3D Model a Human Head with Nomad Sculpt

1. 3D Model a Human Head in Nomad Sculpt: What's up, guys, Welcome to another Skillshare class with me, drug-free, Dave. So today we're gonna do a proper face. I've had so many people asked me to do one of my stylized faces. So now you have a proper class. I'm going to go through everything from start to finish, from a sphere. I'm going to walk you through all of my steps. And the best part about this class is once you get used to making a face and the basic structure of the face, you can alter it. You can warp it to make it look like any face. You can elongate the jaw, you can make the nose different, the lips, the eyes. But you'll basically have an understanding of how to use basic shapes and use basic sculpting to be able to get yourself to face. This has everything that you're going to learn in the class. If you're nervous about doing humans or if you haven't done humans, they're very difficult. They're very tricky. But I'll walk you through every step of the way. It's literally just step-by-step, 1 ft in front of the other until we get to where we need to go. It was really fun. I had a great time working on it. And I know that you're going to learn a lot. Glad that you're here with me. I'm excited to get started. I hope you're excited to get started because we're going to make some really great 3D work today. Alright, let's move on to the next video class project. 2. Class Project: Alright guys, welcome to the class projects. So first things first, of course we're going to make a human stylized kind of head, neck. We're going to do the whole body this time because that would just take too long. But maybe in the future, I'll work on that for now. We're just gonna, we're just going to concentrate on the face. It's gonna be very stylistic, Disney style. You guys know the way that I draw, the way that I create my really fun whimsical things. I'll do a few different hairstyles. So at least you'll have that to choose from. And as I go along, I'll walk you through different ways to do different things and the reasons why I'm doing everything. I think that's the most important thing. Make sure that after you're done that you post them to the projects and resources tab. If you have any issues as you're going along, make sure to just drop it in the end each class There's a discussion tab, figure out what's going on if you have any issues and we can just get you moving forward. Nomads sculpt has been going through a lot of changes lately. Right now it's 1.74. But hopefully by the time this comes out, it's on 1.75. There has been a lot of bugs. So you'll see me have to do things like when I'm working with nodes and things like that. They're just, they're not working the way they should right now. But all that stuff should be squared away. So just bear with me. And I was actually getting over COVID. I actually had COVID when I was making this class. Don't worry, it's not contagious through the camera. But yeah, so give me a little grace with my voice. Sometimes it's a little. And hopefully I added that I edited out all of my because that was a big issue. So bear with me there. And also I just want to be very clear on what this class is. So we are just going to make this woman's feminine face. Although there's lots of different ways that you can, you can alter the face, so please feel free to do that. You know what I mean? Feel free to change different things now or after you finish it, you can go back. And I actually have supplemental things that you can look at after class. And I'll show you how to make different expressions and things like that. I show you a little bit in these videos too. But there's just so much that you can do. There's so much more that you can do that. I can never just stop with the class, so we'll always keep going. One thing that I might have missed, make sure that when you start, you're in orthographic because I always sculpted an orthographic. I can't remember if I've mentioned that in the first in getting started. So I think that's about it. Let's move on to the next video. Getting Started. 3. Getting Started : Welcome to getting started. So we're going to construct our face and I'm going to start right from scratch so that you guys can follow along fairly easily. So we're going to just start with new, create a new scene. And I'm just going to change this background from this lovely mustard yellow to something a little more neutral. I tend to like yellow. I tend to go warm with my grays. The next thing that I'd like to do is make sure that I'm an orthographic. So this is using this little camera icon. And I make sure I'm in orthographic. I always sculpt in orthographic. It eliminates any perspective which could make things look a little bit different than they actually are. So just remember to go to orthographic. The next thing that I'd like to do is change from lit PBR. So right now our mesh, this is our mesh, this is our clay. This is our 3D object. And I'd like to change this to a mid-cap. So we'll go, Let's see where's McKay. There we go. We go to this little icon here and then tap mid cap. And you see now it's a reddish color. And essentially what this does is it disregards any lights in the scene and the environment lights. It just makes it easier to sculpt because when things are white and sometimes you won't see like shadows and highlights, they can make it look a little funny. Now of course, there's other met caps here. I think these other ones are mostly like decorative. I wouldn't use them to sculpt with maybe like something simple like this. But I think just the default one. Phd clay is the one that I would normally use. This is another really small thing. But when you start a new project, the sphere is 98.3 K, which is quite big. But when we add shapes, I'm gonna go ahead and delete this shape. So I'm in the scene window. I'm just going to delete this. When you add a sphere. This fear is only 6,000. So we're not going to pay too much attention to keeping file size is low. We want to concentrate on just constructing a face, but it is easier to sculpt into block out, which is what we're doing first, is easier to do that with smaller shapes that are smaller sizes. We don't need anything that big right now. So just delete that and work with this new sphere. There are some other, a few other things that might be different about your nomad. There might be a grid. If you press the cog here, there is a grid. I don't usually use the grid. I just have mine unchecked. There's also things like solo and lock. I think solo is here by default, but there is lock which we might use. So if you don't see lock there, then go to these three little lines up here. And you can toggle that on and off. Okay, so we have our sphere, we have Mirror Validate. And the gizmo is obviously what will, what will move everything around. The one thing I want to note is sometimes e.g. if you're, if you're here and you tap gizmo, this might not pop up and might not pop up here. So just go up here and you have to tap gizmo and then it will pop up. And if you just tap gizmo but not mirror, it'll just move from left to right, which is what we don't want to do. We want to leave everything on this symmetry lines so we don't want to move left and right. We'll leave it how it is. For eyes, for eyebrows, things like that. We're gonna be using mirror. So when you tap mirror and then you move it, There's two symmetrical ones. So obviously this makes eyes and things a lot easier if we validate it. And then we hit Move, It's gonna, everything's gonna be symmetrical. So that's what we want and that's gonna be very helpful for the sculpt in for constructing the face. Okay, so we don't need a mirror for this because British using just the regular sphere. So we can just validate. And now we have our first part of our construction. For this sphere. Let's just rename it head. Because this will be our head. And I don't know why, but I always do this. I always make it a little bit bigger. So just using the gizmo, I just used the orange ring to just make it bigger. Again. I don't know why. Sometimes you just do things. You know, our cube is now a sphere. So I'll just tap front, which is something that I do all the time just to make sure that everything is clear and concise, especially before we have too much, too many things together on it. You want to make sure that you tap front. 4. Head Shape & Ears: So the first thing that I like to do is clone the sphere and I make the bottom part of the jaw. So we'll just go into our scene menu and then cloned. And for head one, let's change it to jaw. This is the bottom part of the head. So we're already on the gizmo so we can bring this down a little bit and we can shrink it. So I usually make it maybe something like this. I usually make a shape like this and like a dog toy. And this is sort of how I start with the bottom part of the jaw. Obviously. The sphere is to round and the jaw, the lower jaw is a little too round. But we're going to shape all that stuff up. We're just blocking everything. And this is kinda how my brain blocks everything out. So now either using the cube or just your finger like this, you can rotate. And now we're looking at the left side. So I'd like to bring this up because when I make when I make the face, so this is the forehead, this becomes the forehead. And then there's the bridge of the nose. That kind of is like this. And the nose actually will come out to this area, and then the lips and then the chin. So this is why I bring this sphere out forward. Now obviously this looks funny here, but we still have some adjusting to do. So. I might, I might make this a little bit smaller and bring it out maybe a little further. Maybe bring it up a little bit. Something like this. So you can even see that it's starting to resemble a skull. Like this would be the skull and this would be like the bottom part of the jaw. So here's when I do a little just like free sculpting, free modeling. So we're on the bottom sphere around the jaw. I like to use the Move tool. So let's make it quite big. Because the Move tool, we'll just move everything sort of smoothly and evenly. And we just want to make sure that we have symmetry on. So we want symmetry on. This way. Since we're looking at this side, we want the other side to match and everything to be happening on the other side. The next thing that I do is I take this sphere and I try to line up this bottom curve. I tried to make that goes straight and then come around cleanly. So as long as you're on the bottom sphere, you can just manipulate that. You might have to make it a little bit bigger. Let's make our move tool a little bit bigger. And see how everything's sort of moves in unison. And it's a bit cleaner. So I'm literally just, even though I'm touching, it looks like I'm touching the bigger sphere. Since the smaller sphere, since the jaw selected, it's still going to move around the smaller sphere. So I kinda want something like this. I just want it to be kind of a smooth transition into this part of the of the jaw. So yeah, pretty much something like this. I think that looks pretty good. And I will be going back and forth because sometimes I have to go back and forth to just make sure that my shapes are as I want them to be. But I think this is pretty good for now. The only thing that I might do is bring this down a little bit lower, this part down a little bit lower and then try to even it up a little bit again. And even looks good when I like I'm stretching it. So just to just to look at what the bottom one it looks like. This is what? This is what it looks like now. Um, I think that's a great start. This was a great, it's more because we want it to come down here and then we want it to go to the chin. And obviously we can still adjust a lot of these, a lot of these parts. Okay, So I think that's looking good. Eventually we might tilt it as well. We might tilt it like this. But we don't really have to do that just yet. Or maybe we do. Let's take the head and the jaw and the gizmo. And let's just tilt it a little bit like that. That feels a bit better. Now let's just bake it. So we'll go to the gizmo. Okay, and now we're good. Alright, so the next thing that I usually do is add the ears. So we can, you can either, you can either use cylinders or spheres. I've been experimenting with spheres lately, but I don't know which one I like better. I'm going to show you both for a cylinder. Here's our cylinder here. Remember these are the options that we were talking about. We're going to tap mirror. And now you see you have the mirror here and you have the cylinder here. To make it easier, let's just name them both ears. So I'll just tap here and just change them both to ears. That way there's no confusion. And so we're on our ears. We have the mirror. So let's just move them apart. Right now. Let's take snap. And now it's on snap and it's on 90. So now we can just rotate it 90 degrees. So if we hit front, it's perfectly rotated 90 degrees. So now let's smush them together. Align used to be world and which is something that I always used a lot. So essentially align in world. And it's a bit confusing. I take it off snap, rotate this. You notice that this hasn't moved. See, that hasn't moved. Because right now the pivot is set to world. So this is the ultimate up, down left, right. It's not going to move, it's not local. But if I were to take it off a line, and then I were to move this. See how this moves. This moves too. So the pivot is local to the ear. So the reason why I'm bringing that up is because as we're moving the ear around, sometimes having a line on is helpful and sometimes not having it off is helpful. For these cylinders. We kinda just wanna make them ear-shaped. So let's stretch it. Really, really big ears. Obviously. We can shrink them down. And I sorta use this center line, sort of a gauge as to where it, where I want the ears. And as you can see, they're not really bent the right way. So I'm going to bend them a little more that way. So they look something like this. It will be very difficult to just bring them in closer together because we've moved them all around. You'd have to do a lot of like navigating to sort of get them just to go closer to each other. But if you tap a line, now I can just move them closer. There are a few tweaks that you can do like Here's a usually wider on the top than they are on the bottom where the lobe is. So I might just tilt this out a little bit. Like so. And of course I'm going to tap a line. You can make them in a little bit further out, a little bit further. You can tilt them back more or less. So there's lots of options, there's lots of things you can do. I bring them up a little bit. So we'll just keep something like that for now. Now. Remember, we're just blocking them out, so we have a lot to work with still. I'm gonna take it off a line so that I can shrink it a little bit. Just a tad bit. There we go. Alright, and here's the front. See again, this looks better as the front. So that's another thing that I do when I'm going through my faces is I tried to set the front because this doesn't really look like the front to me. So I'm just going to select everything. And then I'm just going to tilt it because that feels like it should be the front. Then I'll just bake it. Now we have a new front. So this is a good start. You just want sort of shapes like this is how it looks from the side. But this is the start. 5. Ear Options: Let's go ahead and hollow out the ears. So I like to use layer. So right now we're in the ears. We can go ahead and validate them. And I like to use layer. Did you bring the radius up a little bit and make sure that I'm on sub. Since the ears are mirrors over there in a mirror, you don't have to tap me or you don't have to tap symmetry here. Because when you do one, the other one will follow suit. So the only thing that we need to do, you notice the ear is only 1652, which is not really dense enough. So let's go up to this little menu and we'll go to multi-racial. And let's just sub-divide it. Can sub-divide it. I think subdividing it once is fine. So we've subdivided once. And now I'm going to box. So Ramesh it. I think 200 is fine. And I box down here, but that's the same thing as if you were to go up here to voxel Ramesh and then tap it. It's the same thing as just a shortcut down here. So now we'll take layer and just make something like this. So essentially what I've just done is I made the outer ring of the ear and I slept a little bit more down here for the lobe. Again, we're, we're kind of just like doing this rough, rough and ready, so it doesn't need to be perfect. We're going to smooth all this out. But this also leave some space to where like the head, we're going to run into the ear kinda thing. So I did I did it twice because it all depends on how intense you have it, which is how deep you just want a fairly deep. So I think that's pretty good. You can probably go one more revolution if you want to. Why not? So something like this. Now I like to tap sub, to add a layer. So then I also do something like this. Whoops. Let me make sure you're on the ear. So this just adds to the shape as well. And if you wanna do a double layer like we did when we were erasing, you can do a double layer like that as well. So now for the head, Let's go back to these two parts. And I think that they're in a pretty good space. I think they look pretty good. So let's go ahead and box will remiss them together. Let the cat out. Go ahead. Well, I just knocked my head into the camera. Hopefully it's straight. Okay. So let's walk. So remember these two together. So we have the jaw and the head. So we'll go to voxel and we can re meshed him gathered around 200. I think that's fine. Okay, So now they're, re mashed. We'll take our Smooth Tool symmetries on. And we can just try to, we can just sort of smooth them out. They should smooth quite nicely at 200. Okay? So the next thing that we can do is add the little, the little piece. If you touch your ear, there's a little piece that comes off your head. I mean, I guess the whole year coming up the head, but there's a little piece on the head that sort of flaps here. So for that we'll just use inflate. So remember I'm on the head and I'm just going to inflate and just kind of go in a circle. C, kinda like that. Notice I'm turning it this way because I don't want it to come up like this. I don't want it to come up like that. I wanted to go back. So notice how I'm turning it so it goes back. And the reason why I made it this big and that sort of aggressive has because when you smooth, you don't want to press too hard, but when you smooth, when you use the Smooth tool, it's going to, it's going to kind of ease it back a little bit. So that just keeps me from having to like add more and smooth and add more and smooth. So I just do a lot first. And then I can sort of goes back to normal. This is when you adjust the size of the ears and things like that. And if you wanted to use the let's just hide these. If you wanted to use the spheres, I think I told you it was going to do both. So I added the sphere. It's gonna be a mirror on a tap gizmo. Separate them. So I'll shrink them sort of like this. You can position them where ears would be, maybe even stretch it. So I'm just going to validate these. And now I'll just use trim. And if when you use the Trim, just go to this little option and just put these down. So now we're using trim, let's use rectangle. So let's just put it to the left to make sure you tap left. And then you can draw your box and cut the ears like that. So once you cut them, voxel rematch them, say around, maybe around 200. You voxel remiss them. You might want to go ahead and just smooth them out a little bit. But now you have these sort of like dome ears, not telomeres, but more circular years like in the back, it's more circular. Then you would do the same thing. Just sort of bring them into the fold. Bring them kinda where you think ears would go. You can pull and push them and just adjust them to where they look like they should be mimicking a little bit smaller. And also sometimes you have a habit of having them out. So just remember that they should be sort of pointing back like our ears point back on our heads. Even though it's really fun to kinda make them poking out. And maybe I'll push them back too. This is another instance where where a line really helps. Because if I just want the ears to go straight back, then I want to just use my align for the whole scene instead of just how we've moved the years. So I'll tap a line. Now I can just move them straight back. It looks pretty good. Maybe it'll just a little bit like that. That looks pretty good. And then you would just do the same thing that we just did with the spheres. You can use layer and you adjust, whoops. Two sub you can do is pretty much the same thing that we just did. You can make the ears as simple as you want or as complex as you want. These are actually kind of complex. I tend to make more complex years. So I've just taken it off sub and now. So I'll do something like that. And as you can see, this is in the wrong spot. But you can probably can probably just use move and make sure that we're on the head now and we can probably just move this move it to the right spot. And if it's moving too much like that, if you want a little bit more control than just tap drag. And then you can just adjust that to be in the perfect spot. Now that I'm looking at it, we don't really need like, you can adjust that to be in the perfect spot as well. Okay. And we will adjust the head. The head is not the right size right now. But again, a lot of this stuff we can adjust as we go. 6. Shape Facing: Okay, so now we can slowly start shaping the head out, making it look a little more humanoid. Keep in mind that none of this is set in stone. And as you get better at this, as you complete this course and as you make your own faces, you might find things that work better for you. So just keep that in mind. Next, I'd like to add the eyes in so we can start sort of carving out the eye sockets. The eyes and the eye sockets are very important to where we put those. So I'd like to just add this viewers for the eyes. So let's go to scene, and let's add sphere. And let's go to Gizmo, will bring it out. Let's tab mirror, and then let's break them apart. We can shrink them. Even things like this, like if you were making like an alien head or something like that. Like, you know, or some sort of creature you can make the eyes really high. If you want, like a more intelligent alien head. So there's a lot of things you can do to really make it interesting, but we want to keep it simple. So maybe something like this, Of course they don't look right yet. But some of the things that I think about is I want them to be sortable line with the ears. Like if I put my finger around my ears and then I bring it to the front of my face. It's kind of the kind of in-between. The eye is sort of in-between. So I just wanted to kinda keep this line. So I think that's pretty good. And of course we can always adjust it later. But the great part about having these spheres here is now when you go to the head, we can take, I usually use clay. You have it in Sub my radius is probably about 70, intensities, about 50. And now I just use this as a template and I just make an arch above. So nothing too crazy. And just know that this, this piece in the middle will eventually be like the bridge of the nose. So I just make like this kind of shape. So something like that. One thing that I do differently now as I don t really make it that deep because I don't want this bridge to be super deep. But will flatten this out later. But I don't want it to get too dark. E.g. like, I'm not gonna go like this. So that it's really dark in there. Because then it will be, that'll be really harsh shadows and we don't want that. Okay. And also notice that I'm letting the eyes rest a little bit below the mean like so I'm not going like this right now. I'm kind of letting them rest a little bit, sort of like that. And of course again, we can adjust the eyes as we like them. Let's go ahead and smooth this out. Okay, so now we have some decent eye sockets. Of course we can continue to adjust those. So now let's move the eyes around a little bit and just make sure that we have them in where we want them. If this happens, if the ice that was actually quite strange, that was actually strange. You saw that they moved together. And then once I once I let it off, it jumped to how it's supposed to move because it's not supposed to be moving in this way. That's very odd. That's a first. Okay, so let's see. I think that's probably a good spot. That looks alright. So now the next thing we wanna do is let's add another sphere here. Because we want to add in the cheekbones. Cheekbones is very important as we're constructing our face. So firstly, I'm going to take these, let's take the mirror and let's just name it eyes. And we can, Let's theme in his eyes as well. Let's go back to the head and let's add another sphere. And the reason why I went to head is just because if I add a sphere and I'm on eyes, it will go inside this mirror. So e.g. if I was to add a sphere, it goes inside here and that can get really confusing. So we don't really need that. So we just want our sphere to be outside because we're going to make our own mirror Walla. So now let's do the same thing. We want to place them in this area. I'll take them out so you can sort of see what we're gonna do with them. A long game a little bit. So we kinda want them in this area. So we want our cheekbones to be sort of like this. Probably actually stretch them out. So we weren't our cheekbones to be pretty much like this. And these eventually we're going to smooth into the face. But let's go ahead and drag them. Let's validate. And let's go to our, let's tap our mirror and our new sphere and let's validate them. And now with drag, Let's just drag. And make sure to hit symmetry. I'm just going to drag this down a bit like that. Then we have a nice cheekbone. And I think that will work. So the next thing I wanna do is sort of work on the head a little bit. So I like to do I like for this side to be flat. So I'm going to use the flattened tool. I'm going to make sure that I'm on the head. And just so you can see, my planning tool is radius is about 90 and intensities about 50. So I just want to flatten here kind of behind the ear. Be a little aggressive with it. Some sort of just flattening the head out. Obviously symmetries on. So what's happening with the other side too? And you can see the head can you just can easily just kinda assume like a better shape. So something like that. And also we have like a forehead area. So I'm going to take this so we have this depression here and I'm also going to come across the top like this. And I want this to be the forehead. Now I'm just going to flatten this out a bit right above those eye sockets and see how the, even though it's fake light, see how that light is hitting that plane on top. That's what we want. So let's smooth all this out and see what our head looks like. And if you notice that it's still lumpy and you want it to be smoother. You can always Bob, sorry, mesh a little bit lower. You can bring this down to like 100 or something if it gets really messy. But I don't think you should need to do that because mine is looking okay. So you shouldn't have to do that. If ever, you wanted to smooth something out more than it's giving you, then voxel Ramesh it at a lower number. I think we've been doing about 200 mostly here. So just, just keep that in mind. This actually not too bad. We can continue to adjust. You can use move front and then you can sort of, you know, you can just kind of adjust things, can make move a little bit bigger. One thing I like to do is sort of flatten the top of the head a little bit. If you want to bring the forehead up a little bit more, things like that. Maybe kind of rounded off a little bit. So you see it's easy to really get the head back in shape. But it's nice to just have, you know, just know that you have those options. You can make it any shape you want. You can make it really big if you were doing like a different character. You can make the cheeks really big. If you wanted to cheats really big, you can just kinda spread this out kind of thing. So you have a ton of options of things you can do for characters. Okay, So I think we should. First, let's move this ear. I'm just going to take drag and just move this a little bit more in. Since we've been adjusting, this has been sort of moving around so you can take a minute and just adjust things as needed. Might be fun to make his ears a little pointier. Like if you were doing some character that had pointy ears, you could just drag the ears up like this. Okay. Maybe I should take the ears back a little bit. Let's take it off the line. Let's skinny them up a little bit. And then I'm going to turn him back. I tend to make your stick out so far. I do that. I'll tap a line. Here we go. I like that. I might continue to adjust it, but for now I like that. I want to try to do everything on camera, like little changes. And one thing I noticed is that there's sort of a, it's too much of an indentation here. This area like a kind of goes into much. So I'm just going to take this piece on a put out a little bit and just kind of stretch it up. Bring it down a little bit there. But just so it kinda fills out that spot. 7. Lip Service: Okay, so I think this is looking pretty good. So let's go ahead and voxel rematch the head. And these, these cheekbones, I think this is a good place to do that. So let's take B, this mirror, which is the cheekbones and the head. So let's see, let me save real quick because I haven't saved in a while. I don't think I saved since the beginning. K, so we save that. Now let's take these two inbox where we mash them together. And I think 200 is fine because we wanna be able to smooth everything out nicely. So now we'll just take smooth, smooth all of this out. Okay, it looks good. Okay? So now we're looking a little bit more, a little bit nicer. And there's a few other things that I do there. Stylistically, I like to have chosen the plan tool to kind of go down. And I'll flatten this out here. And I'll kind of go all the way down to the chin. Make it a little bit bigger. Again, I like to make this indentation a little bit deeper here. Where there are temples are, you know, that little depression in the side of our head. That's like sort of behind our RI like touch in mind, like you can see what I'm doing. But I like to do that. I like to make this line going from the top down. It's slate, but it's there all the way to the chin area and I'm just going to smooth that out. These are little things that I just kinda pick up along the way as I'm trying to figure out ways to make my scopes look better. Okay. These are little, little pointy, but we will fix them as we go forward. So now's another chance to check out the eyes, make sure they're kind of still where we like them. So let's make the, make the lips now. I think it's a good spot to make the lips lips with the cones and things like that. But I kinda like using clay. There is something about sculpting them. They just come out with a nice shape. So we'll use clay. We don't need sub anymore. We're on the head. And we just have to figure out where the top where we want the top lip. So I'm thinking maybe around here. So here's the center. We have symmetry on. So we're just kinda, kinda go back-and-forth but a little bit arched. So we're making something like that. It looks so weird. When you're like putting all these things together, it always looks so funny. And then another thing that I, that I realized that I need to do is now that you have the area for the lip, you want to fill this in. So you want to make like that straight slope? I used to curve it a lot. I used to curb the top lip a whole lot but it doesn't really look good. So we want something like that. I'm just using clade. It's just sort of give it a nice, nice, clean slope like that. Okay? And we can even take the flatten tool and we can sort of flatten out right next to it. Sort of flatten that out. So now let's just take our smooth and very lightly. Just smooth out everything that we just did, just kinda smooth it out. So we have something like this. So now we'll take the flattened tool and we want to make this plane into the bottom part of the lip. So I'm just taken flatten I'm just flattening out the bottom part. Okay. Here's another cool tool that you can use, a pinch. So I'm using pinch, my radius is about 70, my intensity is about 50. Now you can sort of pinch this. And you can see how the lips shapes. It's a really neat tool or really makes it look kinda cool. So you can really see how it kind of starts to shape itself out. Okay, so now let's take the crease tool. And this is another, another kind of a little piece of the puzzle is making the crease for the lips. So we want to start in the middle. And I sort of started a little bit lower because I like to go up a tiny bit. I'm stolen pinch meant to be on crease. We're on that word with an increased tool. I'm going to start in the middle. And I kinda like to go up a little bit, see how it has that sort of goes up a little bit. Oh, let me show you this. So the radius is 40, intensity is about 80. So I sort of go up a little bit. Then I go down, then I go up, and then I sort of double-back at the very edge. So something like that. So once we have that, we can, we can start to add the lower lip. Now, the thing is, is that this might, this might change, like we're going to have to do some smoothing and things like that. So just remember doing this because we're going to have to go back for it as we add the lower lip and smooth and things like that. This area is going to get, you know, kinda altered. But we'll just come back to it. And before we do that, let's actually bring the chin out some because it should be the lip and then the chin. So let's take move before we go any further. Make sure that we're on the head? No. So make sure we're on move. I'm just going to point this chin up like that. So it is kinda pulled it out. So now it's just a nice sleek and sort of just pokes out there. And that's, I think that looks really good. Now we can go ahead and add the bottom lip. So let's use clay. Me see, receive after every lesson. Don't be like me. Dum, dum. Now we can sort of add that bottom lip. We're using clay. We don't have it on sub because we want to add do you want to start adding the shape in? So I'm just trying to stay bright under the crease. So I can just preserve it as much as I can. But it's okay because we can just we can increase back over it. So literally as it's kinda look bad for awhile. I'm just trying to extend the shape of this lip out. And even underneath it a little bit. Again, the same sort of thing applies. I'm a little aggressive with it and making it really big because when you smooth, it does kinda fall back a bit. So something like that. And now I'm using the smooth tool but really lightly, because when you do all this stuff that the clay gets really, really soft and really malleable. So I'm staying really light with it. And I might need to add a little more here, the end, because I really want this to go to that little dimple that we made to really complete that bottom lip. So now that we have this, there's a little cheat you can do sometimes I'll take the lip and if I feel like it's too small, sometimes I'll just kinda drag it out a bit like that. And then take flatten. And this is, this is kind of a cool little thing that I, that I do all the time. So we really, I really liked this pinch. So for the bottom lip, I flattened, but I flattened almost because it's easier to show you. So I do it this way. But then I kinda go under the lip. So it's almost flat here. So this part is almost flat. But then this part goes underneath. And you can see you start to see how the light start, how the light hits everything. You know. And sometimes I'll go like a little bit a little bit more aggressive. Can we get a little more round? There we go, So something like that. So see how we had that round that. And then I smooth all this out underneath. And it makes that really nice. They're really nice shape. And then I'll take smooth and I'll just smooth this out a little bit very lightly because we don't want to ruin this nice sculpting that we've done. I think that looks really nice. We can take pinch. Then you can sort of pinch this to really get that beautiful looking plane that like H break like that. 8. Brow Nosey: So one thing to take note of is the shape of the brow, like the shape of the top of the eye socket, will really determine how angry or how your character looks. Now we use to clay and you can manipulate this with taking out more clay and sculpting it. But you can also use drag. And as long as you're on the head, you can use drag and you can sort of a little bigger. You can do this as well. Notice how as I do this, I'm just making the bridge of the nose area a little bit smaller. They really change, changes the feeling of the character. And it would be the same thing. If he, if he wanted his eyes to be have a different expression, you could remove symmetry and you could put one lower for a different kind of look. And this is how you would do a lot of the expressions. You could do them that way. Okay, so anything I usually do, I kinda smooth it a little bit. I like to keep everything smooth. Sorry, I keep getting distracted. People want to talk when I'm trying to do cool videos. Alright, so this is kinda, this is a bit sharp. So let's use clay and let's take it off of Sub, make sure symmetry is on. Now I'm going to do it quicker because I'm stuck doing it again. So we just had a little a little bit of cheek there. And then you just take your smooth and then just smooth everything out. Should smooth out pretty nicely. Okay. I also might have to adjust adjust this. It's a little bit Let's see what it looks like in the front. Front still looks good. It looks like on the side here that looks, that looks pretty good. Alright, so the nose, we might not voxel, merge it together. But for the nose I usually use a sphere. Now. I was using a cone. But lately I've been using a sphere. So we'll bring it out. Let's shrink it. We don't need to do mirror or anything because it's just one. First it'll be a clown nose. So if anyone, any people want to do clowns, that's how you would do a clown nose. He would just make it red. But if you don't want a clown nose, I usually just squash it a bit. And I kinda tilted up. Let's take it off of a line. Then I can just move it straight back in. So maybe something like this. In a little bit more. You can make it a little bit smaller, but actually like the size of that. For now, I'm just going to validate it. So now we have the nose in there like that. I know it looks a bit funny, but it won't always. Okay. So let's make the nostrils that's sort of like flesh out this nose a little bit. So let's use drag. Make sure that we're on the nose. And let's rename it knows. Rename it knows C. Now we use drag, really small. You can just drag up maybe a little bit bigger. So you basically just dragged up. It makes sure symmetries on. You can just drag up and it'll just make nostrils. You can take the edge and you can drag them around a little bit. What I like to do, I'd like to drag them under, so it pretty much makes nice-looking nostrils. So something like that. So I'm just going to I'm just going to adjust the head a little bit. I feel like the head is so it feels a bit better. So for the, for the portrait profile, I kinda like the forehead here, but then I like this to be a curve this way. So right now this is the wrong way. So we could, we could always move it. We could just go ahead and move. Let's see how that works, but it moves a lot of everything. I think I might just use flatten. And then just flatten this out. See that? And I might just flatten this out. And I'll even flatten the sides. Maybe like a little bit aggressive right here, right at this corner pocket. So this is the bridge of the nose. So as we flatten the sides, we're actually making the nice bridge for the nose. We can sort of look. He's long as you're careful, you can sort of just help this to sort of take shape. Just by using flattened see, I'm just using flatten and I'm just, I'm just kinda giving it a nice shape. And it's kinda nice and smooth. This can come down. Remember before we kind of flattened over here. We can kind of do that a little bit. Just be careful to not do it too dark or too strong. But of course, we're still only at like 200s or mesh is nice and soft so we can just smooth everything. So it can just smooth this out nice and soft and just keep everything smooth and professional looking. So that looks pretty good. The nose is still funny-looking. I want to keep it this size or do I want to make it a little smaller? I think I like it that size. So now once we're on the face, we can use clay to attach the nose to the face. We're now going to voxel merge yet. But we're going to kind of do the building blocks for that. So I'm just making this arch towards the nose. It looks a bit funny now. And I'll just take drag. And I'll just kinda make it a little more of a, of a curve like that. See how it's, see how it's more of a curve here. Looks good. Flatten it out, flatten out the sides a bit. So you just want something like this so that when we merge all these together, it'll look good. But also here's a nice time to adjust the nose and make any different things you wanna do with the nose. Like if you want the nose to be bigger, you could do that. If you want it to be longer, you can still stretch it out. You can stretch it out using this or you can just drag, you can drag it. You know, things like that, making like an Elvish character. Or you can just make it really small. Make it smaller if you want. You might have to adjust what we just did, but you get the point. But I think that's actually pretty good. Now I think is a good time to take the ears, the face, and the nose and just kinda join them together. And just kinda smooth everything out and just see how we're looking. Let's do that. We've got the nose, we've got the head. Okay. What else? We have ears here. Why are the these are the old years. I forgot about those years. So let's take the mirror out of we want the ears to be separate so we can just delete those. So these are the other ear. So let's go ahead and select both of these and validate join children. So these are the ears, we have the eyes. So let's take mirror, nose, and head. I'm going to save before I do this, unless his voxel merge them together. But I really like the shape of the, of the lips and all that stuff. So I'm gonna go a little bit higher. So I'm gonna do 300. And now we'll refresh. And now all of this stuff is together. So now just take your smooth and just smooth all this stuff out. And you'll see it'll just beautifully sort of come together and look way more natural. Even this weird year that we did. Just kinda smooth it all out. Smooth out the edges without the backward connects to the head. So we just assume that everything out and it looks a lot better. And there's one more trick. I know the head looks a bit wide, but remember we're still an orthographic. So if you change from orthographic to perspective, it becomes less, weigh less weird. But again, I just like to sculpt in orthographic. You can still adjust all of these things. See, you can still adjust like the ears. You can still adjust the head. You want to make the head a little less wide. You can do that. You want to make the cheeks puff here and things like that. It's also a good time to just go through and just really smooth everything. Makes sure the cheeks are nice and smooth. In the head. Make sure everything is nice and smooth. 9. Eye Lids: So here's your real cool way to do eyes. I really like making the eyes and eyelids. And I've had several different ways of doing it. But I find that this way is pretty efficient and fairly simple. So we are on, so here's the head. We have the eyes here. Let's go ahead and take the eyes and validate Join children. Okay, now we should still be able to if we tap symmetry, which is to be able to, yes. Okay. Just wanted to make sure that that was still working. So we have our eyes here. And one thing that I noticed that the eyes are up here, but the pivot is here. So let's do pivot reset pivot. That will set it in the middle of our mesh, which right now is these, is both of these eyes. So the middle is here. We have symmetry on. So if you decided you wanted to do, I just wanted to be further apart or closer together. You can still do that. Maybe a little bit closer together. Okay. Maybe a little further back in the head. Okay. That feels kinda good. So the only thing now is that actually fine. I think I can leave it for now. So to do the lids, we want to clone the eye. And I'm going to call this lids, or I'm gonna call lid. So let's take the trim tool. Let's go back here and make sure those are down. And we're using the rectangle now. What's up front? So let's make the bottom lift first. And we're just gonna do one eye. So it should, everything is that happens to this one should happen to this one. So we'll use the rectangle will go like this. And that cuts them both. Now notice you can't really see it because we have the eye that's there too. But voxel Ramesh, let's rematch around. Let's do 200. So we'll refresh that. And we'll take the gizmo. Let's just bring it out a little bit. So we'll just pull it forward like that and let's move it. So it kind of encompasses the whole I like that. So we'll do the same thing for the upper lid, will clone, this, will clone the I, will name it. Up. Lid will take our trim. Now let's trim the bottom part. So remember we're trimming from this, this shape. So maybe we'll do something like this. We'll trim that. And then we'll voxel re-emission at 200. Like what's the other one? Remember again, this is a shortcut that's the same as going up here. And voxel remeshing will take the gizmo and we'll bring it out. And we'll separate it. And let's take our smooth and just smooth both of these, the top and the bottom. So now these are nice and smooth. So here's another point where you can add a lot of expression, e.g. if you wanted to do on the head, if you wanted to do one down like that, just make sure that you're not on symmetry. Same thing with this. Make it a little bit smaller. You can bring this up a little bit. The eye up like she's raising one I kinda thing. You can do that as well. So this is a good, good point to think about your expression. In the expression that you want your character to have. You can always drag them up. Like if you want the expression to be super like Aubrey Plaza, where there's this kind of, you can have them like that where the legs are straight. But you can also you can also take the top ones. You use your Gizmo and rotate them back. Like this. You might have to kinda go in and you might want to drag this down a bit. Drag that side down. You can smooth everything out. Smooth out the bottom one too. So you have a lot of options, but I think that looks pretty good. You can always do the same with the bottom two if you want. You can scroll them down. You can always sort of push this back a little bit to, you can still continue to take your flattened tool and adjust this a little more if you want. But definitely do it with symmetry on. So just always keep in mind that, you know, you kinda have to adjust as you go. That's the only way to really make it look really good. And you can use pinch to bring back these beautiful. I like to call my plane lines. Because the plane lines, That's really where you kind of get your separation and the light really starts to make a difference where you can see different shadows from different planes in the face. I'm a huge fan of, huge fan of those. But let's add a neck. We minds will add a neck, since it's fairly simple to add an X. So we'll just add a cylinder. And hopefully the cylinder, hopefully the nodes all work the way they're supposed to. But let's use our gizmo. And we'll go, we'll move it down. We'll shrink. It. Seems to be like a decent sort of Nikesh size. So let's move it back. And now let's go, Let's tap on the gizmo again and that'll bring back, bring up some other options. For edit C. We had those little nodes here. I'm gonna use my finger and bring it up. You should be able to use your stylus, but I can't right now because of a bug. So we have that going into the head. And let's bring this one down a bit more. Like so. I'll go back to the gizmo and I'll move it up. And then tap gizmo again. So radius, this will allow you to move one end, smaller, one in bigger or whatever you want. If we were to press it again and we put some more nodes in there, we can move it. But right now we just want to have the two and the radius. And again, I had to use my finger to sort of shrink it, just to shrink it a little bit and this one to make a little bit bigger. Again, it's way easier. You should be able to just use your stylus for this. Okay, So just so it's a little bit of a, so it's not just a straight cylinder. Okay, so I think that's pretty good. Maybe I'll make everything a little bit smaller than the type gizmo and just make everything a little bit smaller. So something like that and we'll stretch it out a little bit. So I'm just gonna validate it. So I want to take move symmetry. Make my move tool quite big. And I'm gonna pull this front part down like that. Now the size I'm just going to pull out a little bit. I'm going to pull out and push in. So pull out, push in. Maybe I'll make it a little bit smaller. Push in a little bit, they're pushing maybe a little bit in the middle. Sort of like that. And I'll make it a little bit bigger and just kinda push on the back a little bit. And then take the gizmo and then move it back. So now when we go into here, I'm just going to use drag and just pull it out a little bit. You can take here and you can sort of move this up a little bit because you don't want to connect to the chin. It's not like a street connection, but if you want to add a little bit, something like that, make it a little bit more realistic. Maybe you can take your move and just kinda move this forward and push this back. So there's more of a slant like that. Again, this is all, you know, this is all stylized. It's not really. You can always look at the neck, can look at just a human or a person or cartoon and you can match that. But they connect just make sense. You really have to feel things out and trust me, the more, the more you do it, the more you'll feel this stuff out. But hopefully you're kinda hanging along with me there. So now that we have this, let's go ahead and put all those parts together. So we have the cylinder which is the neck, the lids, and the head. Just Save again. Now I'll box, we miss them. I think I did it at 400. So we'll remeasure all that together. And we can smooth this out. And I'm trying not to touch the top part. I'm just trying to smooth out the area where it kinda goes in contact with the rest of the skin. And if it feels like this is sticking out too far, which could be, there's a few things you can do. You can add clay underneath or you can just use clay. And you can slowly just push this a little bit closer to the eye. But we're going to add, we're going to add some pupils. So we will have, we will be adjusting this high as well. 10. Dialing in tips: So here are just some tips on adjusting your character. There's still a lot you can do, even though we've, we've kinda soldered everything together. There's still a ton you can do to to continue to adjust your character. So e.g. the nose, let's say the nose feels a bit too round. You can take flatten I'm just going to flatten off the sides a little bit. So you can flatten there and then you can smooth it out. At this point in time. Any little thing just gives it a completely different look, completely different feel. You know what I mean? And if you feel as though like maybe this part is a little bit to like bulbous or something. You can use clay. I like that word bulbous. You can use clay and you can add more clay here. So you can always add more clay. Then you would just go through the process. You can smooth it down here. You can flatten out the sides. Then you can really just smooth it and it will bring it into play now so it's a little bit less sticking out. But you could also, some, some people have way more pronounced bridges. You can also do that. But what I'd like to do is just remember to flatten them out. I like to try to keep everything flat and I'll smooth everything out, but I'll kinda take it easy and just smooth it out a little bit. And then I might add to pinch and really try to keep that flatness there. Something like that. So there's a lot of options for a lot of different types of noses. Of course, you can still make the nose a wider if you wanted to. You can just kinda stretch it out. If you wanted to make the nostrils wider. I think I liked them like this. You can also add more down here. You can flatten this out. Drag might not work, but let's see. You can sort of flatten that out there and push it a little more into the, into the lips. And if you feel like you need some more real estate, you can take move. We can make it really big and you can store it, it just like drag this whole part down. You can drag that section down. And then you can sort of create a little more space. You can take clay and you can maybe she wanted to make that little depression. He could do that as well and then just smooth it out a little bit, keep it smooth. And also, as far as the lip goes, you can pull out a little bit from the middle. You can do it on the sides as well, just as just a tad bit. Just to really give it some, some nice shape under that plane. Remember what I said before? We'd have to go back, redo a lot of these things. But they're worth it. You can redo them and they look good. But it does have to be careful. Because sometimes you can get these funny-looking shapes. That looks better. It looks a bit better. I'm just going to smooth around this so that it's not so so it feels a little bit more natural. And same thing, I'm just going to pinch your butt back around the edges to really make those edges standout. And I'm just gonna kinda this crease a little bit darker. Another really cool thing that I do sometimes is you can take drag if you feel like your character isn't smiling enough. Just use this point in the corner. Just kinda pull it back or pull it up a little bit. Obviously, you can adjust the whole lip, but you can really make subtle changes that that you can see that are very noticeable. That's one thing about the face is we're very attuned to the face, to slight things. So even a slight movement like that will make your character look a bit, um, well, change the expression a bit. For the eyes. I feel like the eyes are a little bit too big. I tend to do that sometimes I'll make the eyes a little too big. But so long as you go to the eyes, you can use your Gizmo and you can shrink, shrink them down a little bit. I think that looks a bit more natural. It feels a bit more natural to me. So if the eyes, I just keep it really simple. And lately I've just been taking the flattened tool, so we're on our eyes. I take the flattened tool, make it a bit smaller. And I really just flatten out the whole front section. So I'm not pressing very hard. I'm just trying to stay as even and consistent as I can. And making that circle. Now the front part is flat and you can smooth it out a little bit if you want. Now, I might have, I might have done a little bit too close, but I mean, it's actually fine. You don't have to do it as I did mine. Quite large diameter, but I think it's fine. Now I'll add another sphere. And I'll name this P1 for pupils. So let's go ahead and bring this forward. Shrink it up. So we want to use a mirror because these are going to be obviously on both sides. So spread them out, push them back into the eye. Now the important thing about these is I usually flatten them up like this. Maybe they need to be smaller. And then I just push them back until they're on the surface of that, I might take some googling to kind of get them in the right spot. A little bit smaller. You might have to flatten them a little bit to sort of get them because they should be a perfect circle on the front. So you just have to adjust them until you get a nice circle. I think that looks pretty good. I might make it a little bit smaller. Okay. I just really want to make sure that I can see both sides. You don't want one side to be going into the eye. And also a rule of thumb with eyes as you want them to be more towards the center. You don't want to put them in the middle. If you put them, see now I think they look good, but if you put them in the middle, it looks creepy, Electric, real creepy. So always put them towards each other in the center. 11. Eyebrow Cheat Codes: I noticed the eyes might even look nice. They might even look nice if they're smaller. So I'm not sure how I want to if I take both. What do they look like if they're smaller? So it's smaller or maybe it's just further back in the head. Looks nice too. The lid is is very big now, but it does look nice. I think that feels a bit better to me. Notice how I always say that, you know, things just like have to feel better. Now since I push this back, maybe a solution to this is just to use flattened tool and flatten this out. Flatten that out there. Then maybe smooth it. I don't like it even without it. I don't know. It looks it looks good to me. Okay. So next eyebrows. Now this is a very, I just started doing eyebrows like this. It's kind of a new a new way to do it. But I really like it a lot. I think it's very kind of useful. So of course, there's lots of different ways that you can do an eyebrow. You can add you can add boxes and you can shape them and put them there. Which I do like doing it that way. But I'll show you that. I'll show you this way first. So let me just save. One way is to take the head and clone it. And I'm gonna hide the original head. And I'm going to name this one browse, even though it's the whole head. Just stay with me. Now we're going to take mask. We want to have we don't want it, we don't want it to unmask. We want just regular mask. So now we take our mask, I'm gonna go in really close and draw the eyebrows. So I'll try not to spend all day on drawing eyebrows. Not the best at drawing eyebrows. But that's okay. So here we have some bushy eyebrows. But the best part about this is we can unmask. And I'll go in even closer. Because I noticed that the closer I do that usually the cleaner it is. So we'll do something like that. Maybe we'll clean that up a little bit. Still a bit too. Too much, right? So maybe something like that even though they still feel a bit too big, but that's okay. I'm not a lot of eye eyebrow Grb2. Okay. So maybe something like that. So now what I like to do is take the mask, invert it, take the gizmo, pull them out like that. And I'm going to pull them out that far. But pull them out like that. And then go back to mask, the mask options and invert it again. Now, let's take a look at the top view and then I'm just going to crop everything around these eyes. So I'm gonna take trim and lasso and literally just kinda stick behind them. And then just go around. And this should just cut everything. How crazy is that? That looks so weird. I think I got to take a screenshot of that. So you can make art, the art of making art while you're making art. It's crazy. So I don't think we need any of this. We can go ahead and cut all around here. Don't need any of this. I don't need any of this. So does it make sense now, what I've what I've done. All I've done is make, make a template for our eyebrows. You can take the mask and clear it. We can voxel remeshing it one-fifth. You should be fine. Actually, let's refresh it at 02:50. Because I think when I did the test one, Ramesh, I wanted it to be sort of sharp. You only mean I kinda want this to be a little bit sharp, so hopefully this works. Let's go ahead and bring back the regular head. We're still in the brows. So pivot, rosette, pivot. Let's move these back just enough so that just the eyebrows are sticking out. Now they're not quite as sharp as I want. So let's try pinch first. See if pinch conservative, clean these up a little bit. So not bad. Then of course, I like to just smooth everything out. Like so. Now we have some decent eyebrows. And again, as with anything else, you can adjust them. You can adjust them if you need to. Put a matter. They were I feel like they need to be bent. Bent a little bit. Okay. Now it looks decent. Looks decent. I'm okay with that. So that's been the way that I've been doing eyebrows. I just think it's easier. It's cleaner and it's quicker and it's just seems more efficient. So far. So of course, as far as hair goes, I'll do I'll try to do a few different types of hair and hairstyles and things like that, and things that I've been experimenting with. So for the eyelashes, like I always do, I just do those the same way. And hopefully you'll be able to just use your stylist for this is going to be a little bit more difficult for me unfortunately. So I'm just going to use path reason, the tube tool path. I'm going to tap the snap. So I'm going to start here. I'll bring the first one up like that. Boom, boom, boom, boom. And then maybe I'll come out a little bit. Like I always do. So something like this. So we'll tap the green, we'll tap mirror. So we have these two things kinda like this. Here's where it gets a little tricky. So let's go radius. Because we want to make this one bigger and this one is smaller. So I think by the time this class goes up, this will be fixed. But as you can see right now, I can't move with the stylus. So if this is happening, then just go up here to your interface. So this little icon or probably looked like these three little lines. So go here, go to gesture, and then sculpt, change to any. Now when we go back to here, we can move these as normal. But I just want to point point that out. Normally, this wouldn't be an issue, so you probably won't have to worry about it. So let's make this one bigger. One smaller. Let's go ahead and tap spline to make it nice and curvy. Now I just want to kind of bring this into the skin a little bit. This a little bit smaller. And I want to vary. This. Should take snap off. There we go. So I want to bury this right in the corner. Like so. And then it just seamlessly kind of fades away. This, I'll kind of bend up a little bit. And of course again, this is stylistic. Once I'm happy with that, I'll just validate. I'll take smooth and then I'll smooth this edge out, this side as well. Smoot all this out. I'll just take flattened and I like to kind of add a little bit of a flick at the end. Something like that. 12. The GQ Trim: So as far as hair goes, There's a few different methods. You can just use a shape and you can sort of shape it to the head. But I'm the one that I originally showed you guys. Let me just save this. The one that I originally showed you guys. This is how I did it. So I took the mask and make sure that it's on regular mask. And on the head. I pretty much just sort of drew in what I wanted. So something like this. They went around the ear and I cut my own hair. So it's this very specific, but since I did it, I just want to show you exactly how how I did it. I did something like this. And of course you can go in and clean it up. I'm not going to worry, worry about it being too clean because I think for demonstrating purposes, this is just fine. I'll clean it up a little bit. Don't want to leave her with Jack looking beard. So something like this. That's how I did it. I just took the mask. I went like this. And then you can go into the mask options. So go into this little pencil. Go into the mask options. And shell thickness. I have 0.377, border smoothness, I have 30. And closing actions, shell and split. I have none and none. So those are my options that I have. But we want to hit extract. So that's a little thick. So maybe we'll go back to the options and lower the shell thickness to maybe 2.65. Oh, you know what, I know what I did before. I didn't have I didn't have the shelf Nicholas thickness up more, but I'll show you why. So I'm going to put it at like 2.8. So I'll extract. Now I'm going to box a little remission. So let's voxel Ramesh it like 250. Unfortunately, you can see it's still a bit. Let's see if I subdivide. If that will help it at all. Now, because it's still, it's already high. So sub-divide and now it's at it's at 02:24, So it's quite big. But you can see that's pretty much how I got. The hair. Had to go through and smooth everything. It's very careful with the beard part because it's very thin. So you don't want to like kinda break it by smoothing it too hard. So as you can see, decent, decent lines, you'll notice the shadow will start to creep from underneath. And what that is, is on this layer we still have the mask. So we just have to, so e.g. we still have the mask there. So you just go into the mask, go to the Options and clear. Now that you've smoothed that out, the next thing I do is take the gizmo and shrink it. Swell, shrink. The wrong thing. Let's go back to the hair. So I'll shrink it. That way. It's it's tighter to the skin and it looks a little bit, it looks better. Obviously, this needs to be thicker down here, but there's so much you can do. You kinda have to just play around with it until you get it how you like it. The next thing I did, it's looking a little round, so I just went through, flattened it up. So I flattened different places. And I also like to flatten the edges. It's a little tricky. You know, using the flattened tool. You kinda have to figure out a nice method to get a nice bevel. That's all I really want is a nice bevel. By bevel, I just mean like a flat edge. Sometimes it's a bit tricky with the flattened tool. But I think flattening it just makes it look a little bit better or a little bit more professional looking. You can, you can continue to smooth it out a little bit more. So that's pretty much how I did the hair on the other one. So that's one hairdo. I'm gonna go ahead and decimate this because I want to keep it. I mean, I like it. And it might be nice when I'm coloring it, but so I'm going to decimate it. So this is not so huge file size-wise. I'm going to call this low crop. Get rid of that because that looks crazy. 13. The Disney Swirl: So for other hairstyles, remember how we did the line coming up. The hair just kinda has to grep around. You want to leave area for the forehead. But if you want to look at images of hair and things like that, that might be the easiest. If you want to just have fun with it. Just add, like we'll add a sphere or a gizmo. We'll stretch it out this way. So something like this already looks like, Let's say she has kind of a low crop on this side and then this kind of goes down. So I'll validate this. And I'll just take this and I'll just move it bigger. I'll just start to move it in this direction. And kind of stretching it out. Stretch it out down here. Maybe we'll come around with it. So maybe it kind of wraps around to this side. So I'm just manipulating the, manipulating this sphere to make it interesting. And I brought it around to this side. It's okay that it's touching the neck and all that stuff that isn't that isn't bothered me because hair touches all those places. So now that we have that, Let's see if we can figure out how much we want to actually be touching her head. Smaller. So we can call this with paint and make it like a buzz. Or we can do the other thing like we did with the mask tool. And we can make it just like a short cropped hair. So we can do that. But we have this initial shape. So the only thing is let's just bring it away from the scalp a bit. Let's use, let's make this a little bit bigger. So it's just more of a uniform. There we go. That's a little bit better. And I just want to make a shape out of this. So let's flatten this. Let's use a flattened tool and will flatten all of this under here. So it wraps around the face. Like so. I think that it looks pretty good. We really don't even have to do all that much. So I'll take, I'll take drag and maybe I'll maybe I'll do something like this. And I'll even flatten it here. Flatten it over here to flatten is really great, really, really great tool. And there's also other ways that you can kinda make flat impressions on things like so e.g. we can use clay. So with clay, we should probably make this hair a little bit more dense. So let's go ahead and we'll go up here and it's subdivided once. So now let's go here and as Box-Muller remission, and let's box a remission it around to 50. Okay, so now it's a little more, a little sturdier. Own a save. If we use clay, we can kinda follow this line. So let's start. All the hair would start there. Let's make sure that we're not on sub and we don't want symmetry. So I'm going to start here and then I'm gonna go with the clay. I'm going to follow that line across like this. Come across here. And we'll do something sort of like that. Only better. I don't know why that looks really messed up. Let's make this a bit smaller. Let's bring the intensity up. So see how I'm just using clay and I'm just kinda dragging that back. So this is a cool way to do hair and kinda get nice texture on the hair. Just by using clay. And all I'm doing is just kind of going in that same direction over and over again. I'm not worried if the lines cross each other. Not really worried about anything. I'm just adding texture to the hair. So now that you've done that, you can also do things like add, crease, like this. If there's like a ones that are a little bit more pronounced, things like that. So you can use crease to really bring some life into it. Now, for me, since I'm crazy, I do like to go in and smooth. I don't like those sort of ribbit, ribbit looking things. So I'll go in and kinda smooth this out and just keep it nice and smooth looking. But if you want to add in the rest of this hair, equally as easy, just add another sphere. Let's use our gizmo, and let's just bring it up to that section. We'll bring it up to this section. Maybe we'll stretch it out a little bit, flattened it like this. Now let's just turn it so that it matches up with mattress up with that. Like so. We can go ahead and validate it. Let's call this one. We'll call this here to my join them later on. So for HER2 will do the same sort of thing. We'll just take this and I can bring it down, stretch it down into the other here, stretch it and stretch it to looks a little bit natural. And then you can actually just push it back behind the ear. And that gives it that light pen. Nice Disney princess look. That one is in front of the ear. You, although you can see the air a little bit, this one is pushed behind it. So we'll use flattened again. Because flattened has always good to add some planes to it. Here's another way to do it. Of course you can add pinch, which I showed you before. But crease not only works to make creases this way. What's great for that? But also you can do sub is great for doing increases like this. So this actually makes the crease extend outwards. Which is really nice for this as well. So again, we can use clay. But I'm going to voxel remission. Let's subdivide it first so we don't get those weird marks in it. So I'm going to sub-divide once. Then I'm gonna box or re-emission it to 50. Just smooth this out a little bit. I see a little bit of that. You know what? Modulus just do it the right way. So we subdivided it and now I'm going to box will be Mesh. I'm going to sub point a subdivided again. That should help with that. Okay, It's a little bit better. Still a little bit of these marks, but it looks a little bit better. Now if we want to add clay. Do that. You can go crease. Make sure we don't do sub right now if you want to make it. So the creases a little bit more of an indentation. Do that. Maybe we'll just stretch this out a little bit more. That looks great. And again, you can also add, I'm going to take it off of snap. You can add a path if you really want to kinda get it loose with it. When all crazy. Now I have to do this real quick. So I can just hit the way I want. I'm going to hit spline, so it's nice and curvy. I'm going to hit radius. And I'm going to make it really small. Validate it. You can use mover drag. Then actually it looks okay. In this video. We'll just move it manually. Actually looks okay. So we'll do something like that. It gives it a little, a little detail. You can add a few more here would be nice. But you can do that. Of course. I love it. Hairs fun. It's literally just shapes. Got to be careful and turn this back off. Okay, So this is very nice, very nice. Let's take these hairs and let's just join them together. The tube as well. Let's add that. So we'll join all this and call this HER2. Nice, beautiful when we save. 14. Hair #3: So let's hide this. Here's another kind of cool way to do here. You can add a cylinder. Go to my gizmo will make it bigger, bring it down. Actually didn't have to be down. Let's make it to there. I'll also add a sphere, the sphere up and make it bigger until it shows matches up. So maybe something like this. Now for the cylinder, it might be nice to use our radius capabilities. I'll make this. Let's see if I can use. My style is I can't. Let's see if I can do this. There we go. So we'll make a, make this a little bit bigger. Let's do whole. So we'll just make that a whole. And you can adjust the thickness of it as well. So you can adjust this, the thickness however you'd like it. So maybe we'll do we'll try something like that out. So now we can validate it. I'm going to reset back to stylists. So now with these two Before I box and merge them, I'm just going to sub-divide them once because they're very small. This one I will subdivide once. And now we will voxel, rematch them together. 200 is fine. Okay, now we'll just take smooth symmetry and smooth it out so you can see where I'm going with this. So I'll take clay and just add it around the edge, the bottom edge, like that. Smooth it out. Let's stretch this a little bit. Now I can trim out hair like so the face is, the hairs are covering the face. So we'll just use, we can use lasso. A little crazy that look, the only thing I did is I forgot to protect the back to Selective Mask and rectangle and you can just protect the back. And that will just trim again. I don't know why the trim is acting quite crazy. That's kinda odd. And we can also take clay sub and you can just kinda clay that away in there as well. Let's box will rematch this. Well, let's take the mask off. Clear. Toolbox will be measured again. Just smooth this out. Let's flatten the top screen. We'll do something like that. I just want to get it close to the skull. Now let's flatten this. We'll flatten that, smooth this all out and make it nice and pretty. And we can sort of figure out we want this hairline of B. So we can use the cylinders to make bags or you can just use a box gizmo. Going to tap gizmo there. So this will just flatten, maybe shrink it a bit. So let's validate it. And let's take smooth symmetry and smooth it all out. Now let's take movie. We just kinda want to bend it so we can make it into banks. Will append it like that. Maybe a little bit more in the middle. Shrink a little bit tilted. You just kinda shrink it until it's roughly in the right spot. So maybe something like this. You can like to flatten out the edges a little bit. And then we'll make, we'll just use can use boxes, but I think I'll use fears for this. Mirror will sort of bring them along the sides, flatten them up. What's going to bring them in? Really close to the head. Oh, validate. And then we'll just drag them into the into the rest of the hair. But I want to make them look like they're buddies with the bangs. So sort of like this. And actually, you know, what might be nice. I turn symmetry off, use flattened. And then sort of keep the bangs a little bit of symmetrical vibe. Maybe I'll just drag this part off a little bit. It's kinda cool. I think that nice plane underneath. So that's just another way to kinda do a different kind of hairstyle. Excuse crease and do a turn symmetry off. Have we could do a nice part. And then like we were doing before, you can always use clay and you can always hook. There's another way to do it. Cylinder box. So let's validate the mirror. And then let's put these all together. So a join these together and this will be here three. Let's decrease. So before I put them all together, this one is very, very small. The size is small, so that's why Chris is not looking good on there. So one way to remedy that is I can undo them and then sub-divide. Or I can just voxel Ramesh, this one alone, like 200. But then you get these things. So let's go ahead and sub-divide twice. Then I'll box where you measured at 200. It's better. These are pretty good. So now we should be able to put all of these together, like we did. Increase should work much better. When these up a little bit here. I think that looks good. So we'll name this hair three. 15. Dynamic Light Demo: Alright, so that's pretty much it. Let's go back to, let's go back to here too. And I just want to show you how I would kind of go about lighting this. So I'm not going to do the coloring and everything, but we can still make this look awesome. So firstly, let's change from Metcalf to lit PBR. Okay, so now we have lip PBR. It's all white. So the first thing that I would do is take the head, hair, the brows. And we do have this what is this mirror? Oh, that's the that's the pupils. So I'm gonna go ahead and validate that. And name. And name this P1 for pupils. I'll go ahead and move, move this up, move down, move head down to the heads under the hair. So I'll put it under the hair. So we're working on all these. I like to change it to a matte white, so let's just do that really quick. We'll select them all except for eyes and P1. We don't need those for all the rest. Tab here. We're in the white zone. Let's just go to maybe 0.5, almost 2.6 and pain all. I just think that's a good starting spot to call your scopes. So the next thing I wanna do is I want to put her pretty much in the middle. So I want to get a good a good setup. So I kinda like this. It's in the middle. I think it looks pretty good. So now we can go to this camera and you want to add, you want to first change it to perspective. Okay, so I'm gonna put it down to ten. So we change from orthographic to perspective. Now I'm gonna do add view. And let's just call it portrait. Okay, so now we have our view. So if we change it, if you do anything, you can always go here and then go back, right back to your view. You can also do which way is the best. You know, you can do something like this. You can add another view and make this profile things like that. So now you have your views and you can move them around. So now for the eyes, for P1, Let's just go ahead and make sure that it's glossy. We want it super glossy. If you want to even gloss here, you can go here. So for P1, you can actually raise the glossiness. See how I raise that up. I'm gonna do the same thing with eyes. I'm just going to paint them. So they're nice and glossy like that. So you have that little bit of difference. So that looks pretty good already. Another thing that we can do is just add some basic, basic lights. So for lights, we're just going to add a sun, which is used to be directional. So now it's the sun will add a light here that'll be mainly lighting the whole portrait of her here. We'll add a fill light on this side. So it'll, it'll fill in this, it'll fill in the dark shadow from this heavy light will do a light from the back, kind of like illuminating her hair. And maybe we'll get a little bit on the side of her face and then we'll have a light from the top down. So I'm gonna try to do those really quickly and efficiently. So first, we go into our lights panel and let's turn the environment off. So that's the first thing. So we turn the environment off and then we add our first light. And let's name this. We'll call it x1. So this is the, this is the sun. And you see that it's already quite beautiful. Irr, I love it already is coming from here. It doesn't matter where you move this all that matters is pointing this way, so the light's always gonna be there. But what I like to do is just put it in the general vicinity. So it looks like it's where it's pointing to. Now, obviously this is all your menu up here. We have intensity here. So let's slide this up to maybe even around to slide this up some to have it at 1.9 randomly, but it's a little too bright. So maybe around here, right, but not super, super bright. So I think that's pretty good for now. The other thing that I want to do is change the, change it to a softer light. So I'm going to tap these three dots. I'm going to hit softness. And that looks pretty good. Maybe I'll bump it up just a little bit. So the light is nice and soft on our this is our sunlight, that's our key light, that's our main light. So now we'll go back into lights. And I've been experimenting on when to bring back the environment. Because I do like I do like what the environment has to offer. Because without the environment, you don't really see that really beautiful circle on the top. And I, I really liked that, that circle on the top. So, but that's an experiment for another day. We can kinda mess with that. So next, let's add in another light here, and this is going to be our fill light. So let's name this one. Fill with an F, Not a pH. Let's change this to a spotlight. So now we can move the spotlight. The other side of her face. Good. Some light on her. And we just want this to be round here. You should be able to adjust this orange one with your stylists. And fortunately, I have to use my finger because it's bug still happening a little bit further away. So something like this. But remember this is supposed to be a soft light. This light isn't supposed to be. This light isn't supposed to be super bright. So unfortunately there's no intensity here. That would make it a lot easier, but we have to go into the actual light itself. Can I do it here now? You have to go back into the light and lower the intensity. Again, this is just a fill light. So now we have the dark shadow will be here. But now we have the fill light. That's just kinda filling in. So it's not so black. We don't want it like completely black. So we're just bringing some of this back a little bit and kinda lightening it up a little bit. Seeds. So it's kinda like lightening up a little bit. Here's the difference. That's without it. That's what, that's what that is. That's with it. We can actually make it a little bit darker, even something like that. And again, with this one, I want to soften up the shadows as well. I love soft shadows. So we're going to soften that up as well. So the next thing we'll do is we'll add an edge light. So we're going to put an edge light back in this area, pointed towards the back of her head. And we can probably clone this one actually. But let's not get cute. Let's just go ahead and add another light. Will make it a spotlight. And we'll name this one edge. This edge light is going to go behind her head. I think that's probably about fine. Move it over a little bit and now we just have to pointed towards her. So kinda slide it over a little bit. And you can even start to see that little edge. Let's bring it a little closer. That's the cone angle will spread this out so the light hits more of that surface. So we're going to raise the cone angle. Like so. See now we have that beautiful rim light. And you can experiment with sort of bringing your foot, maybe you want to bring it forward a little bit and try to get a little bit on her face two, that would be ideal. Look at that. So now we have a little bit of that light hitting her face as well. Which is, I think looks really, really great. And we want to this, we want this light to be really bright. So I'm going to boost the intensity. So maybe something like that. Okay, We'll go push it back a little bit. I liked the spot where it's at, but I think that looks nice. Now we have a nice edge light. So for the last light, we want to make a light from the top coming down. So let's add our last light. And we'll call this one top-down. So we'll bring this up. I'm going to change this one too cool. So I'm going to change the color here. I'll put it to a bluish color. Now we're going to just make sure that it's pointing straight down. We also want to change it to a spotlight. Almost forgot that bit. So we'll change it to a spotlight. We want it kinda coming straight down. I'll raise it up a little bit. And it kinda have to adjust it so that it's more towards the front of her face coming straight down. So pretty much something generally like this. So generally like this. Now that that one's kind of bluish, I'm going to change these to more of a warm color. Wait, did I just moved the wrong one? This is the Sun. That's correct. I wanted to change the sun to a little bit warmer. I'll change this one to a little warmer. This one as well. Okay. I think this is good for now. I'll be right back. 16. Subsurface & Post Processing: Okay, so the only thing I wanted to do was change this light. Kinda want this to you. There we go. I don't want it to be pointing a little bit more towards her. Maybe I'll raise the intensity of this a little bit. Just a smidge. Okay, I think that looks, I think that looks really good. Let's go back to our view and see what we're looking like. I think it looks great. The other things that I would do is change the the skin. So all of this I would go in and change to subsurface, change it to sub-surface. He might have to bring this down a little bit. The hair, we can actually change the sub-surface as well. So that will give a really cool look with this edge light. So that'll make that look really, really nice. I can do the same thing with the eyebrows. Eyebrows. Just make sure you lower the depth. So the light isn't just like going right through them. So I think that's good. Oh, and also let's see. I think the I think this is also subsurface. Read that I joined them all together. So pretty much yeah. Pretty much something like this. I think. Looks good. Play around with the lights. There's so much more you can do with lights. I'm also it's kinda fun to change the background. Oh, we didn't even do post-process. Post-process is another can of worms. When you turn that on, you can adjust these to really make it look how you want it to look. But here, here are my settings. If you just want to try to match everything. Of course, depth of field, you can adjust that as much as you want. I'm gonna leave it off for now. But yeah, those are my settings. The only other thing that I might do is I really love this, sort of I do love this beach or this color background. So let's see what color is this background. So this is, you know, what I'm gonna do, I'm gonna save this. And then I'm gonna do Save As. Now I'm free to change the color of the background and things like that. I don't have to worry. I can always come back to this one. It's always kinda fun to change the color to something interesting. Maybe we wanted to like a light color is kinda cool. So if I was to do something like this, then I would adjust the lights, especially this this really bright light, the edge. I would adjust this light to match that. Hard to see. Of course. I would take this light and I would match it. Going to find the right color. Here. It'd be something like something like that. Just because it, it kind of brings everything together when you can sort of match some of these colors a little bit. Make it really makes a big difference. Go back to portrait. It's also kinda cool. That's kinda nice to the kinda little bit darker. Can adjust the light a little bit. Beautiful. I think that looks really, really beautiful. So I don't want to leave you guys hanging. Here is how I would export this. Firstly, I would make sure to save, make sure you have it saved how you want it. And I've already saved it like this. So I'm going to just actually add the environment and it makes it a little bit lighter. It still looks pretty cool though, because it still looks like it's porcelain. And I I kinda like that. I think it looks cool. So I'm gonna go ahead and keep this lighting like it is. Maybe I should change now. I'm going to keep it like it is. So when I export, you just go here. True all the way down to the bottom. If you want it to be transparent like just the, just the mesh, you can tap that. But otherwise you have your size is here. And I don't really need, I'm gonna do for k. Just remember that if you have a post-process on and you have this all the way up, I have my back max frame sampling if we're six, which is quite high. And I have all of these. Once you have all of this stuff, it will take a while to export. So here's my exporting in for k. That's the little warning. And you see, it just counts all the way up to 406, then it exports. I just wanted to make sure I got that in. Sometimes I get so excited when I get to the end of a class. Because then I can just start, I'm finished editing it and putting it altogether. That I just forgot to go through this process as well, which is also important. So yeah, once it gets to 406, then you can usually either I usually save it to x hazy, send it to my computer because the file sizes are so big. Like this one was like, I think it's going to be 13 or 14 mb, which is really, really big. So I will just send this to my computer. It's 13.1 mb. So I'm going to send it over laptop so I can add these. After I go into this little speech that I had made before I filmed this. So let's just get to that now. And then after that, I'll show you these beautiful images, fully rendered. So yeah, I think I'm going to end it there because I don't want to keep going because otherwise I can keep going. Practice, practice, practice. Have fun with it. Experiment. I hope you learned a lot. This was really, really fun. I'm so glad that I'm getting more comfortable with making these types of faces because I think I just have so much fun with them. I'm trying to think if there's anything else that I wanted to tell you before we go into the thank-you video? I don't I don't think so. I don't think so. I love it. I'm really happy with it. Hopefully you guys are happy with yours. If you're not, then just keep working at it and figure out what it is, then it's making it different than I kinda wanna do a thing where I can go back and forth. Someone wrote me a message. I want to figure out a way where, you know, if you're having issues or something like that, that I can really do some help, like seeing what you doing is seeing what you've got and help you out. I really am hoping that I can figure that out at some point in time because I think that might be very helpful for you guys. And it's just, I think it would be fun to do. Alright. So I will see you guys in the next video. 17. Thank You!!: All right guys, welcome back. Thank you so much for joining me. I hope you enjoyed this class. This was a really fun one because I've been really nervous to do humans and humans style faces and likenesses, which I haven't really delved into yet. But I think even after this class, I'm ready to sort of try to do a likeness. And what I mean by likeness is take a picture of someone or someone recognizable or just anyone. And I do the sculpt to look like that person has in likeness. So I think I feel like I'm ready for that. I think that's something that you should practice doing as well. Because it'll just take you out of sort of doodling and sort of just making up different features of the face. And you'll have to just match those. And in some ways that actually makes it easier when you have, when you have a guide to look at. But I hope you really took a lot out of this class. Human faces and things like that were very critical of them. We see them all the time. And human faces can be very tricky. So I hope I took some of the fear out of doing human faces. It's very doable. And especially when you just think about everything as shapes. And you think about everything one step at a time and just sort of building things and to, to get to the shape that you want. But once again, I really appreciate you guys being here and spending time with me. Of course, you can see more of my work on Instagram, drug-free, Dave, YouTube, I have supplemental work, supplemental material for this class on YouTube. I've already uploaded it there. So just make sure that you go to my youtube and you just look for whatever the name of this class is. I'll probably have that in the name as well. But you'll see the face. So make sure you check that out because I just keep going. There's so much you can do. I don't really cover it as I don't really cover it normally, but I do some colors. I changed the lights around. I show you how to do those little fake animations, things like that. So I do so much more with this character. So make sure you take me out their youtube.com slash drug-free Dave, also TikTok. Tiktok.com slash own TikTok has drug-free to aid. So find me there too. I think that's about it. I'm going to let you guys go. Once again. I appreciate all of you keep drawing, keep sculpting. And I'll see you all in the next video. Be sure to rate and review my class and also upload your designs to the project and resources tab. Create Project.