3D Character Design with Nomad Sculpt

1. INTRO: What's up, guys drug for Dave here, aka Dave Reed, total alcohol. I got a lot of requests for a 3D class with character design. So I love doing character design. So of course, I had to make a 3D course and nomad sculpt for character design. We're going to use one of my sketches and we're gonna go through the whole process step-by-step. So even if you're a beginner, you should at least take my beginner course so you'll be familiar with the platform. So we're gonna start from scratch, we're gonna start everything from a sphere. We're going to sculpt all of the elements is arms, legs, head, his eyes, tongue, mouth, everything. We're going to color it. We're gonna do lighting, We're gonna do post-process. So there's really a lot of elements that go into one small character, but it's worth it. And it's so much fun. And it's definitely worth it when you have a lot of 2D characters and you think that way. And then you can bring them into 3D and you can turn them around and light them. It's really, really rewarding. And I'm really glad that you're choosing me to teach you 3D in nomad Skulpt. Okay, so let's go to the next video, the class project. 2. Class Project: So this class project, we're gonna be making a 3D character. You can be as creative as you want and you can do exactly what I do all the way to the end. Or if you want to be creative, you can change the colors. You can change the size of them. You can give them a bigger head, a bigger nose. You can change the tail. Anything that you want to do, you can do, I'm happy to see it. I just want you to have fun and be creative and create some great 3D character work. Alright, let's move on to the next video, Getting Started. 3. Getting Started: New Project: We'll just open up a fresh project. I'm sure that yours will open up with a sphere. So I'll just add a sphere here. Of course, yours might look a little different than mine. All I've done is changed the background color, which is right here. You just go this little picture thing and then color. And you can change it to whatever you want to change it to. Just like a bit of a darker, neutral color. So you guys can see the grid and everything for now. The first thing that I always do is change my, change my model to see where is it at. Right here. In this little option. I always change it to Metcalf. I'm using this med cap just in case it defaults. You can just tap on this and you can change all these different mock-ups. So basically the light won't affect it. So I can work on this model and the lighting will stay consistent. There's no added lighting. It disregards all the lighting around it. So I just have a better It's easier for me to work because everything will be neutral and we can work on a neutral 3D model. That's why I like to do Metcalf. Of course, if you don't like to do my caps, you can just change this back in work this way. But I would say too many gaps. Next, we just want to bring in our image. So we'll go to this little picture icon up here. Reference image was from my last tutorial. We'll just click on that picture and click on the Plus. Now you'll have import image from. So I'm gonna do photos. And here's the, here's our photo ad. Then your photo will show up back here. Now, of course, if you want to alter it to make it smaller, you just go back into this setting and then go to transform. You can move it around, make it smaller. Like so I think something like this was pretty good. It's also important not to move it off of the center line. So I moved my sphere up and down. But once you go left and right, that will affect the symmetry. Of course, there's a way that you can still have things symmetrical. But I think it'll be a more simple to just keep it on the center line for now. While we're doing our initial blocking and everything. The head, I'm gonna break into two sections, a smaller section up here where the eyes are. Then he has these rights, these nice big cheeks. So for this fear, I'm going to bring it down. Then I'm going to make it I'll make it a little wider. Remember, we're on the front, so we're looking at on the front. So I have to make up how I want him to look. You know, I mean, so because he had round cheeks. That's what I'm gonna do for this, for this part of the drawing. Now, I'm gonna make a little bit smaller. This top part of his head. Maybe I'll just shrink it a little bit because that's sort of matches what I think his head would look like. This cheeks look pretty good. Of course undo is the double-tap, just like Procreate. Make sure you're in the right mesh. So you have to tap on the mesh and then you'll know which Mesh you're on. Also, you might notice that your mesh is darker or changes colors. If you don't want that to happen, which I don't really like that. If you don't want that to happen, then go to this cog here. Then uncheck this darken unselected meshes. Because whichever mess you select, that just so you know which mesh that you're actually working on. Personally, I don't really like that because when I'm coloring and things, sometimes that can be confused because it's a different color. I just like to uncheck that. Now I'm going to turn his head sideways and I'm going to tap on the right. It's almost like we're looking at him from the right side. Obviously, his head is a little longer. I'm going to tap on the lower one and just widen it up a little bit. Maybe I'll move it exam. I'll do the same to this. Just widen it up a little bit. And maybe even tilt it. Maybe it'll tilt it, Bring it down. Hit View just so you can see what mine looks like. I think this is a good general I hold it up sort of the way he's looking. Now. Of course, this goes up really high here, but I can always add these eyebrows to sort of make that happen at a later point. Add in some clay here, which will give it that nice rise. But generally I think this is a good, good start for his, for his head. And also I am on orthographic. There's perspective and orthographic. Orthographic. I usually do my sculpting with orthographic. Sometimes later on I'll switch it to perspective, but it can change the way that things look, obviously due to the perspective. So sometimes it's easier just to use orthographic. So you click on this camera and just hit orthographic. 4. Basic Body Shape: Okay, so we have a general shape of his head. Now let's do the general shape of the body. I'm going to turn it. The front is facing out this way the same way he is. Just so I have a better understanding. I'm just going to use another sphere. I usually start my sculpts, started things with spheres. Let me, let me label these tapped on the scene. And I'm just going to tap on this little pencil and label them, um, top head. And then base. Almost named it something that probably wouldn't be the best. So I'm gonna do another sphere just in case you missed that. I just, I just hit the sphere down here. I'm going to use this one to be his body. So I'm gonna make it a little bit bigger. Stretch it out a little bit. Bring it up. Now the head we're going to move eventually we're gonna make an angled up. But for now I just want to get the shape, the general shape of the body, which that looks pretty good. I'm going to turn it to the right. Almost like we're looking at him from the right side of his, validate it. I'm going to use the Move tool. I'm going to use it fairly big. And I just want to sort of flatten out this bottom part because friend now it's too much of a point. His underbelly is very flat. Make sure it's really big. And then just sort of flatten this out. That's better. Now I'm actually also going to make it as big as I can. I'm gonna stretch it because he's sort of stretched out and this kind of goes underneath for this ankle. His little body part like lower body and but part should be behind his head since he's turned to the right. I'm going to move all this this way. I'm going to make it a little smaller and then I'm just going to pull this out because I sort of have to make up how this part of his body is. I'm assuming it's going to go around and then come around here and then sort of curve up. We have to do come around here and then do this curve. There's a few ways to do it, but I'm just going to use the Move tool. I'll make it smaller. Then I'll just sort of push, push in here. Bring this up, push a little bit. Sort of bring this up. That's actually not too bad. You'll notice it's a little, it's a little lumpy. So usually after I do sculpts, that could be a little lumpy, things like that. I just use the Smooth tool right here. I just used smooth and I just moved everything out. Keep everything nice and round. Nice and together. That looks pretty good. Physical body mesh is very soft, so be careful with the smooth tool because it can really manipulate the clay. I don't really like going into the mesh. So I'm going to tap on this scene here. I'm gonna highlight everything, check everything. Our gizmo. Just move him up because hello, only have one leg on the ground. That would be a room for his it'll leg. Go to View again. This is a pretty decent start for our little character. He's going to be in this direction and eventually will tilt his head to be looking up are looking in his arm. Now let's block out his little arms and his little legs. Let's try with a tube first. If I can remember how to get to the tool, let me just select one. Sometimes you kind of get stuck. If you have multiple things selected, your tools don't show up. You just have to select 11 mesh and then you'll tools will show up again. Tube tool, which I really, really enjoy using the tube tool, I'm gonna hit curve. I'll turn it to his right side. And we have to sort of mimic this arm here. If we just do a shape like that, that should be, that should be good. Let's try it out. We'll start about here. Let's make it to about there. Now you see that the tube is really thin and it's touching his body. That's easy enough to adjust. You just pull these out. You just pull these out. So you just want to match what he's doing here. Make the whole thing bigger. Pull it out a little bit more. Sometimes it takes a little bit of time just to sort of justice where to get it the way that you want it. But, you know, that's, that's 3D modeling or just sometimes things just take forever. Now I'm gonna use the radius. You tap it once and then you can, you can change it like this. Actually useful. If you want to do the radius again, then you can adjust all of these in the middle. We don't really need to do that. I think two is all we need. Because his his hand is bigger here flat. His hand is a little bit down. I still wanted to be his hand to be pointing away from his body. I'm going to move it out a little bit more. That looks pretty good. It's a pretty decent match to what we have up there. I can probably make everything a little bit thicker. You can actually make it bigger here too. Little bit thicker. That seems like a good, like a good size. I'll go back to my radius. Just go back to two. Now if I can just get rid of this, get rid of the gizmo. I know I get rid of the gizmo. Oh, there we go. So I tap on tube, gets stuck on little things like that. Sometimes. I haven't really used up in fairly busy, so I haven't been able to really dig in as much as I do some weeks. Are his arms look, it looks quite fat there. I'm just going to I like it to have a nice curve. I made it a little long. So I'm going to actually take out this section. The way that you do that is just bring this close. Once they go red, then they'll disappear. I think that looks better. I want to still bring his palm is not in his side. Actually want to bring them to make it a little smaller. I'm going to bring it out a little bit more. So I think something like that looks decent. Also, if you decide you want to add another one like I'm going to curve this, this has got to be a shoulder, so this won't really fly. I'm just going to tap on the line and add another section. This way I can totally bend this one. Totally been that one in. Just fix this. So it's still a nice curve. Not bad. There we go. That feels good. It's a nice curve. Coming out from the body. Feels, feels pretty good. Of course, I can go to the gizmo and adjusted. If I want to sort of change the angle a little bit. Again, you just want to match, you just want to try to match what you see in the sketch. But I think that's pretty good. We can always adjust it a little more later. Now let's do this. Arm will do this harm, will do the opposite arm next. 5. Creating Left Arm: Okay, so let's do the other arm using our tube. You don't actually have to validate it. That way. You can always come back and edit. But I'll name this one right arm, our arm. As a matter of fact, it's good practice to name all these two. This is body. Just call this head. Will merge these eventually. We have that arm. Let's do two began tube tool is selected. Curve. Now he's reaching. Let's turn to Him left. It looks like if I was imagining this turned around his arm would be kind of like this. I'm just going to keep it simple and go like that. Again, we'll tap radius. That way we can. We can, before we tap radius, we can just make the whole thing thicker. Will tap radius. So we have the two toggles. We'll make this one bigger. I think I want I have to Let's see. There we go. It's important. I want the hand to be tilted. I don't want it to be like this because then the fingers here and it's going to be hard to make him looking at it. I'm going to add a new new point here. And just I want this to go into his body that has to curve into his body. Number one, this is the front of his face. So we don't want his hand right in front of his face. Maybe the gizmo is the best thing to use. We'll use the gizmo, move it back. We'll spin it using the green. Move it back. Let's see how this looks. Still looks like it's right in front of his face. So we'll use the green to rotate it. We use the read to move it back. Now, we might have to also will probably have to manipulate the body. Really makes it look like he's reaching up. Feel free to take your time. You know, it's not easy to it's not easy to manipulate and move things around if you're not used to it. But once you get used to this gizmo, then it's a little easier. But you can see even for me, I'm gonna, I'm gonna tap tube so that gizmo goes away so I can see what I'm doing here. This looks okay. But his arm is straight, so his arm is straight out. So there's actually less of a curve. I'm going to actually bring these in, bringing those in, turn it see how it looks. I'll turn it the actual way. This is kind of like the way that he's standing. As you can see, this is flat. It's almost like flat up and down, whereas this is not really so I'm gonna try to match. That would be something like this. And his arms still would be straight. Straight than I have it. I'm gonna get rid of this and actually just stretch that down. Because I think all wind up bringing the body up. So we'll see how to handle that in a bit. I think I'm going to use the red, which is up and down. Sort of just all the movements are on different axis. You just have to get used to them. But if you take the time, you'll be able to get the arm and exactly the position that you want. Just can be annoying. Sometimes. This is a little more vertical, whereas this is a little more horizontal. But I can always change that with the move tool later on. But all in all. 6. Blocking Adjustments: Okay, so let's do some adjustments just to make them a little more like our sketch. The only thing that I'm seeing is his belly is a little big. I'm going to tap on that mesh. I'll use the move tool. And I'm just going to make them a little less clueless, plump, little less plump out here, a little bit less belly. And he's a little wide. Make his head a little smaller. I'm going to choose both the both for head meshes. Just make them a little smaller. Feels a little bit better. I'll try to bring this leg. His legs are a little more stubby, so I'm gonna bring this up a little bit. And I'm gonna bring it over using this red arrow. Just little minor adjustments that he might need. But I think he's looking pretty good. So another thing we noticed, this arm actually looks a little big. Does look a little big. So I'm going to rotate it a little bit, maybe down a little bit, move it over some. Maybe just make the whole thing a little bit smaller. Bring it closer to his body. Now since he is stretched, this might be a good point to actually do some work on the body part. So firstly, he still is a little bit wide. So I'm just going to just going to skinny him up a little bit. We're still using, we're still using symmetry. Let me just put a little bit more curve in his back. Butt area. We go. This feels a little bit better. A little bit more accurate. I can probably bring metal leg up a little bit because it looks like there's a lot of space here. I think it actually looks okay. I'm gonna take smooth, I'm going to smooth out the bottom here. Make sure I tap on that mesh. I'm just going to smooth out the bottom a little bit because his bottom is flat. The smooth tool is actually pretty good for doing some manipulation of clay as well. I like to call it a clay in Mama named alcohol ugly. Right? How do we feel? So I don't want to do the head yet because I want to keep the head straight. Once we have the details on the head, then I'll do the tilting. And we can sort of tilt it a little bit better, but for now we're going to keep it the way it is. I will, I do think that I want to go ahead and stretch this mask, this mesh, the body, not on symmetry, so I'm going to click symmetry. I'm going to use my move tool. And I'm really going to stretch this part out. Here. It looks like we do need to make sure that stretches in a way that looks natural. That's the only thing that I'm worried about is I just want this to look natural. Now that I've, now that I've kind of maneuvered it, I'm just going to smooth it to get these lumps out so everything is smooth and just see how that looks. Actually looks pretty good. It looks abnormal. If anything. Maybe I'll just Let's see how that looks. It looks a bit strange. Sometimes there's just a lot of problem-solving. I think that's fine. The only thing is I feel like I don't like how street this is. I feel like I need to sort of make a little more of a curve here that feels better. I can even bring this little piece out. I'll just smooth. Anytime I do, like any manipulation, I like to go ahead and just smooth it out. Keep everything nice and smooth. That feels pretty good. We're gonna rule eventually. Mesh these altogether too. So we will have a chance to sort of add some more details. So the only thing that's bugging me now is I feel like it would happen is if I'm just gonna I'm just going to smooth this to sort of bring his sort of push his body back. That feels a bit better. I'll add a little bit more curve here. His back. Just move this out a little bit. I think that looks pretty good. Now from the angle is still has that shape. He still has that sort of teardrop shape, which is what I really want. That's pretty much what I'm trying to maintain here is that nice teardrop. I'll add some curves here. Maybe even a little bit. If that happens, if you want to just work on one thing, you can lock it, then you won't accidentally hit another mesh. Will just get him up a little bit more. Then we can actually bring this arm down. So I'm going to unlock it. I'm bring this arm down up a little bit. The next thing brings it closer to the leg too. So I think that looks pretty good. Just continue to make changes. You want to kind of get a nice teardrop shape that's kind of like leaning towards the back for his body. And just keep working your shapes until you have something nice and you still have these curves. We can fix all these details as we move forward. 7. Cones for Ears: Let's give them some ears. And to make ears, we're gonna use cones. So we're gonna go to Scene cone. We're gonna use the green arrow and just drag it all the way up. We can zoom in. Careful you don't hear any of these at all. Cons. Nice and high. Now we can rotate it. Let's see. That's his France. So we'll use the red ring to rotate it backwards. Like that. We're going to hit mirror. Because we want to just mirror the ears. It's always easier to do things like years. You can just do both sides at the same time. Now we have our two and I'm not going to validate it yet. Let's take the blue circle and just make them a little bit longer like this. Now I'm gonna go to my scene again. I'm going to duplicate this. The bottom one. I'm going to take the blue arrow and just move it out. Like so. Here we go. Something like that. This is happening on both sides. Even though, even though this one is darker, it's happening on both sides. We'll go back to Scene. We're going to select both of the cones. Then the bottom one, we're just going to hide. Then we're going to bring our voxel emerged down to about 225. Then we're gonna voxel emerge. So now we have something like this, these little hollowed outcomes. Now if you can see because his ear is it's kind of a hard shape to make. So I just sort of had been working on this style, so hopefully I can get it in one go. I'm gonna bring these down and I'll make them a little bit smaller. Just sort of move them down so they're they're kind of attached to his to his head. Now that I know they look funny now. But we're going to work on these years. Okay, so the first thing I want to do is let's bring them all the swim out a little bit behind his head. The first thing I want to do is take the move tool. Just sort of stretch out this end at the inside. So I just want to stretch this out. Let's make the move tool of a bigger, more general move. Something like that. Grab it from the inside to and just bring it out. Something like that, a little bit higher on the top. But essentially something like that. Now we'll do the reverse and we'll bring this edge. See how his ear, it comes out in the back and then you really don't see any of this. This, I'm gonna drag the opposite way. Just drag it down like this. Maybe even in a little bit. Something like that. I'll make this a little smaller. Make my move tool smaller. Just so I can get that nice curve. See how I have this in a nice little curve. Just by using the Move tool a little bit smaller, you can sort of get that nice curve in there. You want the curve to follow around the whole year. So if you see him sort of just rotating and just making that nice curve there. Same thing with the bottom. I'll even bring this, drag this a little more forward because we don't really want to see where that's connected. That's looking pretty good so far. Now I'm gonna make the move tool a little bigger. And just going to push this little bit. Just try to keep it nice and round. I think that looks pretty good. Let's use the gizmo and we'll use the blue line, the blue ring. Just sort of turn it out a little bit, make them a little smaller years, very small ears. Now we're just going to tilt it so it's on that same plane as the head. So the head comes over and you can see these ears are kind of aligned with that. So I'm gonna use this red one. Just bring it up like that. You can make them smaller. His ears are quite small. I'll use the red arrow to bring them closer up a little bit. And can even use this green to sort of make them a little smaller to the green circle. Loops. Make sure you don't accidentally hit another layer. That actually looks pretty good. And you can edit this if you want the ears to be a little more like that. If you want to turn them out a little bit, I think maybe turning them out as better because it hides this part where they're connected. I think that's actually that actually works well. I still think they can be there we go. Bring them closer together. Something like that. I think there's still kind of big. Take a look them far out. Looks like they would be more flat, tinier. Maybe I'll just take the move tool, make it pretty big and just sort of just sort of lower them down. Here we go. Kind of matches the drawing. And then you can just adjust to taste these kind of details. You can melt them into the head. Little bit. Something like that. I think that looks pretty nice. If you want to bring this if you want to bring this up more, if he think this is too much space here. You can tap on the ears, you can lock it or you can solo it. Then you can use your move tool. You can sort of just squeeze this up, some squeeze that up you when you un-solo it. And then you can see the other part of the ear. Again. You can just adjust it to taste. It. It's a pretty good looking, pretty good looking ears. 8. Head & Eye Sockets: Okay, so now let's get into a little more of a tricky part, which is the head, the facial features and things like that. So I liked the shape of his head. I want to marry these two shapes. Let's go back to top, head and head. And I think I want to voxel merge them at 200. Then I'll just smooth. Just smooth them out. Looking pretty good. So we have to make his eyes the eye area. There's a couple of ways that we can do it. I think I might start with clay and make sure that you have subtract on with the clay. I'll turn the intensity up. I don't want the brush to be too big. We'll start with clay will start with front. I'm just going to hit Solo. So the arm isn't in our way at all. So two arches and it's sort of a flat curve on the bottom. Let's just try and make that we want a little more space in between. We're just using clay and subtract. It's not bad. Now we'll just use the clay. The subtract clay. Just sort of dig away at the clay. It's important you want to make those planes like that plane here. This plane, the eye socket. If you have an issue or if you mess up, you can always just go back and fix it. I'm going to use smooth. And I'm just going to smooth this out as I go and as I removed more and make more work away with the clay, every now and again, I'd just like to go and smooth it out just to sort of keep everything nice and in line. You can also use flattened. The flattened tool is really good for sort of really working out those planes that I was telling. Telling you about. Just the the depression and the eyes. That sounds very sad. You know what I mean? By a flattened is really good because it makes those it can make it really even, which is what we want. Now I'll just go in and smooth everything again. We're kind of getting there. We probably don't even need to dig out too much more. But I do want it to be maybe a little bit flatter. I want the plane to be a little bit flatter. So I'll just dig out a little bit more. I will just use flat and again, just make this a little more little deeper. There. And then use flattened, flattened it out. I'll just use smooth, smooth, smooth this out. I really liked my scopes to be nice and smooth. So I'm constantly when I make changes and when I do things, I'm always sure to smooth things out. Of course, you can do this to taste. Once you get it this far, you can actually use the move tool. You can like if you don't feel like you've made it to high, like his eyebrows are very, very high here. He's a very happy little guy. You can actually use the Move tool and just sort of stretch out what you've made. It's pretty good. I try to bring this up a little bit just to I have that. Pull it out a little bit, just so sort of flatten out that plane a little bit more. I'll use the flattened tool to kind of help. Can I help make that shelf? I'll turn my canvas. Feel free to spend as much time as you need on this. If you mess up. You can always start again. You can hit back until you can start again, or you can just smooth everything out and start again. You can always start again. There's no shame in it. Get it as perfect as you want it to be. Because I mean, I like my stuff to be I'll work on things for a long, long time because I want them to be really perfect. There's no shame in starting over, starting again from a certain spot. You just do whatever you need to do, whatever you feel comfortable with. Neighbors or home. I'll just move this out some. And if you have like really loud neighbors, sometimes you just lose the neighbor lottery. I'm happy with that. Thing I need to fix Is this a little bit? Little bit not perfect? We go, so just match, match the sketch. You can make some depressions. We can always add some more up here later on if he wanted to be a little bit higher. But I think that's a good start. 9. Muzzle Snoot: Okay, So to make his little mouth, it'll muzzle. We're going to make we're gonna use a box for the upper part. Then we're going to use a sphere for the lower part that we're gonna cut in half. And that'll sort of make a makeup the two parts. Let's add a box. And same thing as usual. We will bring it up, bring it out a little bit, and then just make it pretty small. Museum in. One thing that's really important is that you don't accidentally make this part too big. I tend to do that sometimes. I'll, I'll make my characters and I want them to look cute. But sometimes the muscle just gets too big, so just bake, just keep it pretty small, pretty high. So the edges are right on that. The eye socket. I think that looks pretty good. This thing out far enough but not too far. You can always bring it in. That's the first step. I'm gonna go ahead and validate this. And what I think we can stretch it a little bit. I'm gonna take the smooth tool and I'm just going to smooth, smooth out these edges. We don't need any sharp edges. But just be careful. Don't smooth too hard because the clay is very soft so it will move quite easily. Just smooth out those corners. Now let's add a sphere and we'll bring it up. Bring it out. We'll make it smaller. That's actually a pretty good size. So we're definitely going to have to do some manipulating of the sphere and make it a little smaller like that. Now the next thing that I'm gonna do is I'm gonna hit front so that we're looking at doesn't have to be this big. There we go. So right now the lower part is very big. We can always shrink it later, so I'm gonna validate it. But the next thing I want to do is hit Solo. We just have that sphere trim and we're going to use the rectangle. Now the reason that rectangle, we can just make the rectangle and it will trim now completely in half, maybe a little above half. Like so. We'll bring it back. We can make it a little bit smaller. We'll actually, it looks pretty good. Make it a tad bit smaller. Like so. Mouth looks crazy now, but that's the general bones of the muscle part. He's smiling. I want to go to the top part. I want to use move. I just want to drag, drag this out and we can maybe make the move tool a little bit bigger, a little bit bigger. There we go. I just want to drag this out to a sort of smiling. Let me keep this even. Just really sort of smiling. So that's pretty good. Maybe I'll use flattened and just sort of flatten out that edge. That looks pretty good. I'll just smooth it out. I'll make this, make this brush a little smaller. Just smooth this out so it looks, looks prettier. Even I'm doing the blocking parts. I just don't like it to not look neat and clean. I do like to smooth out my portions. Now let's go to the circle below and maybe we can tilt it a little bit just so it's, his mouth is open a little bit more. We're gonna do the same thing. We're going to use move. We can just bring these edges up. Like a smile. Smile, ish. Bring that mouth. Open their mouth a little bit. I'll just smooth, smooth this out. Make sure I was still on symmetry. Sometimes I started doing this. I'm not on symmetry and it bugs me because then you have to, I just go out. I'll undo because when I'm doing a face like this, I want it to be symmetrical until the point that I don't. Now I'm just going to bring those corners up a little bit more. Just widen his mouth a little bit more. Same thing. I want to make sure that these are connected. Bring the nose in a little bit there. Bring this back. Just so they have a nice connection. Also. I'm just going to I think that looks pretty good. That's a pretty good start. The only thing other thing that we can work on really quick before we move to the next video is maybe just flatten this. So I'm using the Move tool pretty big. And I just want to flatten this bottom part because this is gonna be like flush with his like chin and mouth. Just flatten that part out a little bit. That looks pretty good. That's a decent start and we'll work on it from here. 10. Prepping the Snoot: Okay, so the next thing we want to do is I want to marry this top part of the mouth with the head. Then we can work on the bottom part two, I don't even know which one I want to do first. Let's open up his mouth a little bit more. I'm just going to use the flattened tool. And I'm going to make sure I'm at the bottom sphere. So I'm just going to flatten this out a little bit. I'll make this a little bit bigger. Flatten that out a little bit and give his mouth a little bit more openness. We still have a long way to go, but how can we smooth out make this go directly into this, into his center of his head. Firstly, do we want this band like do we want this sticking out? I think it might be better. It looks like this might be flatter. Let's get rid of this. Let's get rid of that. Let's use the flattened tool, make it fairly big. And let's just flatten out this space in-between. We go just flatten that out. Symmetry is, symmetry is on, so you just have to make sure that you kind of flattened it out. Well, I think that looks okay. A little more pressure in the bottom. Like the way that I like that. Let's let's smooth it out a little bit. Because like I said, I always smooth everything out, not going to press too hard because I think it might bring that form back. Sometimes when you smooth, it will bring back what you just erased. Sometimes. Just keep it nice and smooth. I think that looks pretty good. I think his mouth looks good too sometimes I wonder if I want to bend this part up a little bit like Ben this part up a little bit, but I think it looks fine. Actually. I'm gonna smooth, I'm going to smooth this out a little bit to make this a little more round. Like that. Looks cute. I want to not too bad, but I want to make it a little more seamless. So I might want to lift. I'll use the move tool and we still have symmetry on of course. I just want to lift this up, this part of his nose up a little bit. Maybe I'll press down and lift up here. I'll press down in the middle. Lift up here again. I tend to do this a lot. It's the only way that I can get that slope, that nice slope. I think that looks okay. I think what I want to do now is actually voxel emerge the top part of his mouth to this face. Now that we have that nice slope there, I'm just gonna go ahead and solidify this. We have the head and then we have the box. So I'm going to make sure those are checked. Box emerged 200 voxel merge them. And of course we're going to smooth it out. Now we have one whole piece for the top part of the mouth. You can smudge and actually don't mind if it's a little smaller. That's okay. Because it doesn't look like his his his mouth comes off that much. Okay. So now for this bottom part of the mouth, it does protrude quite a bit. So I'm gonna bring the bat, I'm going to bring it back. Just move it backwards a little bit. Here we go. Just to kind of keep things moving forward. I think I'm going to dig out some of this clay, so I'm going to tap on the head. Let's make sure it's still called. Let me change this one so I don't get confused to hit. Make sure that's the right one. Okay. We're on the heads. Well, let's use clay. Make sure that we have sub you don't want the brush to too big. Now I'm just going to just going to dig out some of this clay here for the inside of the mouth. And then I'll just smooth it. Smooth does bring it, bring it back quite a bit. Now I'm going to use the Move tool. I'm just going to hike up his I don't want it to be too too big. I'm just going to hike up. He's very smiley. This, so I'm gonna hike up this section here. So I'm gonna lock the head so I don't accidentally move the bottom part of the mouth. I'm just going to hike this up maybe a little bit bigger. Here we go. Just hike this up a bit. Get some of that smile. Actually going to pull it out. You see, you notice the angle that I'm using. Sometimes I go even on this angle so I can sort of push it out a little bit. Of course. Just smooth it out if it starts looking lumpy, just, just kinda smooth it. Anytime I see lumps, I am ready to smooth. It looks much happier there. Now let's give them a nose, because he looks quite strange without a nose. So let's just try to knock that out really quick. For the nose, I want to add a cylinder. Here's our cylinder. We're going to bring it all the way up. We'll spin it so that it's horizontal. This is what, this is the base that I usually use for noses, except for human noses than I use a cone. I'm going to use the blue so I can oh, I must have. Let's see here. I'm going to rotate it just so it's subtle. When I do the blue, it's not so skewed. Make it really small. His little face, even smaller. Right now we have a circle and we want it to be a little bit triangular. It looks like it's got a little bit of a triangular shape in the front. It's almost like a mushroom in the front. And then it's flat on top. And then it looks like it's triangular. Kind of going back. To start this process will make it smaller still. I'm gonna start with, I'm gonna validate it. And then I'm going to take the move tool, my favorite tool. Make sure we're looking at it from the front. Symmetry is still on and I'm just going to make, are going to make my brush a little bit bigger. And actually maybe we can just pull it out and just sort of make a triangular shape. Flatten the top a little bit. Make it smaller and just sort of make this little more triangular. There we go. Now, what we can do is as long as we're on the nose, we can still use our move tool. And then we can stretch this out. It looks all right. Then we'll just use the gizmo to sort of move it, sort of figure out where it needs to be. Maybe a little bit taller, a little bit smaller, maybe. I'll move it back some. This might take some actually looks like his nose is a bit wider. So let me make it wide. Wider. Maybe it will maybe a little bit bigger actually than I thought. Which is fine. You know, I often have to I have to go back and forth and really just figure out how I wanted. It. Actually looks like his upper lip. This this top part might be poking out a bit. Let me unlock it and then I'll click on the face. I'll just solo the face and maybe I'll just bring that in a little bit. Make the move tool really big. And just sort of this smaller. Maybe. We go and just sort of just touch it in a little bit. Let's see how that looks. I'll tap on the nose, then I'll move that. See how this looks and the angle it up a little bit. I'm going to use move so I can sort of, right at the top is also kind of triangular. Let's see if I can make a triangular from this. And I would edit it out. But honestly, I do a lot of, I do a lot of problem-solving. Sometimes it's just sometimes it's just difficult to really you have to figure out ways to get things to look the way that you want. You want them to look. And it's not always going to work. Immediately. Be nice, but unfortunately that's not the way it goes. I might actually want to even add a little bit to this nose here and sort of bringing this up, let me lock it. Let me make sure I'm on the head. Hello. I'm gonna lock and make sure that I'm on the head lock. And just see if I want to bring this nose up. Some might even help the nose up, some unlock it and many bring the nose, the nose portion down, some make the nose a little bigger. I like this more simple nose. Looks pretty good. I'm going to tap on the head again and just sort of smooth, smooth that out. Now I'm going to tap on the nose. And hopefully I can just smooth this down some. Now I'm just smoothing out the nose so it's a bit I'm going to bring the bottom part of the nose inwards a little bit. I'll just take the move tool. Just move this inwards. Also. This part actually pokes out a little bit. So the tip in the drawing, this part sort of comes out, something like that. Let me smooth. The news doesn't go back as far. I'm just going to try to smooth that. It looks better. So smoothing out the size looks better than nose looks a little more believable. Now, it's still a little far out, but I think I might be able to just slide it back a little bit. I think that looks much better. You may have to do a lot of, of maneuvering, but he just wanted to have its smooth, sort of smooth into this. You want everything to be smooth. You don't want it to stick out too far yet, have you can make it bigger or smaller. It doesn't have to match exactly, but we just want to make it look something like this. I feel like here the cylinder is a pretty easy way to kind of manipulate it to what we need. 11. Mouth Elements: Okay, let's hollow his mouth out a little bit. Because right now it's just a little bit too little bit too much. I'm gonna use the clay sub. Make sure I'm on the mouth and I'm just going to lock it so I don't accidentally mess up something else. Now I'm just gonna just kinda sub this, this clay a little bit here. I'm just going to smooth it just so you know, so it maintains and looks looks clean. I need to go back in and I'll just play some more out. Smooth it, it'll bring it, it'll bring it back somewhat, but he has a nice smooth. Now we have at least a little bit more of a depression down there. We can unlock it. We can click on the head and just get rid of some of this too. So we'll do the same thing in clay. Let's lock it. What does that in there? Maybe that's the rest of the sphere that we used. Must be what that is. So I'm going to unlock it. I'm going to click on this sphere again, lock that. Bringing this back to. There we go. I'm just kind of get rid of that. This is a little more cleaned up. The mouth. You can go back and forth between the head and the mouth and just clean it up a little bit. Whatever needs cleaning. Actually. I can actually make this a bit deeper. I think that's deep enough. That's deep enough. Not sure if I want his mouth is a little closed here. I think this will work. Let's see what it looks like if I was to use the Move tool and just move this slip in a little bit. Because sometimes it's hard to really know what's going to look the best. I do know that I need to bring up this mouth a little bit. Bring up these corners. There's just try to get them into that crevice. Might be time to just go ahead and voxel merge the sphere and the head. Little hesitant. But I think it's time I against time that I just go ahead and do that. Let's take this and let's take the sphere, the butt, the lower jaw, the head, will voxel emerge at 200. And see where that gets us. Now let's smooth all this out inside the mouth. Even the parts that you're not really going to see. You just want them clean. You want every part. That's the beauty of the 3D stuff as you can. I love that you can see everything from every angle and just clean everything is like everything to be really, really clean. One thing that I might, I'm kind of been thinking about doing is sort of dropping down this a little bit. So let's see what that looks like. I'll just drop down little lip type thing here. Just a little bit. Let's add a tongue. What had a tongue and some teeth in the next in the next video. But I think, I think this is pretty good so far. We're making some good progress. For the tongue. We're going to use a sphere will bring that up. We use the blue arrow to bring it out. Flourishing of flatness. Flattened it this way to reflect a little bit more. Doesn't need to be that thick. Once it's, once you have it small and kinda like tongue size, you can do the insert. Bring it out, bring it back. The whole thing smaller. You want at resting. Or here's another thing that I almost forgot that I usually do. We bring the tongue back out. I'm just gonna go ahead and validate it. So as long as you have a decent tongue size, I'm gonna use move. Really big. I'm gonna give the tongue a nice bend. Just by using the Move tool. Just kind of gives it a more natural sort of bend. Let's see how that tongue looks in their tongue looks okay. We can actually smooth this a bit. We can smooth this lower jaw. It's not so, so round. It looks pretty good. If you want, you can actually make you can use your clay subtracts and you can make them out a little deeper if you feel that it's not as deep. The brush small. Let me smooth that out. I have to put the teeth as well so I don't want it to be too, too low on the sides. But another thing is you can always paint like when we paint inside, we can paint darker. And that will sort of make up for the actual depth inside the mouth. Will go ahead and add some teeth. We have two spheres, which will be our one sphere. It will bring up to the mouth area to bring everything in front so I can see it. Mirror. And then we'll slowly just take them apart from each other. Shrink can bring them closer. Now, I'm gonna use the red to make them kind of an teeth shape. I'll make them a little smaller, rotate, bring them closer and we just sort of move them back into position. Figure out how big we want him. But I do like this kind of intricate, like work like teeth and things like that. A little bit smaller. Maybe I want them a little more towards the front. You can rotate them. See how they look in the sketch. In the sketch they're a little bit more. This, I think. Little smaller. Something like that. Maybe let's see. Maybe it looks pretty good. I saw teeth in there. Let's see what it looks like if I flattened this. Sometimes I like to, I like to flatten, flattened out different aspects. It just looks better sometimes. It looks pretty good for teeth and for the tongue. Next we can throw in some eyes. Will work on some eyes next. 12. Eyeballs: Okay, So let's add some spheres. I say OK so much. I have to restrain myself from not saying it sometimes at the beginning of each video because I'm recording in like five or six minute intervals. I'm trying to even though sometimes they'll go on for like 14 minutes. I don't understand where the time goes. But I tried to I tried to record in like six or seven minute intervals. We have our sphere. Well, we've mirrored it because obviously there's two eyes. Let's see how big we want the eyes. I think something like that is actually pretty good. Sometimes I do kind of stretched out a little bit, something like that because I do like I do like when we tilt the eye a little bit as well. I do like that sort of almond shape. We'll go ahead and validate and take a look. I do like that almond shape. Sometimes I do stretch the sphere a little bit. The only problem with that is like later on I might decide to, if I want to turn the eye, it's not, it's not a perfect sphere, so it limits me sometimes later on. But I actually think that this is a pretty good the only thing that I could do is actually stretch it out a little bit more. Maybe even by using the Move tool. Stretching out the corners like that. What actually think that looks pretty good so you can decide how you want the eyes if you think that looks, that looks good. The rest of the details of the eyes are actually on the head layer. Before we do that, I'm just noticing that the head is a little bit of a different shape. If you notice the chin here. And there's not that much space underneath, but here there's a lot of space. This cheek axes a little high. So I'm going to use the Move tool and make it really big. I'm just going to sort of bring down, make sure I'm on that layer. So I'm just going to drag down his, his, his face. Just sort of make it a little bit thinner up here. Just drag down his face a little bit. Let me solo. It doesn't have a nice round head down here. I was worried about that. And I'll just stretch that out a little bit. I think that looks pretty good. I'm seeing some lumps here. They might have been from the movings, from moving it. So I'm just gonna use the Smooth tool and just smooth this out. Just make it a little cleaner. Maybe smooth out this, this is from when I, when I merge those two layers. Okay, so let's un-solo it. Make sure the ears are still looking okay, which they are. And it does look like his head is a little his head isn't really matching as flat as it is there. I think I'm going to lower the head. Nice profile view. Just flatten his head out a little bit. I've learned that like it's these small details that really, really change how your character looks. Even things that may not seem too important. You have to really pay attention to every little detail. I think this flatter head really, really makes a difference. It's actually this is a bit straight. I feel like his head would maybe even go down like that. Something like that. That's the case. Then I'll just have to bring down the ears and figure out where exactly I want the ears to go again. But actually bringing them down actually networks. Maybe I think that works. Head is quite flat on top, but I think I actually like it. The only thing that I might have to do is sort of squeeze squeeze his temples a little bit. I think that looks, I think that looks better. Just gives the shape a little more personality. Bring the ears down a little bit more, angular them up, just so I can get rid of that. I'll have to go in later and really shave off. This. Doesn't look so curly. But we'll do that. We'll do. 13. Limbs & Fingers: Okay, so let's fix up these limbs, see if there's anything that we need to do. Firstly, I'm going to add a little bit more curve to his arm. Little more curve. Since it's his face. It'll be pushing against his face. Essentially. Let me get rid of that. And I'm going to validate this. Another thing that we noticed. I'm gonna go ahead and smooth out. Lower the intensity of the smooth. Notice that symmetry is not on, shouldn't be on now because there is no other arm that's matching this. I just want to smooth out a little bit of this kind of sharp edge around the top of his hand. I want it to be nice and flat, but it doesn't have to be too, too crazy. Let's see The best way to change the the plane of his palm. I'm not sure if I want to use flattened flattened my work Good. Flatten works well. Flattened worked better than I thought it would. Let me actually flattened around his wrist now. Well, let me just smooth. So I keep everything nice and smooth. Okay, So let's add some fingers. We're gonna keep it nice and simple. We're just going to use some spheres. Made a new sphere. I'm gonna bring it up towards the hand. Make it smaller. You go, there it is. So he's going to have a thumb around here. They get even smaller farmers around there. Now I'm going to clone, use one finger here and now I'm gonna make this actually a more finger size. All the other fingers are going to brief fairly close to this, this one. I'll sort of move it into the position that we want, which is we can put a little butterfly or something on his finger. We just want it sticking out of our little mesh like this. And again, sometimes it's a little tricky to kind of get it the way that you wanted to. But you just got to keep working at it. Stretch out a little bit, twisted a little bit. I think that's what we want. In his fingers, actually. Little little straighter. I'm going to switch it this way. Move it out a little bit. I still wanted to be I don't want it to be behind this rage. I wanted to be in front of the ridge. There we go. I'm going all the fingers to be in front of that ridge. Tilt it. There we go. Here. This can be a little bit, a little bit tricky, but that's pretty much, that's pretty much how I wanted it to look. Now that I have that, I can make it other little fingers. So I'm just going to clone this. Oops. Let me get back to the tube. Here we go. Now I'm going to clone this. This one I'm going to bring down. Here it is. His other fingers are like folded folded down. I'm just going to maneuver this until it's kind of folded down like so. I didn't mean to do that. I didn't validate. I sort of might've get rid of these cones. Let me we want our fingers to not stick out like the pointer finger. We just want them to be flat against his palm, the rest of the fingers. So I'm just going to slowly maneuver these until they're flat, which sometimes can take awhile. Now I'm going to push it into his essentially something like this. But it does get tricky with the rotations and things like that. Use smooth and just kind of smooth. Something like that. I think actually works. Now I'm gonna take this one and I'm also going to clone it. And I'll bring that down. I want to actually rotate it a little bit. Here we go. Bring it a little bit closer to his other finger and I'll bring it inwards a little bit. Here we go. So something like that I think works for us. It'll pinky, I'm gonna take this finger again because his pinky is out a little bit. Let's go to the gizmo and I'm gonna just kinda validate pointer finger. I'm going to clone it and I'm gonna bring this down and out. I'm gonna make it smaller, a little bit thinner. Since it, since it's a pinky finger. Now I want to kind of move it back and just make it look like it's pinky pinky finger angle, which I'm not actually sure. Maybe something like this. I just wanted to to look like a pinky. It doesn't really look like a pinky right now. But I think it might just because let me use the Move tool and actually bend it some. If I bend it a little bit, kind of looks more like a pinky. I think. I can actually make this, make these fingers a little smaller. There are quite big. Let's select them both. Use our gizmo and just make them a little smaller. Move them in a little bit. I already think that looks better. Now we can bring our pinky up. I think something like that looks okay. Maybe a little rotation. So it kind of goes with this. They might actually help. I'm actually going to rotate it a little bit. Snug it up to this finger. Something like that works for this thumb. Let's see. What do we want to do with this thumb? Let's flatten it out. First of all, thin it up, flatten it, will rotate it like this. It looks okay. The only thing that I'm a little bit iffy about is this pinky. Let's see what it looks like. If it's just flat. I don't actually mind that too much. I think that looks a bit better. So essentially it's just these spheres that are touching each other. And that'll sort of imply that there is little fingers. 14. More Fingers: So I do want to adjust the fingers a little bit, I think, by just making them a little bit more tap on each one. But just by making them a little smaller square. I'm always looking at different things. When I'm making characters. Sometimes things will just bug me. And I know that. I know that they'll bug me if I don't if I don't change it. So sometimes I just have to go ahead and make the changes. I just wanted to fingers to be a little more squared. Just not so round, not so spherical. There's still spherical but just not completely. Be actually nice to give this a little bit of a bend. Go like this and then I'll bring it back. Let's add some new fingers to this arm. I'm gonna go ahead and validate it. I think I'm pretty happy with the shape a little longer than heads, but I think I'm okay in mind that to too much. We'll go ahead and validate it. So all of these fears, fingers, I'm going to name this one. L thumb. L, pinky. I'm not going to name all the all of the ones in the middle. I'll just know since they're in-between the left. Now let's make some new spheres. I have to limit myself sometimes, because otherwise I'll just be, I'll just be sculpting for way too long and then I'll start troubleshooting and natural shooting. I'll start brainstorming about different things, different ways. It's not have to be careful of that. Because I like to do that. I enjoy doing that. But now for our tutorial, trust me, I could go on making this guy like forever. I'll make it a little smaller. I'm just going to use this middle circle to sort of move it down here. That's a good place for pinky. Now I'm going to clone. Could just easily tilt this. Bring it up. Not bad. I will sync it back into his hand a little bit more clone. And I'll just keep doing the same thing. Just rotating. It'll fingers. Then trying to work them into his hand. Again, try not to get too frustrated. I know that this part can be very it can be very tedious and very time-consuming. Every time I do it, I'm like I should just meet a character with three fingers. But this is how you learn. Really, really how you learn. By figuring out all of this nonsense. I want to. Of this finger up a little bit more. Only has four fingers, right? 12345. I really put five fingers on him. I should've just keep them for fingers. Let me slide all of these over. I'll make this pinky, little bit smaller clone. I keep accidentally go into the body. Sometimes I actually will make marks or do something to ruin a different portion and I won't I won't realize it for awhile. That's the worst. I can make this thinner. We go. Also notice that I'm sort of tilting them so they kind of stay in this round formation. Even though it's a little tricky to get them right, I'm kind of trying to make sure they stay in this. Something like that looks okay. That hand. Now we just need a thumb clone, this big finger. Thumb. We want like the most flat side facing us. Although the picture, his hand is open. I kind of wish that wherever way you turned the arrows would turn. His hand is open. I could always do it like to figure out how to get this. There we go. Something like that. That's pretty good. The only thing I feel like I need to still needs to be a little bit better placed. Feels a bit more natural. So that's that feels a little bit more natural to me as fingers. 15. Feeties: Before I do his feet, I do want to adjust his thumb because I can see in the picture is thumb is at different spots. So I just want to test that out and make sure that that won't look better. If it's down here. Sort of angled out. And actually okay. Because I can, I can I probably need to make this a little bit smaller here to sort of make his palms fit, make them a little bit smaller. But I think they're I think that works for his feet. Let's see what's the easiest way to do his little feet like that. First off, let me go to the tube. I want to make this flush so I'm gonna click left just so I can really see. Make this flat. Okay, so now I'm going to validate that. Then I'm going to trim it. But when I trim, I want to use the rectangle. That way. I know it's trimmed perfectly straight to make the toes. I'm not going to make little round hose. Want to make it a little bit easier actually, or hopefully easier by using a sphere. How do you guess? I'm going to bring the sphere over, flatten it, bringing it around back. So I'm seeing the very back of his leg. Kind of skinny it up. So it's about the same width of the foot. Bring the four, etcetera. I really just want his foot to be, let me get a little bit flatter. Something like this, but only for the front. What I'm thinking, I'm gonna validate this circle. So basically I have a flat circle here underneath his foot and it doesn't really look that good now. But I'm going to click left again. I'm gonna trim, trim the circle. I'm going to trim it up to about half. Whoops, I must not have been on the shape. Right shape. Now I am going to trim it to about half, like so. Then actually wanted to just get rid of the back. I can probably trim that as well. Let me click left again and trim this as well. I can always bring this part up. Sometimes it's hard to figure out the easier way to do things. That's pretty much what I wanted. Very simplified. I just wanted that edge to go on his own, his feet. It might be easier to, let's see if I can just clone this. If I clone this, Let's see if I can easily bring it to the other foot. If not, I'll just have to repeat the process. Let me see. It would be like this. The side is might be a little bit different to getting closer and closer. I'm just going to use the middle tool to sort of get it in the ballpark. Bring it up. Then we'll sort of just adjust it as needed. I think something like that actually works quite well. Can probably make it a little bit. I'll use the move tool to make it a little smaller. Raise it up a little bit. I think that looks that looks pretty good. I essentially just moved it over to the other foot. When I when I voxel merge them, then else, I'll smooth it out. And then eventually I'll just make some lines to sort of imply toes. But this is a much more, much easier way to do that to the feet. Let's figure out his tail. Because he does have a seemingly fluffy tail there. And I think the tool will be the best tool for the job. Will do curve. Go ahead and save this. We use our tube tool. We'll kind of have to guess. If this is the, this is the general view. We want to make the tail over something like this. I think. I don't know how I'm that far away from the body. A little bit better. Just use a top view to get the tail sort of in the middle. I'm going to tap tube so I can go back to just the two of options. Thick tail, tap radius. Then we get this notch and I can make this bigger back here. Something like that I think looks pretty good. But in the drawing, his tail, it looks a little lower. And it might even be a bit bigger. Something like this. I'll tap to begin. Might actually be a little more rounded. Get a little fatter here too. It looks about right? I'm gonna make this even bigger. Then I'm going to validate it and then I'm just going to try to sort of maneuver it so it's the right shape from here on. So let's use move and let's pull out tail here a little closer. Now. Let's see what the smooth does. Take symmetry off because it's not really not reacting to the actual tail. Symmetry as like off in the distance. So I'm just gonna take that off. Looking pretty good. Few issues but nothing too crazy. This is very lumpy. Can't really see. I might just need to sub-divide. It, might be what it is. Let's see. Let me just simplify the tail and then smooth it out. I think that looks okay. I see, I do see some points here, so let's see if I can use flattened and flatten them out. Hopefully, hopefully they don't come back when I did a little bit. I think that looks pretty good. We want him right now. He's not really leaning. It doesn't feel like he's leaning on this leg. I want all the weight to be on that leg. So let's see what's the what's the easiest way to do that. 16. Renaming Session: I think the next thing, the next thing we should do is marry these fingers with the palms and the limbs. So let's do that. We'll start with this finger. Thumb. There's are all those other right fingers. For now, I'm just going to simple merge that. Lift fingers. Good. Now let's try to get all of these right fingers. His right fingers. I get so confused. Good one. Make sure we don't have lift fingers selected. So simple merge those fingers. Right arm, right arm, right arm, fingers. Simple merge. Right arm, left arm. Select that. Left fingers, select those. Right now I'm just simple merging. Just so I have all of these together. That's all I've done now. I'm going to figure out the voxel emerge in a second. But I just want to have all these together. Now we'll do the legs. Right leg. We need the right sphere. Where is it? There it is. This fear. I don't have left arm selected right leg. This fear. Simple merge. Now we have his right leg, left leg. Some do that. I'm going to unselect that leg and we define that sphere, the toes sphere, supermarkets. Now we have a left leg. This is much easier to deal with. I do have all these spheres. Where did these this is a good time to label everything. Eyes, teeth, which I call t fees. This is the head. Knows. What does this tube tail, this tube lashes. I can hear, I can hear the raccoon and the back. So I can delete these ears. Hears body. Okay, great. I'm gonna bring the eyes up, the lashes up, over the eyes, body down. So that's always really good to do. At least now we have everything labeled. We can figure it out. The Google. I didn't say anything. That's a good place to go. Excuse me. Just turned into a labeling session. But that's fine. We'll move on from the labeling session. Don't forget to take a break and charge your pencils. Save your project, charge a pencil, go get a snack. 17. Shifting Weight: I don't feel that he is putting enough weight on his on his leg. So I just want to just add a little bit. We're going to make some big moves. Now, I'm gonna go to my scene. I'm actually going to highlight all of this, everything here by just bringing it down. Left arm, right leg. So everything except for this leg. I'm gonna go to my gizmo and I'm just going to tilt it forward for him to bring him forward. So he feels like he's a little bit more extended. Where do we want this leg? Actually might want to. I think it's pretty good where it is actually. I can use the Move tool and just move it a little bit. Whoops. Take off symmetry. Just want to move it a little bit. What we know, what it's time to bring these toes, these toes together. The left leg is going to get voxel merged. So we're just going to go to this. Actually. We're gonna go to this next page right here. Now page, this next option, we're gonna go to voxel emerge. Amish will bring us to 200, then will rematch. Then it has all these funny-looking thing. So dismantle to smooth this out. Bring the intensity up. Just smooth this smoothest leg out. I don't know why I got so colony like that. Now that that is emerged, should be able to take my move tool and just, just sort of move it in a little bit at the bottom. Now we're gonna do the same thing with the other limbs. We could possibly, we could possibly voxel merge everything together except for the head. I think maybe we'll do it. Let's live, let's live dangerously. We're gonna take the body. Right arm, left arm, right leg, left leg, tail. Just make sure that you're happy with it. Make sure that you're happy with everything. We still can move the head around, so I'm not too worried about that. Now I'm gonna go to this graph again, and I'm going to remeshing it. I'm gonna save first. Make sure we're saved. Then I'm going to rematch it at measured at 300. I don't want it to be I don't want it to get like it did like the other one did. So let's try this first. Not too, too bad, but it's still a lot of work. So let's see if, let's see if I voxel emerge at 400. And I do keep sharp edges. Let's see what that looks like. A tad bit better. Now let's just smooth everything out. Probably fast-forward this, because you don't really need to see me smooth everything out. That's easy enough for you to follow for you to do on your own. But it's kinda nice. I say I'm going to speed it up and I feel like, I feel like making a speech. It's kind of nice to voxel merged things. Because once, once I'm pretty happy with something I can, I can always want to make changes and go over it. But then I went up just working on things too much. Sometimes they can become a different project because I'll work on it so, so much. I'll just start to make a lot of changes. Almost starts to become something else. That's the one good thing about the voxel merges. It got rid of those little points that were on her tail. I think I think I did have to do something with that. Hopefully this old, maybe it'll smooth. Seems like it's going to smooth. Smooth, smooth in it together. Not too worried about the fingers because I can always add a crease. I'll go in later and add a crease to really get some separation where I want some separation in the fingers. That's something that I do a lot. So I don't get because when I first started making kind of detailed scopes like this, I would, I would merge them and then I would lose all the site definition. But I actually like putting it in as a crease. Also because you can change the color of the crease and make it a little darker and then you kind of kind of works out nicely. Everything. Make sure I got all of the it mean bits. It doesn't look so crazy. Like this is looking crazy. This whole hand. Like these creases like I can just go back in with the crease tool, give some separation. I'm not too worried about that. This bigger. Everything nice and smooth. Nice. I'm liking them live in this little guy. Looks pretty good. Now we'll come back and we can adjust. The head would have actually been waiting for. 18. Head Adjustments: Okay, so let's adjust his head. He's got his ears, his little ears there. We're going to select everything. So obviously his head isn't really like nothing is really permanent, permanently connected like these fingers and everything are. So the tail is going to be the body. I'm going to change that to body. And I want to select all of this except for the body. We have control of his head. We'll just use our gizmo and maybe we want to turn it a little bit or maybe turn it up. That looks a little bit more. We can be looking at his finger. Can actually turn it a little more. I think that looks pretty good. So all I did was tilted. Sort of almost looks like he's looking at his finger a little bit more. But I think that makes them a little bit more sense. We'll just have to make the eyes to make sure that it looks like he's looking at his finger. But I'm pretty I'm pretty happy with that. I must say. Let's take him out of mid-cap. Who should I make the take him out of my cap and a PBR. We go look at this little glucose, our little guy. Looking good. I think the eyes can be white obviously. When x we don't have to be white and make them nice and glossy. I'm not sure about the other colors just yet because we can choose whatever color we want for this little guy. But I think this is a good let me switch to perspective. Might be a good spot for a for a photo. Just take a few screenshots. I don't know why why am recording this. I don't know why I'm recording this. Really liked the way he looks now. I'm going to save it. I'm going to save it. I'm going to save this. I would suggest saving how you have a now maybe save an extra one. Because this will look nice as a Metcalf, you always want to be able to share your work. You want to get a share before and after. And I think this is a good point to share before, just to have it for your own. It's just nice to have something like this because we'll move forward and color it and things like that. But it's just nice to get to this point and habit. So I would say save it and then save it as a different name. That way, if you do want to come back to this and you want to do a different mid-cap. For example, like you want to do. You can do all these kind of interesting met caps and just make it look really, really interesting. There's like a cartoon one. Something like this. How cool is that? It's a good place to save and just save as so you have two different versions of it. Let's make the little butterfly that way at least all our technical modeling is done. This is the last element, so let's add sphere. I'll just validate it. Now I'll do the front view. We can just flatten it out. We'll make it really flat. Put symmetry on. Notice if I remember how I, how to do the outline of a butterfly. I think this is right, I'm doing it backwards. It looks like something like that. I believe. Let's take a look at a butterfly. That was pretty close. The only difference is sort of pointing. Maybe something like that. Didn't mean to do that. That's actually decent, decent butterfly. Now in order to make it, make the wings sort of separate and different, I'm going to use selective mask. I'm going to mask half of it. I'm going to take it off symmetry. Somewhere, mask half of it. Then. I'm gonna take my gizmo, going to rotate it. I'm gonna bring it up. I'll just continue to bring it back to the center. Rotate it a little more. Maybe something like that. Remember to take the take the mask off by going back to select Selective Mask, clicking the little mask option and clear. Now, I'll just take move and give it a little more movement just by pressing down on it. Then of course we'll smooth it out. Feel free. You can, you can do a lot more details with this, with this butterfly if you want. I just like the eye, just like the feel of a butterfly. Oops. Let's see here. Let me take it off. Symmetry. If you want, you can add some little legs on the butterfly or something like that. 19. Better Butterfly: Okay, So I already made my butterfly, but I wanted to make a better version of the butterfly. So I just looked up a butterfly reference. And this is how, this is just a bitter, bitter example of how to make the butterfly silhouette. I'm gonna, I'm gonna use the top view and I'm gonna make it really flat. Validate my sphere. Okay, so I'm just going to follow this basic shape. You can either look up a butterfly or you can just look at the way that I'm doing it here. I'll just use the move tool. And I want to make sure that I turn symmetry on symmetries on. Let me try local. Sometimes you have to go into symmetry and do local. Now I'm just going to make this shape using the Move tool. I'll just slowly craft the shape of this butterfly. By making the move tool smaller or bigger. That sort of helps make it really small and get some of those at all. Differences. Something like that I think is pretty good. Again, I don't really mind if I just implies a butterfly, so I'm not too, too crazy about it looking absolutely perfect, but I think that's a pretty good outline of a butterfly. Now, I'll do the same thing. I'm going to use selective mask embryo to use the rectangle. Now with the selective mask and rectangle, I'm gonna take it off symmetry. So selective mask rectangle and make sure to remove symmetry. Now we'll make the box. We have half of our butterfly. Now I'll take the gizmo. And actually I will move the pivot, pivot here. I'll hit pivot. Slide this over to the middle. Now, I will uncheck pivot and you have your Gizmo back. What that does is it moves the pivot point of where you're going to rotate it. So now I can rotate this green and it rotates on that pivot. That's pretty good. We'll take a look at it. That looks pretty good. Now I'm going to go back to Selective Mask. Click on the selective mask options in a clear. I'll just smooth out this line. Also if you want, you can use the Move tool, make it big, and then you can sort of press down on it if you want a little more movement in those wings. Smooth out the bottom two. Now we have two options of butterflies. They both look pretty good. Maybe we'll just make them both in interacting with both of them. Now we have some butterflies that we can work with if we decide to. 20. Eyes: Let's give him some eyes. I don't want symmetry. And the eyeballs undo symmetry again. Make sure I'm on the eyeballs. Lock them. So I usually use selective mask for eyeballs. Then I use the Ellipse. Now he's actually going to be looking at these butterflies. This is gonna take some trial and error. I probably have to sub-divide. Let's see how bad it looks. It looks pretty bad. Looks pretty bad. I'm going to sub-divide the eyes twice. Let's see how it looks now. That's a lot better. By subdivided again. It's much cleaner, but we are sacrificing lot just for eyes unfortunately. But I liked the eyes to be clear. So I do allow for to use a lot of to sub-divide the eyes a lot to get it, to get them nice and flat. And go ahead and save. I'm gonna use selective mask. Notice how I'm making it. The spot that I'm putting his eyeball. This is so he can be really looking at these butterflies. See over here. It doesn't really look, he's looking at him. I'm going to erase this and start again until I get something that really looks like he's looking at them little too much. That one's pretty good. Now let's see what this looks like. This is, take some trial and error because it's a little difficult to to really get at get him looking like he's looked me to certain thing. It takes a lot of work and it's worth it to take that time to really get it right. Because sometimes I'll get one right. But it might not look right for the other eye. That actually looks okay. I don't mind if it looks like he's looking at both of them are looking at one rather than the other. That looks okay. I sort of believe this believe that he's actually looking at them. It looks a little weird from this angle. But most of the other angles, I believe it. This situation, since eyes are very difficult if you do get something that you like. Here's a little trick that you can do. Add a layer. I'm gonna name this iss one. Now. We'll go to our selected mask, who go to the Options, and we'll invert. Now all of the rest of the eye is masked. And then we can take black. We'll go to the Paint tool. We'll go to black. We don't want any roughness. 100% intensity. I think the brush kind of big. And then we can just fill in our selective mask. Selected mask, clear. Now you have your first option for eyes. If you want, you can hide this, can add a new layer. You can do the process again and see if you can get a better, a better eye. You can just try a different eye. It's always worth it to try out different options and see if there's something that you like better. Anyway, I'm going to continue to do this until I get something I like. But I'm not going to bring you through this process. I don't even know what I'm saying. Let's just move on. 21. Adding Color: Okay, So I kinda like the way that these eyes are. Here's just a look at how I position them. I think that I think they look they look like he's looking at, I believe that he's looking at the butterflies. See a little bit of an anomaly with his cheek. When I'm looking here. This cheek, this kind of looks a little bit odd. I'm not sure exactly why. It also could be the focal length sometimes dealing with you can change this once you start doing post-production, post-process. And you can change the focal length. So there might, well, that actually helps to perspective helps to, I'm gonna keep it in perspective for now. Just so I can kind of get a good clear view of what our little guy looks like. Let's color him. Actually first, Let's sub-divide the body. I'm going to unlock it. Will tap on the body. Let's subdivide it. The reason why I want to sub-divide it is because we have to figure out a color and then we can make the toes and the details and things like that. Let's figure out a color for him. Go to the Paint tool. Like he would be a sort of beige brown. Something like this. Feels about right, friends. Choose the same color for his head, ears. And actually, it's actually a good thing to add layers when you add this color. I'm just going to name it color. Then I'll paint it. Same thing with the head. Add a layer, added two layers. Color. I'll add this color. Years. At a layer. Color. And paint will do is it'll tongue to go for a kind of a pinkish, pinkish color. Teeth. Make them white. They have some glass. And the nose will make a like a warm, darkish color. Like this. We'll add some roughness to it. It's a good general color. Of course, you can make them whatever color you'd like. And asked for tos, I'm probably going to I don't know if I actually want to keep this color. But as for tos, what I would do is use the crease tool. Let's see how, let's see how good the crease tool works. So first I'm going to choose this color. I'm still increase. But now I'm gonna click it, I'm gonna make it darker. I'm going to make the brush small. No symmetry. We should be able to get some decently clear feet. That's all I wanted. Just to sort of imply the toes. I'm gonna get rid of this grid. Grid. Here we go. I'll do the same thing here. Just sort of imply that there's some toes there. You can turn the color off by unchecking this. Now we're just using the regular crease tool. We want to just like separate some of these details. Where did that come from? Increase will just give you back some of those details that we lost won't be perfect, but it's enough. Just add a little something. I think this has all, this is a little bit extra. Like I like to add in these little details. Go ahead and smudge this out. Smooth it out. I should say. You can do the same thing here. You can just take crease. You could actually make it darker. See, see what that looks like. Could totally use the darker one to the darker actually looks better. This is where does this, I don't know where these little things are coming from. Plato was saying sometimes you'll be working on something and somehow it'll affect a different part of the mesh. That just happens sometimes I'm not sure why or how to prevent it. But next we'll we'll add this little color variation like the tech around his mouth and at the bottom of his tail. 22. Painting & Toes: All right. Let's give His let's give them a little bit of a color variation on his body. I'm not sure yet if I want to I want to merge his body and up top, I might just leave it. Let's go to paint. Choose this color. We'll go with Michael, lighter color. Like this, I think. Maybe nice round here. You can go around him all the way to his little tail. You can always come back and erase. If the line goes somewhere, I don't want it to go. Wish I could color fill, but I can't manually color in all of this. I'll do erase. You can sort of clean up. If I decided I wanted to, I could also not erase. Just add that little bit of paint on the inside of his legs, which I think I would buy. But I do want to make sure that it's if I'm going to do it, I want it to be nice and smooth. Something like that. Maybe paint the inside his little hands, including the underside of his fingers. And to be little more careful here, since the fingers are closed. But this is also good because it shows the underside. Lets you know that that's the underside of the fingers. This is the top of the fingers, so we have a pretty clear, but now it's extra clear. We'll do the same thing to the face. Maybe here. It looks like it comes out. Turn symmetry off. Because it's given me some really weird things. Because we turn the face. This is your time to shine. You know, if you want to make different colors. Be really creative with this. I mean, this is your chance to really do any color you want. Any style. Just be creative with it. Go back to the body. I want this line to be perfect. This is a very bold line right here. This S-shape. I want that to be perfect. The bottom of the feet to make much smoother lines. Going from left to right. Got to know your strengths and your weaknesses. I shift up. I should've done this on another layer. That's okay. Nice. We'll do some more color details. The ears inside the mouth and things like that. 23. Mouth Details: So let's make sure that our colors are looking good a while. We'll add a little details. First, I noticed that it's a good thing that we kept the hit separate because things like this soloed the head. And I actually want to fix this paint. Some use the paint tool. Long press, get that color back. I just want to match. That's way too big. Just want to match match the other side. Doesn't it? To be perfect. But that's a little better. A little better. Now I'm going to take this color again. Obviously I'm gonna go back to crease. Wanted to the darker color. I think I want to add it here. It looks a bit odd. Might be. Let me see if I subdivided the head. Let me save it. I might just need to have subdivided the head. Let's see if this paint goes on better than it looks now. Because it's very clean on the body, but it's not on the head. And that's why if it's not subdivided, not going to look as clean. It looks a little bit better. Solo the head. So we can fix this side to sue for the color or the back of the mouth. We'll just do a darker, darker red tone, the roughness up. I'll add a layer. Want to color this in? Sometimes a little tricky to get in there. See how that looks. Pretty good. I don't want this I don't want this color to go too far up, but I do want it to fill the mouth. I think Bill looks pretty good. I'm happy with that. There's this weird somehow got this color underneath the mouth. I'm gonna go back to the car layer, grab this color. It's nice because it'll just go right underneath that. We just we just painted. 24. Color Details: I do want to paint a little bit inside the ears. No. It was the crease. Somehow the crease has gone rogue. That's what this is. This must have been from the crease. Smooth it out, get my paint. Just paint over it. Luckily, not too, not too terrible. We have to be careful with crease because apparently it can really go through ruin my smooth mesh. It's not cool at all. I'll have to try and forget about that. Actually, I need to smooth out all of this I think, let's see. So back to the ears and add a layer will go with the pink. We can always lower the opacity later on. We don't want symbol and we also want to make sure that we don't have, we'll tap on this little pencil. We want to make sure we have front-facing vertex only. That's under this little pencil next to the paint brush tool. All the way on the bottom. That way when we paint it doesn't go through to the other side. Smooth. This first looks like it needs a little smoothing. Which means the other side needs a little smoothing as well. Since they are not. There's no symmetry. Not too much, but I just want to smooth that out a little bit. Back to paint. Wherever it starts lagging, then I have to make sure to keep saving. Another trick. Once after you save it and make sure you've saved it. You can close nomad and open it back up. Clears that temporary RAM wherever you want to call it. Okay, so we're back on the ears and now I'm just going to coat the inside of the ears. Pink. It must have not. It must have turned off the setting that I just did. It did. Now, I'll check that again. Front-facing vertex only. I feel like that should be a default. Because really do you color on a surface? And you wanted to go through to the opposite side of the surface is one year. And then we'll do the other ear. He's got his little ears and we can always lower the opacity of that pink too. Let's add a little blush. So I add another layer, name it plush will make it more red. And we will lower the intensity. Will raise the size of the brush. Which is one a little bit on his cheeks. Very, very, very slight. We actually want to make sure that roughness is very, very, very low-intensity. The cheek area. Solo this so we can get the other cheek. This will make sure that your characters feel nice and warm and alive. Some little bit of redness in here. Here on the nose, some on the fingertips. Actually, I didn't have to go to body to body and I'll add a layer. Blush. Little bit to his fingertips. Maybe he's a little elbows, knees. These are, these are supposed to be very, very subtle, which is kind of hard to do with these tools, but it's very, very subtle. And then on the ears as well. Back to the ears. Did I already? Some red to the ears? Here we go. Just that nice blush just gives it, gives him some warmth. 25. Belly Button & Ground Platform: We've come along nicely ticket to put his little belly button in. So let's do that really quick. Make it about the center. I'm using crease. Cute little bit, It's a bit big. I'm just using crease and maybe I can make it a little darker. I'll choose. I'll click the Color tab here. Long press on that. And then maybe I'll just make it a little darker. Just to give it a little pop, make sure your brush is very small. This is about the center of his little belly. Let's just here we go. I like that. Could even be a little less. Be a little less. Let's see what that looks like. Yeah, I like that little belly button. Of course you can color these butterflies if you'd like. I'm probably just going to, let's see. I'm gonna make these little guys cool the paint them. Let's make them yellow for now. Because I might make them glow a little bit later on. I love to make things glow. So let's get rid of this image. Tapping this picture icon in the morning to get rid of our image here. But he does need some sort of something that he's on. So that's the right view. Will make it really simple. We'll just add plenty hopes. Will add a plane. I'll make it bigger. You can either add a plane or you can add a box. Sometimes I do add a box or a circle. Can add a box and just make it thin. Something like this. Or you can make a circle as well, or cylinder. Oops, what did I just do? There we go. Make a cylinder and just make it really big. Squeeze it together. Looks like he's on a surfboard. I believe you can actually go into the settings here and do flat subdivision. Put this subdivision up to 23. That's sort of affects the outside of your cylinder. That looks pretty good. So we'll leave that for now. And the next I just want to add a sphere, make it fairly big and it will shrink it. I think I just wanted a little bit of, a little bit of a surface like that I think is a bit interesting. Almost like he's running on the ground. So I'm gonna validate that. I'm going to hit front. So it's nice. Now this is one of the times where I want to go back to orthographic. When I hit front, everything is perfectly aligned. Then I'll just trim this rectangle. Just trim that. We have a nice at all. Wherever you want to call that there. You can actually do this with. You can clone this. You can make other little, little changes in the ground. These can be like little dips, maybe rocks or something like that. It is something to make it a little more interesting. So something like that just to give it a little bit of little bit of movement on the ground. Let's go ahead and color them all. So let's make it like a we'll make it like a we'll figure out a nice color for this one in the next video. Be creative with the ground too. You can do anything you want. 26. Coloring & Lighting: All right, so let's figure out what color we want this to be. I think we want a roughness to be a pretty high just a nicely sort of pale color I think is nice. Kind of a nice color for now. All of these spheres, I'm gonna simple merge them all. Pebbles. Hills. Rename this as well. Now I'll just paint all. Make them a little bit lighter or darker. I think a little bit later. Looks nice. Now let's do some lighting. Let's see where's the lighting? Okay, so here's the lighting tab. I still forget where these are all time. The environment. I'm going to include this photo for mine, which I will be one of the one of the downloads. And if you want the same one that I have, but of course, you can use any of these environments, whichever one you think looks the best. But sometimes I like to turn the environment off. Then you just have complete complete blackness. Then you can light your scene and you don't have any other thing in your way. So when you want to let you see and go to this sliding option here, add light. This is, this is a world like this matter where you place it. For some reason I always like to place it above. But wherever you angle this light, that's where the light is going to come from. For now, we'll keep that where it is, but I'm gonna turn it off. I'll hit show. Let's add a spotlight. So now we've added a second light and you click on this little square and you have these options. Let's do spot. And we're gonna make this a little warmer. So we're bringing that color up a little bit. So this lady is right in his face. So we're just going to bring it back over to the right. This angle it right on him. So this is the same principles as the gizmo. Angle your light right on him. Let's move it over more. Bring it up a little bit higher. Bac. Just sort of sort of gets our whole scene. Another thing you can do is you can click on this little tab. You can, you can widen the cone angle. That will widen. For example, this is very small cone angle. You can widen it out and it's to get everything. I'm bringing in a little closer to him. And of course you can raise your intensity a little bit. Now I want to clone this light. Will do clone mixture right there at the right light. Bringing the bottom one over to the opposite side and angle it over him this way. Now he has two lights, roughly the same position on him like this. Let's actually move it over a little bit more and angle it on him. I'll do the same thing with this one, bringing it up over an angle it on him. Now he has the two lights there. We want to use this light we could with this sort of. It's very, very bright, so we still have that option. I'll turn it off for now. Instead of using this light, you kinda have to be frugal with your lights. There's only four. If I'm gonna make these glow, then it might be nice to add a yellow light for these. I think. Maybe I can do that fairly quickly in this video. So right now they're both yellow sphere. See other one. Okay, so these are our butterflies. We can actually, we could simple merge them. But the only difference is I might want to change there. I might want to change their position. Maybe I'll just undo that. Just named them both, each butterfly. So P1, which ones? B1, B2. Those can be our butterflies. Now I'm going to duplicate each one of these and I'm gonna put it underneath each other. The one on top, the one on top. I'm gonna change that to B1. Add. I'll do the same thing with B12. Duplicate it, bring it right underneath the other B2. And then I'll go to the top one, edit V2 add. So for the ad ones, right now we're gonna go to this panel here. See the Materials panel. We go to this little sphere and then we put additive. Then always unlit will do the same thing with B2 add. Go to the sphere. Additive. Then always unlit. Now we have to have a nice glow to them. And we'll add our last slide. For this one, let's change the color to that same yellow at the butterflies are a yellow actually looks very, very nice. Warms up our scene a lot. Really like that. Now let's take this yellow light. Make it a point light. I think the light is right here. You can see it's very, very bright right now. So I went to lower the intensity of it. I want to I kinda want to put it right behind these guys because it's as though it's as though the butterflies are giving off this light. Let me lower the intensity. Lot. Something like this. Now, the only thing other thing the only other lighting matter that I wanted to put was it's always nice to have some sort of glow behind your character. Let's look, let's see what this light looks like on. Not really doing that much for us. I think this will be better served. If we either use a point light or a spotlight behind. I'll change it to a point light. I have it behind him. I don't think I won't white be the color? I think I want to change the color to maybe something a little cooler. Maybe something a little cooler, lower the intensity a little bit. It looks kind of nice. And I'm getting a lot of shine on the ground. So I think in the next video, I'll make that a spotlight. And then I'll maybe change the background. We might warm up the scene a little bit. Maybe I can do it with the spotlights. So we'll do that in the next video. But I think he's looking very good so far. 27. More Lighting: Okay, so let's I'm gonna change up the spotlights and make them a little warmer. Just so our overall scene is a little more, a little warm. Let's see what color this light is. Light is already a little bit warm. Let's see What a nice background color might be. So I'll click on this little picture here. Here's our background. I do still like a neutral neutral background. Fairly close to what we had. Let's change this to a Let's change this to a spotlight. The reason I'm changing it to a spotlight. So I don't have a lot of shine on the phone, the ground. Spin this towards him. Maybe I make the cone a little wider, raise the intensity up a little bit, and I can even move it back. Use the intensity a little bit. We want that nice, that nice glow on the side of him. Nice rim light. Now it might be nicer to you could also try bringing it up and then angling the light down. But I think I like it low. Like that. I'll turn the intensity down a little bit. I don't think I want a shadow associated with this light. You can turn the shadows off and see how that looks. I guess it does look better with the shadows because certain areas wouldn't be getting hit by light. But I think it's worth it to go through your shadows and see if there's any shadows that you don't want. Although most of the time they do. They do serve their purpose. Put it that way. Sleep better without a shadow. I can't, I can't really tell. Not sure what normal bias actually means. Sometimes they'll just go through and experiment. I do like the shadow, but maybe I just want to move the light a little bit. Here we go. I don't want the light from the from the butterflies on his face. That was my main concern. Another thing that I wanted to show you, remember we turn off our environment. Now if you turn it on, it'll get a lot brighter. But you can lower the exposure. For example, this is black. But sometimes these areas can be a little too dark. You can raise your exposure of your environment to sort of fill in some of that darkness because there's no reason that it should be that dark. There is ambient light. I think something like that. It looks pretty good. Okay, so now that we have that, let's go ahead and hide our lights. We're going to hit this little cog here. We're gonna hit our light icon when it's white and that means that it's off. Orange means that it's on. We'll turn the lights off that way you don't see them in our scene. Next thing that I wanted to do, brain ****. I think I'm, I'm very happy with this guy. I think he looks really cute post-process. So I'll do a whole video on post-process. And hopefully this will finish us, finish us out for now doing this post-process video. But I'm really happy with this little guy. There we go and make it darker. This is just another little tip that I want to show you about the mouth. I like the mouth, but there's some things that were bugging me about it enough that I wanted to make another short clip of how I fixed the issue. So the first thing is for this mouth area, I don't really like how it's round right here. I feel like these lips should be straight. Decides. I used Move. I use the Move tool with symmetry. Let me make sure I'm local. I use the move tool. Moved. I'm I meant move the move tool. And move these the mouth inwards a little bit like that. It's more straight coming down. I liked that a lot more. Also, the next thing is this red paint, this red paint layer here. Let's go to paint and grab that. It shouldn't curve around like it does. It should just go straight up. Intensity 100, brush smaller. This should go straight up. You have to watch the, the symmetry here because it could mess you up. I'm gonna take symmetry off. Because I just want this to go straight up that little curve at the end. I wanted to go straight, straight up like that. And the last thing that I wanted to show you is underneath here. I want to make a sort of lip. So all I do, let me just make sure I'm on Layer. I'll do it on. Another layer above. All I want to do is make a lip and then make us sort of chin area. Instead of having them connected. I'm just going to use clay. Quite smart and it's been a big, make sure you're on subtract. Then you can actually use symmetry for this. You see how I make ellipse by getting rid of some of this clay in here. Once you have that, then you begin the smoothing process and you might have to do it a couple of times. Just be careful if the if the clay is very soft. I actually did this after I was finished with the whole tutorial. I decided that I wanted to change the mouth up. And it makes such a difference visually that I just wanted to insert it in a bit early on. The lighting is a little bit different too. Now I'm going to up the intensity and just sort of smooth out this chin area. Just make it nice and soft around. Can even make this a little bit too. That way you have a sort of Chin and you have a have a lip as well that I think looks a lot better. If you want to level up and do some little special technique. You can take the color of the lip and then you can tick off all the roughness. When you're painting. You can paint even turn off symmetry. You can just add a little bit of this gloss to the lip. And it kind of gives it a nice little glossy like lip feel. If you'd like that. It doesn't have to be in maybe not as glossy as a habit, but something like that just so you get a little pop of light. Just a little extra. 28. Post Processing: All right, Let's finish up strong with a nice post-process. We're going to use this circle here. And we're gonna hit post-process. Now, it really starts to look like that beautiful 3D scene that we all love. I love it. All right, so obviously you have all these options that you can play around with. Depth of field is an important one. Near blur. Let's see if you have it like this. Whatever is closest, you know, we'll have a nice blur to it. Look at that, That's so nice. Then of course we have FAR blur. Things that are farther away will start to blur. And of course, wherever you tap on, we'll come into focus. Bloom is tricky. So just be careful with bloom, but it'll give that nice, the nice glow. You can play with the settings here where we're human, however much you want that to really, really shine. And you can tell it's sort of it's sort of blooms from the light source it looks like. So you can actually go to these butterflies. Let's see if we can make these a little brighter. I'm in B1 ad, that's this butterfly. Let's go back to the materials tab, this little sphere. Let's raise this opacity. That way it's a little bit brighter. We can do the same thing with this guy if we want, although I like it. Let's raise the opacity of this guy as well. Now we're on we want to be on the other B2 add. Go to our materials tab and we'll just raise the opacity. That way they are, they're just glowing a little bit more and they have a little bit of a glow coming off of them. So that's bloom tone mapping. You can change the general tone and everything of the art. Color grading. I don't really have anything, but if you wanted to, if you want it to affect different colors, obviously, you can play around with this and see if you find something that you like. I guess I'll just show you these real quick. This gives sort of like an outline and you can pinpoint how you want the outlines to actually act. The cavity would be like in these in these little crevices. And then you have the bump I think is just raised. Anything that's raised. But I usually don't use, I use it sometimes if I'm doing like reptile scales or something, it makes it look really cute. Chromatic aberration is cool and makes it look like it's an TV. Very cool. 80s viper wave style vignette. I really like. I usually add a nice vignette. I'll do a before and after. You can change the intensity of the vignette, of course. Grain, you can adjust the grain. Sharpness saddle use those sharpness and anti-alias. Ambient occlusion. You can play around with this. Just has to do with the shadows and the ambient light and shadows and things like that. You can adjust to taste. See what you like more or less. Keep max samples full quality. And if I'm going to, when I'm, when I'm ready to save my art. And this is, you have to also mind your system and what you can do. Hopefully, you guys haven't had too many crashes. It just save this 3 million, which isn't too bad. You can go to this cog here, or is it think it's the cog here? Will go to this little cog display settings and turn up render resolution to make it the most beautiful. Then we have our scene. So again, what I was telling you a while back, you can actually attended to perspective. I was on orthographic the whole time. Perspective. Just lost my pencil, me 1 second. We'll change it to perspective. Where was I in perspective? Now we have the vertical focus that you can actually change. That will make a big difference on your scene. Changing this focus here so you can actually see what's happening. I'll do it from a different and better angle. C, it really makes a big difference. Your focus. I think I'm pretty happy with this little guy. This is a good place to stop. Otherwise, I'll keep going on forever and ever. Just remember, you can edit and adjust your hardest content. That's the one of the best parts about 3D, makes it really, really fun, is you can edit and have fun with it. And you can figure out the best, the best angles. And you can save the best angles like once you find something you like, you can do addView. So you can save the angles that you like. There's a bunch of things that I might do for this guy. I can change the eyes a little bit. I want this to be the hero frame, something like this. I might move this over. I might move this butterfly over a little bit and then move his eyes over. That way you can still see his eyes on a frame like this. But there's a million different things that you can do. And I would say that this is a good place to stop for this guy. I'm very happy with. I'm happy with this. I think he looks very cute. Like this view to it's kind of cute. So I hope that was useful. I hope that you got a lot out of that. I had a lot of fun. I'll see you guys in the next in my outro video. And we can just chat about the amazing 3D stuff that we created. So glad that you guys take my classes. And I know that they're long, but there's just I don't think there's any other way. I mean, with years and years of experience, maybe you can get faster. But in order to loan process, but it's so much fun and it's so rewarding. So I'll see you guys in the next video. The outro. 29. OUTRO: Well, you did it. Congratulations. I'm really glad that you made it this far. I hope that you enjoyed it. I hope you learned a lot because that's the biggest part of this whole 3D thing and taking classes, it's just learning and experimenting, getting things, getting things wrong so that you can fix them and get better at all the characters that you want to do, all the 3D work that you want to do. That's what this is all about. So I hope that I was able to explain everything in a way that you understand it. If not, please reach out to me, I'm happy to help. I'm happy to walk you through certain things where if something was confusing, I'm happy to help out and even I'll make more videos if it's something specific that you need to know, just let me know. I'll make a video and post it on my YouTube or something like that. Speaking of YouTube, I want to let you know that I did continue on and I made like a background in Procreate. And I added some details and maybe tick took away some details. So there is more that I've done. I put it on YouTube. There's so much, you know, I never really feel like I'm finished with the project. So after I finished the tutorials, of course, I just kept going and kept going and kept going. So be sure to check out my YouTube because I have more on this character and more things that you can learn on my YouTube. Of course, feel free to follow me on Instagram, jug for Dave, drug for Dave 3D. For all of my 3D work, I have a procreate tutorials, Facebook group, procreate tutorials and guidance. I'm on tiktok and of course I have about 16 or 17 other classes here on Skillshare. Make sure you take advantage of that. Take all the classes learned, steal all my tips, steal all my tricks. That's what I'm here for. I want you to learn. I want you to get better at what you do and your design that you're sculpting. Because that's what I'm about. That's what I love to do and I love to see people's work. Make sure you post it, make sure you tag me so that I can share your work. I want to lift you up. I want to show off what you created in my class. All right? As always, keep drawing, keep sculpting, and I will catch you all in the next video.