These buttons can be used if you want to archive brushes with individual settings for later use. Your brushes (as well as all other Cinema 4D presets) will be saved to a library in your user directory under MAXON/Version/library/browser/user.lib4d.
In the Content Browser you will find the presets (to download, delete, etc.) in the Presets/user/Sculpt Brush Preset directory.
The following commands are available in the Customize Commands Manager:
These only work if a Sculpt brush is active and can be accessed quickly via hotkeys.
Here you can define the size of the brush. This can also be done interactively in the Viewport by pressing
At the right is a second fx button that offers the 3D functionality of the Effector as you know it from BodyPaint 3D.
This setting defines the strength of the brush (real-world brushes also apply more color the harder they are pressed onto a surface). This is exactly the same effect that is reproduced by this setting. Note that, for internal reasons, a value in excess of 100% can be used for several brushes but some brushes (e.g., the Wax brush) will not benefit from values in excess of 100%.
The pressure can also be defined interactively in the Viewport by pressing
At the right is a second fx button that offers the functionality of the Effector as you know it from BodyPaint 3D.
Using these settings you can more or less pull the brush along a string, which makes creating straight brush strokes much easier. The Length setting defines the string’s length. The greater the value, the better, unsteady’ movements will be compensated for and the more straight the stroke will be.
These settings affect how often the brush will exercise its effect during each stroke. With larger values (Pressure should be increased accordingly) a brush’s profile can even be applied.
In the image above, the Percent value increases from the rear to the front. The brush stroke at the front has a modified falloff value.
Occasionally it would be practical if a brush’s effect would end at an object’s edges. This is exactly what these setting does. If enabled, the brush will constantly compare the surface Normals that lie with in its radius of operation with those at the brush’s center. If the angle deviation is greater than the value defined in the Angle setting, the brush will not affect those regions. To put it differently, the smaller the Angle value the larger the angle deviations have to be for the brush to affect a region.
The edge recognition is very abrupt, which can lead to rugged edges on high-resolution objects. These must then be subsequently smoothed.
The edge recognition works very well in conjunction with masking (see also Invert).
Another use would be the selection of flat surfaces using the Select brush (with a very small Angle value).
Here are several modes that do the following when sculpting using a brush (These are not available for all brushes):
The following modes basically function as follows: you define a shape (which does not have to lie completely on the object to be shaped) without using a brush, which will, in a second step, be traced using a brush (see image top right). The following modes of operation can be used:
- single click to set start and end points
- double-click (or RMB) to end a line or connect start or end points
In the Customize Commands … Manager you can assign hotkeys to these modes (the commands are named Freehand, Rectangle, DragDab, Line, Lasso Fill and Rectangle Fill, and will only work if a Sculpt brush is active).
For the Fill modes, this option defines whether or not the brush effect should adhere to the symmetry settings defined in the Symmetry tab. If this option is disabled, multiple Sculpt objects can be shaped simultaneously.
For the Fill paint modes, this option defines whether or not the brush effect should be projected through the object onto the object’s backfaces. This is especially useful for the Mask brush so large object areas can be quickly masked.
In the Customize Commands Manager you will find the Sculpt Brush Fill Backfaces command, which can be accessed via a hotkey (only for the three Paint modes) and remains active as long as the corresponding hotkey is pressed. This is particularly well-suited for use with the Mask brush to quickly mask entire object regions (e.g., in Rectangle Fill mode.
If this option is selected, a temporary guide plane will be displayed when you
Use this setting to define the size of the guide plane (the brush will also work outside of the visible surface). This setting can be modified interactively using a hotkey (see above).
Use this setting to define the guide plane’s distance from the Sculpt object’s surface. This setting can be modified interactively using a hotkey (see above).
If enabled, the brush will simultaneously flatten and smooth (like the Smooth brush). This relaxes the mesh when it’s flattened and regions with irregular geometry (e.g., intersecting surfaces) can be corrected.
An average plane will be continuously created beneath the brush’s area of application onto which all points will be placed.
If enabled, an average, fixed plane will be calculated at the beginning of the brush stroke using vertex Normals beneath the brush. All vertices over which this brush is subsequently stroked will be set (either raised or lowered) to this value. This is a very good method of creating regions that are completely smooth.
However, this only works well across smaller regions. It’s not possible to simply smooth half of a sphere at once, for example. The fitting mesh structure on the opposite side is not available.
This option takes into consideration the Workplane when flattening. All regions within the brush’s area of application (and simultaneously in a radius equal to this around the workplane) will be projected onto the plane. Since the Workplane can be positioned freely, the flattened areas’ orientation can be adjusted more precisely.