Sculpting the Moon’s Face
With the Base Object now prepared we can start the actual sculpting process. If you did not save the steps from the previous section, click on the link below:
First, set your Viewport to Gauroud Shading without lines because the object we will use will have up to six Subdivision levels, i.e., an object with about 1.5 million polygons. The
Next, we will use the Pull, Wax and Smooth tools to sculpt the more basic features of the face. Since faces are basically symmetrical we will leave the Symmetry options enabled. These options as well as those for Size and Pressure can be linked for a given tool by simply enabling the corresponding options. For our purposes it will be useful to enable the Link Symmetry option.
Switch to Subdivision level 4 (Increase button) and add a new layer. Rename this layer Basic_Features.
Once the eyebrows have enough volume, switch to the
We will create the nose and lips using the
Additional Project Objects
As soon as you begin to sculpt the concave areas of the eye pits you will notice that this part of the face cannot be modeled accurately without the rocket and the eyeball. This is in part due to the fact that the size of these regions (the circumference in particular) depends on the size of other elements. Therefore, we will create an eyeball first, which can be done quickly creating, positioning and scaling a simple
In order to be able to work more efficiently with the additional objects, make them Child objects of a
Along with the eye and the rocket we will also show you another weak point on this model. In the next step we will again use the Pull tool to sculpt the face a little more.
Click on the icon below to open the file we have prepared with which you can compare your work to this point.
Stamps and Stencils
Select your Base Object and subdivide it twice more so that it has a total of 6 subdivision levels. Add a new layer and rename it Finer_Details. This is where the craters in the face will be created with the help of the Stamp function.
First, disable the X (YZ) Symmetry option. Next, select the
The craters can be created using a simple image with a black circle on a white background whose edges are slightly blurred and a little rough. Click on the button to the right of the Image field and load a fitting image, e.g., Krater_Alpha.jpg, which is located in the tex/tutorials folder in your Cinema 4D installation directory. Loading the image will automatically enable the Use Stamp function.
After the image is loaded, switch to the Settings tab in the Attribute Manager and increase the Pressure value to a value between 90% and 100% in order to create a deep crater. Set the Pressure from Freehand to Drag Rect. The stamp pattern can now be applied and as long as the left mouse button is pressed it can be scaled interactively.
Now add some craters using the Pull tool, with Stamp mode enabled. If craters are too small, even if Pressure is set to 100%, simply stamp that particular location multiple times to achieve the desired depth.
Alternatively you can use the Stencil tab’s tools. To do so, set the Pull tool back to its default settings. This can best be done be clicking on the Reset button in the Settings tab. After doing so, switch to the Stencil tab and load an image to use as a stencil. The image’s brightness values are also relevant for the Stencil function; load the same image you loaded for the Stamp function. We will change the Falloff value to make sure that the stencil is applied with even pressure. Switch to the Falloff tab and raise the right end of the function curve to the height of the left end. This will result in an even pressure of 1 for the brush.
Save this brush as a Brush Preset. To do so, switch to the Settings tab and click on Save in the Brush Preset menu. Assign it a name, e.g., crater_stencil, and click on OK.
You can basically use the Stencil in any view with Gouraud shading mode but the Perspective view has proven to be the best when applying the Stencil repeatedly. In this view you can move around your object freely and zoom in and out as you wish. You can also use the Angle, Scale and Translate to fine-tune the Stencil.
The decisive option is the Gray Value, which defines how far the dark regions of the stencil penetrate inwards and how far its brighter regions protrude outwards. Set the value to 1, which will cause only the dark regions to be used; the white regions will lie on the actual surface. Once all settings have been made you can start sculpting the surface using the Stencil. If the effect is too weak, simply re-apply the tool until you have the desired depth.
Masked, Inflated and Cut
If you look at the example you will see that the craters each have a bulge on their outer edge. To achieve this effect we will combine the Mask, Inflate and Smooth tools. To make the effect look visually appealing it should be applied simply to the edge of the crater. Select a crater to modify and activate the
Now sculpt around the edge of the crater and its edge should bulge like an inflated inner tube, hence the tool’s name, Inflate. Apply the tool to the other craters until you have the look you want. You can also use the
Next, we will accentuate the mouth a little more. Select the
Now use the Knife tool to sculpt a line between the upper and lower lips. This will create a pronounced incision between the lips. We will use the Inflate tool to add some volume to the lips. Click on the following link to view a film demonstrating this procedure.
Contrary to what is shown in the film, we will mask the lower lip to prevent the mouth from swelling too strongly. Make sure that you follow the line you created very precisely. The mask should look similar to the image below:
The face has now been sculpted to a state in which we can concentrate on the details: