier's Armature option

The Skin modifier has an option to create an Armature on the fly to pose the generated mesh. This Armature can just be useful in cases where you want to modify the position of a part of the generated mesh.

Note that using the generated Armature to pose the base mesh, in our case, is not necessary, and therefore this recipe is treated here only as an example and it won't affect the following recipes in the chapter.

Getting ready

So, let's suppose that we want the arms to be posed more horizontally and widely spread:

  1. If this is the case, reopen the Gidiosaurus_base_mesh.blend file and save it with a different name (something like Gidiosaurus_Skin_Armature.blend).
  2. Select the Gidiosaurus mesh and press Tab to go into Edit Mode; then, select the central pelvis vertex.
  3. Go to the Object Modifiers window under the main Properties panel to the right-hand side of the screen and then to the Skin modifier subpanel; click on the Mark Root button:
    Getting ready

    The...

Editing the mesh

Once we have applied the Skin and Armature modifiers, we are left with an almost ready-to-use base mesh; what we need to do now is clean the possibly overlapping faces and whatever other mistakes were made by the Skin modifier.

Be careful not to be confused by the previous recipe, which was meant only as a possible example; we didn't actually use the Skin modifier's Armature to change the pose of the base mesh.

Getting ready

Let's prepare the mesh and the view:

  1. Go to the Object Modifiers window under the main Properties panel and then to the Mirror modifier subpanel and click on the little X icon to the right in order to delete the modifier; you are left with half of the mesh (actually the half that is really generated by the Skin modifier; the other side was simulated by the Mirror modifier):
    Getting ready

    Deleting the Mirror modifier

  2. Press Tab to go into Edit Mode, 7 on the numpad to go into Top view, and Z to go into the Wireframe viewport shading mode.

How to do it…...

Preparing the base mesh for sculpting

Once we have our base mesh completed, it's time to prepare it for the sculpting.

Getting ready

Open the Gidiosaurus_base_mesh.blend file and be sure to be out of Edit Mode, and therefore in Object Mode.

How to do it…

  1. Select the character's mesh and go to the Object Modifiers window under the main Properties panel to the right.
  2. Go to the Mirror modifier panel and click on the Apply button.
  3. If this is the case, expand the Subdivision Surface modifier panel, be sure that the View level is at 1, and click on the Apply button.
  4. Press Tab to go into Edit Mode and, if necessary, select all the vertices by pressing A; then, press Ctrl + N to recalculate the normals and exit Edit Mode.
  5. Go to the Properties sidepanel on the right-hand side of the 3D view (or press the N key to make it appear) and under the View subpanel, change the Lens angle to 60.000 (more natural looking than 35.000, which is set by default).
  6. Under the Display subpanel, check the Only...

Using the Multiresolution modifier and the Dynamic topology feature

To be sculpted, a mesh needs a big enough amount of vertices to allow the adding of details; in short, we now need a way to add (a lot of!) geometry to our simple base mesh.

Besides the usual subdividing operation in Edit Mode (press Tab, then A to select all the vertices, then press W to call the Specials menu, click on Subdivide, and then set the Number of Cuts value in the last operation subpanel at the bottom of the Tool Shelf) and the Subdivision Surface modifier, in Blender, there are two other ways to increase the amount of vertices: one is by assigning a Multiresolution modifier to the mesh (a nondestructive way) and the other is by using the Dynamic topology feature. We are going to see both of them.

Getting ready

As usual, let's start from the last .blend file we saved: in this case, Gidiosaurus_Sculpt_base.blend.

How to do it…

Let's start with the Multiresolution modifier method:

  1. First of all, save...

Sculpting the character's base mesh

Whatever the method you are going to use, it's now time to start with the effective sculpting process.

However, first, a disclaimer: in this recipe, I'm not going to teach you how to sculpt, nor is this an anatomy lesson of any kind. For these things, a book itself wouldn't be enough. I'm just going to demonstrate the use of the Blender sculpting tools, showing what brush I used for the different tasks, the sculpting workflow following the reference templates, and some of the more frequently used shortcut keys.

Getting ready

In this recipe, we'll use the Dynamic topology method. If you haven't followed the instructions of the previous recipe, just follow the steps from 12 to 17; otherwise, just open the Gidiosaurus_Dynatopo.blend file that is provided.

How to do it…

As usual, it's a good habit to save the file with the proper name as the first thing; in this case, save it as Gidiosaurus_Dynatopo_Sculpt.blend.

If...

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Description

This book is aimed at the professionals that already have good 3D CGI experience with commercial packages and have now decided to try the open source Blender and want to experiment with something more complex than the average tutorials on the web. However, it's also aimed at the intermediate Blender users who simply want to go some steps further. It's taken for granted that you already know how to move inside the Blender interface, that you already have 3D modeling knowledge, and also that of basic 3D modeling and rendering concepts, for example, edge-loops, n-gons, or samples. In any case, it's also possible for a keen beginner to follow this book, by combining it with the manual on the BlenderWiki or preceding it with a basic Blender UI tutorial on the web. The keyboard/mouse shortcuts for the operations in the recipes are, at least in all the more relevant cases, indicated in brackets.

Who is this book for?

This book is aimed at the professionals that already have good 3D CGI experience with commercial packages and have now decided to try the open source Blender and want to experiment with something more complex than the average tutorials on the web.

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Publication date : Jul 30, 2015
Length: 608 pages
Edition : 1st
Language : English
ISBN-13 : 9781783984893
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Blender Foundation
Category :
Game Development
Concepts :
Graphics Programming
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Blender

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Publication date : Jul 30, 2015
Length: 608 pages
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Language : English
ISBN-13 : 9781783984893
Vendor :
Blender Foundation
Category :
Game Development
Concepts :
Graphics Programming
Tools :
Blender

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Table of Contents

15 Chapters
1. Modeling the Character's Base Mesh Chevron down icon Chevron up icon
1. Modeling the Character's Base Mesh
Introduction
Setting templates with the Images as Planes add-on
Setting templates with the Image Empties method
Setting templates with the Background Images tool
Building the character's base mesh with the Skin modifier
2. Sculpting the Character's Base Mesh Chevron down icon Chevron up icon
2. Sculpting the Character's Base Mesh
Introduction
Using the Skin modifier's Armature option
Editing the mesh
Preparing the base mesh for sculpting
Using the Multiresolution modifier and the Dynamic topology feature
Sculpting the character's base mesh
3. Polygonal Modeling of the Character's Accessories Chevron down icon Chevron up icon
3. Polygonal Modeling of the Character's Accessories
Introduction
Preparing the scene for polygonal modeling
Modeling the eye
Modeling the armor plates
Using the Mesh to Curve technique to add details
4. Re-topology of the High Resolution Sculpted Character's Mesh Chevron down icon Chevron up icon
4. Re-topology of the High Resolution Sculpted Character's Mesh
Introduction
Using the Grease Pencil tool to plan the edge-loops flow
Using the Snap tool to re-topologize the mesh
Using the Shrinkwrap modifier to re-topologize the mesh
Using the LoopTools add-on to re-topologize the mesh
Concluding the re-topologized mesh
5. Unwrapping the Low Resolution Mesh Chevron down icon Chevron up icon
5. Unwrapping the Low Resolution Mesh
Introduction
Preparing the low resolution mesh for unwrapping
UV unwrapping the mesh
Editing the UV islands
Using the Smart UV Project tool
Modifying the mesh and the UV islands
Setting up additional UV layers
Exporting the UV Map layout
6. Rigging the Low Resolution Mesh Chevron down icon Chevron up icon
6. Rigging the Low Resolution Mesh
Introduction
Building the character's Armature from scratch
Perfecting the Armature to also function as a rig for the Armor
Building the character's Armature through the Human Meta-Rig
Building the animation controls and the Inverse Kinematic
Generating the character's Armature by using the Rigify add-on
7. Skinning the Low Resolution Mesh Chevron down icon Chevron up icon
7. Skinning the Low Resolution Mesh
Introduction
Parenting the Armature and Mesh using the Automatic Weights tool
Assigning Weight Groups by hand
Editing Weight Groups using the Weight Paint tool
Using the Mesh Deform modifier to skin the character
Using the Laplacian Deform modifier and Hooks
8. Finalizing the Model Chevron down icon Chevron up icon
8. Finalizing the Model
Introduction
Creating shape keys
Assigning drivers to the shape keys
Setting movement limit constraints
Transferring the eyeball rotation to the eyelids
Detailing the Armor by using the Curve from Mesh tool
9. Animating the Character Chevron down icon Chevron up icon
9. Animating the Character
Introduction
Linking the character and making a proxy
Creating a simple walk cycle for the character by assigning keys to the bones
Tweaking the actions in Graph Editor
Using the Non Linear Action Editor to mix different actions
10. Creating the Textures Chevron down icon Chevron up icon
10. Creating the Textures
Introduction
Making a tileable scales image in Blender Internal
Preparing the model to use the UDIM UV tiles
Baking the tileable scales texture into the UV tiles
Painting to fix the seams and to modify the baked scales image maps
Painting the color maps in Blender Internal
Painting the color maps in Cycles
11. Refining the Textures Chevron down icon Chevron up icon
11. Refining the Textures
Introduction
Sculpting more details on the high resolution mesh
Baking the normals of the sculpted mesh on the low resolution one
The Armor textures
Adding a dirty Vertex Colors layer and baking it to an image texture
The Quick Edit tool
12. Creating the Materials in Cycles Chevron down icon Chevron up icon
12. Creating the Materials in Cycles
Introduction
Building the reptile skin shaders in Cycles
Making a node group of the skin shader to reuse it
Building the eyes' shaders in Cycles
Building the armor shaders in Cycles
13. Creating the Materials in Blender Internal Chevron down icon Chevron up icon
13. Creating the Materials in Blender Internal
Introduction
Building the reptile skin shaders in Blender Internal
Building the eyes' shaders in Blender Internal
Building the armor shaders in Blender Internal
14. Lighting, Rendering, and a Little Bit of Compositing Chevron down icon Chevron up icon
14. Lighting, Rendering, and a Little Bit of Compositing
Introduction
Setting the library and the 3D scene layout
Setting image based lighting (IBL)
Setting a three-point lighting rig in Blender Internal
Rendering an OpenGL playblast of the animation
Obtaining a noise-free and faster rendering in Cycles
Compositing the render layers
Index Chevron down icon Chevron up icon
Index

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Jeff Drew Nov 06, 2015
Full star icon Full star icon Full star icon Full star icon Full star icon 5
A must-have reference book for newer Blender users. Enrico Valenza's (or also known as simply "EnV") 600+ page book is a comprehensive tour de force of Blender. The "Blender 3D Cookbook" could easily be your first book on Blender and the only one you need until you've mastered techniques through the journey laid out by EnV in the fourteen chapters.So you wanna create CG character? This is a great place to start...Chapter 1 through Chapter 4 focus on Modeling using Base Mesh & Sculpting Techniques, then Poly-modeling the characters accessories. By Chapter 4 a new blender users's will be fairly proficient modelers. The book is filled with helpful insights and techniques. Keep the book close at hand to regularly reference Chapter 5 & 6, UV Unwrapping and Rigging... Two dense subjects. Chapter 5 and 6 account for 1/3 of the book.Complete the book and you will have attained the insights and techniques to create your own characters, or take your practice further using your favorite cartoon characters, or modeling sheets available online. Easily modify Enrico's techniques and adapt to your own workflow as you'll likely become a addicted to modeling, texturing, and compositing characters and worlds in the Open Source Blender software.
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david Apr 21, 2017
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Uno dei migliori libri che ho acquistato per blender, una volta ottenuto le basi di blender questo libro è un must per comprendere ed imparare le tecniche per ottenere un buon modello 3d funzionale ed animato... Uno dei pochi libri che valgono la loro spesa, consigliatissimo
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137 Oct 05, 2015
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It's $22 at Packt
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Amazon Customer Nov 04, 2015
Full star icon Full star icon Full star icon Full star icon Full star icon 5
Blender 3d Cookbook covers the creation of a 3d character. Enrico takes you through the entire process from modeling to a simple animation. He covers modeling, sculpting, retopology, rigging, skinning, shape keys and drivers and textures as well as lighting, rendering and a bit of compositing.This is a comprehensive book that shows you all the steps needed to create your own character. Enrico covers the various ways each task can be done and the tools needed to complete the task. He also covers both Cycles and Blender Internal for the texturing sections.Enrico does go through a considerable amount of material fairly quickly which could lead to frustration for beginners.That being said, although a good working knowledge of Blender would be helpful, a beginner could complete the steps with a little help from outside sources to explain where things are and how a few things work.
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Berny Pahl Dec 04, 2022
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Monochrome pictures are not the best but the online resource is in color.
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About the author

Profile icon Valenza
Valenza
Enrico Valenza, also known as "EnV" on the Web, is an Italian freelance illustrator, mainly collaborating with publishers such as Mondadori Ragazzi and Giunti as a cover artist for sci-fi and fantasy books. He graduated from Liceo Artistico Statale in Verona (Italy) and was later a student of illustrator and painter Giorgio Scarato. When he started to work, computers weren't that much in use among normal people, and he spent the first 15 years of his career doing illustration with traditional media, usually on cardboard; he specialized in the use of the air-graph, a technique particularly esteemed for advertisement work. When the movie Jurassic Park came to theaters, he decided to buy a computer and try this "computer graphic" everyone was talking about. When it comes to the many aspects of CG, he has been totally self-taught; it has been his encounter with the open source philosophy that actually opened a brand new world of possibilities, Blender in particular. In 2005, he won the Suzanne Award for "Best Animation, Original Idea and Story" with the animation "New Penguoen 2.38." In 2006, he joined the Orange Team in Amsterdam for the 2 last weeks of production to help in finalizing the shots of the first open source cg animated short movie produced by the Blender Foundation, Elephants Dream. From 2007 to 2008, he has been a lead artist in the Peach Project team for the production of Big Buck Bunny, the second Blender Foundation's open movie. From 2010 to 2011, he has been an art director at CINECA (Bologna, Italy) for the "Museo della Citt di Bologna" project, which is the production of a stereoscopic CG-animated documentary made in Blender and which explains the history of the city of Bologna. Also, being a Blender Certified Trainer, he often collaborates as a cg artist with production studios that have decided to switch their pipeline to open source. Enrico uses Blender almost on a daily basis for his illustration jobs, rarely to have the illustration rendered straight by the 3D package and more often as a starting point for painting over with other open source applications. He has conducted several presentations and workshops about Blender and its use in productions.
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How do I buy and download an eBook? Chevron down icon Chevron up icon

Where there is an eBook version of a title available, you can buy it from the book details for that title. Add either the standalone eBook or the eBook and print book bundle to your shopping cart. Your eBook will show in your cart as a product on its own. After completing checkout and payment in the normal way, you will receive your receipt on the screen containing a link to a personalised PDF download file. This link will remain active for 30 days. You can download backup copies of the file by logging in to your account at any time.

If you already have Adobe reader installed, then clicking on the link will download and open the PDF file directly. If you don't, then save the PDF file on your machine and download the Reader to view it.

Please Note: Packt eBooks are non-returnable and non-refundable.

Packt eBook and Licensing When you buy an eBook from Packt Publishing, completing your purchase means you accept the terms of our licence agreement. Please read the full text of the agreement. In it we have tried to balance the need for the ebook to be usable for you the reader with our needs to protect the rights of us as Publishers and of our authors. In summary, the agreement says:

  • You may make copies of your eBook for your own use onto any machine
  • You may not pass copies of the eBook on to anyone else
How can I make a purchase on your website? Chevron down icon Chevron up icon

If you want to purchase a video course, eBook or Bundle (Print+eBook) please follow below steps:

  1. Register on our website using your email address and the password.
  2. Search for the title by name or ISBN using the search option.
  3. Select the title you want to purchase.
  4. Choose the format you wish to purchase the title in; if you order the Print Book, you get a free eBook copy of the same title. 
  5. Proceed with the checkout process (payment to be made using Credit Card, Debit Cart, or PayPal)
Where can I access support around an eBook? Chevron down icon Chevron up icon
  • If you experience a problem with using or installing Adobe Reader, the contact Adobe directly.
  • To view the errata for the book, see www.packtpub.com/support and view the pages for the title you have.
  • To view your account details or to download a new copy of the book go to www.packtpub.com/account
  • To contact us directly if a problem is not resolved, use www.packtpub.com/contact-us
What eBook formats do Packt support? Chevron down icon Chevron up icon

Our eBooks are currently available in a variety of formats such as PDF and ePubs. In the future, this may well change with trends and development in technology, but please note that our PDFs are not Adobe eBook Reader format, which has greater restrictions on security.

You will need to use Adobe Reader v9 or later in order to read Packt's PDF eBooks.

What are the benefits of eBooks? Chevron down icon Chevron up icon
  • You can get the information you need immediately
  • You can easily take them with you on a laptop
  • You can download them an unlimited number of times
  • You can print them out
  • They are copy-paste enabled
  • They are searchable
  • There is no password protection
  • They are lower price than print
  • They save resources and space
What is an eBook? Chevron down icon Chevron up icon

Packt eBooks are a complete electronic version of the print edition, available in PDF and ePub formats. Every piece of content down to the page numbering is the same. Because we save the costs of printing and shipping the book to you, we are able to offer eBooks at a lower cost than print editions.

When you have purchased an eBook, simply login to your account and click on the link in Your Download Area. We recommend you saving the file to your hard drive before opening it.

For optimal viewing of our eBooks, we recommend you download and install the free Adobe Reader version 9.