3D Character Design in Nomad Sculpt

1. 3D Character Design in Nomad Sculpt: What's up, guys, Welcome. It's drug-free day back with another 3D class in nomad sculpt on iPad Pro, but no match Skulpt is also on PC and Android. So if you want to do some 3D, if you want to learn character design, this is the class for that. We're going to make a cute girl. We're gonna do the lips, the nose, the eyes, the hair. I have so much fun doing this. And I've had so many people asked me to do like character design and do a character design tutorial. I've been practicing for the last week. I've just been doing faces because I wanted to make sure that I had a nice, fun, cute face for you guys to do on Skillshare, step-by-step, easy to follow. We're going to make everything. We're gonna do, the lighting, we're gonna do the post-processing. Character designs are really fun. And the best part about it is once you get a base, once you kind of understand the shapes and how to use different shapes for the nose and the lips. You can use that for any, for any phase, I extend the faces or you can change the shapes and you can make any face. So this is a really, really great basic class on how to do character design in 3D. I had a lot of fun making it, and I'm really glad that you're joining me for another Skillshare class. I'm pretty much obsessed with the app. Let's get to the next video, the class project. And let's get to the next video, the class project. Nobody's going to know. Nobody's going to know they're gonna know. 2. Class Project: We're gonna do the class project like we always do. We're just gonna make a cute girl, cute nose que lips, cute hair. The hair is really fun. Like I had to figure out a nice, nice, I had to figure out like a efficient method to do hair because hair can be very, very daunting. But everything you just have to think about shapes. So I'm really excited to show you this class. I'm really excited to see what you're gonna do. Remember, be creative. If you want to change the skin tone, you want to change the hair, blonde, change whatever you want. You can do that, Do whatever you need to do. This is your project, this is your 3D journey. So I'm just teaching you everything that I know I'm teaching you Treat Tips, trips. I'm teaching you all the tips. I know so that you can get better and you can get efficient at 3D modeling. And once you have a base, you'll be able to figure out everything else from there. Alright, so let's get started. Let's move on to the next video. But in number three, getting started, I think I already said getting started tonight. Getting started. Getting started. Take to take three hold onto your butt. 3. Getting Started: Alright, so let's get started on our human girl face and nomad scope. This is what you'll see when you open up a nomad sculptor. If you have a different color background, don't worry. You can just go to this little option here. And this is where you change the color of the background. So you can just do whatever, wherever is comfortable for you. Okay, so another thing that I like to do is set this to Metcalf. What a MED CAP is is it ignores the lights and it just makes the light very consistent. I find it easier to work with. So we'll go up here to the little shading window. And right now, PBR is the normal one. And we'll just go make Cat. And I use this one right here. Nike clay read gloss. That's what I always used to sculpt with. So the next thing that I want you to pay attention to is see this little cube right here. This is important because when you're sculpting certain things, you just want to make sure that you tap front. And this is the front most view of the world. Of course you can change it to look right? And this will just be very helpful when you want to snap to different views of your mesh. Another important thing is see how my grid here, you can see the perspective of it going back in space. We're going to change that up here to orthographic. And now it's a line. And this is just easier to scope with because we're not dealing with perspective. We can just deal with how things look flat. And it'll just make it easier to sculpt with. So we're just gonna do a pre general one m and try to keep it as simple as I can. So the first thing that I want to do is just sort of make the face a little more pointy at the bottom where there's like a chin. We'll do some ears over here and we'll slim up the head. But the first thing that we're going to do is deal with the chin and the lower, the lower jaw. It's gonna be very stylized. As usual. I like to use the Move tool. And if your tools don't look like this, you can press this little option here that might be long. I find it hard to find things. Also that it doesn't show everything on my iPad. So I always like to use this little box like this with the move tool. I like to use it very big as well. So as you can see, this large circle. So that's the size of the brush or of the tool. I like to. I like to use it pretty big that way. It moves everything. Oops. Go back to connect to the front. And that way, so it just moves everything in unison. And it doesn't pull. If you have it small, it'll pull like this. We don't want that. And if you have any issues, I go back to a normal circle. If you have any issues, you can go to the brush options. So let's validate this again, I don't know how it got invalidated. So we're in the move tool. And you can go to the settings here and see I don't have any of these checked. They can get kinda confusing, but I just leave them unchecked. So then I can make my brush pretty, pretty big. Okay. So the first thing, as I was saying, we're going to do like the chin, the lower jaw. And so we'll just pull down. It can make our brush a little bigger. My brush is about 250. And I'm just going to pull down a little bit on the face. Just a little bit just to give us that that little bit of a point at the bottom, that's gonna be the chin. And where you can get creative with it is like eventually you can make different shapes, different shapes where the face is like that. You can make it a very wide face. So there's lots of options that you can do. For now. I'm just gonna keep it simple, sort of round chin. So the next thing, when you're doing a face, you have to think about obviously how the face, how the shape is going to look in 3D. So I'm going to turn it to the right and now I can just tap right. So then it snaps to the rightmost view. And you can see the, the, the chin is way far back, so we need to move it up. We're going to use the same tool. We're going to use the move tool. And we're just going to drag this up. So we'll drag it up. Just so it's about, even with the rest of the head can move this up a little bit, move it up a little further. So something like that. So it's a little bit, it's not exactly parallel with the rest of the head, but I think that's a pretty, that's pretty good. I'll make the brush a little smaller and I'll just, I'll just puff out me tap right. So I know it's perfect. And let me just tap this out a little bit more, something like that. So now I'm gonna turn it back to the front. And I'm going to use the smooth brush pretty big. And anytime you, anytime you manipulate the clay, anytime you use tools and things like that, it's going to get a little bit. It's going to buckle, it's going to move, It's going to fold. So what I do is I like to smooth everything out. After I use certain tools. I'll bring the intensity down, make the brush a bit bigger. I'm going to press too hard, but I'm just going to go over it and just keep it smooth and you'll see me do this a lot. And it's because I really liked my meshes to be nice and smooth at the end. So you have to constantly smooth once you manipulate it. So now I'll go back to the front. And you can see this a little bit. It kind of changed the shape a little bit. So I'm just gonna go back to move my brush a little bigger. I'm just going to just bring it out just so it's a little more a little more round like that. Okay, Let's check out the side view. Side view looks pretty good. So we'll go back to the front view. I think this is a good start for the shape of our face. So now we can do the nose and the lips. And we can just sort of the nose and the lips will help us figure out where we want the eyes and the ears and things like that. So the next step, I usually do the nose and we'll do that in the next video. 4. Nose: Okay, so for the nose, I usually like to use a cone. And kinda sounds strange, but I like to use shapes to make different elements. Shapes are nice and clean and precise, and they can be a lot cleaner than sculpting the nose out of out of a shape. You know what I mean? It's just, it's better to use a shape that's closely related to whatever you want to make and then just manipulate it using the drag or move. Because when you use these symmetry, it will move everything equally. So don't worry if that doesn't make any sense now, it will in a minute. So let's go here. And right now we have this, we have this, we only have the sphere. So let's rename that to head. It's always good to keep track of our our layers. And again, you just tap this to change the, change the name, the little pencil. So the cone here. That's what we're going to use for the nose. So let's tap on the cone. And you notice these little dots, these little edit dots you can play around with later. We don't need them now, so I'm just going to tap edit up here. That way they go away and you don't have to worry about them. So let's bring it up. Bring it forward. So now we'll tilt, we use this red line and our gizmo would just tilt it back like this. And then you can see it's sorted even looks like a nose already. So now we can just slide it back. And of course we need to make it smaller. I can slide it forward, make it even smaller. Or we can just squeeze it together sometimes too. So don't forget to use these tools. These are to move them around. And does these little spheres, they stretch and pull the shape. So let's look at the right view. So we'll pull it out a little bit. And we'll do something like this. So we can go ahead and validate it. Okay, so that's a decent spot for the nose. And we can always adjust it and move it around a little bit if we need to. So the first thing that I always do with a nose is I'll use the move tool. I'll make it a little bit smaller. And obviously with our cone, we want to make the bottom of the nose too. So just make sure that you're on your code. You don't want to be on the head because then it'll be, you know, you're on the wrong mesh. So just make sure you tap on the cone. Make it a little bigger. And let's pull down on the underside. And this will just pull the nose out. And you can see it just really starts to look like a nose once you pull that out. And also you might have the option to where if you touch one mesh, the other meshes go dark. So if that happens, dark unselected meshes. So that way if you can tap and whatever you're not working on will turn dark. Personally, I don't like that, but I just wanted to show you where that is in case. Maybe you want to try it without that. So let me turn that off. Again. That was settings and darken unselected meshes. Okay, so back to the nose. Let's use the smooth brush and we'll just smooth it out. They started on the ridge. Do something like that. And we'll just keep it nice and simple. Another option that you can do is you can use drag. And drag. I usually work with a little bit smaller, maybe around 75. You can use drag, just make sure that you're on your nose, your cone. Let's change that to nose. Nose. Okay, so now we have the head and the nose. And if you're on your nose, you can tug up where the nostrils would be. So you can sort of just tug and make it a little bit bigger or smaller depending on what you're going for. You can just talk up a little bit to kinda give you those nostrils. And then I'd like to smooth everything out again. I like to keep everything sort of subtle. So you'll see me smoothing out a lot of, you'll see me making changes to the mission and smoothing it out. And also another option that you can do is you can use the flatten brush, which I really loved the flatten brush. So you can use the flatten brush. Intensity is about 60 size. We'll go, we'll start with about 100. And you can just turn to sort of go around the top of the nose. And it just makes it a little bit more round. You can kinda round off those edges. Like so. That's pretty key. In the last trick that I do for the nose is using drag. And what I like to do with drag is obviously our nostrils are here. So as long as you're on your nose, you can take drag and you might have to adjust the size I'm at. I'll go with 75. You can drag this up a little bit. And it will really, it'll kinda give you a little more detail on the underside of the nose. And then as always, I just kinda smooth everything out. Like so. 5. Lips: So for the lips, we're gonna do the same thing that we did for the nose. We're going to use a cone for the upper lip. So now we have our cone. Go ahead and can adjust it a little bit that way. And once you move it into position, Let's move it up and back. And once you start to move it into position, you can kinda see the shape of the mouth. So I'll just use the sphere so I can just shrink it a little bit. You can play with these two. You might want your mouth a little bit bigger or a little bit smaller. If you want a bigger, a bigger lip or a smaller lip. And that's where your creativity comes into it. Okay, so I think this looks pretty good. I'm going to go ahead and validate that. And I think that looks pretty good for the upper lip. We can do the same thing that we did with the underside of the nose. So I'll use move. Remember, everything has symmetry on. I'm keeping symmetry on for everything. And then we can just make sure that we're on our lip. And we can just pull this down. To give us that nice upper lip. We can use smooth brush. We can smooth it out. Like so. And I think that's a pretty good upper lip. The lower lip, you can actually do the reverse of this shape. You can make a cone and you could do it the opposite way. I've been practicing a few different ways to do it. Let's take the cone and we'll just flip it the opposite way. It will make it smaller. And once you drag it up into position is sort of just really shows how the shape itself is pretty close to what we're going for. Loops, though it's tilted a little bit more, make it smaller. You can use the front view to line it up with your lip. And it doesn't need to go all the way up here. You can bring it down to about the edge. You can squeeze it together like so. And obviously, when this is the importance of changing it, changing the direction that reviewing it, we can move it back. So I think that looks pretty good. I'm gonna go ahead and validate it. And I'm actually going to trim off this part because we don't want we don't want that actually sticking down through her chin. And that's really easy. Just make sure that you're on the right shape. Grab your trim tool and you can either use lasso or you can use any of these shapes. I'll use the Lasso. So then you just draw around it and it trims. We can do the same thing that we did on the inside of the lip. We can go to move, make sure we're on our cone. Make my brush a little bigger. And then just pull up on the inside of our lip a little bit so we can smooth it out. I like to use the smooth to even move, move my shapes sometimes when I need to. Okay, So we can smooth that out. Then we can just use move and a little bit bigger. And then we can just sort of make sure we're on our cone. Then we can just bring these together. You just sort of match them up. And just so you can see that shape alone, let's, let's, let's do low lip. And then back here we'll do a blip. Okay, and if you want to see what those look like, these are what the shapes look like. If you want, if you want to be really efficient. See how we have all these, all these extra, that extra shape there. You can actually trim that off. We can go to Trim. Go to the front view. And as long as you don't, as long as it's not any of the parts that's showing, you can just trim some of this off loops. It makes sure that you're on the right mesh. So I'll trim some of that off. I'll go here, I'll take a look at the head view. So we have a lot of extra stuff. So makes sure I touched that mesh or touch the upper lip. Will just trim that. Go back and make sure we didn't cut anything else we need. And then we can go to this one and we can just trim the back of this. We don't need it. Don't need the back of this either. So we'll just trim this off. Okay. So now we can go back here and then we can take a look at our head. And we essentially just made it a little bit more efficient by getting rid of extra clay. But I think this is a very good start for our head. And I think next we can do the ears, the eyes, maybe we'll do the ears next. But I think we're, I think we're doing well, this is a good start. And don't forget to be creative. You can make a really big nose, really small nose, big lips, lips, things like that. And just make sure that you have fun with this. If you want to go crazy, go crazy. 6. Ears (HeadTrim): Okay, So things are gonna get a little crazy. But hang in there with me. And I think I said we're gonna do the ears, will do the ears. But first, I think I want to tackle something that might be a little tricky. And so I wanna, I wanna get that over with and get you guys clear on what I'm what I'm doing. So as you can see, I just moved to the right side of the face. And what I wanna do is I want to, we're going to use the trim tool and we're going to trim a line straight down but pretty much like a j. And then we're going to come out on the other side. So I'm going to show you what I'm talking about. So Trim Tool, lasso, and I'm going to use the top part of this mountain, top part of the nose. That's gonna be my point where I start here. I go in, not too too far. I go in and then I'm gonna come up and go around. So just watch the shape. Because this is going to really give the forehead and the top of this head the right shape that it has to be. So I'm starting here. I'm going to come straight in and I'm going to come up. And then I'm going to sort of come around, sort of join that circle. Then I'm just going to bring it all the way out and back down. So it's gonna be a shape like this. I trim it. It looks weird. But these are gonna be our eye sockets. And you can see our nose, we've cut into our nose, but that's okay. For the nose for now. Let's just tap on it. Go to smooth and just smooth out the top. So it doesn't look so atrocious. And it's okay if it eventually goes below this ridge, that's fine. So we'll just leave that there for now. Make it a little bit smaller. Okay, so I think that looks pretty good. So the next thing I want to do is we're gonna take the flatten brush. And we're going to flatten out here and here. So obviously everything is still symmetry. So that's why I'm willing, I'm only doing certain things on one side because it, it will match on the other side. So essentially, I just want to flatten this area. So flattened tool. I'm using my flat and tools at about a 100 and not too intense. I usually keep my intensity around the same spot. So now I just want to flatten this out. Oops. That's one thing that I have to be careful with. Make sure that you touch the head. Now I just want to flatten this out. You can see I'm not going to too close to the nose. Just flattening out. Like so. So something like that. See, I just made these two flat kind of like so. The next thing that we'll do is we'll just use our clay. And we want to make sure that our clay, we don't want it to be subtracting. We want to add some clay. Clay tool will make it a little bit bigger, maybe around 90 or so. And we're just gonna make sure you tap on. We're just going to make like a sort of like a nose ridge in the beginning. We're still on symmetry. So just make sure these two dots aren't too far together or else you'll start going off like that. So just make a nose ridge like this, something like that. Now we have a nice center point. And let's just smooth everything out. I'm not pressing very hard with smooth. Pressing pretty lightly. Smooth in this half. You can see it's very, very warped and we'll deal with that in a second. Okay, nice and smooth. It's very softly. I don't press too hard because when you press harder than it will really start changing the shape. That's pretty good. So that's a good start for now. Let's leave this here and actually get to the ears. So let's tap front. So the ears, I want to be sort of in the mid point of the eye, maybe like maybe right in line with the nose. We're gonna use cylinders and we're going to keep the ears nice and simple. I like my ears nice and cartoony. So we tapped the scene. We add our cylinder here. We'll bring it up, bring it over. And we can just tap mirror. That way. We don't forget to do that. That just makes another one on the opposite side. So now we'll use the blue ring because we just want to turn it on its side like that. And then we'll take the red sphere and we'll just shrink it. Let's move it a little further out so we can see the whole thing. So we'll shrink it. And I think it'll give her a little bit smaller ears. So now we'll take the green and we'll just, we wanna be able to see the inside of the ears. Even though it might not, It's a little less realistic, but it's very cartoony. I like my character is be very cartoony. So something like this. And remember this is very high, this is in line with the eye socket. So let's bring it down. And then we can bring it in a little bit closer. Like so. Check the size. That looks pretty good. We'll check the side view and we'll bring it back a little bit. So it's sort of in the center of the head. Not the center, but I just want to move it back a little bit. So something like that. I'm gonna go ahead and validated. I think that looks pretty good. Now the next thing that I'm gonna do is just smooth it out. So I'm just going to lightly smooth edges just a little bit. I'm gonna press a little harder where it connects to the face. Okay. That looks pretty good. Soften up. This is ridges on the bottom, something like that. So now it makes sure that there were on our ears and let's just rename them Ears. Alright, so now we're going to use the layer tool. And the layer two can come in very, very useful, actually use it for veins as well. So on the layer tool, Let's see what's a good size. Okay, so we'll do maybe at about 40 for the size of the layer tool. And we'll make sure that we have sub. So that's going to subtract. So that's going to subtract like a layer's worth of depth. I know it's weird, but it seems to work pretty well for me. So we're going to start here and we're just gonna do a circle around with our Layer tool. Will make a nice little. You notice I don't pick up my hadn't picked up the tool because once you pick it up than it does a deeper, deeper layer. So you have to be careful with that. Okay, so something like that. Now I'm going to do the opposite. So I'm going to tap sub. And then I'm going to make another little curly cue here inside the ear. Like so. Then I'm just gonna take smooth. I'm just going to lightly smooth everything. You'll notice it's starting to look just like a nice, cartoony ear. I'll take my move tool that a 160. And I'll just sort of just sort of tug on the ear a little bit on the bottom. Just to give it a little bit more of that ear shape. If you want to it sometimes you might want to redo this. You can redo this. Sometimes if you want to make it a little deeper. You want to really work on the crevasses. And I have a little trick to do, the little bit that attaches to our face. So I just wanted to make the little crevice has a little deeper. So now I'll just smooth that out as well. Get everything nice and smooth and soft. Think that looks good. So now when I make this little, the little bit that sticks out from our face, I'm gonna do it on the head. So make sure you tap on the head. Go to clay. And we're going to add the clay here. Remember we're on the head layer. So we're actually coming up from behind the ear, actually do it a little bit bigger because then once I smooth it out, we're going to lose a lot of it. So something like that. I think that's a decent simple ear. 7. Eye Sockets: Okay, so now we'll work on the eye socket area and we'll fix up the nose a little bit just to get this nice and looking a little more natural. So as you can see, the eye socket area is a bit small. So a little cheat that we can do right now is use the move tool. And I'm at about a 100. Tilt the head down a little bit forward. So we want the eye sockets to be almost like a, almost like a I get D shape, like backwards D shape. So I'm just going to cheat this a little bit and just pull this out. I'll make the brush a little bit bigger. And I'm just going to start that shape. We're going to start that D-shaped a little bit. Hopefully that makes some more sense and it looks more like an eye socket. Now. And we just want to have some space for the eyes. So the next thing that we'll do, we'll use the same tool that we did for the inside of the ear. The layer tool, which I again comes in very handy. And remember just to do not to take your Apple pencil off the screen, because then it will, it'll have reset. So what we wanna do is match this D shape really close to the bottom. But we'll leave a little space on top. And if that's confusing, I'll show you what I mean. So make sure that your subbed it makes sure that you're on the head. So now we'll go straight up. Kinda keeping on the outside of that, the bridge of the nose will come around for a D shape. And you see, I'm coming right to that ridge. At the bottom. Left a little space on top. But I came right to that ridge on the bottom. And the reason I do that is because sometimes when I make eye isn't things like that, I tend to make it a little bit. Sometimes I tend to make the eyes a little bit too high and they shouldn't be that high. So something like this is what we were looking for. So let's do a second layer and just essentially just making it deeper. Again without, without lifting up the pencil would just do that one clean, deeper layer. Something like this. So now we'll just take smooth and we'll just smooth it out. Make it a little bit bigger, and we'll just smooth. Okay? Now the next thing I'm gonna do is we're going to actually adjust the nose. So I'm going to tap right and see how this nose is sloped down. We want to bring it up so that it's coming out straight. So we'll use move. My brush is about 135 or so. Maybe we'll make it a little smaller by 120. And I'm going to tap on the nose. So we're on the right mesh. I'm going to pull this up. And I'm going to push down a little bit, pull this up, push down a little bit, pull it up. Here we go. Because I just want it to be I want it to come out straight, like so. And then we have the underside of the nose. So that's what we want. Again, we can use flattened a little bit and just tap on the head again. Just flatten this down a little bit here. But we can we can just smooth everything out. Again. Tap on the nose, nose looks pretty good. I don't need to really worry about that. So one thing I noticed that I want to change. You can see the ears, the lobe sort of comes out pretty far from the head. So this is just a small adjustment, but I'm always looking for little adjustments like this. So I'll just turn to a nice angle so I can use my move tool and pull this closer to the head. And it's okay that it's going into the head. I think that looks a little bit better. I like her big ears. And also we still need a little bit more space for the eyes. So I'm just going to tug, I'm going to use move. I'm gonna make sure I tap on the head and I'm going to move this up. You notice I'm keeping it straight because I don't want to push it back. I just want to I just wanted to sort of pull it out. And I'll do the same thing with this. Sort of pull that out because I like to make really big eyes. So I think that looks pretty good. I think we can add some eyes. So we'll start that in the next video. I'll take a look at this and make sure there's nothing else that I want to adjust before we go into that. But I think it looks pretty good. This out a little bit. I think everything looks pretty good. You can see I'm just taking flatten and I'm just sort of flattening out this area here just to sort of give that sort of ridge on the outside of the eye. So I know this is slowly, slowly becoming not simple, but it's just so hard to not do things when I see them. So yeah, I just made the flattened tool and just sort of flatten it out here. And then I'll just, just smooth it out. The head shape is very, very important. But I think that's a good place to stop to begin working on the eyes. 8. Eyes: Okay, So eyes are very fun. I love working on eyes, but they can be tricky. And the most of this, most of the point where I come into problems with the eyes is the depth which they are in the head. So that's why we, we carved this out like this. Because we're going to set the eyes pretty deep in the head. We also need to give her a forehead, but we'll worry about that later. I know she looks weird, but she's very characteristic. And I'm confident that it will look cute and the end, hopefully, eyes, we're just going to use spheres will bring them up. Hopefully you can't hear my fiance. She's a loud talker on the phone. But we're gonna we're gonna get through this mirror. Either that or I'm just going to start the video again. So I tapped mirror because obviously two eyes. Here we have our spheres and we can bring them a little bit closer together. I think, a little bit lower. Whoops. Bring it forward a little bit. I think there might be a good spot for the eyes. So let's go ahead and validate that. And then we'll just take a look. Okay. I think they look pretty good, but I do think that they're a bit high again. So I'm going to tap on them. Make sure I go to the gizmo. I'll tap on them. And I think I'm just going to lower them. I think that actually looks a lot better when they're lower. And we can always, we can always adjust actually look pretty good. So I think I'm just gonna, I'm just gonna stick with that and let it ride from here. I think it's a good depth. So I think that's a good spot for the eyes. So just remember, we don't want the eyes to be too high. I like that There's still in line with the ears. We don't want the eyes all the way up here. You can do that, but that's when it changes your characters. So much small details like the eyes being too high up and doesn't always look bad. But the more you do it, the more you'll figure out your, your aesthetic. So another thing that I'm seeing is I want to, I want to sort of separate this bridge now. So I'm going to use, I'll use clay and we're going to use subtract and see this ridge here. And we can just sort of break that up, make sure you tap on the head. I was on the eyes. So we're going to use the clay to just sort of start that and then maybe flattened. Flattened is a little less harsh. And I'm also going to flatten out this part here. I really just like using the flattened. And then I'm just going to smooth everything. You can see the clay is getting very, very warped. So we're going to have to rematch the remeasure everything soon. But for now it's okay. Another thing I'm doing is I am just going to push this up a little bit using move. I'm just going to push this up a little bit. A little bit there. Okay. So let's flatten this side. I'm Mike Flynn, bigger. So we're going to flatten this because see how round this is. We don't really need that round. So I'm just going to flatten. So we flatten that. And we can flatten down here as well. Okay? So then we'll just sort of smooth, smooth it out a little bit. Okay? I think it's looking pretty good. We might be at a spot. We're pretty close to be able to remember and connect all these things. But I think first I'm going to bring out the eyelids. And we're gonna do that on the head layer. And we're going to use clay. And we don't want it to be sub because we want to add the clay. Obviously we're still in symmetry. So for the eyes, I don't really want them to look like just spheres. I want to give them a little bit of a, a little bit of an almond shape. So the way I'm gonna do that is built up behind the eye. In a certain way. So as essentially going to be like this. So I'm just going to try to cover this top right sort of part of the eye. So again, make sure you're on your head. And if you want, you can lock it. If you don't see a lot button here, you can go to where is it? Yeah, you can go to this option. Add shortcuts. You can tap Lock, and then it will show up here. And what that does is it will lock the mesh so I can't accidentally tap on another mesh and accidentally mess with another mesh. So we're on the head and we're just going to build up a little bit of the eyelid. So you can see I go back-and-forth and I lift up. Like so. It looks very, very weird. But now we'll just smooth it out. Again. Very light. Very, very, very light. And sometimes I'm not sure why it does that. Why there's a difference in the side. I'm not sure what's up with that. Should be exactly the same, but sometimes it does those little things. But it looks like it's okay as long as I smooth on both sides. So that's pretty good. I'm just going to repeat it. You see how I'm favoring the inside? I'm favoring the inside of the eye. Smooth it out. That's really strange. So I'm not going to worry too much about too much about it because we're going to need to rematch. And we'll be able to smooth all this out once we refresh it. So the only thing that I wanna do is maybe add a little more to the nose bridge using clay. And I think I just want to add a little bit more here. And then just smooth loops. And just smooth it out. Okay? Okay, I think it's looking pretty good so far. So I think on the next one we will remeasure all of this stuff together. So just make sure take a, take another look at your nose, your lips, make sure that it's how you want it to look. Make sure the ears or you, how you want them to look and make sure that the depth, if you want to make you make this deeper, things like that. So you can just make any little glass adjustments. In the next video, we will join all of these shapes and except for the eyes, we're not going to add the eyes because we want the eyes to be separate. And then we'll, and then we'll go from there. I might add on a little bit of forehead, but we'll see. I need to think about it. 9. Forehead & Remesh: So this may be even a little crazier, but I actually think this is fun. I love using the clay to just do some real sculpting. And that's we're gonna do. So let's use clay tool. Brush is about 100 symmetries on. So we're gonna give our gout forehead. So it makes sure that you're on the head. It looks like it's still locked. Which is fine. We can leave it locked for now. And I'm sure later on I'll be like, Why isn't what can I choose another mesh? And I'll have to unlock it. So we're just going to give her forehead so we don't want it we don't need it that big. So I'm just going to use clay. And then we're just going to see I'm just adding clay to the top here. And I'm going to do software and just sort of bring it up to this ridge. Like so. Now I'm just I'm not even being that I'm just I'm just adding bands across. I'm going to add some more bands here. The back of the head would be adding more bands, just going back-and-forth. Like so. You come in a little bit, a little bit behind the ears. Okay, something like this will add it and make it a little bit higher. Let's take a look at the front. That looks pretty good. I'm just going to add a little bit more. Because when we smooth it, I know it's going to bring it down a little bit, so I'm making it a little bit bigger than I want it. Okay. So we haven't really messed anything, so we still have some leeway. Let's bring up, put a little bit more on these sides. So something like that. So you basically just want to make the circle bigger. And there's a few ways that you can do it. We could have used the Move tool and just sort of puffed out the mesh. But sometimes I just like using clay. Sometimes I just you just got to get your hands dirty. So just make your make your forehead area here. Something like that. Nice lumpy head. And then you just smooth it out. You just let this, let this smooth brush do all the hard work. Symmetry is still on making sure that you're keeping symmetry on. Just smooth that out. Okay, and now she has a bit more of a forehead shape. So there's a couple of other adjustments I want to do before we mesh this together. He noticed on this view that the face looks really weird. So me to pull out the cheekbones which would be about here. So we can just do that with move. I'm going to bring the brush tool. Let's see, It's too small. A 145 or so. And I'm just kinda pull out the clay here. I'm pulling it out a little more than I want it because again, when you smooth it is going to bring it. So I'm just going to pull out the cheap, the cheekbones a little bit and then I'm going to use flattened to sort of does flatten them, flatten it out. Because I want to add, what I wanna do is have it flat here, flat here. And I want to, I want this to sort of flatten out underneath. So hopefully that makes some sense. Some bring this out a little bit more to kind of show you what I mean. I'm flattening out the side. I'm sort of not really touching the front too much because I want to have that nice, something like that. So I'll flatten this out here. And then I'm going to flatten out here as well. Just a little bit more. Okay. We can, we can flatten a little bit this sort of temple area that we have. I'm just going to flatten out a little bit there as well. Then I'll just smooth out what we just worked on and it's a little bit better. I do apologize. I said this was gonna be really simple. But once I get sculpting, it's just so hard to not fix things when I see when I see issues. So let's jump to remeshing the head. We want to add more of the head. She's going to have hair, so I think that's fine. If you want to. You can take the Move tool and just make sure you're on the head. Just sort of make the brush very big. Just sort of pull this out a little bit. Because we actually have large, very large skulls. So then when I turn it to front and then I can just sort of fluff out the back of the skull a little bit. Something like this, something like that. So let's go ahead and remember all this together. And then once we do that, then we can start working on the eyes. We can simulate all this stuff out. So we don't want to remember the eyes. So let's find the eyes here, the eyes. I'm going to put those on top just by dragging up here. So we have all of these, the head, the nose, the lips, the ears. I'm going to select them all. I don't want to have the I selected. So once I have those selected, then I'm going to bring mesh at two fifty. Two fifty. You can see I don't have keep sharp edges or anything to 50. Box will merge. And you might want to save. Let me go back because I should have saved. Let's save. You can name it something shorter than this. So now I'll do the voxel rematch at 250. And now you can just go ahead and smooth out your mesh and feel free to make any adjustments that you think you might want to make. I'm actually going to tilt the head forward. So when I saw the front view is actually the front view because right now she is facing up. So I'm going to take both of these layers. I'm going to tap on the gizmo and I'm just kinda put the face forward. Here we go. Okay. And the only thing that I might want to do is tap on the, so this is going to be the head now. So we'll change this whole shape to the head. It's locked. The only thing that I might want to do is make this a little bit more curved. Make it smaller because I don't want it to affect too much of the other shapes of the face. Just a little bit more purge in the cheeks. I think that's good. And we can just smooth. Make sure there's no ripples. Okay, good. I'm happy with this. I also might make this deeper, but we can do that later on. Well, actually let me just do it now. So I'm gonna go with layer again and inner layer. And then I'm going to actually do another circle in here just to sort of essentially, Okay. This is alpha. This is obviously extra. You can just, you know, just keep editing. You can change your ears if you if you feel like you need to, you might not near the hand just can't. Sometimes I just can't stop. I can't stop. Okay. So she has very big ears. I might have to do this little bit again. Just to make that little section again. Okay, Good. So I think that looks good. And next we will will accentuate the eyelids, will put some creases, kinda fix up the little bit of the details. And then we can move forward from there. 10. Face Details: Okay, so let's dial in some of these details on the face. The first thing that I wanna do is we'll, we'll do some edits on the upper lip. Now, there's a few ways that you can tackle this. This one, I'm not going to use what I'm going to show you how useful it can be. The pinch tool. Pinches, great. I have high-intensity brushes around 100 and pinches good. If I wanted to just make these lips look a little bit more together. Pinches, great. Pitch is great for that. It actually looks so good that I'm in a minute. We'll just keep it. I don't know if I'll pinch the bottom to the bottom a little bit. I want to add a little bit of of connector tissue here. So I'm just going to add, I'm just going to use clay. And I'm just going to add a little bit of connective tissue here because I don't like how the skin comes down. And then you can kinda see where the cone was. I don't really like that. So I'm going to add a little bit. I'm not going to add it in the middle because we can actually, we can actually sub, subtract. And you can actually depress that a little bit because that's what we have on our lips. We have that little depression in the middle. So I'm going to tap sub and I'll add a little bit more out here. And then I'll just smooth. And I'm just being careful not to really go over the ridge with the smooth. I just wanted to, because I don't want to really ruin that ridge. I think it looks really good. There we go, something like that. So now it looks a little bit more natural rather than coming down and then the lip coming out. Another thing that we can do just to sort of bring out the lips a little bit. We'll use crease. You probably won't have this problem. For some reason. My tools, they always have the color settings, so I'm going to turn that off. It should have the little line through it. If it doesn't, then just tap it and tap stroke painting. What stroke painting is, is when we color this in and we want to, we want to do another crease here. If we add a darker color, it'll just add some depth. So you can use the tools, um, which will do what the tool does, but it'll also paint it. So that's what stroke painting is that I want to turn off because we're not at the coloring stage yet. So crease tool, I don't need it that big, maybe like 30.5%. Intensity. And symmetry is still alone. So now I'm just going to just accentuate this line. In the middle. I'm going to dip it down the slightest bit. On the, on the outside. I'll maybe try to make it a little deeper. So something like that. I wanted a little less pointy, little more round. There we go. That looks good. So while where we have decreased tool, we're just add some definition to the outside of this nose. So we can just use crease tool. We can bring it around up into where the nostril would be. I'll do another pass going back. Just like that. And it just adds a little bit detail. And I just softly smooth it just so we don't have those like jagged lines. But it really adds some details to the nose. And we can take flatten and we can do what we did very early on. We can just sort of flatten out the top part, leaving that nice ridge, like so. And then we can just smooth, smooth it out. Okay, I think that looks good. Now for the eye details, we can pretty much do the same thing we did before, but since we rematch the head, the clay is going to be a little bit more, a little more sturdy. So it's actually going to look a lot better. So just make sure you're on the head layer, which I still have locked. The brush can come down. So now we're just going to build up this clay behind the eye. And again, I'm going to start here and I'm going to come right to the, not all the way to this part of the eye. We're going to go a little bit further up. So I'm going to start here and I'm going to come around like this. And I'm really going to bring that out. Really bring this eyebrow out a little bit more than I would want it because smooth is going to depress some of the clay that we brought up. So now I'm using the smooth tool symmetry of course is still on. And we're just gonna go ahead and smooth this out. There's just some of my favorite parts to in this kind of stuff at this stage. Really smoothing it out. Well. So it looks like the eye is set inside. So now we'll do the same thing with this lower this lower section. So we're going to go back to Clay. I'm actually going to make it a little bit smaller. And I'm not going to start right on the inside. I'm going to start right on the middle part. I'm going to start a little bit lower. I'm gonna come around. And you see I'm mostly working for items like on the inside of where the eye is because I don't want that to come out too, too far. You see, I'm just going to build it up. I'm going to build it up like so. And then I'll take smooth again. And you just want to smooth all of this down. Just so that it's nice and subtle. Because it's really the subtle, sometimes it's the, it's the subtle details that really gives it a nice, a nice look. So I'm actually going to flatten this. This is very, very sharp here. So I'm just going to flatten, flatten that part of the head. Then I'll just smooth it. Okay, and we can actually flatten the top of this too, just so it's not so, so it doesn't stick out so far, doesn't really have to stick out so far. I'll flatten out the top. Press a little harder. Maybe go and it looks a little bit better. So now I'm just going to smooth that out. You might have to do something like that a few a few times until it really looks like even this little bit. I'm so I really, really pay attention to any little change in the service of the sculpt. It just I need to have it as perfect as I can. And we can flatten up this little space. So let's use the flattened brush. We can just flatten this space up here because this would be obviously the area between our eyebrows is flattening. And then we can smooth. You saw I just kinda flatten out the rich to which an x it looks okay. Okay. And now I'm just going to flatten out the forehead a little bit. I'll just bring this up, just sort of flatten out that area at the top of the skull. You can see I'm sort of pressing in a little bit here because this is the flattest part. You can see I'm sort of just making a little sort of rectangle on top. But you just want to like just flatten out that forehead a little bit. Then you can just smooth everything out as usual. But it's the subtle shapes that really make a difference. And that's why you can see like sometimes it's really hard for me, I can't not do them. So I think that looks pretty good for now. I think when we, the next video, we'll do some eyelashes and eyebrows. And I think after that might be able to color it. Who we'll see. We'll see what happens. 11. Eyelashes & Cheeks: Okay, So I'm going to add the eyebrow eyelashes, which I always do with my characters. And I'm going to use the tube tool. And I'm going to tap curve here. And the two tools, great for this. It can be a little tricky. So I'm going to start here and I'm gonna bring it up and around and around. Then you will see that it makes the tube. And sometimes it'll, you won't be able to edit it. So you just have to change this little, just tap Edit there. And you can see all these little points where you can pull it out. And the tricky part is sometimes you have to turn it like this so that you can actually pull these out to be able to see them. So now we can see our whole tube. So essentially you just want to make a nice curve by, by moving these little nodes. And just be careful. If you tap them, then they'll turn black. It'll be like a, like a, like an angle. So we just want to keep them curved so we don't need we don't need any of them black yet. You just tap on them again. If they do change. On the bottom here. I'm going to take this last node and I'm going to turn it up like this. Because I always do those little wing tips. This one I'm going to make black because it's a I want, I want that to be, I don't want this to come off on the end. So open this up a little bit. So it's looking pretty good. Now with a tube tool, you can tap radius here. So when you tap radius and it has the two dots, that means you can adjust the different sizes. And you can change the sizes, see how it's only changing this left side. So this one I'm gonna make smaller. This one I'll make it a little bit bigger. That looks pretty good. And the way that I want this to look, I don't want the end to be that small, but I don't want it to be, I don't want to see it. So I'm going to make another node by tapping on the white line. And this one I'm actually going to bring into the mesh. This one I'm going to bring out a little bit just so we have that nice curve, just this. So see, I put it inside. So that curve kind of comes down and just sort of disappears into a point. You have to make sure that your two is touching, that there's no space there. You don't want any space. So we'll just move everything back. It looks pretty good. I think that looks great. So the tube might take a little bit of getting used to, but just be patient. I think that it does really, really make the eyes look better when you have, we're going to make this black, the eyelash, and it really just brings it down a little bit. So I'm going to make sure that you mirror it that way. We have it on the other side and then you can validate it. And I think that looks great. I'm going to take smooth and just smooth out the end of this, and we'll edit this a little bit more later on. There is another option that you can do. You can do the same thing on the bottom. And this is extra. You don't have to do this. I actually just started doing this. But you can do the same thing on the bottom. The only thing that's different is I usually just make it a little bit thinner. Let me bring the two out so I can see it. I'm going to mirror it for now and we'll come back to it. It might be a little easier once we color this. So I'm not going to validate them yet. I'm just going to leave them for now so we can come back to them. We can go to the head. Now. It doesn't really matter which way we go to. Now let's change it to o. Let's start coloring this because we pretty much have all the details how we liked them, and now we can color them. So we'll go back into this layer, PBR. And you can see we have like a nice little super white sculpt. And we can choose a color. I think I'm going to use a nice like milk chocolate brown. Something like that. And I don't want it to be glossy. I don't want it to be too glossy. I should say that. So we'll paint it. And now we can go back to these these lashes. So we'll go to the top lashes. Let me unlock. I knew that was going to happen. So we'll go to the top tubes and then we'll just call them black, like a very matte black. So we want to turn roughness all the way up so those are black. And then we tap pain all. Okay. I'm seeing that this is a little bit. So I'm gonna take symmetry off and I want to try to move this as well. Maybe drag. Here we go. I think drag actually worked a lot better. And as I was saying before, that we were going to edit these. So I just wanted to, I'm going to go back to symmetry. And I'm just gonna kinda smooth that out a little bit. And I'm going to use drag and just change the shape to something like this. I'll just smooth it out again. So I just sort of made it a little bit more curved. Like that. Somebody got the back of this. Here we go. Okay, So here's another detail that I want to make sure that I show you. The cheeks are a bit hollow, so it looks a bit weird from the side. So I'm just going to use the move tool and I'm just going to puff out this cheek area here. So brush probably about a 160 or so. And I'm just going to puff out. You may need to Brent make the brush a little bit bigger. So I'm going to give her some cheek areas, a notice the way that I'm looking at it model. I'm going to make the brush a little bit smaller. And then I'm gonna puff out this area here and a little bit bigger than that. Push out little bit here as well. So just sort of puffed out the cheeks. That looks better. Then I'll just smooth. Smooth everything is usual. There we go. That looks a lot better. I like it a little more punchy or more fuller cheeks. 12. Face Colors & Lips: Okay, it makes sure that you're saving, saving, saving. I think the next thing we'll do is we'll do some lip colors and then we'll do the eyes. So for the lips, Actually we can do, we can do, we'll do the facial color first. We will add some redness to the face that will make it look a lot more realistic. So we'll use the paint tool. And we'll change the color here to to read. And the roughness is fine. So we want to change the color to red. We want to make sure that we make a new layer. So we're on the head. Make sure that you're on the head. Mesh. We want to tap here for layers, Add Layer. And we're going to call this red. Okay? So the base is what we already have, and this is gonna be the red color. So now that we're on our painting, we don't want to erase. That will not be helpful for us. Brush at about 90 to start in intensity, we're going to turn down to like twenty-five percent. Brush might need to be a little bit bigger, maybe like 125. Okay, so symmetry is still on. So now we're just going to do softly at all. It's still very, very dark. So I'm going to lower the intensity to 15. We're going to add some redness on the nose. A little bit going up the nose will add some redness on the cheeks. I'm just trying to do it. Circular pattern that a little bit to the mouth area and to the, to the ears, to this top part of the ears. If it was a whole body, I would add some to the fingertips and toes. The elbows. Looks pretty good. Now we have our little bits of redness. And you can use the smudge if you feel like you want to sort of kinda smudge the color around a little bit. But don't worry if it's a little if it starts to look makeup B. Because since we used it, since we did it on the layer, we can go to that layer and then we can lower the opacity. So I'll lower it to about a little more than, a little more than halfway, so it's there, but we want it to be subtle. Okay? Another trick with the lips. If we want our character to look a little happier, we can use drag. I'm going to turn symmetry off. And I'm gonna go back to the base. So I went back to the layer and the base because I just want to keep it on the base layer for now. Anything you do on layers above will be affected just on that layer. So let's see if I can drag this lip up. Just to give a little personality. Might have to smooth this out sum. And then we can use the drag tool again and just drag it up. So something like that. I think looks pretty good. Just sort of smooth that out a little bit. So now we have at least a little bit of a little bit of happiness, just a tiny bit, a little smirk. We can add some lip colors. So let's do that. So add another layer. And this is gonna be up lip. And we'll add another layer. And this is going. Hello. I'm gonna put uplift above. And I'm going to tap on that layer. Now we can figure out what color we want this. So again, I'm gonna go to paint that. I'm going to long press the color of the lip and I'm just going to make it a little bit darker. A little bit darker, maybe a little bit more red. Like so. And I'm going to put paint all the way up. And I'm going to lower the size of the brush just so it's easier to paint with. And I'm just going to paint the upper lip. Okay, here we go. So we paid the upper lip. Now I'm going to take smooth and I make the brush really small. And I'm just going to smooth out along the edges. I'm not going to press too hard because we're still affecting the clay. We don't want to affect the clay that much, but we just want to have a nice smooth paint job on the lips. Paint that center crease or smooth out that center crease. Okay, I think that looks pretty good. And now for the lower lip, so we'll go to the lower lip and our layers. And this one, it can be a little bit more pink. So let's just go to a pinker color, something like that. And we'll go back to paint. Will just paint in the lower lip. And remember this layer is underneath our upper lip. So we don't have to worry about painting over that layer. Might be a little too pink. But again, we can just lower the opacity of the layer. Okay, just make sure that you come right to the end of the lip. So another little Passover. So something like that. And then we'll do the same thing with smooth. And we'll just sort of smooth out lipid the bottom. If you need to, you can erase. You can go back to the Paint tool and you can erase. You can erase if you think you've you've come down too far with the pink, can you erase it and then just smooth it over again? I probably should have done a little bit more of a natural pink color. But let's see how it looks when I lower the opacity of that lip. Think it actually looks, actually looks good. As long as I lower the opacity, I think it looks it looks pretty good. So something like that. 13. Eye Details: So now let's do the eyes. And our scene isn't really that big right now. So we're going to tap on the eyes and let's rematch them. So we tap on this little grid. We go to voxel and I'm gonna read mesh them at 250. Or actually I'm gonna reinvest them at 300. And then I'm going to smooth them out with the smooth tool. And then I'm going to paint them a glossy white. Paint them a glossy white. Hello it. And there's two ways you can do the pupils. The first way is you can do selective mask and you can use the ellipse. So Selective Mask. And then the ellipse right here, symmetry is still on. Now, if you want your character to be looking at camera, looking straight, you want, you want the pupils to be a little bit further in towards the center, not cross-eyed what you want them to be a little further in. So using selective mask and the ellipse, CEO, I start my circle a little bit more on the inside. Then I make my circle like that. Now, this is only a mask. So let's say we're on the eye layer and we want to add pupils one. So will they P1? Because we liked these pupils, we still have to actually paint them on the eye, like on this layer. So we'll go back to up here. So we're in selective mask. We're gonna go to the Options here. Invert. So now that just inverted. So now the open space is the pupil. And then we'll tap here and we'll just go to black with no roughness. We want to we want a glossy black. And then we'll do pain. All. You notice the gray is still there so you have to make sure you go back to your selected mask in clear. And then you can see your eyes. And I probably could have remastered are subdivided it more. You can see it's a bit jagged, but I think I'm just going to smooth. I think I'll just smooth it out. Instead of subdividing. It's a little bit of a cheat. Whoops, I did make sure I was on the eye layer. There we go. So that's what it looks like when it's not at 198 K. Sometimes, I don't know why. It takes, it takes a very, very dense mesh in order for it to be really clear. But since we're here, let's try that out. So we're going to, I'm going to close that. So I went back to the layers and I just you can turn the layers off and on. I'm gonna go to the eye and I'm going to sub-divide it. So we've already rematch to it now I'm going to sub-divide it. So I'm gonna go back to the grid, back to multi-rate sub-divide. So now it's huge. Now it's really, really big. So let's see how the selective mask looks with the lips. See it's very, it's a lot clearer now. So I'm going to add a new layer. I'm gonna go to this selective mask options Invert. Now I'm gonna go to my color. I'm gonna go to penal. Take all the references out. Now I'm gonna go back to these options up here. Then I'm gonna do clear. See it's a lot smoother. But the only thing that you're giving up is this is a lot, a lot bigger. This is 792 K, so it's a lot bigger of a file. And personally, I don't I don't think I don't really think you need it that much. So I'm just going to undo. But I was just wanted to show you the options. Because we might even be able to paint. The eyes are back at 198 K. I, I got rid of the sub-divide by just hitting undo. And let's actually see if I paint it. Let's, let's go to our glossy black. And let's not be on a race. So now I'm back to that first layer p1 because I got rid of the other one. So let's see if we can paint it a little clear. So now I'm actually just painting it and it's fairly clear. It's not bad. And this may take some time to, for you to get the, you know, just get a clear. Make sure your pupils are nice and round. You don't want any funny-looking pupils at a ruin your sculpt. I think that looks pretty good. Another thing that I do with the eyes, I'm gonna go to the, I'm going to add a new layer. I'm going to name it shadow. And I'm gonna go to this layer. I'm gonna make it 50 or half the opacity of the layer. And now I'm just going to go back to a mirror. I'm already in paint. Brush doesn't have to be that big. So I'm on the eyes, symmetry is still on. And now I'm just going to make, Wait a minute. How did I get to the head? I layer. Make sure I'm on the right layer I am. So now I'm just going to make this black. It's black. Remember I lowered the opacity of the layer. Now we have a shadow on the eyes. Nice. And also since we're here, I just wanted to use the crease tool. And I'm actually going to want to use an increased tool, actually want to use the color. So I'm going to tap on the color. Then I'm going to long press on her skin. And I'm gonna make it a little bit darker. So I tapped again on the color. I made it a little bit darker. You can see it's affecting the eyes even though it's not gonna be on the eye. Let's make sure that we tap the head. Now I'm using crease. You can see the color here and it's going to be darker. See how the creases darker. But the head is only 198 K. So it might be worth it for me to sub-divide it. So let's go ahead and sub-divide. So I'll use the grid. The head is only 198 K, So let's subdivide it. So now it's 795. So it's a lot tougher. So let's do the same crease and see it's a big difference. Actually let me erase this, make this smaller. So if you notice what's happening, it looks clear. And then once I let it go, it's becoming blurry and I know why it's doing that. I think. Yeah, So the reason why I was doing that is because I'm on this layer and this layer has low opacity. So that's just a good example of being aware of your layers. So I'm going to add a new layer on top. And I'm going to call it darker. This is, this will be where all the darker elements. So now when I make the crease, it's not going to get blurry like it did before. I spent many a time pulling my non-existent hair out, trying to figure that out, that decrease. So something like that. And I'll just smooth it out. So it looks a little bit more natural. Now I'm going to do the same thing. I'm going to make the crease. I want to make the crease a little bit bigger, decrease brush or Tool. And I'm just going to bring this around right into there, like so. And then I'm gonna make another one here. Like so. Then I'm just going to smoothies. So they look a little bit more natural. And unfortunately I didn't have symmetry on. So I might have to do them again. It's now I'm just going to repeat everything I just did, but I have symmetry on, so yeah, you gotta be careful with symmetry. 14. Finer Face Details: So here's another small detail that I want to, I want to add, you don't have to do this. But when I'm looking at it, I think it'd be nice to add a little more of a lower eyelid. You really can't see the one I've made that. Well, so when I want to add more to that, so I'm going to go to clay, make sure that I'm on the head. But I want to make sure that I go down to the base. So I wanted to do it on the base clay. You have to be careful on these layers. You want to do it on the base. So now I'm using clay. And let me just save, because I haven't been saving as often as I should. I'll save. And I'm going to hit Lock just so I don't accidentally hit anything else. And again, just like we did before, I'm just going to draw this out. But if you notice, I'm assertive trying to trying to add it to the eye so that it actually skinny is up the eye a little bit. Okay, I think that looks good. I think that will make the character look a little bit more, a little bit more happy. So now I'm just going to smooth smooth out the clay. Okay. I think that looks a little bit better. Okay. I'm just going to add some darker nostrils. So I want to make sure I'm on the head layer. And we're going to add them to the darker layer. And we'll just use clay. We sure that we're on subtract. And I'm going to choose a color that's here. And then I'm just gonna make it darker. And then I'm going to turn up the roughness. Okay. So now with our clay brush, we're just going to sort of just just make a little nostril and then maybe I'll just go over it again. Just to give, just have a little depth. Like so. And then I'll just use smooth and just smooth it out a little bit. Let's see if I can smudge this color a bit. Smudge seems to be working well to kinda just just smudge the color and make it a little more natural looking. Okay, I think that looks pretty good. So I do want to add some eye lid creases. So I'm going to use the crease tool. And I'm going to highlight this color again. And I'm going to make it a little bit darker. Crease tools, nice and small. And I'm actually going to, I'm going to start about here a little bit up from this eyelash. And then I'm going to bring it down and I'm going to press harder once I get to the end. So the beginning is gonna be very light. I'm going to press harder as I get to the end. Then I'm actually going to come back and just sort of make it a little bit deeper at the end. Then I'll smooth. Just to make it a little more natural. I think that looks pretty good. Another quick detail I want to do on the lower lip. So low lip, I'm gonna make an amine to make a new layer actually. And I'm going to name this one gloss. This is just gonna be for the lower lip. So I made this new layer and made it gloss. I'm going to bring it down to low lip, right above low lip. So now I'm going to tap here and I want to get this color of the lip. So once I have the color that pink, I want to go to Paint and I want to change the gloss. So I'm going to bring the roughness down, see how it gets very glossy. I want to change, I want to put the roughness down and then I'm going to lower the opacity, lower the intensity. Pretty low. And about 50% for the brush, I'm going to turn off symmetry. So remember we're on layer and where we made a new layer called gloss right above that lower lip. So now we can add we can slowly add more of a gloss to the lip because the lip would have more moisture. I'm going to turn the intensity up a little bit more. You notice I keep going over this one bit. So really have that nice gloss on bit of the lip. This just a little trick to just make the lip lip a little more life. And while we're doing that with the lip, we need to read darken. So let me grab this color. And I'm gonna make it a little bit darker. And I'm going to grab the crease. And let's go back on dark wool. Let's actually do it on upper lip. So we'll do it on the upper lip. So now we're increased again and you see, we just need to re we just need to give this slip a little bit more detail. So I'm going to start over here. Come in. Remember symmetry is not on because this side goes up. So we'll bring this around. And then it'll bring it up to this smile here. Make it a little bit more of a depression. At the end. I think it looks okay. Feels a bit off to me. I think I made the line a little bit too low. So let's try that again. But I'm going to make the line a little bit higher. I think it looks a little bit better. So I'll just smooth out a little bit just to keep it looking natural. And it actually might just erase just erase some of this darker color that sort of bled onto the lower lip. So erase some of that darker color. And then I'm just going to smooth it a little bit. 15. Eyebrows: Okay, so we can add eyebrows now. So head layer will make a new layer. We could actually use darker, darker, or we could just use a new layer. Let's use darker. And then we'll make a new layer. We'll make a new layer to maybe darken up in these eye sockets. But for now, I'm going to try to speed this up because I completely, I have so much fun doing this. I hope that you're hanging with me and learning a lot from these little tricks. This is how I think about every Skulpt. Okay, So let's use clay. Now. We don't want it to be subtracted. And we want this is gonna be for eyebrows. So we want them to be fairly dark, pretty much black. And I think this roughness is pretty good. So let's just take a look at how that looks. I think that looks pretty good. The reason I'm using clay is because I want to add some, some, I don't want to just paint it on. So we can do symmetry because it should be equal on both sides. And we try to put this straight for the eyebrow. It's gonna be something like coming off like this and then coming down and getting in. Then I make my pressure a little bit lower. So we come off and come down a little bit, something like that. So that's your basic shape. And it's sort of using using this ridge that we made before. Sorry for the neighbors slamming doors. As usual. I'm just going to smooth out the edges. And let's see if I can make this smaller and I'm going to turn symmetry off. Sometimes it's nice to just have a little bit of a difference. Who I meant to be on Clay. Let's see if I can just add a little difference to these. Just so they're not super identical. Or you can just have them identical. But I do sometimes I do like to have them different. But it's not a big deal either way. I think I might use clay to maybe polish off. Just add some little bit more texture like this. I didn't have kids symmetry on, but that's okay. Just gonna do the same thing. I'm just adding a few lines just to add some texture to it like that. And can smooth this out. We might be able to use crease. Let's get rid of the color though. We just want to use irregular crease. Let's see what happens if we move this out. Okay, I think that looks pretty good. And of course you can make them bigger, thicker. I kinda feel like maybe she needs thicker eyebrows. So I might do them I might do them thicker, but we'll see. Oh, and I still didn't have symmetry on. It's okay. We'll just have to do it manually. Okay, I think that looks decent. And we'll just smooth just so it's a little bit softer. So it looks a little bit more natural. If you do want a more simple look, you can always undo all of this. If you want a more simple look. And you can just make the clay a little bit bigger. Turns symmetry on. And then you can flatten, you can flatten this out. It's a bit more of a simple with simple color. I'm just going to use clay just to square off the edges. And I'm sort of making it the same as I did before. Okay, so now I'll just move to the same thing. Just smooth the edges and flattened will make it to some more. Another little stylistic thing. Okay, so I do want to add a little bit of darkness to the eye sockets. So the way we'll do that is we'll just go to the head layer, add a new layer. We'll call it I darker. So now we'll just grab that color. Let's make sure we're in the paint tool. I'm gonna grab the color of the skin, will make it a little darker. And then we will make sure that symmetry is on. And we're just going to paint this upper section. We're going to try not to paint below this, below this line loops. So we're going to paint over this section. Sorry, the neighbors are slamming doors again. We'll paint over this section. And then we'll use the smudge tool. And you just want to smudge, you can turn this off. Okay. I guess doesn't doesn't matter for smudge. So now I'm just going to smudge around the edges just to give it a nice blur. Okay, that looks pretty good. Now it's very dark now. So again, we'll go to that layer and see we can change the opacity. So we don't want it that dark. Maybe just a little bit. So maybe half. I think that looks pretty good. The only other thing I can think of is add a little gloss to the nose. So let's go to, we'll go to gloss. Will go to gloss or grab this color, the color of the tip of the nose. And then we'll change that to a little bit. Lost here. Paint. Although the intensity so doesn't go too crazy. And we'll just add a little bit of gloss. Will turn symmetry off. A little bit of gloss to the end of the nose. Maybe it will just smudge around it a little bit. Just to give the tip of the nose a little bit of gloss as well. I think it looks pretty good. I'm pretty happy with it. I think we can do some hair. So we'll move on to the hair in the next video. 16. Hair Shapes: Okay, so for hair, Let's start with a cylinder, regular cylinder, and we'll go ahead and validate it. We want to make the color dark. Decent amount of roughness. I don't have a pitch black, but it's pretty close to black. You can use black if you want. But I just have a little bit. No black. So I'm gonna make the sphere round and I'm gonna sort of lining up with her head, make it wider, and then stretch it out. So something like this is a good start. So you can see it's basically just a sphere that I've made. But it's a good start for the head. I'm going to use the Move tool and symmetry is on. And I'm just going to bring the top-down. Maybe just stretch out the back a little bit. I think that's a good shape so far. So now I'm going to drag these sides, make the brush a little bit bigger. Symmetry is on. And I just want to drag these sides down a little bit. Can you think that looks good? Let's see. Can bring this up is back. I just want to get a little bit of that that little bit of hair line in there. Just a little bit. I think that looks great so far. So now if we want to add a little bit of, make your hair a little bit more dynamic. Let's use a cylinder. So the cylinder, we can go ahead and validate it and we can tap on the color and we can just paint it the color that we want. So we'll bring the cylinder up to the top. We'll turn it, shrink it up like this. And for the first one, we'll bring it down like this. We'll move it over a little bit. Move it down a little bit more. Now let's make it bigger. And then we'll just stretch it with this blue stretch it and move it back. So we want to have something like this. So now we go back to our gizmo and we're going to tilt it. When you use this read. To tilt it, we're going to make that corner. So it's pretty much in the middle of the head, maybe a little bit over. Like so we'll move it back and something like this. So we have a nice tilt to it. And then we can use the move tool to move this back and just stretch it out into the rest of the hair. I think that looks cute. Now we'll tap on that cylinder again. We'll tap the gizmo and then we'll clone. And when you clone and then you move it, it will create a second one. Clone that one. So let's skinny that one up using that green sphere. And it's tilted so that this one goes straight back. It's tilted a little bit off. Hopefully you can see this clearly. What tilted a little bit more. Stretch a little bit more, lower it. Move it back some. There we go. Then let's do the same thing. We use the Move tool and we'll just sort of bring it down to the head. So I think we need a third one. So let's tap our gizmo tool will clone, will bring this off. Skinny it up. Some, will move it back over what tilted a little bit more. And then we'll use this blue to get that nice tilt. I want to bring this over. Almost all the points are almost at the same spot. Like that. Make it a little lower. Move it over. Then we'll do the same thing. We use the Move tool and we'll just stretch this into the rest of the hair. Like so maybe we'll even like bring it over a little bit. And maybe since we're doing it, let's, let's add another one. Let's clone it again. This one, we'll bring it off, we'll bring it back. Let's make it smaller, a little bit smaller. We'll tilted a little bit more. And then we'll push it back, stretch it. Maybe something like this, then we can move it. So it sort of looks like it comes down behind the ear. You can see I'm just maneuvering with the move tool and just move things back and forth. Very useful. I do that a lot. I think that looks good. Now I'm going to tap on the sphere again. So this is the hair. I'm going to rename it here so we don't get confused. Air Base and all the cylinders are these little flowy things. But I want to tap on the hair and I want to move the hair down. So symmetries on and it's fine. Now I'm just going to drag this hair down. I'm going to drag it out a little bit. Whoops, someone who had stepped on something else. I'll stretch it back here just so it's got some volume to it. I'm going to turn symmetry off. I think I'm going to bring this side out more. I think it looks cute. I think that looks cute. This side. I can even bring in a little bit just so it has a nice little difference with a little bit of the ear showing. Now I'm going to use drag. I'm going to use drag because I want a smaller area and I just want to bring this back. So it looks like it's actually going behind the ear. Since we made the ears, we don't want to totally, we don't want to totally lose the ears. Since we spend that, since we spend time on the ears, right? So we'll move that back so it goes behind. I'm just going to use clay and I'm going to use subtract and make sure that I'm on the head, the hair base. I'm going to lock it so I don't accidentally hit something else. So now you can just kinda clay away that one spot, that problem area. And I'm going to solo the hair so I can get rid of that problem area. There we go. That looks pretty good. So now I'm just going to use drag symmetry is still off. Because the hair is no longer symmetrical. I just want to drag the hair out a little bit. Maybe I'll use flattened and see if I can just, here we go. So we'll flatten that. Let's see if I can do this before I rematch the hair. I'm going to use clay, makes sure I'm on here based it's still locked. I don't wanna be on sub I'm going to add. So let's just see what happens when I try to add some clay. Okay, so eventually I knew I was going to have to rematch the hair. But that's good because we're going to refresh this all together. So I'm just going to take another look at these. Unlock it. Maybe I'll just drag this out a little bit. Here we go. Tap on this cylinder. You can bring this one around a little bit more. I think it looks great. It looks good. The only other thing I'm thinking of is we could add another cylinder kind of going this way. That might be cool, but I think I might be able to do it with. Let's go for it. Let's add another cylinder. We'll paint it right away. Bring it over here. I think I want it. Stretch it out, make it nice and stretched out. Skinny it up. And I'm just going to position it. Position it here. We can bring it close. So something like this. So I'm gonna go ahead and validate it and then I'm going to use the Move tool. And I kinda want it to go sort of like a not an S-shape but kind of like along the shape. So if you watch, I push and pull and push and pull until I sort of get it. How I want it to look. I'll do the same thing down here. Push, pull, push, pull. Sometimes I have to make the brush a little smaller. Just push it and pull it until I get a nice S shape, which is what I'm going for. So just remember just lots of push and pull and push and pull. And you can really get, and it's nice that it's a cylinder because it maintains this nice shape all the way through, which I think it looks really, really nice. 17. Hair Details: Okay, So I think the hair looks really good for a base. I think what we can do now is voxel, remember it altogether. So I'm just going to save. Then I'm gonna go to the hair base and all of these cylinders. Then I'm going to voxel, merge them. I think I'm going to do it at 300. Let's go crazy. 300, voxel merge. Let's see how everything looks. Everything looks pretty good. Now I'm just gonna go ahead and smooth everything. I'm going to turn to Symmetry off with the smooth. But I just want to smooth everything out. I've actually meshed a little bit higher only because there's so much detail in these cylinders. And I just want to maintain as much of it as possible. But I don't want to go too high because i then the numbers can kind of get out of control. So but I think it still looks pretty good. The hair is essentially one shave made out of many shapes. I think, as long as the base looks good and the general shapes look good, then you're doing alright with the hair. So just get rid of all these ripples. Sure, these are nice and blended together. Okay, Looks cute. So now the next thing that we can do is we want to add some creases just to, just to kinda break this up a little bit. So we'll go to crease. Make sure we're honor her hair. Let's rename his hair. And we'll add a little bit of a crease like that just to give it that little bit. And we can add, if you wanted to get crazy, you can actually add some creases like this. Really make it really make the hair special. So Chris is probably one of your best tools for doing this as those little breaks, which really make a big difference. Okay, So now for this area, we want to use clay. And even though we made the crease there, we're going to use this clay. Oops, let's make it a little bit smaller. We're going to use this clay to come down like this. And again, we're going to make it really make it look like it's gone. Behind the ear. We'll do another one coming up like this. Like so. You can continue to fill out the hair using clay. You can fill it out as much or as little as you want, depending on what kind of, you know, what kind of look you want to, you want more detailed. It is good to still smooth and just kinda keep everything in check. And also Use the crease tool to really divide some of the lines within country here, I'll just do some crease. I just wanted to make sure you smooth away those extra those ribs. Now add some clay Mac here. And you notice that I'm just sort of, um, kinda following the same sort of directions. I go like everything here comes from the center point and then it comes around like so. Plan this. You can also flatten some spots. They start to get a little crazy. You can plan. You can use the crease. Actually quite therapeutic. I think doing here like this. I always like doing here like this. Some swirls. I think that looks pretty good. And one thing that I also noticed on the head, kind of a wide forehead. So I'm just going to use flatten. And I'm just trying to sort of flatten this out, sort of at an angle. We turn on symmetry. I just want to flatten this out. Okay, and I'll just smooth that over. Now. Last but not least, let me just try to add some small details here With crease. Just sort of trying to enhance those a little bit. I think that looks great. I'm pretty happy with it. And if you think this looks funny with a little bit of here and then you can just stretch this down a little bit. I'm kinda cover that ear a little bit more. Okay. That looks pretty good. Now, the next thing that we can do is just light it. It's pretty much done. Hopefully you'll stick around to do some lighting because that can really make your sculpt standout. So in the next video, we'll get to do some lighting. And then we'll start exporting our head. 18. Lighting the Scene: Let's do some lighting. So first, we want to turn off all the lights of the scene. So we just go to this little sun window and then we just uncheck, the environment should be black. So now we can add our first light, which will be a world light. And if you want to see the light, you can tap on this little color here. And let's just make it white to start with. So this is a directional light. Okay, where is the directional light? I have it hidden. You can go to the settings here and you can just tap the lights. Option. Same thing with the grid. I'm going to turn off the grid. This is our directional light. It doesn't matter where the light is positioned, but I'd just like to move it so it's easier to grab. So it's not on the face. So the weight is where the light is actually coming from and your whole scene. So as you see, as you move that around, the scene will change drastically. I think this looks pretty cute, just coming down from the, from the front. Let's see. From the other direction. That's cuter, I think. So. I think that looks pretty good. With the directional light. You can move it around until you, until you like it. But I think I like it coming kind of illuminating the face. The rest of it we can eliminate other ways. So the next slide, we'll tap on that again. We'll add another light. And I'm just going to make it yellow. Make it sort of warm. And I'm gonna do, I'm gonna have it be a spotlight. So let's tap on the spotlight. I think we'll have it. I think we will have the spotlight coming from let's see. We'll put it on this side for now. You can see it's very close. So as you can see, the cylinder is what the light is hitting. You can tap this little box right here and your options come up. So let's take the cone angle and make it bigger. You can see it's just light more. So we'll make that bigger. Waves the intensity a little bit. And we'll make this a little warm, more warm. Okay, So maybe we'll make this will push it further back because I kinda like kinda like the light to be coming from the side or more towards the back of the head forward. That usually looks good for. Oh, another thing that we can do as well, which I almost forgot. We can go, Let's see, where is it. Here? We can go to this little camera option and then we can hit perspective. Right now I have her at 10.2. I might I usually have it at 12.92. So let's see what that looks like. I can see somehow the way that the light is hitting her cheeks. It's making your cheeks look a bit funny. So I might have to light up her face. I think that looks pretty cute. And I move it a little bit further back. So it's not so bright. And let's adjust. Okay, I think that looks decent. And I'd like to add another color light coming from this side. So we'll do add light and we'll make this one a cooler color, like a blue or purple. And we'll tap on the actual light itself and move it over. And let's tap on the Options here and make it a, let me get rid of this, will make it a spotlight. So we'll bring it back. Angle it. Let's bring it back. Here we go. Now you can see it on her hair. So I'm going to put up the intensity a little bit. I think it looks really nice. It looks really good. Sort of just like lights up a little bit of this hair. So now for the last light, sometimes I tried to save the last slide. What you can do is you can go back to the lighting menu and you can turn on the environment, which there'll be very bright. But you can scroll down to exposure. So I'm going to turn the exposure all the way down. And I'm just kinda see what it looks like if I bring the exposure up, accidentally hit Rotation. Sometimes the exposure can sort of make your, make your sculpt a little more clear like that. And let's change the color of the background. Most take with a darker color. I think it's easier to see on the video. I would like to do a brighter color but darker colors. Okay, so that's pretty decent for the lights. And I'm going to use the last light. I'll use it as a spotlight. I'll make it a little warm. Now, move it back, move it up. And I just want to point it right directly at her face. It's like the center of her face. So I'll move it back and then up. Let's see. I want to make it look better if it's coming straight in front of the face. Something like this. Now I'm going to hide the light. So we'll just tap the light icon so we can hide the lights. That looks pretty good post-process. So we have ambient occlusion. And you can really play around with all of these ambient inclusion kind of touches on the natural light, shadows from things that are touching each other. But once you play around with it, you'll quickly see differences. Depth of field bloom. Let's see what it looks like if we turn them bloom up. There's no, I don't really have any really bright spots, but Bloom would really blow out the light spots. All right, I think it looks pretty good. Okay, so let's save this. So I'm going to tap on the camera here and hit Add view. We'll name this hero. Make sure it's directly in front. And the last but not least, usually when I export, I go to the settings and I make sure they're render resolution is raised as high as it can be. And then I go here. Let's just save it one last time. And we'll go down. Export it as screen. But you can export it to whatever size you'd like. Go Export, Save Image. Then we have our little character. Alright, hopefully that was useful. Hopefully you picked up a lot of my little tricks that I do when I'm making 3D characters. This one was really, really fun and I'm probably going to do some edits on it because I just can never stop. But that's the fun part about 3D. So I appreciate you guys hanging with me. I'll, I'll say goodbye in the next video. But I hope that I hope that this character will challenge you. And I hope that a lot of the things that you learn making this character will carry over into your own characters. You can make, you can use this, you can adjust it and make bigger noses and stretch the face. There's so much you can do. And I can't wait to see what you're gonna do with this character and with your own characters in the future. Alright. See you next video. 19. Thank You! : Alright guys, so we're back here at the last video. I'm glad you hung with me. I hope you had a good time. Thank you so much. This was really fun for me. I've been making so many faces lately. So I was really excited to just kinda nail one down and just get everything clear and concise to make a class. Of course, I love you guys. You guys are loving 3D, 3D sculpting and 3D modeling. So that's why I'm doing more classes because there's so many people that are really, really enjoying it. And I love it. I'm absolutely obsessed. And I use my 2D, I use my procreate stuff to figure out what I'm going to draw. It all helps. It all goes hand in hand at all, helps. You can do anything. I actually worked for the first time I did a collaboration. Someone sent me someone sent me their 3D model. It was like a Volkswagen camper van and stuff like that. So I did the lighting. There's so much you can do and there's so many aspects that you can, you'll learn the more your 3D that you do. That's what makes us this whole thing. So amazing. Each scope that you do, the better that you get is just the time you put in. You just have to put in a lot of time. It'll come back, it'll come back to you. Make sure you follow me on Instagram, TikTok or YouTube, all that good stuff. I have a Facebook Procreate group. Tiktoks been, been really like I'm having the most fun on TikTok lately, so make sure you follow me there. Tag me. If you have your work tag me in it, I will share it to my 3D page or my regular Instagram page because I love sharing you guys work. So please tag me in it so I can see it also makes sure to join me on alive. I do lives all the time. So if you have questions, of course, you can ask them here and I'll answer, I'll answer your questions here. But also, I go live. So if you go on live and you asked me, Hey, I got stuck at this, can you show me how to do this part? Can you show me why my tool isn't working the same way that yours is, or how you did this or how you did that. I'm happy to show you. And it's just a lot easier to do it on live. Because then I can directly communicate with you and you can see what I'm doing and we can get you through whatever struggles you have and if you have any issues with any other thing having to do with 3D, having to do with nomad scoped. Just asked me and asked me on live, it's easier. I think that's it. I really appreciate you guys as always, it's a pleasure. Make sure to keep drawing, keep sculpting. And I will see you guys all in the next Skillshare video. Alright, peace.