Hey guys! So I was asked to explain how you use the 3d models in clip studio paint, which,
there’s a lot going on when you use them, which means this is probably going to be a very ramble-y video. But! I hope that it’s still useful (laughs), and uhh you have patience with me while I
try and explain things. Before I go over the uhh, the—the mechanical
how you move things and everything I wanna talk about why and how best to use
them. Because I think that’s far more important than the controls because you can figure
that out by just playing around with them on your own. So… there’s three reasons, I think, that you would want to use a 3d model when you’re
drawing. And those reasons are: One, they are very
good at helping you maintain height differences and scale and everything
so let me show you a different page real quick. So over here I have
I made a model of Chungy in like 15 minutes or something like that? It was a very quick
model, and then I rigged it and then I brought it
in. And the reason I did that was because he is SO big
and I struggle so much to get his like, to keep him as big as he should be, right?
So uh, he’s- I made a model of him, and then I’ve got the… tempest and callisto
here, they have models who are also the right heights
because they have their own height difference between them so, this is tempest, this is
callisto. Callisto is like 180cm tall, which is like
6 foot I think? and tempest is about.. she’s 165cm tall, she’s about 5’5.
And uhh, yeah, I want to maintain that height difference between
them so, when I’ve drawn them and I’m like,
“Hmm, I’m not sure I got the height difference right,” I can bring in the models, I can
double check that they are the right height So it’s very useful for that
and uh it’s particularly useful, when doing a really complicated pose like this (laughs)
So if there’s a lot going on, and you need to keep track of where all the limbs and things
are, the models are very very useful for that because you can just kinda have them there
and they can show you where things would be roughly
and I think it’s important to only treat them as a rough guide, because they—while
you know, like the size of the arms won’t change, so they’re good for figuring out
the relative position of things, they get deformed very easily
they’re not very (laughs) realistic, let me show you this, this is my favourite example
if you have legs, and they are, you know, hanging out like this like maybe you might
have your legs crossed so would have your legs—your thighs would be on their sides,
yeah? um. (pauses) it kind of caves in the ass a
‘lil bit there yeah? (laughs) and I don’t know about you but my butt does not do that
when I sit down so, you know, you wanna be careful if something
looks wrong it is probably wrong and you should trust your own instincts on that
and the models they’re not very realistic, so you should trust yourself more than you
trust the models, right? I think that’s the most important thing.
so they’re not really there as a substitute for understanding like anatomy or anything
like that you still need to know that but they can help you figure out where things
should be in space which is useful when you’re doing like really..
complicated shots and things like that—also they’re very useful for
if you can’t decide what angle you should (stammers) like, this panel here, I went back
and forth on exactly where I should be putting the camera in this shot?
So I brought in a model—like I’ve got a few different versions going on here—but
I brought in a model and I rotated around and then I finally settled on an angle
and now I’ve got that panel sorted. so that’s another use for them
um, and then the final use, is, you can just see it here. there’s a- there’s a-
I can’t draw guns. so I made a gun, and uh now it’s a lot easier for me to draw
it from different angles. and um, I also have a model of her head so
that I can fix up her horns when I do things, and I think that’s an important thing too
you should be using the models to fix things more-so than as like, an absolute like “this
is how it has to be,” right? like you can see that I’m not following
the model exactly, I’m using it as a guide to help me create a better image.
so, yeah. always trust yourself, cause your eyes are very good, and computers don’t
have eyes [laughs] so yeah that’s basically- that’s-that’s why you should use them
to, to help with scale, to help with fixing things up, and to give you an idea of where
things are in space. They’re there to help you figure things
out more than anything else. and, yeah that’s pretty much all I have to say about that
except that you should probably—one thing that you do want to pay attention to, is you
don’t wanna flatten things. so, we got like three little circles here,
and when they’re not touching each other like this, you have no idea which ones are
in front which ones are behind, you can’t… there’s no, you don’t have any sense of
depth here. right? but if I move one of them over the top of
the other, you know you can see that one of them is in front the other is behind, you’ve
got a sense of depth but if I move it all the way to the inside
of the other one it doesn’t look like they’re in front of each other anymore. you’ve flattened
it it just looks like one shape, like its a circle
with a circle inside of it, yeah? so if I go back to the models, and I show
you where this becomes a problem is like, if you… the most common foreshortening
example is someone reaching out to the camera, right?
but if you do it like this, where it… (stammers) where it’s just basically that circle overlapping
the other circle, yeah? It’s flat. You’ve lost the depth of the
image, you need to have that, like, you need to see where each circle is still.
you don’t wanna lose the shapes when you are overlapping things.
so you wanna make sure that you can still see that there is an arm here
um, and you want to make sure that it still reads
as an arm and a hand and all that sort of stuff
the better example is this bit here. It’s not just like the arm and everything, you
also want to pay attention to things like the fingers
you wanna make sure that every shape reads clearly, right?
like if I grab.. gonna give you a little uh, insight into the uh controls part that I haven’t
covered yet if you go into here, there’s a pose tab
right? you can control the hands and you can.. pose the hands.
but if I, you know, if I just kind of put the hand here reaching out. the… this, like,
default position here, it doesn’t read very well
the fingers are very flat, they kind of merge into the shape of the hand and it doesn’t
read very clearly so you know you need to spend some time figuring
out the position of each of the fingers and everything
and then even then! even then I didn’t really follow it that closely.
You just need to—it’s there as a guide, you need to be aware that you’re not flattening
things that’s really important because it’s very easy to make that mistake and then you
end up with a very, uh Dull image? You know? So you wanna be careful
about that and, yeah. Let’s talk about the controls
right, you saw me doing a little bit there. So when it comes to posing the models, the
thing you need to understand is how the rig itself actually works.
So when you look at the model you don’t see any of the joints but underneath like
inside of it there are all of these little joints and the way that they work is
there is a root joint here, and you know that that one’s the root joint because when you
move that joint, everything moves with it, right?
so that’s like the core of the rig, and the reason it works like that is because all
of these little like joint chains, they stem outwards from that root joint
which means that if you step forwards one more, like up to the waist here and you move—that
one, this one the hips is the core, the waist here is the next one up here
and if you move that one, the only joints you are effecting, are the rest of… you
keep going forwards through this chain, let me just show you the directions of the chains
So there’s one that goes this way, and then theres these ones which go this way, and then
out from here we go down, yeah? that make sense?
So, when we move this joint, we are moving all of the joints along this chain here.
If we went all the way up to this shoulder here, we wouldn’t—we would only be moving
the arm because we are only affecting the joints down this way, right?
So, the way forwards kinematics works is every joint that is another step forwards after
the joint you’re controlling will move with the joint.
the other way you can move joints is called inverse kinematics, and that’s when it looks
like this and you see these little circles and each of these little circles is a little
IK control. And the way that the IK controls works is there’s like, the wrist here it
has been linked up to the shoulder so when we move the arm up, we are moving…
we are moving the wrist, and then the joints between the wrist and the shoulder are bending
– there’s only one in this case so if we were to go to like up here at the
clavicle here, right? if we… this has been connected to the like the (stammers) the core
or whatever, I dunno I don’t actually know what the rig
looks like, but I’m assuming it’s connected to somewhere down here, and when you move
this one, all of these spine joints here, they are the ones that are being moved so,
yeah hopefully that makes sense. You can see them all bending yeah?
So there’s, these two joints have been connected together, and you’re moving them with this
controller here. And you will notice when I move these—whoops—when
I move these controllers, the other controllers are not moving.
So, uh… If you want to keep a hand in place, you would want to—you put the hand in place,
and you move everything around it. So that’s the inverse kinematics and the
forward kinematics, and together, if you combine them you can pose things however you like.
And you can… it might take a little while to figure out when you want to use which one,
but if you just practice, you keep posing things, you’ll figure out when one thing
is useful and the other thing isn’t. And one thing that is helpful to note is that
the forward kinematics have constraints on them so they only move within vaguely… it’s
around about what the human body can do, right? So you… the joints have been constrained
to only do natural movements, but if you want to exaggerate things for some reason, you
know, you can use the inverse kinematics to break
the constraints and go beyond what the model would let you do.
So that’s worth remembering because it also means that you can accidentally break joints
by, you know, you could accidentally bend the arm backwards when you didn’t mean to,
or something like that it’s a bit of a [stammers], yeah. the point
is, one of them has restrictions based on reality, and one of them doesn’t.
And sometimes you don’t want to be constrained by reality because you know you’re creating
something that’s not real [laughs] so, yeah if you need to push a joint for effect, you
might need to switch to IK to do that. Also real quick, to switch back and forth
between the version, like the control set? you just click on it again so if you’re
in FK mode you click on it again you’ll switch to the IK mode and then you can just
click on a joint. Anyway, that’s pretty much it for how you
control it. I do have some, some tips for making poses that look natural
You do want… when you are posing a character, you don’t want it to be symmetrical cause
that’s kind of… nobody stands perfectly symmetrically.
so you know, kind of make sure that the pose is not… ss… symmetrical? and you know
you’ll have someone who looks a little more like a real person
And then, also, you wanna pay attention to the weight distribution in the character.
So, like right now, the weight from her upper body, it’s all being supported by her legs
right? But if I were to just kinda you know, remove
one of the feet from the ground, now the post is REALLY unbalanced, and she would just kind
of fall over, right? Cause, you know, there’s all this weight
on this side of her body which is not, its not touching the ground, right?
So, that is a useful thing to bear in mind because if you’re trying to create a dynamic
pose which has a sense of movement to it, what you want to do is you want to have that
unbalanced weight, because that creates a sense of motion in the pose
And when you are trying to create a stable pose like someone’s sitting there, someone’s
standing, you want the weight to be balanced and to all resolve to the ground so they don’t
fall over. right? And you know the way that the weight can be
resolved doesn’t need to be through the legs, you can you know, a character could
be leaning on something and that would— sorry, wrong control— that would, you know?
the weight would still go there? If I were to lift this leg up, she’s still
you know, supported, because she’s leaning on something yeah? so this leg isn’t actually
contributing to the weight balance of it all. But if I, you know, if there wasn’t something
there, if there was [laughs] I dunno, there was no, nothing there to support her she would
fall over. It’s all about where that weight resolves,
it has to hit the ground basically. So if you are trying to create a stable pose,
make sure every part of their body is stabilised, and if you’re trying to create a dynamic
pose, figure out where you want the character to
be moving towards, and that’s where the weight should be heading.
And if you can’t figure out how to pose something right? Act it out! And you will
be able to feel where your weight is, and it will help you to.. you’ll also feel where
all your limbs are and everything, it’ll help you figure out how to pose the character.
I think that’s really all I have to say, so make sure that the pose reads clearly,
don’t rely on the model too much to tell you how to draw things
just have it show you where things should be, and make sure you don’t flatten the
image when you are posing the character. and yeuhh…. and you’ll be good! you’ll
be golden! That’s how you use these models, and uhh yeah! good luck! xoxo