Blender Sculpting Series Volume 1.2 - Sculpting Objects With Character | Joe Baily | Skillshare

Blender Sculpting Series Volume 1.2 - Sculpting Objects With Character

Joe Baily

Blender Sculpting Series Volume 1.2 - Sculpting Objects With Character

Joe Baily

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12 Lessons (1h 23m)
    • 1. Welcome To The Class

      3:01
    • 2. Reviewing The Interface For Sculpting

      6:42
    • 3. Egg Sculpting

      6:52
    • 4. Cracks In The Egg

      5:54
    • 5. Reference Material

      10:11
    • 6. Sculpting The Apple

      11:16
    • 7. Combining Sculpting With Modelling

      5:03
    • 8. Modelling The Leaf

      12:33
    • 9. Sculpting The Eyes

      8:25
    • 10. Sculpting The Mouth

      5:53
    • 11. Sculpting The Tongue

      5:58
    • 12. End Of Class Challenge

      1:37
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About This Class

Are you interested in learning how to create 3D models with immaculate detail but don't know where to start? Do you fill as though your creative potential is going to waste? 

Not to worry, because you could become a 3D sculptor and start building your own original creations using Blender 3Ds incredible array of tools. The blender sculpting series is a series designed to bring blender users from beginner level to expert using the many different sculpting brushes available.

Who is this course for?

This course is for Blender users who want to brake away from traditional modelling methods and begin creating works of art in minutes that would otherwise take hours using the more traditional methods.

Who is the course not for?

If you already consider yourself an expert or advanced user in sculpting then this course may not be for you. Although you may consider using the series as a refresher of sorts.

Why should you take this course?

Sculpting is a fantastic habit to adopt, and an equally valuable skill for employers in the CG Industry. Most video game characters, objects, scenes and even animation assets go through the sculpting process at some point. Sculpting is as valued as 3D modelling itself, because its with sculpting that objects can adopt a sense of character and personality. That's what this course is all about, being able to create your own objects that have their own character to them.

What will students achieve by the end of the course?

  • Students will be able to create organic shapes like eggs and fruit
  • They will be able to assess which brush is suitable for the task
  • Create a cartoon like object 
  • Design facial expression for inanimate objects
  • Create models with personality

Over the past year Blender has gotten some incredible updates to its sculpting toolkit, meaning there has never been a better time to begin learning how to sculpt.

Enrol today to begin creating 3D scenes and making them come to life!

Meet Your Teacher

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Joe Baily

Teacher

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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Transcripts

1. Welcome To The Class: Are you interested in being able to create incredible 3D objects in just a matter of minutes. Do you want to put that creative mind of yours to good use? If so, this is the course for you. Hi, my name is Joe from Bailey Design. I'm the tutor of this class, which teaches you how to use the sculpting tool kits to sculpt shape and model fantastic 3D objects using lender Friday. Now, who is this course aimed towards? Well, this course is for beginners to sculpting who wants to learn about a new way of creating their 3D models rather than just genes in, in traditional destructive modelling methods, such as using extrusions, bare-bones, insects, et cetera. Sculpting is a fantastic way for students to begin creating objects that have no real detail and real character to them. In this podium of these sculpting series, we focus on using our Stockton toolkit to be good at modeling some more organic in a blender by using brushes such as the snake hook and grab brushes to form our shapes. And then using the draw flattened crease and pinch crushes to define it the details for our objects. We also cover some important tips that will be useful to you when getting started. We have sculpting, such as wet and locate all of the important tools and parameters associated with your brushes. As well as some important tips on how to use weapons, which here you appropriately to peak in sculpting. The goal of this class is for you as the student to be competent enough to objects using the sculpting tools that we have already listed figures in your own personal projects. It's not just about the video consonant, however, all of our courses, we'll have plenty of resources and helpful hints along the way, helping you to achieve your goals in whatever it is they set out to achieve. In this class, we want to make you into a 3D artist by teaching you how to sculpt models in blender. So we have resources provided that will allow you to achieve those goals. In the year 2020, the sculpting tool kits in blend up was given an incredible uplift in terms of performance and push for variety. And that makes this the perfect time to begin at sculpting in blender. So what are you waiting for? 2. Reviewing The Interface For Sculpting: To begin the class, we're going to review how to set up blender for sculpting. If you are purely using blender to sculptural models, then you can use the sculpting template to set things up straight away. To do this, go to File. Then new. You will see that we have a series of templates to choose from. The one we're going to use is sculpting. So left-click. And that will open a new blender file for the sculpting template. This leaves us with two workspaces. The sculpting workspace and the shading workspace. Blender has a variety of different brushes that can be used for sculpting. All of these brushes can be found in the tall shelf, which is located on this side of the free DVI ports. By clicking here and dragging down, you can see all of the different options that are available to you. From the standard brushes, such as the draw and layer brush. All the way down to additional functions like cloth filters and transforms. You can't, when any of these options are selected, manipulates some of their most basic parameters. Up here in the header of the free DVI ports. For example, we have the name of the current blush to this being used. We also have the radius value, which is the size of the brush, and the strength value, which is how much of an effect the brush will have on the model when it is applied. You will notice that we have buttons either side of the radius and strength values. If you have a tablet, which is what I will be using for this class, you can enable either of these options or both if you wish. And they will allow you to influence either the radius or strength based on the amount of pressure that you put on your tablet using your pen. Beyond that, we have two buttons here for plus and minus. Plus effectively means that you are going to add to your surface. While subtract allows you to take away from the surface. For example, withdrawal brush. I can click and drag. And that is going to add to our surface, so it's going to bring it up. However, if I set this to minus and do something similar, you can see that we're now pushing into the surface of our object. I'm just going to hit Control and Z. To undo that. A couple of times. Beyond that, we have additional options for our current brush. We have the ability to apply textures to our brushes, determined the stroke method, the fall off, and the behavior of the cursor. Next we have the lines of symmetry and dynamic topology. These are very important options to keep in mind. Dynamic topology will allow you to add geometry to your model as you sculpt it. This gets rid of the restriction that is in place when you have a lack of geometry for sculpting. For example, the default cube is very difficult to sculpt without dynamic topology or without sub-division being applied beforehand. We're going to set things up so that dynamic topology is turned on. If you go into dynamics topology, you can see that we have several settings. The main one we're going to change is detailing. We're going to switch this from relative detail to constant detail. Relative detail uses the zooming feature of the 3D viewport to determine how much detail was applied. We want this to be fixed. So we're going to set it to constant detail. You can see that the resolution has changed. We're going to change this and increase it up to a value of 2020 is a very good starting point for creating the base details of your sculpt when using constant detail. Side we have the summit symmetrical options, X, Y, and Z. If we turn at the x value on, for example, and draw with our brush, you can see that the effect is mirrored on the x axis. Alternatively, if I was to go with the wire axis and draw here, you can see that it's being mirrored on the y axis, which is about he. Again, I'm going to use Control C a few times to undo that functionality. For now, I'm going to keep it, sets it to the x-axis and just press one on my number part, it's a go into funds over graphic view. Finally, you can access further options for your Covent brush by coming to the side panel, which you can do by pressing the end key on your keyboard. And then going to where it says told. This will display all of the settings for your covenant brush, including advanced settings like Auto Mask and topology, and things like your texture stroke and fall off methods. You can pretty much do anything here that you could do up in the header. It's just a different location. And speaking of different locations, you can also perform many of these actions. Going to the plops, he's panel, and going to the active tall workspace settings. Again, this is another location where you can't manipulate many of the same values relating to your brush. Why is this the case? Well, different people have different workflows and different preferences. So you can choose whether or not you want to manipulate values in the header, the side panel or the Properties panel, to manipulate the influence of your brushes. Now that we've covered the fundamentals of how Blender uses sculpting tools. Let's now get into the sculpting itself. 3. Egg Sculpting: This video is going to be all about choosing the light brush for you. So we're going to be taking the sphere that you see in the 3D viewport. And we're going to be modelling it into an egg shape. Now to do this, we're going to ideally use as few plush his as possible. The question is, which brushes and which type of brush should we use? If we take a look in our top shelf, you have a variety of different brushes and tools. The shoes form. If we focus on the ones at the top, you will notice they are divided up into three separate colors, blue, red, and yellow. This is not done at random or purely for aesthetic choices. The blue blushes represent the plush types for adding detail to our models. The read of brushes that you see below, the blue ones are all about reducing the detail on your models and flattening out and smoothing the surfaces. The yellow ones are all about adjusting the general shape of your model. Because we're going to be reshaping our sphere into an egg. It's clear that the ones that we're going to need to focus on are going to be the yellow blushes, the ones that focus on manipulating the general shape. From here, we now need to select which of these brushes is going to work best. Now, I'm going to just narrow this down to free options. The grab brush, the elastic, the form brush, and the snake hook blush. These three are basically very similar in their approach to redefining the shape of the model. So we're going to be choosing from one of these, starting with the grabbed flush. The role of the grub Bosch is exactly as it sounds. It allows you to grab your geometry and reposition it. I'm going to increase the radius of my brush because right now the radius is far too small. If I tried to start grabbing from the top of my sphere. You can see where able to grab the geometry. However, that's clearly not the shape of an egg. I'm going to hit Control and Z to undo the operation. And then hit F on my keyboard in order to adjust my radius. Now, as I move my cursor or my pen, depending on which we're using. I can adjust the radius of the brush. Now because I want this to be a very large brush, I'm going to max out the radius at 500 pixels. Now, I can click and grab the top of our sphere, like so. And just grab and bringing it up. So I'll bring it up to about here. And that actually looks like a good starting point. So we've got the general shape of an egg. May be a little bit wide around here, but we haven't done anything with that yet. Let's orbit our view to see what else we have. And we do have a small issue, so it might be difficult to see on your screen, but there's a little bit of stretching going on. You see where my cursor is? There's a little bit of discoloration with the shading. So it hasn't exactly grabbed all of our geometry appropriately. We now have this deformation occurring here. So that's a decent option. But it might not be the option that we should go for. Let's take a look at another brush. Let's take a look at elastic, the form. We're going to do the exact same thing. We're simply going to grab the top of our sphere and drag up. So I'm going to position about here. Click and drag up. Keep it as straight as possible, and release. Next, let's just orbit our view. And if you're finding it difficult to tell whether or not I'm actually orbiting. That's a good thing if we see him out so that we can see the camera and the light and then orbit. You can see that I am indeed orbiting why egg. But there is at this point no discoloration or stretching going around this area here at the bottom of the actual deform. This looks like a much better option for creating the egg than our club brush. But there's still one more option left, the snake hook blush. So let's see if that is better or worse than our elastic, the form brush it control Z. Then hit one just to go into our funnel for graphic view. And this time select snake hook. We're going to repeat the process by dragging up from the top of our sphere about here. And drag up. You can see that's probably even less of an egg than even the glove Bush. There's no real stretching occurring than he. But the entire model is being stretched as a result of the snake hooks functionality. So they're all quite similar in half a workbook, but we have some key differences. You can see here that this is clearly not going to be the brush of choice for creating an egg shape. However, the snake hook flush is going to allow for even greater control for creating a more abstract shape. Like so. However, in this case, we're just creating an egg. So the question is, which of the free brushes is the best brush for us? The answer, as we have seen, is going to be the elastic deform brush. We're going to select it again. Zoom in on our model just a little bit. And then just click and drag at the top to bring it up. And that gives us the general shape of Avik, as we all be our view to check nice and smooth guy gnawed away lands. And a good starting point for our model. 4. Cracks In The Egg: In this video, we're going to be adding a little bit of detail to our egg shape. We're going to be adding some cracks by combining two other brushes. The first is going to be our crease brush, and the second is going to be the pinch brush. It's important to note that whenever you change what blush or using, you are effectively changing the purpose of the brush. So whereas with the elastic, the form brush, we needed the radius very high to be able to successfully drag up our geometry. We're not going to need it to be this high for our crease brush. Let me show you what happens if we do have it set to 500. The crease brush is the final option for our list of blue blushes. Select it and then release you see if we can create a crease on our model. So using my pen, I'm just going to try and draw a crease. And you'll notice that the only thing that's happening is our egg seems to be getting smaller and smaller. Now considering I want to be creating cracks, this is hardly the sorts of behavior that we want. I'm just going to hit Control and z, undo the operation. And now let's press F on our keyboard. And just bringing our radius two about he. And actually, let's use a very specific value. I'm just going to use a value of ten pixels. Press enter. And then we're going to just zoom in on our model, increase the strength value here to about 0.5 so that we get a bit more strength with the brush. And now let's test out to see if the gulf crease brush is working properly. So I'm just going to maneuver my pen. And you start creating a few cracks. Okay, so that's looking a bit better. I'm just going to hit Control and Z to undo that. There doesn't seem to be quite enough detail yet in our creases. Fortunately, this is an easy fix. Just go up to your dynamic topology settings and increase the resolution here. I'm going to increase this up to about 50 and press enter. And let's now test once again. And let's turn off symmetry as well. Let's just create a few cracks, press down. And that should give us a bit more detail for the cracks. Excellent. What I will do is I'll just create a few more cracks. May be some that connects like so. And crack S1 and egg are generally straight lines. So we're going to want the cracks to appear as such. And you could already do almost any pattern that you want. But for now we're just playing about a bit, creating that little bit of detail. Okay, so we've got the cracks in our egg. Now we just need to close these cracks up and we can do so by using the pinch brush. The pinch brush is all about shaping the modal. So it's going to be one or the yellow brushes. In fact, it's going to be the second one, he, the icon with the arrows pointing inwards. We're going to activate the pinch Bosch. And for this we're going to increase our radius slightly, form ten pixels to 25. So I'm going to press F and just bring it out. And you can see the radius value in the top corner of the B pole as we change the radius of the circle. So I'm guys pretty at roughly 25. And you could also type it in up here if you wish. And now just position your pen or cursor over any of the cracks and just drag over. And that will just bring the cracks in on themselves, just making them tighter. So don't go too far with this. You just want to make the cracks tighter, but still fully visible. If you go too far, you may end up making the cracks invisible from view, which defies the purpose of creating them in the first place. If I just zoom in so that we can see exactly what's happening to about here. As we use the pinch brush, it brings these vertices closer together. So if I just zoom out again and keep using the pinch brush, you can see that the more we use it, the ties of the cracks get. So just use this across all of the cracks that you create. It also helps to smooth them out to a degree. And then you have a crack segue. In the next video, we're going to be taking a look at using reference imagery and setting up land, but so that we can create an apple objects. So I'll see you in the next video. 5. Reference Material: Over the course of the next few lectures, we're going to be sculpting an apple that has a face. So we're going to be creating an apple object, and then we're going to be sculpting some eyes and a mouth onto that Apple objects. Before we begin creating the object itself, we're going to cover a very important part of the creative process, the use of reference material. Now when blend out, there were different ways in which you can use weapons material. What we want to do is we want to find one or two images of an apple. And then we want to bring them into blender so that we can use them as our reference material while sculpting. So the question is, where can you find reference material? Well, there are many places that you can find your reference images. When it comes to locating reference material, there are loads of different places on the internet that you can look. I have here just a few examples. So in the scenario where we're looking for images of apples, there are many different options to choose for. The first one we have here is Shutterstock, which is a very popular search engine for locating your images. We also have other options such as Adobe Stock, which is another paid option. Very important to notice some of these are paid options. Adobe Stock does offer a free 30-day trial doubt to get a select number of images that you can download and then use. Other options include an splash. Again, another great place for finding reference images and material. Pixabay is another good one that you can use. You can also upload to some of the sites, your own images as well. We do find that some of them are ill-equipped, more focused on the actual photo and not just a simple image of the object that you're looking for. And then of course we have the obvious one, which is Google images. Now if you're just looking for some simple reference material, depending on the object, Google is nine times out of ten guns be the one that you're going to want to use. Just find the image that you're looking for. Save it to your desktop, and then you'll be able to bring it in into blender. So why I advise you to do now is just find an image of an apple. It can be really any Anna at this point. I'm just going to take this one from this page here. And I'm going to be using this as my reference material. So we are back here in a blender and what I'm going to do is I'm just going to create a new file from scratch. Make sure I save my old one. And we're going to bring back the initial sculpting workspace with our initial quartz fear objects. Well, I'm going to do is I'm going to bring in my image. And there are a couple of ways in which you can do this. So the first method is to bring in your reference material to your image editor. Now at the moment the image editor is not visible in our sculpting workspace. But we can do so by just changing one of these panels. For example, since I'm not really going to be manipulating any of our objects, I don't really need to use the outline or panel, so I'm going to replace it. Come up here to the top corner and then change this to your image editor. Next, we're going to open the image from wherever we saved. Click where it says open and locate your saved image. For example, I saved mine in the desktop. Select the image, and then select open image. This now brings the image that we saved into blender itself. I now have it on screen so that I can use it as my reference material. There is a second method. It's bringing in reference material and that is to bring it into the view port itself. For example, I'm going to press one on one number part to go into front over graphic view. I'm then going to go Edit and go preferences. I'm going to make sure that a specific ad on has been enabled. So select add-on. And in the search bar at the top, just type in image. You'll have the option to import images as planes. Make sure this is tics. And then close the preferences panel to add an image. Make sure you change form Sculpt Mode, two objects mode. Then press shift and I on your keyboard. Go to where it says image. And you will have free options, reference back ground and images as planes. You can choose any of these free if you like. We're going to be using them for the same purposes. Be mindful, DO that if you choose to import an image as a plane, this option is going to make that image visible in your renders. So keep that in mind when using reference and background images, they will not show up in your vendors, but the images as planes will. I'm just going to select images as planes for now. I'm going to locate our image and then import as applying. We will need to adjust the rotation of the image. So rotated on the x axis by a value of 90 degrees. And press enter. Then in the funds orthographic view, we're just going to hit G, Then x and move it to the side. Now we can't see the image because we're in solid view. So we're going to change this to material preview. And that will make our image visible. So now with that image selected, I can hit the SKU, for example. And scaling up and reposition. And I can bring in multiple reference images into my scene if I want to, as a means of using them to create my sculpts. Now one thing that you cannot do with the image as playing is you cannot manipulate the transparency so that you can see through it. Well, I'm going to do is I'm also going to do a background image. Just as an example. Hit shift I image background. And I'm going to choose the same image from my desktop and load the background image. This one is controlled a little bit differently. We have these four points. If we click and drag any of the four points, we can adjust the scale. And the opposite point, which in this case is that here acts as the anchor. So if we move this top wind down, the opposite point is the adjacent one. If we manipulate it from here, the anchor point changes as well. We can also click and drag to reposition. And what we can do with this type of objects is we can go to the Object Data properties and we can't manipulate things like the size, the offset values, depth. So at the moment it's sets of back, but if we go front, it ends up in front of our objects. We can also choose whether we want to view it from the front, back or both. So if we go back, then the image becomes invisible unless we orbits are view round to the backside, which is the back orthographic view. But the one that I want to control in particular is this transparency. So left-click to enable transparency, produced the value to make it more transparent. And then position the depth two in front of our model. You can now see the reference material through our model, but you can still see the object itself. So this is another means of using reference imagery as a tool for helping you to sculpt or model your 3D objects. You can choose whichever one of these free methods that you want. So you can choose to have a reference image in the vi editor or image editor. You can choose to have an image as applying and just have it as a reference in the 3D view ports. Or you could have a reference image or background image where you can apply transparency and use that to sculpt your model. Bought the remainder of this class. I am just going to be using the image up here in our image editor because I just want to keep things nice and clean in the 3D view port. And we're only looking for the general shape here. As such, I'm going to just delete my two images in the 3D viewports. And we're setup so that we can begin modelling our apple in the next video. 6. Sculpting The Apple: In this video, we are going to be using our reference material to create the basic shape of our Apple objects. Now whichever reference material you choose to use is entirely up to you. And I recommend using different reference material to what I am using. This, why it won't be a case of you just copy me. For each exact action that I perform. You will be looking to create an object based on the reference image that you have a, not the one that I am using. What we will do first is we will enable dynamic topology located here, go into our dynamic topology settings and change the detailing method from relative detail to constant detail. Then we're going to change the resolution from free up to 20. Next, I'm just going to enable symmetry on the x axis. Then we need to choose the appropriate brush. Again, because we're manipulating the basic shape, we're going to be choosing between the grub, elastic, the form, and snake hook flushes. Let's begin with the length of the apple. So the app itself is not what you would call a perfect sphere. It's a little bit elongated on the z-axis. To see it better, I'm just going to increase the size of the image editor and zoom in on the objects. So we're going to need to sort of pull it down on the z-axis, which we can do by using the elastic deform brush. I'm going to select elastic the form and increase the radius value. Now since I'm pulling the entire object down, I'm just going to max out this way, this value. And then I'm going to position my pen or mouse towards the bottom of my objects. And then press at the bottom and just drag down. I'm just going to drag it down to about here. So it's almost the reverse of what was happening with the egg earlier. Next, I'm going to just bring the top-down and flattening our bit. So I'm going to just position my pen at the top of the object. Click and press. And just bring that damn attach to something like this. And don't worry, if it's not perfectly spherical going all the way around. Because most organic objects on not perfectly shaped either. So actually that little bit of distortion can actually help your objects rather than Hindu it. That said, if you do want to create those minor edits, you can just use the club brush and just reposition the geometry as you see fit. So I'm just going to come back to the top here. Press that damaged a bit more. Just a flattening out. And then I'm just kind of press one on my number part to go into my fonts orthographic view. And from here I'm just going to click and drag just down a little bit. May be poor besides in just so that the direction is just a little bit straighter, woven coming to fall out, is pushed out in a bit further. Then press free on our number parts ago funds over graphic to white orthographic, do the same thing. And one of the most important tips I can give about sculpting is you should never, ever just sculpt form a singular angle. You should always look at your object from various different angles so that you get various different perspectives as to your object shape. So here just bring up just a touch, maybe outs and down a little bit more. And maybe just bring this side in just a tad. Ok, so I think we're making good progress with the general shape. Now we need to just push the geometry at the top and bottom of our Apple towards the center, which is what you can see in the reference materials. So at the top here, you can see that it also just caves in at the top. And it's a similar scenario at the bottom, although we do have these free different extrusions visible when there's probably a full one behind as well. Now let's first of all see, we can do this with the grab brush. We're going to reduce the radius value because if we tried to use it as it is, it's just going to pull the whole thing down too much. So we're going to hit the F key on our keyboard. And just lower that radius to about here. Then click and drag from the top. And if you're using the grub blush, you don't actually need to press down on the object itself. You can press down from above and then bring your pen down into the object itself. So let's have a look to see how that has worked for our Apple. And I think that's actually a pretty good starting point, that little bit of an indentation going into our objects. So let's take a look at the bottom. We have these four indentations coming out. But first of all, let's just drag and putting in. So I'm just going to reduce the radius again. Bring my cursor or my pen down to the bottom, just below. Click or push down on my parents if I'm using the graphics tablet and then just move up. So I'm going to move up to about here and release. Let's check our work. And that looks pretty good. So we now have an indentation at the top and the bottom of the apple. Next, I want to try and create this little effects that's happened with the Apple in our reference image. And to do that, I think the best way is going to be to use both the X and Y axes for symmetry. So I'm going to left-click to enable the y axis. And this time let's experiment with another one of our brushes. Let's try using the snake hoop brush. So at the moment I've got the radius, sets a one-to-one pixels and the strength value sets one. That's a pretty good starting point. I'm also going to press one on my number pad to go into front orthographic view. Position, my cursor or my pen in the appropriate position. So I'm going to go about he. And then I'm just going to click and drag and just push down. So I'm going to go down to about he and release. Let's have a look at that. That's not too bad. So you can try this several times until we get to look that you want. So for example, I produce thick Control Z. Maybe this time increase more at resolution to 30, since the snake hoop blush is dependent on the resolution that you select. Position my cursor here, perhaps go a bit closer to the center, click. And then just push down to about E. Have a look at that. Again, not too bad a result. Now you can see that this a very smooth transition form the indentations at the bottom to the general body of the apple. But if we take a look at our geometry, you can see that we've got a bit of banding going on where we basically created the extrusion with a snake who brush. Now we come to degree correct this by using the smooth blush. So with the smooth blush, set the strength Dan, relatively low, something like 0.4. And then just come over to where you just want to add that little bit of smoothing and just gently go over the area. And that just smooths things out, just the touch, like so. And then let's move around to the side. Use free on number pad and do the same thing. So just a little bit smoothing around the apple. Now, I think these exclusions are coming out a little bit too far. So what I'm going to do is I'm just going to use the grab brush. And then I'm just going to grab them and just gently pushed him in. And I'm also going to take this part of my model and just pull it out just a touch. And the idea here is to create a smoother transition form what are effectively the legs of the apple into the base itself. So I'm using the club brush, just pulled this out. And then let's do the same thing from the right view, is pulled them out just to touch. And then we will combine this with the smooth brush and just gently go over. We have edited, go back into our front view. Do the same thing. Just generally smoothed over. And there we go. So we've got a pretty decent starting shape for our app or objects. In the next video, we're going to be adding a little bit more detail by creating the stem and leaf to add it to our apple. 7. Combining Sculpting With Modelling: In this video, we're going to be creating the stem and leaf objects for our apple. Now, you might think, okay, we're going to be sculpting something different. But actually we're not going to be sculpting at all in this lecture. I know, I know that might be a bit confusing, but think about it. Have a look at the objects itself. Do you really need to sculpt this part of the apple? Or could you just use a basic objects like a cylinder? Now with the leaf, we could indeed create a bit of sculpting here. We can create the leaf pattern on top and we might just do that, but the general shape of the leaf, we don't really need to sculpt from scratch. We can just use a base objects. So this is what we're going to be doing in this video, just creating these objects using modelling techniques and adding them to our sculpted objects. First off, we're going to be creating the stem of the objects, which is this bit right here. To do that, we're just going to go into objects mode, hit shift, and I bring up how odd menu and add a cylinder objects. Then we're going to bring up our operator panel for the newly added cylinder, which is located down here. And we're going to reduce the radius to about 0.05. and reduced the depth to roughly 0.4. Then bring it on the z-axis so that it begins to stick out of the top of the apple. Then what we need to do is we need to adopt a couple of characteristics form the stem in the image. So first of all, it's not pointing straight up, it's actually bending as it comes up. So to solve this, we're going to go into edit mode for our cylinder, hit Control and R. And just create a series of Luke cuts. So I'm going to create this many Luke cuts. Left-click and then right-click to position. Then I'm going to press one on my number patterns to go into front orthographic view. And I'm going to toggle why x-ray option here so that I can select through my geometry. Use box selects by clicking and dragging, and just select the top part of our model. In this case, the stem. One gains do now is I'm going to use proportional editing to just make our stem lean off to the side. In April proportional editing by clicking on this option here. And I'm going to change the type from smooth to sphere. Heat G to grab, and then just scroll up. So just reduce the area of influence. And we're going to just position about here. Let's hit the archae as well to rotate and just get a general position for the stem. And we've got a little bit of distortion at the bottom here, but that doesn't really matter too much. If we want to deal with it, you can just go in and select loop of edges, turn or proportional editing and just scaled down and just shift across. Like so. But again, it doesn't really matter if it's perfect, especially if you're not going to see that part of the Apple, which in this case we're not, if we're going to be creating a render form, either the front or side views. I'm just going to toggle off x-ray for now. And I think the stem looks good enough as it is. Perhaps. We can just use proportional editing one more time. I'm just going to hold Alt left-click to select the top. Hit r, which gives the area of influence just a little bit. And just rotate it about he. And just move it across slightly as well. Okay, so that's the stem done. Now, let's do the leaf objects. 8. Modelling The Leaf: To create the leaf objects, I'm going to go back into objects mode, hit one or my number pad, hit shift and I add mesh. And for this we're going to create a plane to start with. And I'm just going to rotate it on the x axis by 90 degrees. Then press Enter to confirm. Next, I'm just going to hit the G key. And I'm just going to position it up here. And now we're going to just begin defining the general shape. So I'm going to hit the SKD, scale it down to a reasonable size. Then hit tab. And we're just going to start by taking this point in G and positioning it down. He will do the same with this point here. And let's add a modifier to this. So we'll go to the Modifiers tab, subdivision surface, crank it up a couple of levels. And you can already see that we're starting to form the general shape. From here. Let's just create the part of the leaf that connects to the apple. And there are many different ways to which you can do this. The method that I'm going to do is going to be just to create a very, very small bevel from this vertex. To do that, you can just take control and B and then hit V to bevel only vertices. And I'm going to make this very thin as a bevel, very, very thin. And left click. Then what we're going to do is we're just going to select the geometry here. Hit the Iike to extrude out too the positioning of the apple itself. And then I'm going to select these two vertices again with box select. And in the items tab, I'm going to increase my crease value to a value of about one. Hit tab. And then that gives the white sort of thickness for the stem of the leaf. Now the only problem here is that the leaf itself is now way too far away. But that's not too much of an issue because we can just select that part of the object and hit g. And just bring it down to about here. Now from here, we can do all sorts of things. One thing that I want to do right now is give it a little bit of thickness, which we can do by just adding in another modifier, which is going to be the solidify modifier. It is important to note that what modifies don't work that well with the sculpting toolkit. To keep things nice and simple, we're going to make sure that our object is selected. And we're just going to apply the subdivision surface modifier. And then we're going to apply it the solidifying modifier as well. If we hit the Tab key to go into edit mode, you can see the geometry that has been created for the leaf objects. Now, with the leaf objects selected, we're going to go into sculpt mode and just sculpt a few of these details. To starts, we're going to enable dynamic topology vertex datas detective, but that's not going to be a problem for us. We're going to open this up. We've got the settings set to 30 for constant detail, which is good. We are going to want to increase this dough just a tad perhaps. So that's increased resolution to 40 and press enter. Then we're going to change to our crease brush and lower the radius to something like 20. Now let's see if we can create some of these creases on the surface of our leaf. So will position our view port so that we get a good impression of the leaf objects. Move our cursor down to about here, press and then press up. And you can see that's not quite what we're looking for. Yes. So what do we need to change here? Well, let's first of all, increased strength all the way to one. Dynamic topology has actually turned off for some reason. So we need to turn this back on. Have the resolution sets are fully, maybe let's go 50. Now that we think about it. And now let's try again. So come to the bottom, click, drag up, and that's a bit better. But the radius we can see is still too big. So we need to adjust the radius even further. Let's reduce it all the way down to five pixels. And this really is the process of sculpting, just going through your brushes, seeing what works, seeing what doesn't, adjusting the values. So you might change or radius, you might change the strength values, et cetera, et cetera. Let's try this again. So at the bottom, press and then move up. That's looking a bit better. So let's press Dan bit more. And based on this, I think we can go just a little bit smaller with our radius. So free pixels. And we could also go even higher with our resolution. So let's go into 60. From here. I think I'm just going to undo that, makes sure the settings are still being applied. And then we're going to create the crease and then pinch it. So we're going to combine the crease brush and the pinch brush. One more time. Let's just press down and then move up. And if you're finding it difficult to see, that's because the radius value has been reduced. But we're only looking to create a very minor crease here. So we're just going to go back and forth. To create it. And then let's also just creates some of the additional write little plant cheese that you see coming out from this may increase. So we're just going to go here and just create a minor crease. And actually let's increase that radius just a bit. Six pixels will go to about here. And then again here. Just working our way down the leaf. And that's also do one more here. And it doesn't look too good at the moment. But what we can now do is we can now use the pinch plush to pulling this all together. So I'm just very quickly gains is covered this bit like so. And then let's enable our pinch brush. Let's increase the radius a bit to 20. And let's just come over. Just use that pinch brush just to bring everything just that little bit closer together. Let's up the strength all the way up to one. And then you can see the pinch brush, in effect, just bring everything to get a give or just a tad sharpening, it's up just a bit within the crease. So we're just going over each of the branches again with that pinch brush. Just creating that little bit more detail. Okay, from here you can do all sorts of things. You can, for example, reduce the radius. And that will allow you to just bring it in just a bit more. Or you could even increase the radius. So we increase it to say 92. Click and drag. And you can see the pinching effects is just a little bit sharper. Be careful here though, that if you increase the pinch radius to high, you're going to effectively merge all the geometry together. So here we're just lightly just going over these very lightly with the pen. If you're using a mouse, you might want to reduce the strength value. But since I'm using a pen, I could just lightly go over dispute brewing that geometry in. And you could spend as much time on this as you want. So you know, is there that I just did a little bit of something to the general shape of the leaf. I'm just going to hit Control Z a couple of times just to undo that. And when you use Control C for your brushstrokes, it's going to create one step for each cloak. So for example, as I brushed down on my pen, I do one stroke release for my tablet and then another stroke. And those count as two separate actions. So do that just a little bit more. And this is where being a perfectionist can kind of come into play. And you can spend a lot more time trying to get the general look of your objects to look just right. For the sake of time, I'm going to leave it as that. But as a mini challenge, I want you to see if you can create an even better result. One little tip is that you can use the smoothing tool for this to just move over the geometry. But be very careful with the smooth tall and pinching. Because the smooth tool used too much is going to just completely wipe out any of the detail that you have created. So use that sparingly, but keep using the pinch brush, try and get the look exactly how you want. And that will bring us in to the next video where we're going to be returning to the Apple objects itself. And we're going to be having a little bit of fun by turning it into a face. 9. Sculpting The Eyes: In this video, we're going to be returning to our main Apple objects. So let's go back into object mode. Select the apple. We're just going to turn off our x-ray option here. Press one on our number part to go into our fun orthographic view. And we're just going to just sensor on the apple itself. So I'm looking at my objects from the front. We can see that we've got the stem and the leaf just providing just that little bit of extra detail. And now we're going to create a couple of eyes so that we can begin building a face for our Apple. With the Apple selected, we're going to go from objects mode into sculpt mode. And then we need to choose which we want to use to create the eyes. Now for this, I'm actually going to use the drawer plush. And then I'm going to push in to my model by standard with each wall blush. If we were to begin drawing, it brings our geometry out. So it adds geometry and brings it out. But we want to bring it in, which we can do so by changing it from positive to negative that these direction affects. I'm going to hit Control. And z a few times to undo that and go back into my front over graphic view. Now I'm only going to want the symmetry to be on a single axis, the x axis. So I'm going to turn off the y-axis for symmetry. And I think a brush radius of 92 pixels is pretty decent. Let's set this up to one and make it negative. Now, let's begin drawing the eyes. Position the cursor where you want to create the eyes, and then press down on your pen. With the pen press down, I want you to create a little spiral shape. By creating circular motions. This is going to allow us to pressing on our objects and create the eye sockets. For me. I'm just going to bring my pen down here, touch just to elongate the eyes themselves to about here. And I've done that all without lifting my mouse above my tablet. So that was all one circular motion. If you do this multiple times, you can create a much deeper indentation for the eye socket. So for example, I'm pressing down again, create a spiral again. And you can see that the indentation is now much larger. So I'm just going to shape this how I see fit. And then let's just assess going brands. I think that's a pretty good starting point for the eyes. So before going any further, let's just make sure that we save our work. And now I want to just add a little bit of pinching going around the eye sockets. So I just want to sharpen these up a bit. To do that, let's enable our pinch brush located here. And let's keep the radius and strength values as they are just for the moment. And just hover over the circumference of the eyes. And just gently click or press and just highlights those edges of the eye sockets. Disco ran that a couple of times. And if you think the radius might actually be too big, which is in this case, you can always press undo and then reduce the radius. So let's go down to something like 64. And just repeat. The process is gently coming around just the line you to sharpen up the edges around the eye sockets. Okay. And if you feel like it's creating too much distortion around the eyes themselves, you can always combine this with your smooth brush and then just go over the distorted areas, just attach just to clean things up a bit. So here I'm just going to increase my strength value to one so that I can get a bit more smooth and going on. And just generally come around the outside of my brush or outside of the eyes, I should say. Okay, and I think that's a pretty decent starting point for the eyes. You can go in and add more detail, maybe make it sharper or softer if you wish. But what I'm going to do right now is I'm going to add in a couple of UV spheres and position them inside of the eye socket. And before I do that, I think I'm just going to take my brush and just grab he and pull out. Maybe increase the radius as well to something like 180. And then just click and drag. And this allows us to just reshaped the eyes once again. So I'm just clicking and dragging, just attach to bring them out. And this is a great way of also creating the different facial expressions. So for example, I could grab and drag down. And you can see even with our mouth that we're creating an angry face. And I think that actually looks really good. So I'm going to keep that as is. Next, we're going to add up the apple, as we described earlier, to go into object mode. Let's hit shift and i. And we're going to add ourselves a UV sphere. Let's rotate it on the x-axis by a value of 90. Reduce the radius. Move it along the y axis. So we're going to go negative on the y axis so that we can see it. And then just move it across on the x. And this here is just all by getting the right positioning. So that's produced that radius a bit more. Just guessing it in that correct position. Ok, so we have one iron on one side. Let's now duplicate that over to the other side. We can do so by hitting shifting to create a duplicate block gets at the x-axis and we position over here. So we're making good progress with our apple objects. In the next video, we're going to be adding the mouth of the object as well. 10. Sculpting The Mouth: In this video, we're going to be adding the mouth to our object. But before we do that, I just want to point out that I've made one or two changes to the eyes. Basically, I just took the eyes, added a subdivision surface modifier to each. And then I went to objects and applied smooth shading. Now before moving on to the mouth, I want add a couple of eyebrows just for fun. We can do this very easily just by going into Sculpt Mode and using the draw blush, setting the value 40 direction to positive. Let's just zoom in where we want to create the eyebrows. Reduce the radius, attach. And then just wore the eyebrows above the eye sockets. So just click and drag like so to create your eyebrows. And if you need to, you can go in and you can perhaps do a bit of smooth shading at the sides. And that just adds just that little bit of additional detail to our model. Okay, Let's now move on to the mouth, which is effectively going to be the same process as creating the eye sockets. So I'm actually going to create an evil Apple here. So it looks like he's angry, but he's actually evil. We're going to create a little bit of a smile here. Go back to our draw brush, set it back to negative. And then just position the brush. Keep x-axis on, and just grab from a sensor and just begin creating the indentation. I'm going to position it so that we can move the indentation up. Like so, so little strokes pushing up. And that's also pushed down a bit as well. And this just helps us to create the indentation. Bore the mouth. So let's see what we've got so far. I actually quite like that. So next, which is going to come and change our view. We're going to draw into the top of the mouth. Like I'm doing here. Just getting weird of some of the excess geometry. And again, if it starts to look messy, you don't have to worry too much because we always have our smooth blush to help. So I'm going to go back into my front view and just begin smoothing this out. And eventually, it should all even out quite nicely, especially if you've got the string value sets are one. So we'll come and orbit our view again. Don't need this much detail where we can't see it. So we're just going to just move over it with the smooth brush. Like so. So that's looking really good. One last thing that I'm going to do here with the mouth is I'm just going to use a little bit of pinching and just bring the edges of the mouth together just a bit. So I'm just gently rushing over the edges of the mouth just to tighten it up just a bit more. Okay. And I think that's looking really good as it is. We can definitely see that as sculpts now has a little bit of personality to it. From here, you can do all sorts of things. You can use your Grab or elastic deform brushes and begin changing the expressions both with the eyes and the mouth. You could perhaps do a little bit more touch ups, make the outsides of the eyes and mouths just that little bit smoother. Using the smooth brush. You can also use the flattened bush with this as well. But be mindful that that's going to completely flatten the geometry as well as smooth it out. And from here I just advise that you go in and just play about with a lot of what we've done so far and see if you can create different objects. So one thing that we're going to challenge ourselves, we're doing right now is you can potentially interesting, duplicate everything that you see here. Move it to the side, and then create a different Apple with a completely different facial expression. Stash just one example of how you can use what you've learned here and practice using some of these sculpting blushes that we've been using, such as the floor and smooth blushes as well as the pinch brush. 11. Sculpting The Tongue: In this video, we're going to be finishing off our Apple boy, sculpting a tongue that's going to be extruding form the mouth. Right now, we've got the apple objects. We've sculpted the eye sockets and the mouth. We've added some eyes, eyebrows, and even a stem and leaf to go on top. So it's looking pretty decent so far. We're going to just add one more thing and that's going to be a tongue. So there are several different ways in which we can do this. But the method that I'm going to use to create a tongue is going to be a method that we haven't looked at previously in this series. We're going to be creating a mosque and then extruding geometry using the mask. So this is how it works. We're going to find the position where we want to create the tongue. So it's going to be about here roughly. And then what we're going to do is we're going to hold down shift and I now in objects mode, shift and i is going to allow us to add a new object. But if we press shift and I in sculpt mode, you can see that it darkens the shade of the Apple. He we can create a mask. So if I move my cursor out, you can see from the location where the cursor is, the shading is being altered for our model. This is how we can create the mask that we will use to create the geometry. So I'm just going to cancel with the white mouse button and show you again. So shift and I move the mouse, we're going to move it to about he and left pick. So now when we use any of our brushes, we can only affect this area of the object. This is going to be very useful for some of the brushes. If we were to use our draw blush, for example, set the positive direction and begin drawing. Click and drag. You can see we're able to extrude the geometry, but we can't do the same anywhere else. So here I'm just clicking and dragging. Just creating the tongue by just drawing a little bit more geometry at each time. And from here, now that I've got the geometry created, I can begin perhaps smoothing things out and begin reshaping the TEI itself to how I see fit. So I think maybe the tongue could be a bit thicker. Let's just add a little bit of detail at the side. And always remember that if you think, oh, it looks horrible, you can always use these root blush that just correct things. Which is exactly what we're doing here. I don't want the shape of the tongues be perfect, or do you want it to have some bumps, increases going around? Let's just bring that in, touch. Maybe come down as well. It will be moving towards the bottom. There we go. Now at the big question is, how do we get rid of the mosque? Well, you can get rid of the mass by coming up to the mosque menu at the top and going clear mask. Or you can use the hockey alt and M. So if I hold down alt and press M, we get rid of the mask. So to review its shift and I to add a mosque and olds and M, to get rid of the mask. To finish, I'm just going to take the time and just grab it and pull it down so we can use perhaps the grabbed brush, increase our radius and just drag and drop that down, especially at the front. And be careful that without the mask as we attempt to grab the tongue, we could also end up grabbing the mouth so you have to be careful with the radius. But this is another example, or perhaps wanting to use a mask so that you can just isolate a specific area of your modal bought sculpting. She's cool wrap, which used to radius. Just grab and drag the mouse up just a bit. Drag it into wars that sang. And then just reshape. And there we go. From here you could again go about things differently, perhaps, create a different shape for the tongue. One thing that you could do is you create perhaps a spiral shape at the tip. And you can do this by using something like a snake hook tool. And then you can just begin creating different shapes. Bore your tongue. But we're going to leave it at that. Thanks guys for joining. And I will see you in the next video. 12. End Of Class Challenge: Congratulations, ladies and gentleman, on completing this class on sculpting in blender. To finish, we're going to be doing an end of class challenge to test the skills that we have been developing in this class. For this challenge, you must complete the following task. I want you to sculpt an orange, a pair of banana, and a lemon and get them all faces of varying expressions. Things to consider as you complete the task, makes sure to create the whole fruit first and then constructs the face from what you have created. Lookup reference material for both fruits and expressions. Decide which shape brush is best suited for your model. For example, creating a banana might require a different brush to creating a pair. Sharpen the edges with decrease and pinch brushes, particularly when you're creating the mouths and ies of the model. And go beyond this. What else can you create other than the objects listed in this task? Thank you guys for taking part in this class. I hope you've managed to improve your skills when it comes to sculpting using Blender. And I hope to see you next time.