Sculpting Body Parts in Zbrush For Animation | Ahmad Merheb | Skillshare

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Sculpting Body Parts in Zbrush For Animation

teacher avatar Ahmad Merheb, Art Director, Innovator, and Tutor.

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

7 Lessons (49m)
    • 1. Introduction

      3:08
    • 2. Sculpting Eyelids

      11:19
    • 3. Sculpting a Nose

      8:01
    • 4. Sculpting Lips

      8:09
    • 5. Sculpting Ears

      6:25
    • 6. Sculpting Base Head Structure

      6:13
    • 7. Sculpting a Hand

      5:59
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About This Class

Welcome to this Class, in this class, you will see me sculpting various human body parts in Zbrush, but the concepts apply to whatever sculpting software you have.

1- Eyelids
2- Nose

3- Lips
4- Ears

5- Head Structure
6- Hands

The aim of this class is to teach you how to approach these parts and see how volumes distribute and be able to use the quickest ways to achieve appealing results in a short amount of time.

Meet Your Teacher

Teacher Profile Image

Ahmad Merheb

Art Director, Innovator, and Tutor.

Teacher

Ahmad Merheb Is an Art Director, Innovator, and Tutor.

Portfolio and website: https://ahmadmerheb.com

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Transcripts

1. Introduction: Hello everyone. Welcome to another tutorial. My name is Ahmed. In this course we're gonna do sculpting body parts in ZBrush. This is very important if you will be working as a character artists or if you'll be modeling characters. Or if you want to be a 3D generalist, whatever is, sculpting is a great asset for you that speeds your workflow. For you to understand how you can sculpt body parts. It's not just about the tools, it's about understanding of the anatomy, the basic shapes that constitute each body part, and what is the best way to tackle in it. So you can finish as fast as possible. And this is exactly what I'm gonna teach you in this course. So I will be showing you how to use some of the tools in ZBrush and what I use. But this is not the main point of this course. The main point of this course is to show you how you tackle these body parts and how you can dissect it. So it's easier for you to understand where are the main shapes and where are the secondary shapes. And I will do that with each of the body parts that I have in this course. So we'll start with the iodides because this is a very hard part for most people. How the lids go over the eyes and where to start and how to come form the eyeball within the olives themselves. I'll, I'll explain all of that in that lesson. Then we'll move to the nose, the lips, and then the ears. The ears are a bit tricky because they have a several shapes to them and they have to be angled in a certain way. But I'll explain all of that in that lesson as well. Then we will do a general base had structure. How, how I see the head in terms of angles and in terms of planes. And this is very important for you to understand as well. Then finally, I will do how to do the, I'm sculpting the hand and the hand is also tricky, especially the thumb, because I've seen a lot of people that called the hand. The thumb isn't rotated the right way. So I'll explain all of that. Don't worry. I advise you after you finish each lesson to sculpt that body part on your own, you will not get it from the first time. That's okay. You just keep on practicing. You have the body parts yourself, you have your hands, you have a mirror. So keep looking at the body part is to try to understand how the shapes are linked together and how you can do that when sculpting it just about practicing and as well as listening to the videos once and twice and trying to see how I tackle these shapes and try to learn as much as you can from it. I hope you guys, I hope you guys enjoyed this course and I make sure to check out the other courses as well that I have. And I wish you the best. 2. Sculpting Eyelids: Hello everyone and welcome to another tutorial. In this tutorial, I'm gonna show you how I approach sculpting ZBrush. We start with a sphere, make it poly mesh 3D, of course. And using the big, big brush, we make these broad movements in the shapes. Don't forget to make it a DynaMesh, so we can easily sculpt this with a big brush. We make these broad shapes. And then we insert a sphere. That's gonna be the eyeball. We could use the transpose scale and scale this down and position it inside the shape that we already created now in ZBrush in recent zebra. Addition is you have these insert meshes where you can just insert a sphere that is easier. Please use that. This is a bit of an older version of ZBrush. So with a brush, I start defining the shape around the eyeballs is very important. And position the eyeball, the eyeball correctly inside that mesh. Now I duplicate that same eyeball twice, and I trim the upper half and the bottom half. So I have two halves of spheres. Those two halves are you gonna be the eyelids? What I'm gonna do is I'm going to rotate that with a transpose rotate to have the shape of the eyelid access. The trimming tool that I just talked about, users just use Control Shift and you'll have access to those German brushes. Now with the brush, I start moving the eyelids into shape. Now because they are separated tools, I can use the Move tool, but if there were one sub tool, I would use the Move Topological. Of course. I don't want to affect other meshes, but now they're separated subtotals. So it's okay to use the Move tool. I move the eyelids into shape. Upper end, bottom audit. It's very important to work in all angles to define the right shapes of the eyelid. Then I merge everything except the eyeball and I do a fast DynaMesh, so everything is connected into one mesh. Then you go ahead and use the clay buildup. Brush with a low-intensity is something like 18 or 15. And I start sculpting the fat areas above the eyelids. Now what I do is going to mask the upper eyelid. The way I do that at the bottom, either the way I do that is I click Control and I start painting the mosque. Everything I paint is the masked area and so it won't be affected. So I start adding the clay buildup, the fat areas around the eyelids. Now, it's very important to have a couple of images. The second screen or anywhere else. So you can see how the anatomy of the eyelid is. As you, as you do this more and more, you wouldn't need those images anymore. But if you're doing for the first time, it's really important to have those images nom just defining shapes. It doesn't have to look perfect. Just defining the basic shapes around the eyelids with a Damien standard brush. I just carving those lines that I need. Even though they are hard, It's okay, awesome Muslim later than I would do it like a fast DynaMesh. Now with the smooth brush, smooth, you can access hitting Shift and painting. You will get this smooth brush. Now we're smoothing. Now I'm just trimming with a trim dynamic brush. I dream old. The extra fat that I did. With a trim. It just gives you these flat shapes. It's called school trim dynamic. It's a brush. Now I'm going to mask the upper eyelids so I won't affect it with whatever I'm doing above it. And I start moving those areas surrounding the audits a bit more. With a Move brush, I start defining shapes a little bit more. It's very important to know that things wound work out easily the first time you're going to sculpt the eyelid. That's okay. That's not a big deal. You will see everything that takes time. And the first eyelid that you're going to do, it's not going to look great. But the second, the third, the fourth is going to look better and better and better. It's just don't give up. If you don't, if you don't, like. Achieved a good result on your fresh, dry or on your second try. Things, take Don mutes. Okay, that's how people learn. Right now. I'm just adding more with a clay buildup, smoothing more with clicking shift. That using the trim dynamic to clean up the general volume that I have. Now with the with the H Polish easier the H polish to polish that area under the eyelids. The H bullish I use more for very hard edges, mechanical something very hard edge I use h fall is streamed, dynamic is more sculpting. But the reason that I used it is because I wanted to get that sharp edge of the eyelid. Right now I'm doing the eyebrow area above the eye. The eye itself. Defining it with Damien standard carving the shapes, putting more clay buildup, trimming with a trim dynamic just to get that shape. Obviously this is not a young person's. I chose a bit of an older or like 30th, 40th person because I wanted to have more shapes in it so I could show you how to sculpt it. Now it's easier for young 40 ohm person because you wouldn't have all these wrinkles and all those volumes. Even if you're doing a cartoon character, it will be even easier because you wouldn't have all these shifts. So it's just a simple simple shape to do with the audit of a character, of a cartoon character. Now I'm just adding more meshes with a clay buildup, defining more of the anatomy of the eye. Smoothing more. As you see, I just add in an extra, extra, extra volume and then I smooth it down with the smooth brush. Defining those those pockets under the eye a little bit more. With the Damian standard. I carving a little bit of those wrinkles and then I spoke them down with a shift with a Damien centered. I just fix that area under the eye. And it's good sometimes to just isolate using the solo button on the right. You can see just the eyelid area without the eyeballs. Know what the Damian standard digest carbon, a little bit of the libro area, the trim dynamic. I start trimming this area a little bit more. Now, I'm going to show you a little bit of, I'm gonna put some colors in just to show you the main areas that I sculpted. We start with the area above the eye. This is an orange. This is the fat area above the eye that is hanging on the upper eyelid with the orange area. The green area is the bottom eyelid. The pinkish area is the upper eyelid. I hope you guys have enjoyed this tutorial. This is just to show you how I work. It's very simple. Just keep on showing you on you'll get there, see you in another tutorial. Goodbye. 3. Sculpting a Nose: Hello everyone and welcome to another tutorial. In this tutorial, I'm gonna show you how to sculpt the nodes in ZBrush. So we start with the sphere, make sure you'll make it a poly meshes sphere. With a brush, we start defining the shape of the nose. Used a very big brush to make a very big broad shapes. Make sure you turn on the x by clicking x, so you have symmetry on. I start by inserting a sphere. Using the insert sphere brush. I insert four spheres, as you can see, to define the general shape of the nose. I'll use to a poly groups and then I Auto Groups to have these different sphere indifferent ball equal loop colors. I start with the Move Topological to define the general shape of those spheres. The reason why it uses move topological sort, we won't affect other spheres. So I only move one sphere at a time. With a brush, I start moving the spheres into shaped to mimic more of the shape of the nose. It's important to have reference on the other monitor on the side so you can follow the right anatomical shape that you want. I had DynaMesh and I removed the groups so everything is grouped into one mesh. Turn off the display of the poly groups, and I start sculpting the nose using the clay buildup with a very low intensity. I start sculpting the nose. I changed the material because the material wasn't helping me at all. I use Zebra paint material. Down. I start sculpting the nose using the clay buildup very low intensity. I start adding volumes following references that I have. The side. Using the smooth brush, I start smoothing. The smooth brush can be accessed by just hitting Shift on your keyboard and painting. And you will have this smooth brush with the Damian standard. I just put it in on low-intensity Damien standard brush just to Garvin those lines that I have. With the Move brush, I move. Of course, the shapes into place to have a better shape of the nose, make sure you walk from all angles. So you would have better. But a volume is in general. Again with a clay buildup, I start adding more shapes, carve in more details of the nose. The bottom holes of the nose. Depends on what the style of the nodes that you're going to do. You can do whatever you can do a realistic, you can do cartoony wherever you wish to do. Things won't look great from the start. Keep on practicing, keep on trying. You will get there. The supporting to keep on practicing. That's very important and not to give up. I smooth, I add with a clay buildup, identify most more. I keep doing that process until I get the shape that I want. The Move brush, I move things into shape more. Following references that I have on the side. Whatever knows that I'm trying to get to. You can easily go cartoony on his nose. After sculpting so many noses. You just, you just know what were the shapes are and where to add on what to do. Now I'm going to show you the general volumes of the nose in colors so you know what volumes that I added? We start with the green area, which is a big part of the nose, the frontal part. Then the bridge of the nose in red, then in purple, the side of the nose. Those two nostrils. As you can see, this is very fast sculptor of the nose. Now I'm gonna show you how we can change that knows quickly into other shapes. Very easily. Depends on what the references you have and what do you want to do. Anyways, I hope you guys enjoyed this tutorial and it was beneficial. Keep on practicing. You will get there. We just didn't more time to invest in this and you will get the right shapes and the right volumes and eventually you will, you will get there. Just keep on practicing. I hope you guys enjoyed this tutorial. And 0 in the next years total, I guess. Goodbye. 4. Sculpting Lips: Hello everyone and welcome to another tutorial. In this tutorial we're gonna, I'm gonna show you how to sculpt lips in ZBrush. So we start with a sphere, make sure you make it a polymorph sphere. Then with a big brush, we start defining the shifts. Make sure you press x2 axis symmetry on the on the scenario sculpting. First, I started with the Damian standard brush with a very low intensity just to skull, to sculpt in the general line of the lips. Then with the Move brush. And this is a very important step to bring back the corners of the lips. Bring back the corners of the lips. Try to make the shape better. The profile of the lips. Now, I use the clay buildup and I start with a very low intensity of course, and it's called start sculpting the bottom lip. Now, in this step I just mask the upper eyelid using the control, and then I paint the upward iodide to just mask that area so it won't be affected without mask. And then I'm mask the button lips that I just sculpt it. And now I do the upper the upper lip. To clear the mask you control click and drag in the background to clear the mask and to access the mask tool just click Control and stock painting. As you see now I have the general shapes of it looks ugly now, but it will look better as I work on it. Again with the Damian standard brush, I acquire vein the shape of the lips and with the corners. And I do these two lines on the corner off the lips to define the areas more. I would with a Damien standard. If you click Alt, then you will make the exact opposite. So you'll make these hardships. And I do that to just define the general contour of the ellipse. I continue with the clay buildup with a very low intensity, like six, continuous sculpting the lips. The Move brush, I start moving the lips that I sculpted, following an atomic. All references that I have on the side, it's very important to have that at least first couple of times, then you'll get a hang of it. Again, Damien stone or fixing all these lines. Now I click DynaMesh. So now you see in the upper side that lips don't look good. So I always work in all angles because this is 3D. Of course, you have to work in all angles. Up button, left, right, fixed in all directions. So the modal would look good eventually. With the clay buildup again, I start adding more volume. Just click DynaMesh control, click and drag in the background to DynaMesh. I had more, I have no more resolution. So I start adding more shapes and volumes to the smoothing and adding some more thing you can access smoothing, as we said, clicking Shift, you'll get this most brush. Defining the general volume of the lip and how it's defined and atomically is very important. You can have access to that using a lot of images on the Internet, just Google lips anatomy. And you will have a lot of great images to follow. The Damian standard brush to Garvin. The central line of the lip. Smoothing the area around the lip. Fixing the lip from all angles is very important as I mentioned before. Now doing the area above the lips, using the clay buildup just to put in some volume smoothing smoothing them out. Later I was just the Damian standard to have those lions carved in more with a Move brush. I fixed the shapes a little bit more. Now as I said, I used the Damian standard with the Alt clicked to have the opposite effect of the regular dose. The immune standard. The regular Damien standard curves in one clicked alt, it carves out. It's very nice to have to define the shapes. Smoothing more. It's very important to smooth because sometimes we work, we work on a very hard with the hard way. And they anatomy of the human body is a bit smoother than what we do. Now, I turn off DynaMesh and I divide to have more geometry and I start smoothing more because I have that Joel shapes. Now what I need this to smooth, move things into place. I don't need DynaMesh anymore. Now what I do here is I inflate the central line of the lip. The reason why, because I don't want it to be a hard line. I wanted to mimic the how the flesh goes together with a central line of the lips. So I do a little bit of inflate. Right now. I'm just defining that Joel volumes that I'd added with colors. So you know, the journal volumes of the lips and how they are how they're made. I hope you guys enjoyed this tutorial. Keep on trying if you didn't get it for the first time, watching this video are a couple of times. Keep on practicing. I'm sure I'm sure you'll get there. Just a matter of time. I will see you guys in the next tutorial, I guess. Goodbye. 5. Sculpting Ears: Hello everyone and welcome to another tutorial. In this tutorial, we're going to sculpt the ears. First we start with a sphere. Don't forget to make it a poly mesh sphere. And then with a big, big move, these broad movements through this sphere, make sure it's DynaMesh so it's easier to re-image later. Go ahead and it inserts sphere using the inserts fuel brush. And I start shaping the ears. Now, I want you to notice the angle that I place. This inserted a sphere because it's very important to place the ear in the right angle. Here, I choose the transpose, rotate and move, and I move the sphere into place. Then after I finished that, I DynaMesh everything together. So a one mesh and I go ahead and use the clay buildup brush with a very low in density and I started sculpting. Notice that I'm using the masking here by clicking Control and painting you can mask so the area that you paint will not be affected. I go ahead and continue with the clay buildup with a very low Z Intensity like seven. I started sculpting the basic shapes of the year. It's very important to have a couple of images on the side, anatomical images of the ear so you could follow along. Here I turn on back face mask in the brush menu. So when I sculpt on there, it doesn't go through the ear and to the other side, it's very important when you're sculpting thin meshes to turn on back face masking. I continue on with the clay buildup and hitting Shift to smooth what I'm doing, clay buildup then hitting Shift to smooth and a smoothing things out. With a brush, I move into shape. Now the air is one of the hardest organs in the face. It's very, it has very interesting shapes. So that's why it's very hard and the angle, as I said, of the ear, is very important to get it white. In the beginning. Now, I started doing the ear lobe. Notice how I just move that into place and make it a bit of hanging. Be careful not to DynaMesh, but with a lower resolution now because it will just attach because the mesh is very close to each other. I started sculpting the details inside the ear that, that Y shape inside the ear. I started sculpting it and I notice that I'm clicking on driving the background. So I can control click and drag so I can DynaMesh. So I have more resolution to work with. The resolution is spread all over the mesh that I'm, that I'm creating. Just make sure when you're sculpting. Sculpting from each and every size, from each and every angle. Because it's very important we are doing a 3D sculpt. Do we have to make it look good in every angle? It's not a 2D drawing. It says 3D sculpts, so it has to look good in every direction. Now there's a lot of your shapes out there. Humans have a lot of shifts to the ears. So do whatever ear that you're like that you want to create, get a reference and stalking indicating how that, how that ear is shaped. I'm using the Damian standard, which is the brush that I use to carve things out with a very big Damien standard. I get to do these lines, these detailed lines that define the shape. I tend to use the Mean standard for that. It's called DAM standard. It's very nice to add details with a Damien standard. With inflate. I start inflating to get a bit of a fat inside the ear lobe, I use the flat brush. Now I'm going to mask that area behind the ear. As you can see here by clicking Control and drawing, you can mask that area by clicking Control, click in the background, you inverse that mask. So I only affect that area and they move it inside so it's not protruding so much. I start fixing the shapes more. Careful not to have a very thin mesh. Then the mesh would be would have holes in it because it's very thin and you're done image and then the manager would have holes in it. And if we run into that issue, just use the inflate brush to thicken that mesh and then reediting Michigan. And it will fix that problem with the holes that you get with a thin mesh. Again with the clay buildup, I start adding more details, smoothing things out with the Shift button. Here we have the general shape of the ear right now. Just moving things into place, adding more details, DynaMesh and a, it would be good to go. Of course you could walk more and more on it, but that's basically it. I hope you enjoyed this tutorial and I hope to see you again in another tutorial. Thank you and goodbye. 6. Sculpting Base Head Structure: Hello everyone, welcome to another tutorial industry at all. Today we are going to sculpt basic head structure. We start with a sphere and make sure you make it a poly mesh sphere. Make sure it's DynaMesh so it's easier to control. And with a trim brushes, I start trimming that sphere. With the trim brushes. You can get the TRIMP brushes by clicking Control and Shift and choosing with the brush menu of what trim brush you want to use. First, I start creating spheres with inserts sphere would the trim brushes, the basic shapes of the head, scalp and then the jaw area. And I choose a very big move brush to move the shape into place so it's easier to control. Now with the H polish brush, I start getting those planes of the face with a smallish another insert the sphere to create the neck area. No, I was just deal with it with a trim, clip away those extra extra areas. Now I made the whole scope. I think I'm going to insert another sphere greater than x. No, I do an insert cylinder because the NIC is very similar to grow shape. Of course, I move brush, I started moving the NIC into place. Now we have a Joel shape of the face of the head. Note it's easier to work with. Now I do DynaMesh and everything now is just one piece of mesh. With a shift brush, clicking shift, you get this smooth brush and I start smoothing things out. Now with the h follows, I start defining the planes of the face. Now for this step is very important to have some references on the side to see how the face is structured to follow that. There's a lot of references on the internet. You just Google planes of the face, planes of the head, and you will get a lot of very, very good references with a clipping brushes that I use just now, I start clipping and with the H Polish, I start defining the planes of the head. This is a very good process to study that, of course, with this plus we don't do this in every head that we do for production. Of course not. This is just a study to show you how I approach studying ahead and how it's done. The funding more than jaw area with a brush, defining the nose area, using h polish to get those blades in, using the edema and standards sometimes to carving the mouth. If this video is a bit fast for you, you can slow it down, you can watch it a couple of times. This is just to demonstrate you how I approach a sculpting head, what brushes that I use, etc. Just to show you the process and how it's done. Of course, if you are a beginner, you won't get results very fast. That's okay. Keep on trying. Keep on watching, watch this video many times. Keep on practicing and seeing references. I'm sure you'll get there. No, I'm trying to get the profiles right to get that cheekbone sculpted the right way. And as I go along, I started using the trim dynamic to move those very hard edges that I got with the H polish brush. Now with a clay buildup, with a very low intensity, I start sculpting the shapes of the face, the joy area, the bone, the bone area. This is very fun process to do. Study. I had this kind of thing. You don't get to do much when your professional artist, because production is very fast and we don't have time to do that. Everything is ready, everything is made. Everything has to be submitted very fast. But from time to time, just try them. Try to have some time to sculpt their practice. If you are a student, if you're a beginner, just enjoy this time to study and do these things. Now with the H Polish, I got those shifts back again, those planes again. And with the insert a sphere. Now I inserted a sphere just to get the shape of the ear. Just look at the angle is very important to get the angle right. I do that with a transpose rotate tool. To rotate that inserts a sphere into place. Then I click Control and drag in the background to DynaMesh everything together. So I get one shape. Now I continue on working on the neck area. So this is very fast sculpt of the head. I hope you guys enjoyed this tutorial. There's a lot of more, there's more tutorials on my story. You can check out. I guess I'll see you guys in the next tutorial. Goodbye. 7. Sculpting a Hand: Hello everyone and welcome to another tutorial. In this tutorial today we're going to do the hand. The hand is very hard part to do. So I start with a sphere and make it a poly mesh. And I just choose a very big move brush and I start moving the shapes of the Pol. Make sure you have DynaMesh all and so you have more resolution as you walk along. We'll start with the poem. I just give it, give it a little bit of place for the thumb that's very important in the thumb is very important and also its orientation. So I start giving some space for the thumb because I'm going to start inserting spheres. Just in a second. Just a big move brush, I start creating the palm of the hand. Now with the insert sphere. Notice that I turned on group in DynaMesh. So when I DynaMesh, things won't be added together. So I inserted one sphere for the first finger, for the index. So I sought shaping that sphere that I inserted into shape of a finger. Of course, it's very important to have someone not anatomical images on the side to just keep on watching into mimic those images. If it's the first time that you create a hand, the first finger is done. I DynaMesh. Now I'm going to create another finger. The insert sphere. I created another finger. The thumb. The thumb is the hardest finger because it has this very, very special orientation and the way it connects to the hand. Make sure you, you see a lot of references and also bike, you have a hand. Everyone has to hand will look at your own hand and try to study it more and see how the thumb is oriented. I've just moved the thumb into place with a transpose move with a transpose, rotate with the Move brush, trying to get that thumb into place. I split everything. I duplicate that index finger that I did. And I hadn't don't have another finger. I don't have to insert another sphere and do all everything together. I'll just duplicate that finger because I turned on group in the beginning. Everything is still its own. Nothing is merged together. So I is just duplicate a couple of fingers. Clicking Alt on the finger will switch to the sub tool that you want and then you just move and rotate and fix the shapes of the fingers? No, I'm doing the last finger, the pinky. With address postal. I just don't scale it down. Position it straight disposing and moving into place. Now I start moving the bomb, adjusting it to the fingers, having the good, good proportions. It's very important before I merge stuff in. Everything is still its own separate sub tool because it's easier now to control each finger of scale rotate and where everything now I merge everything together. And I turned off groups in DynaMesh and DynaMesh everything. So now everything is just one mesh with a smooth brush by hitting shift, do you get this smooth brush? I smooth everything together. Be careful just to give it a bit more resolution to the fingers won't merge together. Now with the clay buildup with a very low intensity like nine, I start adding more flesh, more anatomy to the hand. Of course, this is not a very realistic and also not a very cartoonish hand. The thumb would need more adjustment here in a sec. Instead, I'm putting some anatomical references and then I told them back and then I put them in and then I told him back just to get some land landmarks in there. No, I mask the thumb and I smooth the mask and let's just move the whole thumb into place, rotated. Don't be afraid to do that. It's okay to move everything and we're sculpting this is clay and that's the beauty of it. You can make big, big changes. And then with a trim dynamic, you could shim that noise with a smooth brush. You can fix it with clay buildup. Begin fix it. Just sculpting and that's the fun of it. It's not like Paul, the VI palsy modeling where you have to move vertices into place and it takes so much time. Anyways, I hope you guys enjoyed this tutorial and I see you in another tutorial soon.