Blender Sculpting Series 1.1 Understanding sculpt tools | Joe Baily | Skillshare

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Blender Sculpting Series 1.1 Understanding sculpt tools

teacher avatar Joe Baily

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (57m)
    • 1. Welcome To the Class

    • 2. Setting up Blender For Sculpting

    • 3. The Draw Brush

    • 4. Standard Sculpting Vs Dynamic Topology

    • 5. The Snake Hook Brush

    • 6. The Elastic Deform Brush

    • 7. Sculpting With Symmetry

    • 8. The Crease Brush

    • 9. The Pinch Brush

    • 10. The Smooth Brush

    • 11. Example Of Using The Brushes Together

    • 12. End Of Class Challenge

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About This Class

Welcome to this class on learning how to sculpt 3D models using Blender 3D. This is the first class in a series that focuses specifically on the sculpting toolset and workflow. In this class, the first of the series, we introduce the core aspects of sculpting and some of the most commonly used brushes for both shaping our models and adding finer details.

It goes beyond just picking a brush as each brush has a set of parameters that adjust how the brush works, such as its radius and strength values. In addition, we introduce the concept of using dynamic topology and lines of symmetry to both improve and speed up the sculpting workflow.

By the end of this class students will be able to....

  • Access the sculpting workspace and the sculpting template to set up Blender
  • Add and subtract from our model using the draw brush.
  • Increase the control of our brush strokes by enabling the dynamic topology option
  • Adjust the basic parameters of any brush such as its size and strength values
  • Sculpt along the objects lines of symmetry
  • Use a variety of brushes including pinch, grease, snake hook and elastic deform

We hope you enjoy this class on sculpting in Blender


Meet Your Teacher

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Joe Baily


My name is Joe Baily and I am an instructor for 2D and 3D design. I specialise in 3D modelling using software platforms such as blender and 3DS max to create virtual models and assets for video games and animations.

My alternative job involves teaching sport and PE in schools and so I have 1000's of hours teaching experience in multiple various fields. My goal here is that I always find great instructors in websites like youtube who are great but never give out enough content to really satisfy my own hunger for learning. Therefore, my goal on skillshare is to provide comprehensive quality teaching on any subjects that I cover, such as blender 3D.

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1. Welcome To the Class: Welcome ladies and gentlemen to this blender sculpting class 1.1, the first class in our blender sculpting series. This class is for blender users who want to begin learning how to sculpt in blender. Now, a graphics tablet is recommended, but a Free button mouse will work. But what is covered in this class? This class is for those who are completely new to sculpting as a form of modelling 3D objects. By at the end of this class, students will be able to do the following. I'll access the sculpting template to setup, blend up the sculpting, locates and begin using a selection of flushes in the top shelf. Adjust the core settings of every brush, mainly be blush, radius, and brush strength. Understand the difference between standard sculpting and dynamic topology. Use symmetry for faster sculpting. And by the end of the class, students will be able to create their own custom shapes using the tools that they learned and their creative imagination. So let's get started with sculpting in Blender. 2. Setting up Blender For Sculpting: The first thing we need to do is set up a blend out so that we can begin sculpting. Now there are two ways that we can do this. The first way is to go to the sculpting workspace tab at the top here and left-click. We're now in the sculpting workspace, which places us in sculpt mode for the selected objects. Now this is going to be useful if you are going through an entire process of starting with the base 3D model, then sculpting on detail, UV Editing, then six, texture painting, then adding materials, et cetera. We're only going to be focused on the sculpting is self-doubt. So we're actually going to be instead using a different blended templates. At the moment, we are using the general template. This time however, the sculpting, We are going to be using the sculpting template. That two things are going to change with our blender interface. The first thing, if we left click and go down save is the number of workspace tabs at the top have been significantly reduced to just two workspaces, sculpting and shading the materials. The second difference is the object in our freely viewports, our cube object as being replaced by what is known as a quad sphere. A quote, sphere is effectively a cube that has been subdivided multiple times to increase its geometry and smoothness to the point where it becomes a sphere. All with the faces on our CT sphere are quotes, four-sided faces. This differs from the traditional UV spheres, which are a combination of quartz and triangles, and the IPO spheres, which are just Angolans, faces that have more than four sides. This is what we are going to be using in this class on learning how to sculpt 3D models in lambda. We're going to begin looking at some of the tools in the future lectures of this class. 3. The Draw Brush: Now the first blushed at we are going to be looking at is the drop rush, which as the name suggests, allows you to draw onto your sculpted model. So in the top shell, which you can see in sculpt mode, is very, very long. But if we scroll down, there are so many tools that we can access on this tool shelf alone, far more than in edit mode. But the one we're focused on here is the drawer blush located at the top. Now it's currently selected because it's highlighted blue. What we can do with the drawer blush is we can simply hover over our model and then click and then just move our mouse cursor or our pen if we're using a tablet to draw geometry onto our model. Now I sage war geometry, but that's not what's happening here at the moment. What's happening is we are taking the geometry and we are reshaping it based on where we position the blush. In other words, we are drawing on the surface of our model. Now there are several options that we can change with the drawer brush that can also be changed with almost any other brush. Before we do that, I'm going to hit control and C to undo my previous action. Yes, much like an object mode and edit mode, actions performed in sculpt mode can be reversed using the undo key, which is controlled. And see. What we're going to look at now is how we can alter the radius and strength of our draw brush. The radius is the size of the brush. The strength, as the name suggests, is how strong the brushes when you push down on that left mouse button or when you are using the pen on your tablet. So these options can be found up here. We have the radius, which is currently set to 50 pixels, and the strength which is set to 0.5. Alternatively, if we hit the right mouse button, we can bring up the sculpt context menu or the plush context menu. This brings up the same two options, radius and strength. We can adjust them from here. And you can see that the radius of the brush gets bigger and smaller. And here, you can see that this effect is mirrored up here in the header. Now the third location from which we can adjust the radius and strength is to use the hotkeys. If we press F on our keyboard, we can adjust the radius. So press F And then move your mouse cursor to adjust the radius to make it larger or smaller. Alternatively, we can use the hotkey Shift and f to begin adjusting the string. So here we can adjust the strength from 0 all the way to one. So if I set this all the way up to its maximum value 1 and then begin drawing on my model. You can see we're able to for much larger shapes more quickly. Alternatively, if we position the strength value much lower, Susannah, when one 1-5 and then begin drawing. You can see it's much harder to draw significant detail. But this is going to be much more valuable for when you are creating those subtle details on your mesh. Again, I'm going to hit control and C a few times until we get our courts sphere back. Now alternatively, we also have another option if we use the white mouse button called altos MOOC. This is going to apply smoothing every time we use the draw blush depending on its value. It set to 0 right now. So it's not going to have any Altos moving. Why now? I'm just going to create one line using the dual brush here. So you can see that pretty clearly. But what happens if we draw a similar line? Auto smooth set to one? Well, if we create a second line with almost moves sets or one, you can probably see that it's a lot harder to spot. But that's because as we draw the line, we apply smoothing to it. This is going to make it look better. But it also means that we have to draw a little bit more, make it a bit more visible. Now, whenever I use the drawer blush or any blush, I do tend to have auto smooth set to 0. And this is because I don't like blender as a personal opinion to do two things at once here. I would rather dwarf detail and then have the control to smooth it myself. Now you can actually do this very easily. Withdrawal brush. What you can do is you can draw on your mesh as normal. You can hold down the Control key. And then as you draw over your model, you can begin to smooth it. So holding down the control key while drawing is the same as having the altos move sets one. But this time you now have complete control over where you smooth on your model. There is also, by the way, a brush dedicated to smoothing located here. But we don't always need to access this blush because the option is often available with other blushes whenever we hold down the Control key. The final thing I want to demonstrate in this video is the ability to reverse the effects of your brush. Currently, we are adding detail to our model. When it comes to using the draw blush, we're basically bringing the geometry out from the surface. But what if we wanted to do to reverse? What if it wants to push our geometry into surface where we can do so by eye of assessing this plus option to minus, which goes from adding to subtracting. Or by holding the shift key on our keyboard or tablet if you have one. And then drawing on SWA model with the Shift key held down. So here I've got the Shift key held down and I'm just going to draw a line onto my mesh. You can see the difference straight away. We're now pushing into our model rather than pushing out. If I just orbit my view and zoom in a bit, you can see what I mean. So this here was when we used each will blush as normal. And then this line here is where we are able to push into our model by reversing the effect, by subtracting. These are the core tools used with the war blush and in fact, many of the blushes in sculpt mode for blender. 4. Standard Sculpting Vs Dynamic Topology: In the previous video, we looked at using the drawer blush to effectively move our existing geometry to create new shapes. In this video, we are going to compare that to a novel method of sculpting in Blender using something that we call dynamic topology. So up to this point, we've been using the dual blush to basically manipulate the positioning of our geometry. But we're not adding or subtracting geometry from our model. If you take a look down here at the bottom, you can see some important information about our current model does Chord sphere. We have 24,578 vertices. As I sculpt onto this model, this valley doesn't change because we're not adding to our model. Now this presents some limitations as to what we can do when it comes to sculpting. So what we need to do is we need to get rid of those limitations by enabling what is known as dynamic topology. I've just used the undo key to get rid of those lines that we just created. And I'm going to enable dynamic topology by clicking on this check box up here. You can also enable it with the hotkey control and date. So if you enable dynamic topology and then begin drawing on your model, withdraw brush. Keep an eye on what happens to the vertex count at the bottom. So we're drawing, withdrawing. And then once we finished drawing, you can see that the vertex count has changed as has the triangle count. So if we continue to draw, these values continue to change because we've dynamic topology, we are changing the amount of geometry on our model to suit the amount of detail that we need for our sculpt. Now if we go into this dynamic topology menu, we can see we have several options here. E tau size, we're fine method the tailing. Now, rather than just going over what each of these do, I'm going to demonstrate to you the best method for you to begin with as a beginner to sculpting. So here we have relative detail. I would like you to change this to constant detail. And I've just kind of explain the difference between the two. So relative detail relies on your positioning in the 3D viewport to determine how much detail you want to add to your model. If I zoom in close to the center of my object and then begin drawing. Like so. You can see the vertex count begins to rise a bit more substantially than what it did before. If I go in even closer, you can see that the triangles being created or even smaller and the vertex count continues to rise. This is the basic principle of using the relative detail option. Now this can be fine once you're used to sculpting in Blender. However, for a beginner, you should be looking to use what is known as constant detail, which does not use the view of the 3D view port to judge how much detail you should add. If we go back to this menu, we can see that we have this resolution option. Now. We've relative detail. It was detail size, which we could adjust to further control how large we want the adage geometry to be, or rather how small. The smaller the geometry added, the more detail we can create. When it comes to constant desire, we have a flat value for resolution. Now, a resolution of free is very, very low. So what's going to happen is if we draw with this resolution, we're going to get very large and messy geometry. What we need to do is we need to set this to a much higher value. I believe that anywhere between 1520 will be a good starting points. So I'm going to set this to 20 and press enter. Now, if we draw once again on our model, we're able to add the tail to our objects. But if we zoom in or change our view, the amount of detail that we are going to be able to add does not change. But the rest of this class, we are going to be having dynamic topology enabled with the settings that you see here. 5. The Snake Hook Brush: If we were to take a look over in our tours shelf, we can see that the icons for each of our brushes are separated into one of three colors, blue, red, and yellow. If you go further down in the tall shelf, you get a mixture of different tools, but they aren't necessarily brushes. Some of them are such as the cloth brush. But then there are others like Box mosques, Transform tools, et cetera. Now when it comes to the brushes that you see here, they're divided up into these three sections. And the easiest way to differentiate them, aside from the color, is that the PLU blushes are generally used for adding detail. For example, the drawer brush. These red blushes are normally used to reduce the amount of detail and create smoother surfaces. The yellow brushes are more used for moving geometry around, creating the basic shapes of our models. So the general workflow to sculpting, going to involve blushes form each of these free colors. Because of this, we are not going to just preview each of these one by one, going from the top down. Instead, we're going to show you a few form each section in this class just to demonstrate how they work individually and have a differentiate from each other. So in this lecture, we're focused on at this brush here, the Snake hook blush. This is one of my favorite brushes for creating just random shapes. Whenever I'm warming up, guessing, ready for my main sculpt. And you can get a very good idea of what each of these brushes do just by looking at the respective icons in the tall shelf. Now at the moment for our Snake who brush, we have a radius of 167 and a strength or 1. As I have mentioned before, these values are constant across almost all of the brushes that you see here. If we were to just hover our cursor over our sphere, you can see how the yellow circle here is able to detect the geometry and just snapped to the surface. So if we click and just pull our mouse outs, we can pull out the geometry. One thing to note with the snake hook told is that if we push it too far out, we're going to stretch that geometry. What we can do to alleviate this somewhat is to enable dynamic topology. So I'm going to enable dynamic topology with the settings you see here. So a resolution of 20 with constant detail. And if I create a very similar extrusion. On this side, you can see that we are still getting a bit of stretch, stretching, a bit of artifacts, things towards the top. But if we go into edit mode and just de-select everything, you can see the difference between the two. So this one here is without dynamic topology, and this one here is we've dynamic topology. Now, there are some brushes that you would have dynamic topology switched off for. But the snake cooked blush is certainly one of those that I would prefer to keep on. Because as we bring our geometry outs, we're going to want to add more geometry to it to prevent this from happening, the stretching of the faces. So let's go back into sculpt mode. And as well as being able to push geometry outs, we can also push it in. So if I click around here and move my cursor up, you can see we're able to push the geometry into the center of the object. If we orbits are view. You can see that the view is also playing a very important role in the direction that the geometry goes. So I'm just going to just undo these until we get a perfect sphere. And let's just create a very basic shape with the snake hooks. So maybe increase the radius to something like that. And then come over here and then just click and drag out. And you can see I have in pressing the undo button numerous times turned off dynamics apology. So I'm just going to hit Control and z and turn that back on. Just increased my radius. And let's just come up to about here. Click and drag. To expand that geometry. That's come here. Drag it across and you can actually see as well that as we brought this geometry up, it started to have an influence over here. So it's almost a kind of proportional editing in a way that's also come around to about here. We're just going to take this area. Pushy in slightly, come to this side. Pushy in slightly. And that's just reduced that radius. And will create, let's create just a couple of horns to go with the model. And then we quickly, you can see we are able to begin creating custom shapes just by using this one brush. So now we could even do something like combine this with the drawer brush to begin adding some more detail in certain areas. So maybe I want to draw some detail here, for example, a loader horns. Maybe I want to create some detail here. Going along the top. Sculpting is all about creativity. So be creative and experiment with each blushed at you learn. Before moving on to the next video, spend five or ten minutes on the Snake hoop brush, combining it with the drawer brush and see what you can create. Once you've done that, I will see you in the next video. 6. The Elastic Deform Brush: The next plush I want to demonstrate is the elastic deform brush. This is a fantastic brush or creating the general shape of your model and creating those more subtle changes to the general shape. The elastic, the form blush is located directly above the snake hoop brush. So left click on this icon here to begin using elastic deform. Elastically format basically does is it allows you to move geometry as if it were almost like clay. So for example, if we just take this curvature ear, bore our objects. We can come over, left-click about here and just move on mouse. And you can see as I do that, we're just pushing this geometry into itself. I'm really enjoy using this blush in the early stages of sculpting as it allows you to very easily create the shape that you want exactly how you want here. This is different to the snake hook brush, which effectively allows you to create new shapes by dragging out your geometry and with dynamic topology, extending the amount of geometry that you have. Elastic deform, On the other hand, takes a more subtle approach to changing the general shape. Like the other blushes, we can adjust the radius and the strength. If we hit the right mouse button, we can adjust these values here in the context menu, as well as the auto smooth option and this normal weight option. Now as you can see in the Tooltip, this will change how much grab will pull vertices out of the surface. And if that description confused shoe somewhat. That's basically what this brush is, is a type of graphic brush, which is in a way what each of these yellow blushes are. So they grabbed the geometry in certain ways. Directly above it we have the grab Brush itself. But the way that the geometry is grabbed and manipulated is different between each of these brushes. So I'm just going to add a bit more detail here just to reshape my model. So I want to just bring this out a touch, make it a bit bold. You're at the top. And what you also notice more and more is the need to continuously change your view. So this is a strong recommendation for anyone who's looking to learn sculpting as a hobby or even as a profession. Never sculpt in a singular view. Always move around your objects constantly to view your object from different angles. I'm just going to finish this off by increasing my radius and my strength value. And I think I'm just going to grab, so at the bottom here and bring it down. And then let's just create a little bit of detail on each of these sides. Maybe a little bit more here. And we've got a basic shape that's coming together quite nicely. So again, as I said in the previous lecture, I want you to just spend a few minutes before moving on to the next video. Just using and experimenting with the elastic deform brush. 7. Sculpting With Symmetry: Now, since we've just been practicing the brushes in general, we haven't really been focused on creating a specific object. This object here is just an example of how we can use the blushes and combine them together. But if I was to assess this objects, I can see there are several issues. And the number one issue I have is the symmetry of the object. So we have the geometry here, but sort of curving around one way. But the geometry at the front is sort of almost looping to one side. There's no real symmetry to this. So how do we enable symmetry for our models? Well, they're free icons here, x, y, and c. And you enable one of these, then you will enable symmetry on that axis. Now at the moment we have an object that already has some detail applied. You'd normally activate any of these options before you started sculpting. So what do we need to do? Well, we need to basically symmetrized one side of this mesh with the other. But we need to be careful about the detail we create it. So if I press one to go into front or for graphic view, you can see that if we were to symmetrized one side with the other on the x-axis, then it's going to create a very weird shape. If we go into our side view. Same again. So what I'm actually going to do here instead, because this is just a little bit on the tricky sides to symmetrized with all the detail without it is I'm just going to start a new objects. Now feel free to save your creation if you are happy with what you've created. But on our end, this is just to be a practice. So we're going to just go to File New and then sculpting. And I'm not going to say changes here because I'm basically going to overwrite this a little bit later on. So we've got our courts fear back the way it was initially. And now what I'm going to do is I'm going to enable dynamic topology. Enables symmetry on the x-axis. Then press 12 or by number part to go into front orthographic view. Watch what happens if I was to enable my snake hoop blush and create some geometry here. So I'm going to position my brush. Click and drag. Oh, what's happening there? Well, two things are happening here. One that's good, one that's not so good. What's good is that we're able to symmetrized our, affects, our blush on both sides of the x axis. So on this side we have the positive x, and on this side we have the negative x. However, at the moment, we have a small problem with geometry. I'm just going to hit Control and Z to undo that. And if we take a look at our dynamic topology settings, we can see why we have the long settings here. So let's correct that. By changing relative detail to constant, and then it changing the resolution to 20. So you can see this is an example of using the snake hoop brush. We've constant detail is going to be more preferable to using relative detail. So now I'm just going to this time increase my radius. Position, my cursor, click and drag out. So you can see here straight away that we're able to half our workflow just by enabling a single line of symmetry. If I wanted to mirror this on the y-axis, I could do so very easily. Just enable the y-axis here. So let's do the same thing. Click, drag will try to again click and drag. And nothing appears to have changed or has it. So you have to be careful of where your lines of symmetry are. Obviously, if we take a look at our object, form a top orthographic view, and you can see the green line here. So I've aside the red line, which is the x axis. We have the positive y and the negative y. If I wanted to, I could also do the same thing on the z-axis. So control Z, enabled the z-axis. And then you can see where those little yellow dots on our surface click. Drag to create. And as we move our view around, we have what's beginning to look a little bit like, sort of like pumpkin shape with some binds coming out of it. Always reminds me of someone like Cinderella. Now, I'm going to show you one more thing before we finish. So if we come to this tab here, which is for our active tool settings, you can see all the options for our snake hook. Now if we scroll down, we will see an option labeled as symmetry. If we open this up and come down, we will see the ability to symmetrized. So what we're going to do is we're just going to demonstrate this by turning each of these off. You can see that they're turned off up here. And then we're just going to go back into our front orthographic view. And we're going to create our fine like effect here. And you can see there's no symmetry at the moment. But at the moment we also have this direction option. So we can, at the moment he says minus x two plus x negative x, positive x. If we click symmetrized, we end up losing the detail. Why has that happened? Well, remember that this side of the object is the negative x and this side is the positive x. So what we're doing here is we're taking the shape on this side of the object and we're mirroring its over to this side. What we want to do here is we want to do the opposite. So we can change the direction four minus x, two plus x to the other way round. So plus x two minus x. So set the direction and then click symmetrized. And you're able to mirror the detail that you created on one side of the axis over to the other. This is how we can use symmetry for sculpting in Blender. 8. The Crease Brush: The next brush that we are going to be focused on is the crease brush. The crease brush can be found in the tall shelf directly above the smooth blush located here. So it's the last of the blue blushes. We're going to enable the crease brush. And before we begin using it, I'm just going to symmetrized one to another. So let's go from, I actually prefer this side is, so we're going to go minus x, two plus x to symmetrized both sides of our object. Now there's also some geometry at the tip here that looks like it's going in on itself. So I'm just going to very quickly just try and smooth that out on both sides. And if you see a little bit of loose geometry, which I do on both sides here, you can just go into edit mode. Then just select your geometry best to make sure you have something like X-ray on. Select that geometry and then just delete the vertices, will do the same on this side. And then we'll come back to sculpt mode. And let's just symmetrized from one side to the other. Okay, So with regards to the crease brush, which is located e, what we can do with the crease brush is we can actually do and it's almost like an indentation into the surface of our object. So I'm going to use the area around our homes. And for this, I'm just going to enable symmetry on the x axis. If I was to just click and drag over ans here. Not much seems to happen at the split. If you look closely, you can see we are actually, as we continue to move on mouse, creating a crease at the bottom of this horn here. Now the reason why it's taking so many strokes to get there if I just hit Control Z a couple of times is because of our strength value up here. So let's turn that all the way up to one and do the same thing again. Only this time. We'll probably need a pth Bu less strokes. And in fact, if anything, that's too strong with the strength of one. So the default value of 0.25 is actually really good for the crease brush. I'm just going to undo that because another thing that we can change here is the radius. Now when you create a crease, you tempts one decrease to be quiet now. So a good recommendation here is to set your radius for decrease flush to be quite low. So again, if we do the same thing again around here, just click and drag to create a crease. Not the best crease I've ever created. But you can see that it instantly begins to add just a little bit more detail to the objects around this area. Now alternatively, you can of course, move in closer towards your object. And again, this is another thing that's recommended when you are adding fine details to your model. It's off the optimum best just to zoom in on your geometry as best you can. And then just begin to use your brush. Now you can see that the crease brush initially looks a bit messy because of the way it's sort of just creating those indentations in our model. But of course, this is a fine example of being able to combine it with our smooth blush. So if I hold down the Control key, I can then just smooth out the crease. But be careful as smoothing too much is actually just going to get rid of decrease altogether. The same applies for pretty much any other brush. If you smooth out your geometry too much, it's going to flatten out the geometry and you're going to lose the very shape that you created. So in this example, it's really just a case of just going back and forth, creating as deep a crazes I go a little bit of an arid air. So let's do that again. So create that crease, maybe quite a bit more of a crease. And then hold down the Control key. Just generally just smooth the geometry just to make it look a little bit more presentable. Now, while this tool is very useful by itself, it really comes in handy when combined with another brush, the pinch blush, which we're going to be looking at in the next video. 9. The Pinch Brush: The primary use of the crease brush, which to just create those ridges, those indentations into our mesh. The pinch brush, on the other hand, is going to twice an up those indentations, those ridges. So here we have an example where on both sides we have this crease going into our model, but it's a bit on the white side. I wanted to bring this geometry in on itself, and I can do so with the pinch brush. The pinch blush is one of the yellow blushes. It's located here, so it's the second yellow blush dao. So left-click to enable to pinch brush. And then if we were to just click and drag on our model, as we continue to do so, you gradually begin to see, and I'm just gonna zoom in a bit on this. You'll begin to see that the geometry kind of pause in towards itself. Let's turn that string farm, and let's turn up the radius as well. So now if I just click and drag, you can see that geometry just being pulled in. So wherever I position the mouse. So if I do this a few times, generally going around is going to create a much sharper crease at the bottom of our horn here. What we can do here as well is we can combine this with our sculpting tool. So hold down the Control key once again and just lightly go over like so. And then let go of our control to control k. And then just pinch once again. And as I do this, eventually, if we do this enough times and zoom out, you can really begin to see the detail that it provides to this area. So this will sharpness bit where we have smoothness going across the rest of the model. Before we finish, I just want to demonstrate one more use case here on our model for the pinch tool when combining it with the crystal. So I'm going to use the crease toll here. And with my radius now set to about here, we'll keep it about 80. I'm just going to click and drag about here. And I'm going such as creates very deep indentation into our model. And what you see here is we have the geometry coming in towards itself with this indentation, but we want to make this area here, this reach nice and sharp. Well, we can do that using our pinched Hall. So using the pinch talk, what I'm going to do is I'm going to lower radius. And I'm also going to come to my dynamic topology settings and increased resolution. Increase in resolution here is going to make it easier to use a tool like the pinch told. So I'm going to increase this from 20 to 40. And then using my pinch brush, I'm just gonna come to the rich here. And I'm just going to come over and just pinched out altogether just to make it sharper than what it was before. So if we just come around and a couple of times, and it's always important not to rush these things. If we just come around a few times, you can see that geometry is being pinched together. Just chars sharpening up those which is just enough. So if we have a look away from our model, and if we do something like say, go into object mode and few are modal with smooth shading. You can see we're starting to get some nice sharp edges here. So let's put back in the sculpt mode. And let's just continue with that just a little bit more. Really, just bring him in and sharpen them up as best we can. And you can spend as much time on this sort of thing as you want. So again, if we go back into object modes, preview smooth shading. And you can see we're just starting to get those much more defined edges going around the indentation. Again, you can spend a lot more time on this combined that with smooth shading to really create those sharp edges. But for now we're going to move on to our final lecture of the class, where we're going to put all of this together to create a simple shape. 10. The Smooth Brush: So despite the fact that the snake hooked Bosch, which we have used quite a bit now, is able to expand the geometry, especially with dynamics topology enabled. It still stretches, it's somewhat. So one thing we can do to offset this is to use the smooth blush. Now, you already know that there are several ways in which we can use smoothing with the snake hook plush itself. If we hold down the Control key and then begin to use our brush, we can use the smooth tall on this flush, as we can with most brushes. The same applies with the drawer blush. So hold down the Control key and then just rush over to smooth out your geometry. Alternatively, you can right-click and adjust the auto smooth option here. Doing so is going to apply a smoothing. As you use the brush. I normally don't use Altos moving here as I prefer to have them as separate blushes. Now because you can use the Control key, I normally do that method when using it with any other brush. So for example, if I'm using the George Bush, I can't draw on some wire model. And then hold down the Control key and use the exact same blush to smooth it out. Now that's a method that I prefer to use, but you may prefer to just do it all in one and increase this Altos move option. There is, however, one more method to smoothing, and that is to use the smooth plush itself because it's located here. It's one of these red brushes. As I mentioned before. The red pluses in the tall shelf on mainly used to reduce the amount of detail and to create more uniform objects. We can enable the smooth flush here and then use it as a normal brush. Whichever method of smoothing you choose to use is entirely up to you. If an artists will use the smooth tall from various places, as I've mentioned before, my preferred method of smoothing is to simply use the Control key alongside any of the other blushes. You, on the other hand, might prefer to use the smooth blush itself located here or the auto smooth option, which Beida, why isn't visible with the right mouse button when you're using the smooth at all because it's already doing that smoothing. Bought your brush. 11. Example Of Using The Brushes Together: In this class we have looked at several different brushes for sculpting, as well as the general options that we can change with our brushes. Let's put them altogether now and just create a simple shape using each of the brushes. Now this object isn't going to be of anything specific. We just want to have a little bit of practice with the brushes that we've learned. So I'm just going to go file new sculpting just so we can start from scratch. And we're going to do several things to set things up. So we're going to go into fun orthographic view. And in April, symmetry on our x-axis enabled dynamic topology and set the detailing to constant, then set the resolutions what we want. So I'm gonna go little bit higher this time. I'm going to go with a resolution of 25 and press Enter. And you'll also notice here that we haven't touched upon it yet, but we have this option for smooth shading. This is another one of those options where if you want to have it enabled, you can have it enabled. I prefer to have this disabled because I like to see my geometry while I am working with it. So we're going to start with our snake crypto and just increase that radius. And actually with a snake hooks hall, I think I can bump up the resolution a bit more to 35. And let's just create a shape using the snake hooks or to start with. So let's come here and just create a few these just coming out. Its orbit, our view to the side perhaps. And then we can just go out here, allow something like that. And we take a look on the other side, we can see that the symmetry is working very well for us. And then there is switch over to our elastic deform. And if we just take this path measured the bottom, luscious Drew I get down. And now we just create a slightly different shape to what we had before. Next, let's draw in a bit of detail withdrawal brush. So I think we can draw some detail back here. So we'll create a sort of bulge here at the back. As we continuously stroke at the back of the objects withdraw brush, we can continuously add more geometry. Let's now add a bit more detail to the sides of this by creating a little crease. So we're going to reduce the radius. And then just about here, create ourselves a nice crease going up and around. And you can see that's taking shape nicely. Let's bring that all in just a little bit using the pinch tool. Just to sharpen this area up. Just a touch. And within just a few minutes, we can begin creating any shape that we want. I'm going to finish things off by just using smooth shading by holding down the control key and just smoothing out the bit that we extruded using the snake would so its fin out just a little bit. Maybe come to the edge here. And just lightly go over is to reduce the sizing a bit. And there we go. And you can really spend as much time as you want just creating your sculpts. 12. End Of Class Challenge: Congratulations ladies and gentlemen, on completing the first class of the blender sculpting series. It is now time for the end of class challenge to test what we have learned. So for this challenge, you must complete the following. Set yourself a timer of ten minutes or five. If you want a challenge. Create any shape you want using the brushes you have learned. Experiment with the different parameters, like the strength and radius. And as a bonus, repeat the above process three to five times to create three to five objects. Sculpting is a creative process to create, is to improve and vice versa. Complete this challenge now to complete the class. Congratulations on making it this far. Thank you guys for joining me and I hope to see you next time.