Intro To Digital Sculpting with Sculptris | Pierre Rogers | Skillshare

Intro To Digital Sculpting with Sculptris

Pierre Rogers, Character Artist

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25 Lessons (1h 40m)
    • 1. 1 Intro to Digital Sculpting

      0:46
    • 2. 2 What is Digital Sculpting

      0:42
    • 3. 3 Specs and Installation

      2:14
    • 4. 4 Hardware

      0:56
    • 5. 5 Interface and Navigation

      1:54
    • 6. 6 Symmetry

      1:00
    • 7. 7 Brush Settings

      1:35
    • 8. 8 Grab Brush

      1:26
    • 9. 9 Draw and Smooth Brush

      2:00
    • 10. 10 Crease and Pinch Brush

      1:05
    • 11. 11 Inflate and Flatten Brush

      0:47
    • 12. 12 Rotate and Scale

      1:26
    • 13. 13 Mask Brush

      1:15
    • 14. 14 Materials

      0:46
    • 15. 15 Save and Open Files

      1:04
    • 16. 16 New Sphere and Plane

      1:09
    • 17. 17 Technique

      2:16
    • 18. 18 Mini Dragon Head p1

      9:41
    • 19. 19 Mini Dragon Head p2

      12:08
    • 20. 20 Mini Dragon Body p3

      10:20
    • 21. 21 Mini Dragon Body p4

      13:11
    • 22. 22 Mini Dragon wings p5

      5:31
    • 23. 23 Mini Dragon Details p6

      11:14
    • 24. 24 Mini Dragon Details p7

      15:24
    • 25. 25 course end

      0:38

About This Class

Are you interested in Sculpting, 3D Art, 3D printing, or simply adopting a new creative outlet?.

Intro to Digital Sculpting is a Great Place To Start!!

This is a complete beginners introduction to Digital Sculpting.

learn all the basic tools,

and in little time, we will start and complete a mini dragon sculpt together.

Once done, you will be equipped to enjoy what 3D sculpting can offer you.

We will use Sculptris, a free program, that offers one of best sculpting experience's available.

So press play and, let's have some fun Digital Sculpting.

Download Sculptris

Transcripts

1. 1 Intro to Digital Sculpting: Hello and welcome to intro to digital sculpting with sculptures. My name is Pierre, and I'm a character. Artists I've been studying and teaching digital sculpting for over 10 years have had opportunity to create some coursework and lessons for learning hopes and magazines. In this course, I will ease you into the world of digital sculpting and assume you have no prior experience with three D or any other art software. I will walk you step by step in acquiring the free software we will use, as well as recommend optional hardware and quickly get you up and running. So join me unless have some fun. Did you sculpt? 2. 2 What is Digital Sculpting: What is digital sculpting? Well, digital sculpting or three D sculpting is pretty much digital clay. Using software with tools may to mimic those use with traditional cliff. Ours manipulate geometry to create characters, creatures and other objects. Is interest banned from hobbyists to professionals working with video games, movies, toys, advertising, three D print as well as the medical industry? Advancements have put the more technical aspects in the back seat, making three D creativity more accessible and affordable than ever. 3. 3 Specs and Installation: specs and installation sculptors is one of the best sculpting applications available, and it's free from picked a logic. In order to get your hands on it, hop online and type picks a logic dot com for its last sculptress and to the address bar. Or you can type sculptures into Google. And so, like the first results here, you'll find information about the software as well as require computer specs. If your computer was bought new in the past 10 years, there's a good chance you'll be fine. Click the free download button here, then click toe. Agree to the following statement, basically letting you know that the software may not work on your computer and that there may not be any support if needed, which is all fine. Next. Select rather Windows or Mac on the next screen. Enter your name and select a language of choice. It's like hobbyists and move towards the bottom of the screen and press summit. Next screen will provide you with a download button. Click the download button and wait a moment to finish. Once done, click on the download at the bottom of your browser. A sculpture said it window will pop up, Click next and click. I accept agreement. The next button. If you like to install sculptress in a specific location, do so what this grain. Otherwise so like next click next again on the following screen to begin installation was done. Click finish software crashes happen and are to be expected from time to time. However, in the event that sculptress doesn't run on your computer, there is still hope. Sculpt Geo is a comparable free Web based sculpting application, biased if a gun there, most of the content and this course can translate to sculpt. Deal simply tight, sculpt geo into your search engine and select this link. It will immediately put you in the application already to school. 4. 4 Hardware: hardware you can indeed digital sculpt, using just a mouse while completely optional, using the graphics tablet is highly recommended. Much like actual opinion paper. They allow you to create a range of small to large or shallow to deep strokes, depending on your pressure applied. Most digital art applications are made to take avenge of this hardware. These once pricey items have become more affordable, allowing to purchase one for a little as $22. Well, like $23 out text, but still very affordable. I've made a small list of talents ranging in size and price, all under $60. Do remember, though you have no problem completing this course using your trusty males. 5. 5 Interface and Navigation: interface and navigation. Let's start by opening sculptress. You should be agreed it with a screen very similar to this. All of our tools are located on the left side, in small square or squarish tiles. Up top is some additional options. As for navigation, it's hard to tell if you're moving around a perfect sphere. So let's select the draw brush over here next, left, click and hold on this year, then drag and release. This should help us navigate around it. Now there are a couple of ways to move around inside sculptures. There are notes or moving around in the right hand corner of your view port. This could be toggled on and off by pressing the F one key on your keyboard. Place your cursor in any empty space. Click and drag in order to rotate around your model. You can also rotate around your model by right clicking and dragging on your model president. Whole shift key to snap camera to profile views, press both control button and right click in drag in order to zoom in and out of your model . Alternatively, you can use the scroll will in your mouth to do the same. Lastly, you can pan around your model by pressing both all key and either right or left, click and dragon in the empty space. This can also be done by pressing Ault and right clicking on your model and moving around. Take a moment to practice how to pan, rotate and zoom in and out of your mouth until it starts to feel natural. 6. 6 Symmetry: symmetry. Symmetry is essential feature in most gold taps. The sculptures is no different by default. Symmetry is activated. When you open sculptures, you can tell that symmetry has turned on by a faint white lines going down the center of your model, as well as the symmetry button being highlighted in orange. This could be turned off my pressing this imagery button. You will get a pop up message asking you if you like to continue or not clicking yes or moves, symmetry and the faint white line with allowing you now to sculpt on both sides of your model. Independently. You could turn stem entry back one. If you like. This will mirror the information from the right side of your model to the left. Clicking the symmetry button one will give you a pop up message, letting you know this clicking OK will confirm and make your model symmetrical. What 7. 7 Brush Settings: brush settings. Let's say you were tasked with sweeping a larger room. Would you prefer a normal sized room like this one four large push broom? I'm sure most will pick the large of a room for the job. The idea here is to pick the best size for the job and sculptures. There are many ways to change the size instrument of your brush at the top of our report, we have two sliders won't controls the size of your brush. The other controls the strength stretched controls. How strong of a stroke you will make the most preferred method of editing our brush uses the space bar. Pressing and holding the space bar on your keyboard will open the brush me you wherever your cursor is located. Dragon, a marker on the slider will make changes to your brush. You can change the breast size instrument without touching the slider simply by holding the space bar key. Open the menu. Next, click and drag left to right anywhere toe. Adjust strength and click and drag up and down anywhere to adjust the size at the moment. Don't worry about the detail slider. Just keep it in the center you can preview the size and strength of your brush or your model by viewing the orange circle representing your brush. It can previewed the strength of your brush via the shade of orange the circle has. 8. 8 Grab Brush: grab brush. The grab brush is pretty straightforward. Select the grab brush. Next, click and drag on your models. The grab brush allows you to push and pull areas of your model. The size of your breast reflects the area. You can move around changing the strength and will affect the way you're grab Brush moves Control Plus Z allows you to undo your last stroke or move. You can undo up to 10 times consecutively. Some brushes have two moves. The grab brush has a global mode. Since we already have the grab breasts elected, we only have to click. Grab brush once again to shift to global mode or simply turn one global mole by clicking here. Global more allowed you to move your entire model. Keep in mind with symmetry on Global Mole only allows you to move up and down the symmetry line, take some time to play around with the grab brush wants fairly comfortable trying to make something simple, using only the grab brush. I suggest a head or face. It may be difficult, but the goal isn't to make a masterpiece just yet. But to establish understanding for the basic tools 9. 9 Draw and Smooth Brush: draw and smooth brush the drop brushes or go to brush for sculpting your model. Select the draw brush. Next, click and drag across your model to create a stroke by default. The brushes and claim old. Now hold the all key stroke. Your model. This is how you carve into your model, using the draw brush as mentioned before, some brushes have alternate modes. Pressing a draw brush icon again will turn off claim. Oh, or you can simply unchecked the clay mode here. Now create another stroke for your models. You can see the difference between the strokes. The clay stroke has a flat top. While the non clay stroke has around top. Be sure decides your breast appropriately. To sculpt the area you're working on. The smooth brush well smooths. Select the smooth brush. Next, click and drag across a previous stroke to smooth it out. Smooth is used in various ways. It could be used to erase details or too soft, and details adjust in. The strength of your smooth brush will affect the intensity of your smoothing. You can quick toggle on the smooth brush at any time, no matter what brush you have selected for instance, select the draw brush. Now hold the shift key to toggle on this move brush and drive across your model, then relics without pressing anything. Stroke your model again. As you see holding. The shift allows you to hop in our outlets. Move, brush. There are still a few more brushes to cover, but these two alone with the grab rush could get you moving things around and have some fun sculpting. So have a go and try making, let's say, a smiley face. Be sure to experiment with the alternate brush, mose and breast settings. 10. 10 Crease and Pinch Brush: crease and pitch, brush, crease and pinch are essentially your detailed brushes. The crease brush allows you to create edges to your sculpted details, so like the crease brush next, click and drag across your model. The depth of the crease can be changed from shallow to deep. By changing your brush strength, hold the all key and create another stroke using the crease brush this time the breast crease and raised edge instead of a normal crease. The pinch brush allows you to close gaps in sharpened edges. We need something a pinch in order to demonstrate. Create a stroke on your model using the draw brush. So, like the pinch brush. Next, click and drag. Let the wise to stroke notice The stroke has shrunk. Increases in edges can be tightened by dragging the pinch breast across them. Be sure to select the right size instrument to get the best results. 11. 11 Inflate and Flatten Brush: inflate and flattened. Brush the inflate. The flattened brush should give you unique ways to edit your model. Inflate brush, let you expand your details. Select the inflate brush. Next, click and drag back and forth. Now try a circular motion. You'll see that the brush girls in a bulb like manner. The flattened brush polishes your details. Select a flattened brush and brush over details to see its effect. You know that it basically flattens the surface. The fact came. Vary in intensity by changing the strength of your brush. Take a moment to play with these brushes before moving on to get a good feel of them. 12. 12 Rotate and Scale: scale and rotate scale and wrote A allow you to move parts of your model in a specific manner. The rotate tool gives you ability of rotate parts of your model or the entire model, so let the rotate tool next click in the hole. This circle represents the center of your tool. Next, drag your cursor outside the circle. You were noticed. A line follow you most outside the circle. You can now rotate the area defined by the size of your brush. If you want to rotate, your entire model said we go to the options at top of the view port and check the global option. Note. That rotation is limited, with symmetry turned on how the scale breast works in a very similar method, however, allowing you to size up or down an area of your model or your entire model. Select the scale brush. Next, click and drag over some details to see its effect. You will see that you can enlarge or shrink an area of your model defined by the size of your brush. Just like the rotate tool. You have option to skill your entire model by clicking on global this other tools are really handy. If you're working with more than one piece of geometry or simply by means of making edits to your model, that may be difficult to do with the move brush. 13. 13 Mask Brush: mass brush masking refers to the clever technique where painters use masking tape or fluid to protect areas they don't want to paint. One. The mass breast gives us the same ability. For instance, select the mass brush. Hold control key stroke over an area. If you need to edit your mass, simply drag across your model without holding the control key. The dark color represents the mass means that we can't edit the area until it's removed. Try stroking over an area. You will notice that the mass area is unaffected. You can avert your mass by holding the control key and clicking in an empty area on your view port. This is very handy for masking off large areas quickly in order. Clear mass. Hold the control key. Click and drag within an empty area of your view port. Changing the strength of your mass will give you shades of gray. They're very in influence. Spend some time playing with the mass brush, drawing a mass drawing multiple mass, inverting mass and trying various gold brushes around mast areas. 14. 14 Materials: materials materials give you alternate ways of you in your model as different surface types . And lighting is a good idea to switch up your material from time to time to be your model and detail, as well as forms under different lighting and occasionally to reunite your interests. You can change your materials by clicking on the icon at the top of your view port. This will present you with some materials to choose from. You can use your mouse scroll will to move up and down. The list will grab the marker to the right to do the same. Simply click on the material toe. Apply it and you're done. Materials can be fun to play with, but keep in mind there very shiny. Um, and talent materials can be difficult to sculpt with. 15. 15 Save and Open Files: safe and open files. At some point in time, you will want to save your progress and pick up later. To save your work. Select to say, but in here, and you will open a menu to choose where to save your file. You can recognize sculptures files by viewing the Suffolk's dot SC one on each file toe open files. It's like the open file button here. Next, navigate to a location of the file. It's like open sculptors will axe you. If you want to open the file as a new scene or add object, many add to your currency. If you select at object, you will now have to place the model in your scene. Be sure to choose a good viewing angle to place your model and prior when it's time to place your model, you aren't able to change your camera position toe after it's placed, your model will be added to your singing, masking off everything but the new geometry. Remember that you can invert your mass or clear it at any time. 16. 16 New Sphere and Plane: use fear, new point use fear and new playing. Higher options were starting a new project or to add more models to your seat to add another model to your scene. Quick, either new sphere for new plane. Next, you will receive a message box. Click. Add to see Actually will need to place the object in your scene. Keep in mind if symmetry is on, you have the ability to place a new model, either on both sides or in the middle at their clicking. To go foreign placement. Your new model will be added to your scene with everything mast off. Remember that you can ember or clear the mass. If you want to start a new project, simply click either new sphere or playing, and this time, select new scene what you may receive. A warning message, letting you know that any unsafe work will be lost. This is your opportunity to click, cancel and save your work, then repeat the process or select okay, 17. 17 Technique: tips and techniques. A few things to know and execute going forward. 30. Shake burnt down Visually Breaking down your project into basic three D shapes helped you establish a solid foundation for your school shape. Hierarchy is best practice to identify and create the large and simple shapes first and grow from there. The contour of your subject is first is known as the primary shape. The next level of shapes within are considered. The secondary shapes. The last Bin Ali's are the treachery, shapes or detail. This is how many artists develop their creation from the ground up. Build in pieces. It is very possible to sculpt your entire project from one solid piece of geometry. However, this could be difficult and time consuming. After a while, his best practice to split your model up into separate pieces of geometry to gain additional control over the section. Pre planning tools and methods as you gain experience is good practice to imagine what tools more brushes you will use to tackle each portion of your project. You can take this a step further and even label your reference, noting what tools or met this will be used for each section reference is not optional. Don't trust your mental library to help you do a good job. Any subject matter is full of subtle nuance. Says your mental library will not recall save. Often sulphur crashes happen. There's usually no way to telling when they will happen In his best practice. To save often every 5 to 10 minutes is a good average. In the event that sculptors crashes and you haven't saved your work, you won't lose too much work. Sculptures has a recovery system that will load your project upon relaunching the program. 18. 18 Mini Dragon Head p1: many dragon hit. We will put all of our knowledge of brushes and tools cover and to create in a mini dragon sculpt to keep our reference on screen. I'm using a software called Pure Ref allows you to place all of your reference images into one area and, most importantly, activate a state on top mold that make sure our references state on top of ourself for as we sculpt Now, the title suggests we're going to be working on the head of our many dragon here, starting things out with the grab brush here on those art, pulling out the shape for his head. One thing you'll notice, as we sculpt here is that we move around constantly around the model. This helps us make sure that we establish the shapes that were going for from every angle. Now you could dive in here and start to sculpt things out with the draw brush, but I believe is definitely best practiced, established a basic shape, using your grab brush Before you start to really get into sculpting, I'm just grabbing and pushing towards the edges to Canada. Give myself some corners here. I don't necessarily want corns, but I'm putting the Indy model for now. Just toe establish that basic shape I have in mind. And I'm looking at the lizards hair from a profile view which will be working from mostly throughout this course to take advantage of symmetry here. Be sure to play around with the strength of a grab breasts. So you get just the right strength for pulling out the form you want. One great way of improving your sculpting skills is to actually draw even if you're not the best. Sketch artists still give it a shot. Understanding how shapes work and two D will definitely benefit you Any three d world. Now I'm gonna go and use the draw brush to carve out a placeholder for his eye Here, help us figure out some of the forms here is good to have a spot for the I. So we can kind of have some perspective as to where some of his pieces, such as isn't snout and mouth will go. I'm just using this to build up the brow and bags underneath his eye. Here. Just placeholder stuff here, and what you'll see will happen as you get used to playing with several brushes, as we have in the past, clips that you will start to understand what brushes will give you the effect that you want , and after a while it'll become second nature and you'll just know immediately or brush to use. But if your new for now, this will take some time before you kind of develop this understanding of root brushes to use as several brushes can kind of give you similar effects and you'll learn which ones ah more suited to what you're trying to do at that point in time. Just continuing to check things out with the grab brush here, making sure to work my way around various angles here we stated before. Now most of the images I have here for the reference are of a lizard call the armadillo girdled lizard and the red eye little guy. There is the red eyed crocodile skink, the name of the laser case you want. Look those up now. Full disclaimer. This is actually my second or potentially my third attempt at sculpting a dragon hit now similar to how basketball players and other athletes run drills and practice before the big game. I warmed up to the actual subject matter of sculpting a lizard by doing some trial runs, and they weren't that great. I will admit that. But it's one of those things where you just kind of have to warm up to it as your mind starts to get accommodated to the tools you're using and more importantly, these shapes that you want to actually make. So if you don't know what your first time and you're filling, discourage, don't take a break. Start again and you will definitely improve every time you do that. But if you can try to stick in there and try to figure out why things aren't working, use different brushes and so one you will get it. Keep in mind that at this point, are sculptors more a loose sketch and there anything can change big or small or a drastic or subtle. At this point, I'm gonna make his eye socket larger, like a nice large. I two enhances his cute nous factor here. I'm gonna go and crap the draw brush and do a little sculpting up top here to start just to play with that brow. Give me a nice heavy brow. Typical for dragons here. Look around, angle on a carve out a little bit for its knelt just to get the shape I'm looking for. Gonna come in here and begin to carve out a little bit of a whole for, Hiss knows could go ahead and turn off claim. Oh, but I have, ah, special relationship with Clay model. Really like that brush there? Sure, let's move it out. I come back in and carve a little bit deeper here now would claim Modoff a few more tweaks here as we continue to work our way around the model. Now, if you can get here faster, that's awesome. But if it takes you longer, that is also very well and completely fine. Everybody works at different paces. The ultimate goal is just to make something awesome and have a great time and learn while doing so. Thinking we are just about ready to place in a mouth here. So let me make a few more tweaks before we start to do that here to a snow. What not? It's going lightly and draw that in carving in the mouth here with the crease brush. Make sure to play around with TheStreet value want for that? And once again, this is just kind of a placeholder. Were likely to shift things around re stroke and smooth and all sorts of things. As we go forward and figure things out, this is pretty much clay. We can still move it and shape it as we will. Okay, Right now, we'll see what we tackle next on his head. Mikel head and grab this mass brush. I'm gonna go here and mass the upper portion of his head. I feel like hiss now is a little bit too thin at the bottom. Something's going grabbed the grab brush and kind of pull out. And this is one of the ways people use mass in order to protect errors. They don't want to move to move areas. Just the heirs they want to move like so should make sure I got what I want before clearing . All right, look it from a few more angles Here. I see Nick's. Let's go ahead and add a sphere. Your project here. Plus, undo that Snap to the center. Do it from the front here. All right. This way we can avoid snap into the center next. We're gonna go ahead and skill that was down, all right, and used the grab brush, which is in global mode now, and just start to move that in place. Now, you shouldn't know if you're new to working in three D. Placing objects is a bit tedious. You have to look from various angles to make sure you do have it in the right place. So don't be in too much of a rush to Nell things too quickly before moving the one. Okay, now we got the eyeball in place here. Let's go ahead and continue to tweak our head here. Some of the areas that we're looking at Can I have this idea of him having sort of a spiky jaw and a rear there? Definitely work that out as we go forward. Just come here and play with these horns here, widen the gap using this grab rusher. I want finagle too much with it. Just something to note later on. All right, let's check mount from a few angles here. But that just about concludes this clip and the next clip will continue to work on its head 19. 19 Mini Dragon Head p2: many Dragon head, part two. All right, In this clip, we're gonna pick up where we left off in the last clip, continuing with the development of the head of our many dragon. Here, I want to go ahead and grab the mass brush an ad in addition to his eye. That's mast off a mast off region around his eye. After inverting, I'm gonna use the grab brush to make some edits to the I section here. You may notice these kind of tweaks could be relatively hard to do. Just using the move brush by yourself. The masking gives us the capability to work in Oeiras. We want and kind of find the boundaries in a different manner. You see, now I'm just pulling out the eyebrow ridge. Just seeing how things are looking from this angle one and clear, that mask unmasked I and in invert like so okay, and just perform a bit of smoothing around areas. Now it's best interest to make sure you have your big shapes locked in and relatively happy with before we move into the detail face. Because it can be hard to rework the big areas after you added in some details, you find yourself potentially reworking some areas and spending more time than you probably want on your model. So that's my plan here to continue to make these tweaks until I'm relatively happy before we dive in with more sculpting on the surface level here. All right now with the flattened brush, I'm just gonna go ahead and use that as a means of smoothing or polishing. I should say some areas and kind of get a different look to the surface as opposed to use in the actual smoothing brush, using a low strength flattened brush here around the model, just using it to tweak some areas. Can I have some definition to the surface here? It's really good for making hard areas look hard, like the bone of his horns you'll see later on as we come back to detail these areas. All right, this will be our last major at its using the grab brush here. It's a few tweaks around the head and mouth area here that's done. Let's go ahead and grab the draw brush, and that's with claim all turned on. I wanna get back in on the eye area. I started to develop that that fold over the I can develop violate here. And every stroke I make in the same areas is building up that the height any more value the same for underneath the eye, kind of adding to that bagh area. And we got some Valium set in here. It was going to go ahead and grab our crease brush. It's up here. And I was gonna come in and add some definition to this eyelid and around the bags that we just sculpt it in there and it kind of loosely grab this in here, just kind of keeping it looking organic and a little rough, like so Sri stroking somebody's creases you see very quickly and get something that looks relatively not realistic but, uh, kind of believable, if you will, as far as this guy filling alive, especially around the eye area, us continue and work around the eye and used the draw brush to build up the brown right here, right above the highball there. I think so. Dragons typically have a prominent brow. It makes them look menacing. And let's continue to develop around the crown of his head. Here has some interests I have nothing in particular I wanna add in. Eric's gonna keep his definition kind of low as he supposed to be a mini dragon and in my mind, kind of a young dragon as well. So I want to keep the definition just a bit low, nothing more than what we did around the eye area and and a little bit more. And with that crease around that brow to see how I feel about it, not 100%. If you don't like, you can always smooth it out as well as any other details you might try out. Now. This is a course here, and this is a section on cretinous little dragon here. A do definitely encourage you to deviate, however you will on your own creation, rather how you design your dragging or if you decide to do something else completely different and different animal. Different subject matter. Definitely do that. Have fun. That's that's the main focus of this course. A few more tweaks with the grab brush around the top of his head near his horns here tested some things out, a few more tweets on the spikes around his chin or draw keep saying chin and let's play around these one area here. I'm gonna go ahead and use the crease brush and create a bit of a divide between his, the bone of his horn and his actual head. Here. I could do that really easily. Using that crease brush, go ahead. And so, like the draw brush, I wanna cannot build up the flesh around hiss horns. Ah, so maybe kind of a kind of a buildup around the bone area, like so and back with the grab brush kind of get things to flow can a smoothly five, his profile goes. Why was good to study and work off your reference? It's also good to know when to go off path and deviate from your images and make changes as you see fit you some artistic liberty, such as when we enlarged his eyes to make him look cuter than the lizards are in our reference. If you don't like it, you can always undo. You have at least 10 to do consecutively and used the crab brush to make some more edits here, toe to snout here, one. Just a few tweaks will never not be tweaking. It's always something to edit, and this is a good thing. As long as you always find things to edit, you always be improving on your model. Just masking off this I area here. I feel like it should be pushed back just a little bit and you'll see that you enlarge it. It's like this can be managed even at this state. I just pulled the I back using the global grab brush and then coming in and moving out those hard edges we created. There you go. I that was pulled back. How now with the rotate tool in global mo, just gonna turn the head downwards just to prepare it for the body which will add in the next clip, go back and used the mass brush now just a mask off his chin and his horns here, just a back area of his hit. I want to pull this area back a bit more, making his head a bit longer. That's allowing you to see that you can make big edits even now. The grab brush and global mode click and pull back just a bit and release, and we can attune to make edits now with global mole turned off and just make edits as we want is gonna clear that mask. Make the edit now. Excellent. As you make progress, keep in my to save often save every 5 to 10 minutes. As we stated before, crashes are very riel. They happen. Don't get bummed out about him. Just note that you can pick up somewhere close to where you left off after the crash. When you reopen sculptures just a few more tweaks around the head here. I'm just examining things from a few spots here. Grab the draw brush and just build up a cheekbone area here. And just to add some definition to his face, the kind of landmark for the face here, a little attention around his mouth One and already that that a little cheekbone areas and a bit more believability to his face is what I'm gonna call it. And you can do this all around and face real suddenly build it up and smooth it out a bit with the smooth brush and get a nice balance somewhere in there. Gonna grab the crease brush, get the right size and strength kind of history. Stroke the mouth area here all way around into the front. Sometimes you work. It's good for artists to kind of really imagine their creation actually living and being in the real world, if not a world. In general, for instance, you can imagine this dragon moving around and a layer or maybes on a table playing with some coins from its master or whatnot. Or maybe it's in the wild and it's hanging around this mother. Dont lean Berries or whatever dragons in your head eat, but that does conclude this clip, and the next quick will begin the body of our dragon. 20. 20 Mini Dragon Body p3: many dragging a body part three. Okay, this quit. We're gonna go ahead and add a body for our many dragon here. We're gonna do that in just a moment, but we're gonna snap to the front of you. Click New sphere. An ad object we're just gonna place there right in the center. Like so Get your scale tool. Just make it smaller and just moving into place. What the grab brush there, ex. Im gonna turn off the little one with the grab brush and start to move things around and curve his body from his neck all the way down to his tell and kind of curve it in towards his body. So just take your time here as you just imagine the body. Now the bodies of the dragons are quite similar to a tube and this basic shape process. Our dragon, this body is kind of curling in towards himself. Can imagine kind of ah, pudgy, like being with a tail on the end. And I'm just slowly pulling out the tip here of this till to get it to curve like so. And I want to count, like, touch his nose. I felt that was can a cute and referenced the our reference. I should say, I am just gonna do a whole lot of tweaking here to this body as we go for with the course here. It's very important to get the proportion is really nailed on. When you're doing a style, eyes work makes all the difference. So I'm just continuing and used that grab brush here. It's working that till and things are not quite well rounded here. Go ahead and grab the flattened rush here. I'm just gonna can I sculpt things down through these edges here? Now you work running or Marley knows a little bit low on resolution, maybe by a bit of a pixel lady or crunchy looking texture. Use a medium to a small flattened brush over the area and that'll add a bit more resolution to that section for you to work with. With this flattened brush, I'm just touching in areas here, just adding a bit more value to the till. What we need it and continue to tweak with the grand brush. Looking just about right. Don't need it perfect, yet just wanted. Good enough to move on to other areas here she's gonna build up a bit of a tummy for him right here. More placeholder sculpting here. Definitely add more today as we go forth. A little indication for some shoulders here. Smooth it out a bit, See what it looks. Chicken different angles here and just gonna carve down for a neck area. I want to be a transition between his head to his neck. Right. And continue to that. Will more Valium here in there. All right, I like the way that's looking now, if you want. It is quite common for artists to dive a bit deeper and understanding their subject matter in order to place thes forms and his anatomy and more accurate positions. What you could do is search online for some skeleton anatomy pictures of a lizard. If you will help, you kind of get a better understanding on where their bones and placements work. Now let's go ahead and add a sphere both sides of our many dragon here next, we're going to go ahead and skill those down like so change our camera angle, kitty grab brush and placed on in position right at his shoulders and just kind of tucked them into the model like so Okay, right to position, scaling down a little bit more. And now we're gonna go ahead and get things started with making some arms here how Global Mole turned off. He's gonna stretch this fear down a bit to make the first segment of his arm and in up economic in a almost v a letter shape. And now we have that roughed, and I'm going to spend some time here using the grab brush and moving our camera angle, just pushing and pulling that arm to sit right on top of his body. It's moments like this. You can really find yourself getting into the zone and focusing on your character sculpt, and it's really beneficial to do things such as maybe close your browser or minimize it and maybe put on some music you like to listen to. Maybe album you have heard in a while, though, that will really get you in the zone. Or maybe you can leave your browser open and maybe listen to a show while you work. That's also pretty fun. Helps me kind of concentrate from time to time. It's gonna continue to work on these arms here continue to edit the form a bit with this draw brush. Smooth that out somewhere and see how that looks from this angle. It's not bad from underneath school head and get our grab Russian. Pull the arm out a bit. Don't want it to penetrate too much. Just a little will do. All right. It's looking good. Let's go ahead and add a sphere at object and commit. Let's kill these down just a bit. And if you guessed it, these are going to be his legs or hind legs. She's gonna move them into place of hiss hips from both angles, like so all right, and make sure we penetrated just enough for us to work with. Let's go ahead and turn off Global move for a grab brush and begin to stretch it out much like we did the arms, this time going from more of a upside down. Be worry A. If you will shape here and much like before, we're just gonna really focus on getting that form and getting it to lay on the body as it would naturally and get spend some time here. No rush every piece is equally is important when you give it the time it knees Stretching out shapes is definitely a good point to have some good control over the sizing of your brush, especially when you're using the grab brush, because it can definitely affect how you pull out the shape. It is too small you won't get the results you want. It is too big. You might end up grabbing other sections of your model, so definitely get a handle on it if you're having some issues with it now, with the flattened Russians going around and reshaping him a bit, and I'm just making things a little flat. But ultimately I'm just gonna come back and smooth things out. But just changing the direction of the surface, what is good to use it for now, back to the grab brush, pulling and pushing around. Just about there with these legs here could never spend too much time on it as long as you're happy, wittiest ultimate goal here. If you want it, you could even sculpt a more alone gated Chinese dragon. From this profile view, this is a great angle for sculpting. Dragnets is out of sculptures as we just continue to tweak away on these legs. Whole thing you may notice, as you continue sculpting, is that these little tweaks from all around your model from different camera angles is a big part of the process. And they make all the difference of making that an issue shape, look and feel way more believable and and likable to the I. Getting a new set of eyes on your artwork could benefit your project. Getting a family friend or spouse or significant other to look over and give you some opinions or ideas could definitely boost your work. But that does conclude this clip in the next clip will continue working on the body of our mini dragon. 21. 21 Mini Dragon Body p4: many dragon body part four and this clip we're going to continue and ADM or to the body of our many dragon here. But before we do so I want to enlarge his head a bit. So I'm unmasking it as well as his eye because we got a skill those together And I just did that by shift clicking on the I. So add that to the unmasked area. Now we scale tool and global turned on Just click and sized up. Grab the rotate also on Global Mo and just rotate here from his jaw just to pull his chin out of his belly. Okay, notes that the lizards kind of sort of large heads, and I want to add that to the dragon as well. So now let's go ahead and perform some more tweaks to his body and a little bit more definition as well. Let's start by adding some fingers using the crease brush. I'm just gonna make us mall cut down the middle of hiss hand just to make some would be fingers, and I'm gonna go here and use the grab brushed it kind of play with the curve of that crease. We just made just a little bit like So I had a slight curve to it like that, and he's just gonna have the two fingers I've actually played around with different kinds of fingers at something more detail. Try something with just spheres, really a trial and error process that I didn't want you guys to kind of sit and watch me kind of gonna suffer through. But it's all part of the process. Everything you do isn't going to be great. But know that if you keep at it, you'll find something that works or leave something that's better than everything else. So I kind of like these. They were better than the other options I had tried. So I'm going for with these and I'm just carving in some nails with the crease brush as well. All right, I want to do the same for his his feet. But it's gonna be a little bit different when at a little bit more dimension to hiss toes. I just want to add a little bit more to this crevice here for that fold. Want to make it a little bit sharper using increase brush? I made it a little too sharp. So let's go ahead and smooth that out. Some I work on way down to the bottom of Hiss Lake here. Let's go ahead. Ask Culleton. A little bit of a indication for a kneecap here. Not too much definition, just a slight. It's like bump there. And now let's go ahead and turn off clay mode and let's begin to sculpt out some totals for many dragon Here, go ahead and move my brush around, kind of like circle or up and down. Motion will work. I get these tiny low nubs that perfect for a little dragon here. Next with the grab brush. Just going to move some things around. Gonna flatten a bomb with it foot. So it looks like a foot, and I'm kind of thinking about the style of the deed Dinosaurs from the land before tie is what I'm kind of thinking about my mind, how there have their feet look and just making slight changes to the position and pointing of the toes and just slight tweaks. As usual, we're gonna work this a bit from the front angle here. Now, I don't expect this angle to be seeing on when we export a image from sculptures for sharing and viewing will be from the side angle, the more prominent angle. But it's always good to work all the way around your model in the event that you do choose to use other angles. Now with the crease brush, I'm just laying in some well increases right underneath his tolls. Just add a little bit of definition. Nothing too strong here. Gonna do it for the top as well for these, all right, I like the way that looks sprint it round and connect that. I think so. And let's see sculpt in a bit of a nail here and see how this looks. One didn't exactly prototype. This might not keep it, but we'll see. You can always undo or smooth it out. If I don't like you cancelled it. Let's continue with these little nails here all way around, like so. All right. Now that that's done, let's go ahead and get the grab brush and right size and tweak a little bit more before we conclude things on the toes at this point in time, just kind of pulling amount just to get a little bit of a tip at the edge there. The little pool. You have yourself a small pointed tip. Like so. All right, Good. Let's go ahead and grab. Decrease brush right size. And I'm just gonna re crease that that little Neil there. And I'm just gonna hold Ault and run down the center. Just kind of give it a point. All right? I like that. It's looking. It's always good to zoom out. Don't stay zoned in too long. You might find yourself over detail in that. That is a thing. So they'll stay zone, Dan, until you're officially and detailed. Remote. Now back to the body with our grab brushes. Start making some notable tweaks here. Wanna pull the tail out of his nose? Make sure you size up your brush. Nice and large, if you have the same saying issued a fixed there to pull that out. Now with this here, crease brush, I'm gonna make some landmarks for further sculpting such as his neck here. I want to kind of essential his shoulders as well as his neck with that crease. There a little. A little indication around his legs, his tummy as well as the base of its tail one. I want to add some little creases here just to come back later and add folds around the back of Hiss shoulders here. I don't want it to smooth. I want to show a little bit of anatomy, and here it's looking good. See, what do we want to do next toward Dragon? Let's go with the move. Brushes continue to edit his overall shape of his body. Like I say, we want to give the indication that he is. Actually, you know, flesh and bone has some bones underneath. There's muscles now. One very consistent feature and many designs of dragons are the spying spikes that run down the center of the back of dragons. And it's a fun little detail I like to add to our dragons. I'm just gonna sculpt out a spot in the back of his head to start the spikes and they'll run all the way down to his tail. All right, so let's go ahead and make a few more edits and tweets before we get that started here. Just wanna play with this area here, just pulling it back. Just realizing a shape for that. That's good. See, from this angle. All right? He is just about ready. So let's go here, click on the body, grab our draw brush and turn off clay mode, and we're gonna actually start with the head. And so we're gonna shift. Click that as well. And now we're gonna go ahead and just move our brush around in a semi circular pattern to build up a little mound of a spike. And we're gonna do this all the way down his back just to start our spikes. Now, be mindful of the placement of your spikes can always undo and replace a spike. But be sure to just take the top and figure out the spacing you want. If you're spacing is too close or too far, maybe one was too close to another one. It's fairly easy to do undo and try it again. Wow. Now we have those schools that analysts get the grab brush and we're just gonna side that brush appropriately and just start pulling these little spikes out and we can pull and curve them in the direction we want as well. Some kind of curving tours the right of the screen as I'm pulling it out. So you look even cooler with the direction to him can as, ah, a bit more interest to the spikes. But if you want, you can have yours pulling straight out as well or even upwards. I take a look cool, too, all right. And you see, as I'm getting further down the tail and pulling out the spikes even less just to kind of get that slight fade off vie to mesh with the taper of the tail. And you guess our continued tweak of these spikes aren't done yet? I'm going to use the grab brush, continue to edit this one particular spike the back of his head. One. It is kind of being overlapped by hiss chin spikes in the back of his head here. So I just wanna trial and error of the best angle here. Maybe makes more room we'll continue to play with as we go further in the sculpting process here. But one thing I definitely want to do is grab, decrease brush and get our size down. All right, in our strength, just right and just kind of circle around the Bay City spikes, giving them more of a crystal kind of base instead of a kind of a smooth transition, I imagine that they kind of kind of come out of a no slight mound or crevice in his beck. However, these things girl amount of creatures. But I feel that definitely adds to the detail of the spikes. Okay, continue to edit with some more move brush. We can definitely use some smooth to help. You kind of well smooths out the spikes as well. Well, that does conclude this clip in the next clip will begin working on the wings of our many drugs. 22. 22 Mini Dragon wings p5: many Dragon wings, part five and this quit. We're gonna go ahead and create the wings for our many dragon here. We're gonna go ahead and click new sphere and add object and commit spheres to both sides of our dragging here That's going to click this X y Z next global button. This allow us to scale in a uniform manner as you'll see, click and drag any direction. And you were able to even flatten these fares. Too little dislike objects right here. Go and turn the X Y Z back on and scale down with the global now school head and selected grab brush and we're gonna go ahead and place this generally where the wings will go and go ahead and skill down just a bit more. Who will be playing with the size more than once and now with global turned off, we're just going to stretch out the part that would be connected to his body for the wing. And now we're just gonna form the actual wing itself. Here. I'm just imagining a simple wing with a slight, a slight dip in it and just pulling out. I want too many shifts in the direction of the shape here. We'll keep this simple much like our dragon. Next. Understand? Go here and click this button. Ask geometry years. All right, So now I'm just gonna go ahead and smooth out a little bit here, all right? Now that we got that, let's go ahead and do it to the other side. And now let's go ahead and select. This flattened brush must flatten both sides of it, using that kind of a medium strength set up. Do it to the other side as well. Now we won't actually see the other side is going to be facing each other away from our profile angle here, but we'll still do a little work on it. One. Now, let's go here and select our draw brush. I want to go ahead and begin to kind of carve out the center of this wing bit. Just trying to create a bit of a recess. Undo that. It's got a little sloppy. And there keep in mind not to make your brush to Big was they'll pull the other side of your model, you know, kind of collapse on itself, as you just saw there kind of use a medium to small brush to carve this out. I'm just carving out not to worry, smoothing things out, all right. And this will give us that form shift that we want to help this look more like a wing. Ah, how we got everything smoothed out here school head and grab our picture brush and go ahead and squeeze the tips of this. Has to make them a bit pointier. Like so good use for the pinch brush. And now back to the grab brush. Gonna pull this portion up in the middle just to get that that wing shape I want. All right. Now for the crease brush. Gonna create a slight crease right around edges of our wing here just for a little extra detail. Like so Uh huh. Hold all and make one down the center of our wing. So you know what? A little bit of the smooth as well, I'm just gonna go ahead and read shroh that crease that we put in earlier. Okay, Now that the move rush continue to tweak this shape as usual is never a one and done situation. You perform many tweets toe, definitely manage and establish a shape we want now. Just put this in position on his body in the back of you. Here I'm using rotate tool to rotate him out of it and from this angle going to rotate him again. It's all about finding their right camera angle from time to time. Just place it kind of penetrating his body a bit, and later on down the line will go through and seem up some of these different pieces. All right, one more with the rotate tool here. Like so just trying to find a good angle for everything. And I think they will come in and smoothest portion out of it. One. I see how we're looking. That's good to me. But that just about concludes this quip and next clip will start detailed. 23. 23 Mini Dragon Details p6: many dragon and details Part six in this clip, we're gonna go ahead and start adding some details on Army Dragon here, starting with his till here. It's gonna use the grab brush and start to tweak the tell a bit and get a bit of ah, more of a curve going on here. I'm just widening the gap on the inside here, and I'm just going quality tip out, reciting my brush from big to small and just poignant and words and turning it as well. Let's go ahead and grab the inflict brush at a bit more value inside here, like so I just want a couple of taps of the in flight brush. Now back to the move brush for a few more tweaks here and there. Still worked my way around his tail here. Wow, we're getting closer to finishing. Our dragon here can use a bit more of attention certain areas and has to go here in this section. Go ahead and grab the crease brush on a at a little line detail separating his kind of belly sy from his backside here, running from the tip of his till away up his side. Ali it to the base of his neck, like so kind of asked to the tune. Look in the stablization of our many dragon here and now, I'm gonna go ahead and just re stroke that with a harder strength, One increase brush just to make it a bit more prominent. I'm not worried about missing in line. Exactly. I feel it adds to the can organic vibe of our dragons. So gonna keep that. I can't like the look of that. Let's go ahead and move on and a few more creases in here. And these are to be wrinkles because his tales folding in on itself in the skin he has. So it'll kind of bunch up in areas unless simulate. Then add a little bit more realism to our school with these creases here. Even go in between here what? Some draw brush and kind of build up those folds if you like. I'm going to use a pitch, brushes that kind of close a gap here It's a little bit wider than I wanted originally. Let's go to the draw brush here and get the right size and work on that belly a bit more. I kind of wanted to have a bit of a belly here, just a little bit. Not that he's necessarily pudgy, but the position kind of kind of Bunches up his his midsection a bit and a little bit more . More muscle definition here around his leg, just a little hint of it, trying to be very careful with with not over detail in this guy just playing around the neck area here, Let's go to the body. It's like the grab brush. I'm gonna pull it up to his head. Just gonna play with that and a little bit. I was having any things from the angle here and now with that saying, Grab brush, just tweak in these back spikes here. Let's play the overall shape and direction in position. Hasn't fun with that. They call Raise it up a bit. Just give a bit more space between the wings and that spike. It's a nice balance that way. Continue to tweak that move brush to your satisfied with how things are looking like how I was going thus far, just continue to edit some things here. More edits here with the move brush continue to tweak his body. Overall It was a moment to tell and a bit of smoothing. Just gonna go ahead and re crease that little detail. I think so. All right. See, next on our to do list for a dragon here, it's gonna go ahead and crease up the spikes on the back of his head here, using course. Decrease brush. All right, Now, let's go ahead and grab the draw brush. Go ahead. And so, men here, it's gonna size that my strength, and I'm just gonna run it across. He separated pieces here, and l kind of bridge them together. Kind of getting rid of this singing, making him look like one solid piece that's gonna do this around the base of his neck here , kind of bridging his head and neck. And I'm going to do it on his arms here, right at the top, right, his shoulders just to make it look like one piece. And down here on the underside of hiss leg, just kind of feeling that little gap there. Okay, if you want, you could use a flat brush to help. You kind of kind of smooth things out as well. Uh, it's about God that see look around a model. What else could we use here? School angle, Grab brushing. Just like a few edits to the hand Here. Okay. Next school head with the crease brush and a little bit more detailed to the base of these Hornet Again. Kind of went back in for a few times with this. I think that will stick this time. And now a little bit more. A little bit more inside the head here with the draw brush. Just trying to add some form. I have nothing in particular. I want to add there. I just want to add a little definition. I was looking a little a little plane in the back of his head here, so and sometimes I'll do that. I'll just prototype something with the crease brush or maybe a draw brush. No one that I can just undo it. An event. I don't like it at a bit more detail to his eye area here. She wanted Clean up this I bag underneath it. I hear someone to make that one toilet stroke. One solid bag there. I'm back with the increase brush to go ahead and re crease. I think so. All right. And it's gonna re crease a couple of areas around here up around the top of his head. Just moves off Zelman here at a little bit of a creasing around the back side of the eye. I live here re stroke that, So All right. All the way around putting Ault and stroking the edge. Dale kinda do the edge of I lives. Nice little tip I picked up. I'm just saying for the top here all the way around, I'm gonna hit them with a bit of us. Move. It is a bit extra sharp going to do this move or not up to your preference. Zoom out. Okay, let's go ahead and smooth out some more. Scary as well. It's too sharp. Perform the same thing around his nose here. It's a little too smooth. I'm gonna hold all with that crease brush all way around, and then I'm gonna go ahead and smooth it down some, Like so. All right. I'm gonna run the crease inside of his nose, just at a little definition aside of his nose, it doesn't look too too boring, But there's nothing in there the edge of his mouth. Here Okay, clear my mask. Things are looking here. Now we're gonna go ahead and perform a few more grab brush tweaks here and there throughout the model. That would be an excellent time to save your work if you haven't already. Just a reminder. Something. You definitely need to get in the habit off. And one way or another, you will get in the habit. Rather, you will start saving, or software will start crashing on. Either way, you'll he'll start saving. All right? Just looking at a few things anymore. Tweaks anything I want to improve on. It's gonna play with the eyebrow ridge here at little bit of ah, bit of a curve there. Gonna raise his eyebrow ridge here. Just gonna mask off everything. No. Masses head, grab the mass brush and just mask out the area around his eye. Okay, That should be enough. Just want to make sure I don't move any of this. And I use my grab brush, turnout global. Size it up a bit and just pull out the eyebrow is just a bit. Just add a bit more height today. So clear my mass like look of it was the amount always assure to zoom out, check things out. Okay, let's go ahead and just about wrapped things up here that concludes this clip and that clip will continue with the details. 24. 24 Mini Dragon Details p7: many dragon details Part seven. In this final clip of our many dragon Siri's here we're gonna add the final details start by adding another spike on the back of his neck here and using the drop brush next. Just pulling out with the grab brush, as we've done many times at this point, goal here is just to kind of make those fine, No edits and tweaks to Can you wrap this guy up Pretty happy with the results here, pulling out the spikes here and there, getting the angle I want for them changing my strength? No. And kind of given the push and pull all around here, check things out, just mast everything off and unmasked the I. Next, I'm gonna add a little form to the eye using the draw brush on claim. Oh, that's a light stroke here. They're gonna hit it with a little smooth. I just want to add extra value. Just kind of show the iris, maybe in his eye, just a little settle effect there. See next school head and grab the flattened brush. And I'm gonna use this around all the hard, bony pieces on our dragon here, such as it spikes here just got give it a few strokes here and there. Nothing in particular here. I just wanted Teoh look a little bit harder. It's good to give a shift in surface value, especially if things are supposed to feel different. So we did here with the the roles on his tummy has to show his skin building up a slight detail that you further believe. The fact that it is actually scan there on your own will will do. Ah, hello. Scaled texture as well. No. Continue to run this flatten brush across these pieces here, like so. All right. Just about down with this horns up top. Not too many lives. If you do it too much, you'll get dese amount of detail there, which you could blow out if you want it. But it works. So if you do fewer strokes with our style dragon here next with the crease brush, it's gonna run around the base of those spikes yet again helps with the transition between the skin to spike, only to do all of them. Yes, he's next on our list to edit from this front view here, I'm gonna add so spheres to both sides. Click the commit. Next. We're gonna go hit and skill them down about three times here. She's gonna go ahead and skill it out a little bit more. And at another sphere commit. I am around the same thing. We're gonna go ahead and skill a down few times roughly the same size of the on this fear here. I was gonna move it right next to it. Thanks. So space them apart, okay? These guys are going to be teeth for our low drag. Not many teeth. Just to just gonna pull the top just a bit. Just a form. The the look of the tooth. Here. Sorry. Looking like a little egg flying out of it. Using neck grab brush both size here and there to saying for this one should grab pull the top little squash from the sides. Try to make a little stylized tooth. Well, dragon tooth. Okay. Next, let's go ahead and continue to squash this. Pushing on both sides here. Could you use the flight and brush to do the same thing? Just gonna rotate this on upside down. We'll have one facing up and we'll have a two facing down. Okay? I'm just rotating this one out a little bit because I don't want it to be gonna need to play with overlapping a bit. As we placed these teeth here. Just turned global mode on my move brush. I'm just gonna begin to put these guys in place from this camera angle and just kind of get a small penetration going here with the face. I think so. All right, move. Um, generally in to place so it can continue tweaking. Such is another skill down. I want them much smaller about this. I should do. Yes. Just continue to play with the positioning here to get it just right. I just wrote Take this one out a bit. Ah, Pushing into the model. Push this one in as well. All right. I like to look at that. Go ahead and a seed rotate. It's tooth. Like so. All right. I think that looks good. So I grabbed the move rush, pushing just a bit more. And this is what we get really, really finicky with the tooth. I want the top that come out of it. Overlapping we have is fine. But that tip of the two companies to come out kind of makes a break the whole overlapping process. Here, you gotta make sure you get just the right size of a brush to pull out that tip. Now, the flattened brushing was gonna run it over these teeth real quick, Like it makes you look like there's some edges in there like his teeth. Actually sharp. As I mentioned earlier, I was going to play with a scale texture. Go ahead and grab the draw brush. There's gonna make some strategic placement of some skills here. I don't want to cover every inch of this skin. What skills? As you know, he would be because he's a dragon. That would take an incredibly long time and very difficult. And what's really I don't think I like it. I like to just play some here in there and just give you the the idea that yes, scales over. And sometimes it's all that need, So I'm just kind of placing them. And if I come to a conclusion, I don't like a placement of one. I can come back and smooth it out and even used the flattened brush over it, and we can start as if it wasn't there. So changing the size of my brush is on placing them on. General idea is just to have a skill not too far from another skill, Justo kind of even out the spacing and vary the size. Now with this crease brush, I'm just taking a light run underside of these skills. Just a game. A little definition I wanna be to settle. I want you to notice them, but we're gonna knock this down just a bit because this is a little strong right now. Just finished this. So if you want, you could take more time and even make more refined looking skills. But like these loose little dots, they might not even be interpreted as skills. Maybe they're interpreted like lumps or just a texture over his skin. And that that works to Ah, I just wanted to break up that smooth nous all over his body was my goal here. Okay. And I'm just running the flatten rush over the years. Just flatten them, making them a little been more flush with the the body. Okay, if you want, you can hit that. Well, little smooth. If it's still a bit strong I could do that. Okay. Uh, smooth this out out here. So flattened brush. And you were just about done. You can go implies toe, other side. But this is our main angle for this, but it's acid here. You can do on the top of his head and whatnot, but stick to that for now. Okay, let's go ahead and trawling a skill here, you know, Crease, That'll smooth and some flatten rush. Yeah. Okay. How that works for us. One. Next on our to do list for our many dragon. I wanna spend a little time on the wings here. I'm gonna re crease this edge here. Bring it all the way down and for the other side as well. Crease brush. Okay. Lower my strength on the crease and dragged down the side of this. Yes, spine. Not sure what that is. Actually, Just a dividing piece. That's does go ahead and give him a quick look over and just assess what other things we might want to add to our dragon before wrapping him up here. We're gonna add a little something special. Special effect in the atmosphere. Both sides here and came with the idea I want to add a little digital smoke or just smoke coming out of his nostrils and we're going to sculpt it. Some Take this fear. I can't put it close in to position, like so move it right above his nostril like so. And I'm gonna go here, turn global off my grab brush and didn't just start to stretch it out and pool and my ideas . I want the small to kind of curl at the top here, so I'm just section by section, pulling it out, pulling it out, going out, just trying to get this shape. Am I here only to nail anything in particular? I just need some interest between his nostril in the top of this smoke trail here, a little smooth brush helps. You kind of get a nice taper and just playing around this until I get something that looks good. I just needed to flow. If I get it to flow kind of smooth like and I have a nice transition from my thick to then it'll it'll work has actually be a good time to get some smoke. Reference is to study how the shape of smoke trails can be how they could look just for inspiration. I'm just gonna go ahead and win. Get here. I want something stylized just to match our our style. So that happened. Look too realistic. The fact that it's a trail coming out of his nose. Well, kind of suggests that it smoke. So to work, too hard to convey it. Just gonna mashed that tip right into his nose just so we can make sure people can see it's coming out his nose there like that. All right. Like I look at it. There's soft in the tip. The smooth brush now. All right. Kind of like a kind of like a reverse question mark. Almost a little inflate brush just to thicken it up a little bit. It's got almost too thin, but we are just about done. Is what are many dragon looks like. Before we conclude this clip, I want to show you how to get the image out of sculptures. First we want to do is go ahead and position our model. What we want. Click the options button here. Next, click this save image button in the corner. Select the air. You want to save it and give it a name going type Mini dragon to dialogue. Boxer. All right. Next we have the option between a PNG file or J pic. Once done like safe, it will be processed that saved in the location you selected. Just click OK to exit and that's it. And the next clip will conclude the course. 25. 25 course end: course, and well, this concludes the course. I hope you enjoy learning the basic tools and methods use for digital sculpting, but don't stop here. Continue to grow by studying the working methods of other digital sculptors via YouTube, and is always remember to have fun at me on social media and subscribe on YouTube to stand a loop of content and future courses until next time happy sculpt.