3D Modeling for Beginners 2 with Nomad Sculpt: Blueberry

1. INTRO : What's up, guys drug-free Dave, here and welcome to 3D for beginners with nomad sculpt part two. So if you haven't already taken my original 3D for beginners class, then take that one. That way you can get familiar with nomad scoped because I go through all the tools and everything else. This class, we're gonna go a little bit further. I drew this blueberry in Procreate. And that's the beautiful thing about nomad sculpt and about 3D is that you can take all the drawings, all your characters, whatever you want, and you can turn it into 3D. And let me tell you it's addicting. I'm kind of obsessed with the app. It's just opened up a whole new world. And I've been just sculpting and just 3D modeling. And I'm gonna be honest with you, Two years ago, I wouldn't have imagined that I would be getting into 3D, that I would be doing 3D art. Artists nowadays. We have two evolved, he is. And I'm really glad nomad came along at the right time. And it will just change the way that you view your art. It will help you improve your 2D art. And there's just a lot of benefits to this. Expand your knowledge and expand, expand, expand. I don't know. I don't even know what expanding is, but we're going to expand this blueberry into a nice, beautiful 3D character in this class. And one more thing if the only thing stopping you is thinking that you won't be able to learn a new application, crazy 3D, super-complicated application. It is complicated, but we're gonna go one step at a time. And I've only been doing this for about a year. I started March in 2021 with nomad scope with 3D. If I can do it, you can do it. And I'm gonna help you every step along the way in this class. Let's get to it. Let's move to the next video, the class project. 2. Class Project: Okay, First things first, make sure you download the reference image. So this is my blueberry illustration that I did in Procreate. You can download it in class resources. There should be three attachments. One is the reference image, the blueberry, and the other two are environments that we'll get to a little bit later. Once you get to the environment window, will those in if you want. There's a lot of options. It's just extras. Don't worry about them right now, but when you get to it, you'll get to it. Okay, So as for the class project, of course, we're gonna make acute blueberry. The same thing that I always say in all of my class projects. You don't have to follow me exactly to the T If your learning yes. If you're not that familiar with the application, yes, then follow me. But once you start to get going and once you get in a groove and you want to be creative or you want to change the color, you want to make it a tomato instead of a blueberry. Or you want to do something else like that and do it. This is for you, this is for you to learn, and this is for you to be creative, not to be constrained into one thing. So this is all about you creating beautiful artwork for you. And as usual, be sure to upload your project to the class once you're finished. I would love to see, I'm sure other people would love to see what you make in this class. Once you finish, if you change it, if you do some other cool stuff, post those to also social media drug for Dave through the tag me because I want to see your work and I'd love to share your work with my audience on Instagram. You can tag me drug-free Dave, 3D and regular drug-free. Dave, I'll share. Both. Put you in my story and give you a shout out. Alright, so thanks again for joining me. Let's jump into it. Let's get to the next video. Getting started. I almost say Class Projects again, getting started. All right. 3. Getting Started: Import Reference & Boolean Operation: All right guys, let's get started making this cute blueberry in 3D using Nomad scoped. So first things first, you want to open up nomad scoped. You're gonna get something like this. Just so you remember, you can always change the color of the background. If yours is a little bit different, you just tap on the little picture icon here, you'll see background. You just tap on the color. You can change it to any color that you want to go with a more neutral color. The next thing we want to do is notice that the grid, you can tell that it goes back to perspective is seen. That will affect whatever you sculpt. It's usually best to sculpt in orthographic. Just tap this last little icon up here, this little camera. And you'll see it says camera and orthographic. Now, this little cube here, you can always turn it. You can, this is how you know what view you're looking at. This is front and you can see this is straight, so there's no perspective. So when you model, it's better to just do it in this view. That way, you're not kind of skewed by like how things looked because of perspective. Another thing if you want to get rid of the grid down here, all you do is go to this little cog over here and hit grid. I'll leave it for now because it might be easier for you guys to know what the bottom is. The floor, the ground. Let's get started. Just going to tap front so it's perfectly to the front. We don't have to do that much work with our blueberry, but I'm going to move it up a little bit. So I'm going to use the gizmo. The gizmo is one of your most used weapons. The green green arrow, read our red arrow, the blue arrow. Then you also see this green sphere, blue sphere, red sphere, the spheres 123. These cones I don't usually use, I don't usually use the cones. Fears just stretch and pull those stretch and pull it. Gonna go back to regular sphere. Make sure that I'm in irregular sphere. Then the arrows will go like up and down. You can move it up and down, left and right. That's the main, the main movements of a sphere. And of course, if, let's say you, you move it or you accidentally do something good that you don't want and you feel like you can't get back. Let's name this blueberry. If you get stuck on your sphere or something happens, you just go into the scene right here. You can just delete it and make a new, brand new sphere. You're going to hit validate right here. Validate just means that you can now you can work on it. When it's not validated. There's a few more little options that you can do to set it, to set it up. And then once you validated, then you can use all the tools. Another thing that I always do is I change it to a Metcalf, met cat is you just tap on this little sun icon. Looks like thing. Pbr is what it'll be, what the default is. I'm just gonna go to mid-cap. What a mech happy is. It disregards all the lighting outside of what you're working on. So it's very consistent. So it's just easier to see. So I like to work in med caps. Let's bring in our photo. We want to tap a little photo icon here again, and we're going to check reference image. And then we're gonna hit the plus Important image from it'll be in your photos, probably all your files. Just make sure you download them from the class resources. I had photos, I hit our little blueberry, and then I had ADD is huge. So we're gonna go down here to transform. Now we can just, we can just change the size. So that should be pretty good. Notice that mine is a little bit lighter. I must have the alpha on. I must have the Alpha. The Alpha is just the main, the main image that you're using. So I'm just gonna bring it up to a 100%. And now it should be clear. Okay, so let's start with the eyes. We're going to make two more spheres. And to do that, we're just gonna go to this little icon, the second icon we're going to tap on that. Then we're going to hit sphere. Now we're going to bring this fear up with the green arrow. We use this orange ring to make it smaller. Kind of gets buried in the head. So we're just kinda tilt and use the blue arrow to bring it forward. As you can see, the blue, red, and green arrows there directional these little spheres that will just stretch and pull. We don't have to do that right now, but we'll do it in a second. So this will be one, this will be one i. We can go ahead and hit mirror. This way we will take the red arrow and we'll just move it over and you see the ghost one. This is the mirrored sphere. So now we're working with two spheres. We want to put them roughly, let me tap the front. We'll put them roughly where they are in the image. A little bit further away from each other. And it looks like actually we can just make them a little bit smaller. A little bit bigger. That's good. Now I'm going to tilt it this way and I'm gonna use the blue circle because I want to, I don't want them to be super round. I mean, I want them to be round, but I'm going to actually going to take some of this off. So I'm going to squeeze them together a little bit by pushing up on the blue circle. Think that looks pretty good. Now that I've done that, I'm going to go ahead and validate. Now we have three spheres in total. And now it's a good time to label our meshes. The eyes are one mesh and the head is one mesh. Messages like the clay groups, so to speak. I'm going to tap on the head, go to here and label this head by tapping this little pencil. Already labeled it. This fear. You can tap the little eye to see exactly what it is. I'll just leave with his eyes. Once you have it labeled, I'll just hit front again. What we'll do now is I want to, I want to make the impression of these eyes and I want to solidify it. I want to remove this shape from the head. In order to do that. I'm going to tap on this and see the eyes. I'm gonna make a duplicate layer. Now I have to, I'm gonna hit the little eye. So essentially we have our eye layer, we have our eye layer here, which is these eyes. We have a second one that I've just made invisible. Notice that's checked. I'm gonna check head. Now. The head is checked and the invisible eyes voxel merge. I'm gonna bring it up to about 250. Then we'll hit voxel merge. Essentially what that does. Let's go ahead and hide our eyes that we're left with. C, it made these depressions in the head and those depressions or where the eyes were. So I'm going to tap front, bring back our other eyes and see if the eye's fit perfectly in there. We'll end up bringing those. I'll use the blue arrow. We undo that. I'm going to be one of the eyes. Use the blue arrow and just bring them back a little bit. Something like that. And you notice a bunch of divisions are a bunch of texture in the head. In order to get rid of that, you just want to make sure you tap on the head. We'll take our smooth brush. You can go ahead and just smooth out the whole thing. Just smooth it out. There's always multiple ways to do this. Actually meet xy, recorded a different way to do this and then kind of realized that I felt this way was a bit better. I started again. But there's always more than one way to do things. Let's see if we can clean up these edges. They're not super, super clean. We want to use the pinch tool. I'm gonna put the intensity up to a 100 and bring the brush down to about 80. I'm just going to go over the the creek or the the corner. It'll sort of pinch it together. The best part is, I'm still using symmetry, so it's automatically doing everything to the other side, whatever I do to one side, it happens on the other side. That looks a lot that looks a lot cleaner. 4. Shaping Eye Sockets & Tube Tool: Now let's put some eyebrows on this guy. This little blueberry. In order to do that, we're gonna use clay again, but we're not gonna, we're gonna make sure that it's not on sub. We're going to keep symmetry on. And brush is, since I was about 130 or so, 140 with our clay, we're just going to sort of go over it like it's makes sure your mixture, you're, you've tapped on the head. So you're on the right layer, you don't want to do it on the IE layer. We're on head. I'm just going to go over like this. Just sort of make nice little round eye socket. Make it a little thicker. Sometimes I actually make it a little too thick. Because when you use the Smooth tool, what it does is it, It'll the clay is very soft so you have to be careful using this smooth tool because you can almost smooth it down till, whereas it's almost like you didn't even put anything there. So we'll use smooth. I like to keep my smooth it up. I always keep it up at like 100% intensity. Sometimes I'll just press bless hard. So just kinda go over it. I'm not pressing completely. But I'm just going over it just to smooth out and just make it look like it's part of our initial sphere. Just slowly, just smooth it out until it looks natural. So let's take our eyes actually, let's tap on the layer, will tap on gizmo. And let's squeeze the eyes in a little bit. There. That looks better. Let's see. We might tilt we might tilt them a little bit. Let's see how that looks. That looks good. So that way they look nice and round. I don't want him to look angry at all. I'm going to add a little more clay. And of course, just do this. You can have to make a judgment call on how yours looks. But I feel like mine looks a little he looks a little angry. So I'm just going to add a little more clay here. And then the smooth it out. And let's see, let's just see what it looks like. See if that helps. And lots of smoothing. I really like my 3D models to look very smooth. It looks all right. Now I've taken the flattened tool and we're still on symmetry. I'm just going to go across the top, make it a little bit bigger. So I'm just going to go across the top here. See how that looks. The way that you have, your, the way that it's turned, the way that you're canvas has turned is what's going to dictate what actually flattens out. This isn't bad. Bad. I really liked the flattened tool because it enables you to have really nice planes like this flat plane going around, which I really like. And also another thing that I like about the flattened tool. I'll make it a little smaller. You can actually go across this way. See it gives it that nice, nice ridge. I loved that. I think I think it just looks really nice and really clean. And see this seems to be a little lump here. I'm gonna take the move tool. I'm going to make it fairly big, maybe around two hundred and thirty hundred percent intensity. But I'm just gonna I'm just gonna slowly, softly touch this, make it a little smaller. Gonna touch this back. So it's straight. I'm a stickler for details like that. It is what it is. I also feel like these eyes aren't sufficiently round, minor a bit cut off. So if this is happening for you, if that's an issue, remember, you might not, might not bother you. So you don't have to make a completely exactly what I'm doing the way that I'm doing it. But I really want to match the slope blueberry. I'm gonna use the move tool. Again. I'm going to make it really big. And the reason why you can make the move tool sort of big is this way it does a nice consistent push. Won't just push like a small piece. It pushes everything in unison. Make it big, and then I'll make it smaller as needed. I'd rather have this. I have a little more of my eye showing. I'm just going to use the Move tool. Make it a little smaller. And I'm going to just slightly push until it's, until I sort of see those round eyes. And I get that nice round shape. Nice. Here. The bottom, I'm even gonna push up a little bit. Too much, though, too aggressive. There we go. I think that looks perfect. The next tool we'll use is the tube tool that is right here. I'm going to tap that M and tap curve on the left side. The path just uses points. Curves also uses points, but we'll add them as needed. We'll just use the regular curve. Okay, so he has, if you notice these nice little eyelash type things with the little little round boop on the left side, which is something that I always do my characters. I'm going to tilt this a little bit just so I can have a better view of the whole. So we have our two tool selected, we have curves selected. Now I'm just going to draw from right about there. I'm just going to trace this path will end about where the drawing ends. So something like that. You can see the two, the tube is kind of like lost behind the, the mesh. But you see these paths, you see these dots. All I'm gonna do is you see, how, do you see how our, the top of our eye, where we made from the head that's sort of sticking out. Just use that as a pathway and bring these little dots outside of it. Now that the dots, if they turn black, that means it's like a right angle. That's what you don't want. So just tap them again and make sure they're white. When they're white, then you have a nice curve. When they're black, then it starts to do like a sharp angle. We will use a sharp angle, but not right now. Now the tubes in a little bit of a better place. You kind of get, you kind of get where we're going. So let's take the radius up here and the two options we haven't validated yet. So we'll take the radius, will tap that. And now we have another one here. There's a yellow one here and a yellow dot here. This. You can make it bigger on one side, smaller on the other side. And that's exactly what we want to do. Something like this. Bigger on one side and smaller on the other. And also you can see this ridge. So you just want to sort of figure out where the best place to kind of hide. Really high. But you want to just I'm going to keep this sort of even just try to make it as clean as possible. Let me bring this out a little bit more. Bring it up. Just so it's like resting. So you have a nice curve on the eye, a nice curve behind or like above our tube here. I'll make this a little smaller. Bring this out a little bit. I'm actually going to sort of push this into our mesh so that it disappears. That gives us a nice point. I'll just have view so you can see it gives us a nice point here. Sometimes you can just adjust it is you'd like make it a little bit, a little longer. If you want to add another, like if you feel like this is too, you want it to curve more, you can just tap on the line and add another curve as well. So let me just melt this back into the eye. Here. This is my, this is my perfection. There you go. I feel like that's a nice clean. I'll just show you what I did. I feel like this is nice. It just pushed it so it goes into the side of the eye socket. Just so it's nice and clean. It looks, it looks a bit natural. Natural as a blueberry adding eyelashes can look. The next thing we'll do, we still haven't validated. I'm going to tap to begin, my options come back up. So I'm going to extend this a little bit and then I'm gonna add a dot in the middle and I'm going to tap it so as black. And then I'm going to curve this up. And now you can really see that right angle come into play before we, before we sort of like maneuver this and make it round. Make it round. Let's just hit mirror so that our other side is taken care of. Once you have some good arches, good clean arches, then you can go ahead and validate. 5. Voxel Remesh & Leaflets: Okay, so now let's Vauxhall remeshing our lashes also to label it. These tubes. Tubes, lashes. I call my last cheese, but you can call yours lashes. Now let's tap this little grid. We're gonna go instead of from multi-resolution to go to a voxel, the enrichment to put it to 200. And just rematch. Then take our Smooth Tool. And we can sort a smooth this out. Make it nice and round. Clay soft so should be fairly easily. And also I'm just going to smooth out this right angle. Smooth that out a lot. You can even take the flattened tool if you want to sort of flatten it out a little bit. As long as it's sort of like that. Now I'm just going to take the Move tool like I do with pretty much everything. I'm just going to sort of maneuver it and just pull it and just make it round. See, mine is sort of just curls up, grows up a little bit in his round. I'm just going to match that. Curl up. We go, That's pretty round. That looks pretty good. Flatten out the back because why not? If you want to go the extra mile, you can use the flattened tool and you can make a nice ridge that you probably won't ever really see because we're gonna make this black. But I don't know. I like to use a flattened tool. I like to make ridges. And that's just how I do it. Just use smooth to just smooth it out. I'm obsessed with the smooth tool. Be honest. They're a little bigger than the ones I made in the picture, but feel free you can make them smaller or bigger. It can be creative. That's how user cylinder to make our little leaflets on top. Let's go ahead and add a cylinder to our scene. Bringing it up. And I'm gonna go ahead and want to mirror it or not. I think I'll just validate it. Don't need to mirror it. Now, I'll just make it smaller. There we go. So we have our little cylinder here. I'm gonna use the green to sort of just make it a little bit thinner. Something like that. Now I'm going to tap the top view. Have you want you can just solo way to fix this if it's easier. Now I'm going to use the Move tool and put 315. So fairly big. I'm just looking at this shape of it. And it just looks a little bit like something like this. If this end was the end that's sticking out, it kind of looks like something like this. I think that's a different that's a decent shape. Now we descended, make about looks like maybe about five of them, five or six of them will go with five. So I made sure to sort of keep this flat. So now we're in the front view. I made sure not to move it around too much because that'll make it easier when I go to the gizmo and then I clone it. Now we have one here. Doesn't matter what new corneum, the clone, the middle one again. Bring it here. Then I'll just make five clone. Clone. Now we have our five pieces. Will just need to sort of put together. Okay, so what's the best way to put these together? Here's the first one. Let's go to the second one here. And we'll just rotate. It will just sort of push it into place. There. We'll do the same thing with this one. We'll tap it, will use the green to rotate it, and then we'll move it down. Something like that. We'll just do that with the rest of them, will just use these tools to bring them closer, rotate, and just take the time you need. Sometimes this can be tricky. Just take the time you need. Let's tap on this one. Let's rotate it from here. Now let's move it. It actually looks pretty good. Let's bring them a little closer together. Excellently hit something. I think that looks pretty good. Once you have something like this. Again, doesn't have to be exactly perfect. But you just want something like this. I think that's a nice, that's a nice shape. Now unfortunately, like with the gizmo, it will be a bit too hard to sort of angle them up. We're gonna do it a different way. Let's take our cylinders, so let's make sure we check all of them. Then we'll voxel merge so we don't need it to be up that high. Let's go to select 250. Will voxel merge all of these together at 250. Now we have one whole shape. I'll just do a little bit of a smooth going to lower the intensity actually on the smooth. A little bit of a smooth, just so everything is nice and not so jagged. Which can happen after a voxel. Remember, that looks nice. Let's bring back our little head here. Little bug-eyed blueberry. Now let's bring it over. A little smaller. We're bring it down. We'll find the general spot where it's going to be. That's kind of funny looking. This is closer to the, closer to the size it's going to be. Now let's use the Move tool and let's see if we can just bend it the way that we want it to go. Now I'm just going to sort of push down on the edges. Let me take it off symmetry. See if that's easier. Now I'm just gonna twist and I'm just gonna softly push down on the edges, the inside edges. Just to get that nice, nice dip. Hopefully this makes sense. I'm just twirling and kind of pushing down. That might actually be good. Let's look at the front. Looks decent. Now we'll tap on it and we'll bring it down a little off axis. But let's see. We might have, we might have tilted it, so I'll just fix it up a little bit. Like so. Make it a tad bigger, push it down a little bit more, something like that. Now you have little leaves on the top. 6. Plumping & Mouth: The next thing I want to do, I noticed that I blueberries a bit plumper. Here. I want to do that before we move on. So I'm gonna use the move tool, really big. Max out that move tool. And I'm just going to tap on the bottom. Make sure you're on the head. Tap on the bottom and bring the bottom up a little bit on the sides. I'm going to pull them out a little bit. Just so he's a little bit wider. Little bit plumper. There we go. I want to I want to edit the eyes a little bit because they do stick out. Make sure they are sticking out a little bit far. Let's make sure you tap on the eyes. Make sure you're on gizmo. And press the blue and just move the eyes back into the head a little bit. So what's going to happen is you're gonna see a little bit of space now on actually doesn't look too bad. It doesn't look too terrible. Let's take a wider look. That actually looks okay. I think I want to bring it in a little bit. That looks all right. Now I'm going to just stretch it. Stretch the eyes a little bit. Yeah, I think I don't think I like that a little bit better. I'm actually going to stretch them a little. I'm gonna stretch them this way as well with the red sphere. I'm just going to stretch them a little bit, glue it over. There we go. I like that. There's no gap or anything over here. I think the eyes and I think the shape look a lot better now. I'll just make this smaller. This is just a little minor details, but they're things that I noticed like for example here, I just want to push this up a little bit. Feels a little bit better to me. Smooth it out. Just to kind of even out a little bit. That looks yeah, that looks a bit better. Let's make his mouth. To do this, I think it'll be easier to use cylinder very similar to how we made these little leafs will go up here. I'll tap this, will add another cylinder. Let me save, let's save. Make sure you're saving. And also we didn't name this, Let's name this rooftops. Now we have our cylinder here. I'm just going to bring it out front of the model. You say bring it up, I'm going to bring it out with friends. We're going to do pretty much the same thing that we did. Let me see me go to the grid. Flat subdivision. I'm going to tap flat subdivision and then post division. Well, let's leave it let's leave it for now and see what happens. I want to leave it for now. Let's validate. I don't want to make you guys do any extra steps that are confusing if you don't need to. Now let's make, let's make similar to what we made here. Let's make sure we have a nice view of the mouth here. Now I want to turn it. Makes sure we hit front. I'll just turn it so that cylinder is facing us like this. Make it smaller. What we're gonna do is we're gonna remove some space for the mouth, just like we did the eyes. And there's actually two ways that you can do this was probably a lot of ways, but let's use the Move tool and let's make. This is really far away, isn't it? Who use the gizmo and just bring it a little bit closer. And I'm going to make it a little thinner. Something like that. Let's use the Move tool. Now let's see if we can kind of maneuver the shape of this. Push down, push up. And we should have, we should have just want to kind of fashion that mouth shape. Like this, smiling, something like that looks pretty good. I'm going to try to use flattened and see if we can get a flatter edge on the ends. Didn't really work. See if we can smooth this out. Not bad. Now I'm going to tap on this match. I'm gonna stretch it out. I'm gonna turn it, stretch it out some. This is one way to do it. And I'd actually don't know if I might try the other way as well. Because I think that way might might just be a little bit better. I'm gonna hide it. Then I'm going to select the head as well. Actually, I shouldn't have a shin have hidden if yet. First I need to bring this back. Kind of where I want the mouth to be, something like that. Make a little taller, smaller, little higher up. We want to make sure that it's in there halfway because that's going to there we go. So we make sure it's in there pretty good. Now we can hide it. Hide that one, and we'll also select the head. Now they're both selected. And we want to voxel marriage. Now we get that space for the mouth. We'll try another version, two as well. Just so you can see a different way to do this. I do like this one. I think that was actually pretty decent. I think to be safe, I'm just going to keep this hidden for now. I'm going to tap on the head. Here's another way that you can do it. You can use the layer. Make sure you're on sub, subtract. I'll make the brush pretty small. Symmetry. You want symmetry. So then you can sort of manually just match whatever you want. That's another way to do it. You can take it again and it'll make it go a little bit more deep. You can do it again. Obviously. You can just keep going. Like so. Then let me just go ahead and smooth all this out. Be flattened will be a little bit better. We just want to figure out how to get those. Get the mouth nice and smooth. Let's try smooth again. There we go. Now it's moving a little bit better. Just very strong, smooth. Just be careful, don't press too hard when you're smoothing it out. For your really like windy populate the shape of the shape of the mouth. Maybe we'll try to flatten it out. That's also another way that you can kinda do the mouth. You can, whatever way is easier or you think is more exciting. Doing it manually or doing it. And notice I'm just using the Move tool now to sort of just shape around them, around the mouth. Because I want to make it make him smiling. This is another great thing about the move tool. So many uses. That's a little bit better. Kind of like this. Just move this in a little bit. Something like that, I think is good. By that. Still want to smooth it out. I told you I'm obsessed with smoothing my meshes to be dumb smooth. I'll take that. 7. Teeth, Tongue, & Planes: I like how this is a flat in the image. So I'm just going to take my flattened tool symmetry is on, make it about a 100. And I just want to try to flatten this out a little bit. I'm just going nice and slow. I'm just trying to keep it consistent. With a flattened tool. Yeah, that's nice. With a flattened tool. I always like to keep it as consistent as I can. Sometimes just going nice and slow. Feel like something is a bit weird. Like this. Dip is a little weird. So then I experiment with the move tool. Because sometimes you can just sort of clear that up. The teeth and tongue. We're both going to use more spheres. So let's go ahead and save what we have. Then we'll go right next to it and then we'll add sphere. Make it very small. We'll bring it up to the front. Bring it up. Now this one, we're going to shrink this sphere and we're going to shrink it down like this. Then we'll take the green and we'll shrink it down. Like this. Even that way. Why not? It can make it a little thinner. Let's go ahead and validate that. Now we'll just use our move tool. And we're just going to risk going to move the ends up. Each end, we're just going to drag up like that. Can push this down a little bit. Just move that up. That's essentially going to be our teeth, both upper and bottom teeth. Another little trick that I do. Make the move tool brush a little bit bigger. And I'm just gonna push SCM sort of looking at it as a side, a side view so I can see the backside. I'm just going to push a little bit just to give it a little bend. Like so. Not too much. Here we go. Now I'm gonna make sure I'm tapped on that. I'll use the gizmo and I'll just slide that in right there. Make it a little smaller. Bring it up. Maybe a little Smith sick of the image. Bring it up higher. Looks good. Let's see if we can fake that. Those secondary teeth. I'm using the drag tool now let's see if this works. Kind of works. That's kind of what they look like in the art. So it's either like that or you can just leave them. We can sleeve them round like that. Now for the bottom teeth, Let's just switch this. So let's use the gizmo clone it. We'll bring it down. Now let's try to flip it completely vertical, flip it vertically. So let's go to Symmetry appear. This can all get very confusing. But I think if I tap this green one, I untap the red. I think that deals with why don't you explain to me like I'm five, if you have an object that you want to flip symmetrically from the top to the bottom. Go to the symmetry tool. Here you see that red plane. You can scroll all the way down and you can hit show plane. That way you can actually see the two halves that are gonna be symmetrical. The red X is left and right. So if you want to flip this symmetrical from top to bottom, and we need a plane that goes straight across. So good assymetry. See these planes will just hit the middle one, the green. Why? We're going to turn the red X off. So now our plane is separating from top to bottom. We wanted, we want the green y. Now, we just tap on this mesh. We tap on Symmetry again, make sure that we're on the y, the green y. Now we can do flip object. And of course, if you need to duplicate it, instead of flipping it, just duplicate your layer. Go back. Flip object. And now you have two symmetrical objects from top to bottom. So all I've done was go to Symmetry. I'm in the gizmo tool. I've gone to symmetry. I've tapped the screen. See how these are all like not lit up. I have the green wind lit up. Now I'm just going to go back down to flip object. It should flip on that plane. Okay, We got it. It flipped it, and now it's on that plane. So now we have the bottom teeth as well. What's up, guys? So it's Dave in the editing room. When I was making the video, I was talking a lot about how confusing symmetry was. This was before I made that short little quick video to explain it a little bit better. So essentially here, just position your teeth on the bottom and the lower jaw as you see fit. That's all I'm doing here. Make these teeth a little bit. Here we go. I want to just sort of and use the Move tool and just bring these. Is the symmetry now working now. Oh, let me see, maybe I have to go back in. Go back to the dx. So that deals with lefts and rights. I think I got it now. I don't want don't don't got it. It looks like we need a little bit of a curve even to this. Like so. There we go. Now it looks more like the art for the tongue will keep it very, very simple. Just add another sphere. So we're in this little icon sphere will bring it up. We validate it. Since we're not doing anything crazy. It's used the blue hour to bring it up. We'll just make a little flat. Flatter. Not too flat, will just shrink it using the spheres. Let me get a little smaller. I'm gonna do that little push-up thing to get a little smaller. Now I'm gonna do the thing where I take the move tool, make it really big. And I'm just going to push up on the bottom. Just to give it a little bend. Here we go, See how it has a nice little bend in. It. Just looks a little more natural. Let me just a little touch more. I'll push up from the back. Good. Now easy-peasy would just take it down. Move it into the mouth, the mouth full area. Make it smaller. Tilted forward a little bit. I think that works. You might need you might want to take the clay and tap on the head. You can always take the, take the clay u sub and you can always kind of like make more room in here. Something like that. You can take the smooth you can sort of just smooth it out. It will bring some of it back. But overall, you want to be able to see his little tongue in there. So even in inside the mouth, I'd like it to be nice and smooth and clean. You can see the tongue, can see it. My need to use the gizmo and I bring it up, maybe even make it a little bit wider with this circular thing. Not something like that. It's perfect. Touch more good. Now he has his little tongue in there too. This is just an extra little step you can do. From looking at my drawing, I noticed that this sort of looks flat. And I don't usually make the eyelashes flat, but let's try it. I'm gonna tap on the eyelash, my flattened tool. Let's just see if I can flatten this out. Slow and steady. All along the front section. Actually think that looks pretty good. I kind of like that. I'll make it flatter here as well. Just because there may be just a little bit of a soft smoothing. Just a little bit of a soft smoothing and maybe even pinch, maybe the pinch tool. Let's see if that, Let's see what that does. That's sort of gives it a nice kind of cleans it up a little bit. It's a little jagged here. Little jagged. Not sure. Let's see. If I can fix that. Smooth doesn't really fix it to, well, let's see if I can flatten it a little more. Let's see what that'll do. That does sort of cover it. Sometimes I really want to have going in really close and just seeing how the tools either work or don't work. I can try subdividing this by going to this grid. Sub-divide. And let's see if that helps. Let's see if I can flatten out at the top here. Those look pretty nice. Let me just do a little more smoothing. I'll take that again. This is going to be black. It doesn't have to be super-duper, perfect. But I kinda like, uh, kind of like a flat. I don't usually do that, but I kinda like it. Just another option of something you can try out. If you want to. 8. Coloring & Eyes: Okay, so let's go ahead and color this. We can work on the eyes after we color it. Firstly, let's go back to our little symbol here. We'll tap that and we'll go to PBR. Now it's white. I'm going to tap on this little video camera. I'm going to hit Add view. And I'm just going to name this base. You don't have to do this, but if you want to like if you, whenever you have a view, a camera view that you like, you can go to this little thing here and you can hit Add view, and then it saves it. So if something happens and you accidentally go like this and you're like, oh, I had the perfect angle. You can just go back. And it'll bring your view back. Just a little tip. I wanted to change it to PBR. I wanted to take another screenshot. The paint tool is right here, this little theme with the little yellow mark, that's the paint tool. Here's our color that we're on now these are all our colors. I'll keep this pretty simple and I'll just let you play around with this. This is easy to figure out once you play around with it. I tap on the head as we're gonna call her first tab here, I can go to this blue. I can find the right blue. I found the right blue. Then I'll just hit paint all. Paint all. Let's see if I can grab this color. Actually, I can I can grab this color. Let's see what it looks like if I cleared that same color. Once you once you long press like if I just long press on that, then that's what shows up here. Now I can just click this and I can just hit paint all. Now it's closer to this color. Even though I actually think I like it more, a little bit more purple. Because blueberries are very, very interesting color. I think I like this color better for our blueberry. Now let's paint everything else will just happen. This mesh. I think I want this a little darker. So we'll make that a little bit darker. We'll tap on the eyelashes. And we'll make those. We want to make those really dark blue or black. I usually use black, but I feel like a very dark blue. The very fitting for him. I'll take the roughness up. We'll paint all. We're looking good. So he has little light blue tongue will and and make his tongue a little roughness down a little bit. Painful. Teeth, even though they're white, I still like to paint them white. No roughness. Same thing with the top teeth pain all same thing with the eyes. Now we tap the eyes, go to the white, make them extremely glossy takeaway all that roughness, paint all sooner, rather nice and glossy. And looking beautiful. Like that. I'm just going to show you how to do the basic thing first. And then I'll make another video where we go into the details. You want to tap on the eyes. Make sure the eyes are selected. And now you want to go up here to this little grid. Now we're going to sub-divide once 49.1 K, sub-divide again when 90 SIPC selective mask, that's the cell mask. It's an indexed to the regular mask. So cell mask and then go to the circle, the ellipse. I'm actually not sure if I want to use symmetry, I'll keep it on for this. But I might take it off. Now we're just going to make that ellipse right in the middle, but a little bit closer inwards towards the other eye. Not directly in the middle, but more towards the middle of the face. Let's try this. That's not bad. It's actually quite, quite good. It looks quite cute. You do see these little these little squigglies on the outside. You could depending on your system, like I have an app hide Pro and we're not using a lot of memory right now on this, on this little blueberry. If I wanted, I could sub-divide again. Then I could do it. And it will be a little bit crisper. Let me try to match his eyes. His eyes are a little bit more like this. So let's say we like this, what our eyes to be like this. So we're using selective mask, so we'll go to the mask options here. And then we'll do invert. Once you do Invert, now you go to your paint tool. Tap on this. You want to go on a walk, go to black. And you want a glossy two, so black glossy. Which means you take away all that roughness, nice and glossy. Make sure the intensities all the way up. Now you can just call her in because you've made a mask and you inverted it. So it's only going to cover what's inside, What's not masked. Now we go back to selective mask, backup the options and clear. Now you have your pupils there. Okay, so let's do a little bit more exciting eyes. I'll try to do this as quickly as possible. But it's art. I can't really, I can't really go there quick. I don't have any layers right now. All we have is just a plain eyes. I'm just going to color back over this. I just by going to the White. Did was click on this. I go to the Y and I just take away all that roughness. I just do paint all and it just repaints the eye mesh. Now I'm gonna go up here to the layers. Layers are great because they're layers. So you can add a layer on top and then if you don't like it, you can just hide it or get rid of it. So add layer. We're gonna make this blue eyes. Actually, I probably shouldn't have named that blue eyes because we're gonna do a few different layers. But, oh, well, we'll live blue eyes. And I'm gonna add another layer and we'll bring it below that. Just by using this little, this little tool. And I'm gonna name this black. Now, we have the base, which is just the white, and now we have these two layers. So let's start on black. We're gonna do the same thing that we did before. Cell mask ellipse. Now we want to put in our eye just going to start, try to start a little bit on the middle, but then a little bit closer to the center of the face. So the middle would be here. I'm gonna go a little bit over here. Unless you see. Sometimes you just have to do. I mean, that's pretty good. Now I'm gonna go ahead and go back up here to the options Invert. Now let's go to paint. Let's go to black. Glossy. Tap on that thing, tap on the eyes in black. Now we're just going to go back to our cell mask and we're going to clear. So now we just have our black. Now we're gonna go back into cell mask. We're gonna go into our layers. Now we're going to do blue eyes. Let's go to blue eyes. We have black. We'll go to blue eyes. Now we want to make the same shape, but we want to leave a little black edge around. So we want to try to go in the middle. This is gonna be a little tricky, but we want to kind of go in the middle of the eye and just make another mask see how mine is off. It's not in the center. We want to try to go you want to try to get it in the middle? It is tricky, it takes awhile. It is annoying. I agree. There we go. That one was good. Now I'm going to hit the cell mask and I'm going to invert. Now we're at, we're in the middle, we're actually in the very middle of black circle. And remember, we're on a new layer now. We're not, it's not touching the black that we already made. And he didn't even know you can't really see it right now. It's just because it has black behind it. So that's why you can't see it. 9. Blue Eyes Blue: We're using the paint tool now. We've taken our color that we want to be the base. We've turned symmetry off. We're going to turn the intensity way down. Maybe like ten. And we'll try to, let's try to get it matched to this. To this I remember our mask is still selected. We are on a layer, we're on blue eyes. So this is where we'll add the blue. It's lighter here. It's lighter right here. It kind of gets darker as it goes around this side. So lighter here, darker this side. That's all. Let me raise the intensity a little bit since I don't see it. There we go. I'm just doing really, really lightly. Really lightly. Around the edges. Right here is where I'm gonna take my Apple pencil off the screen and tap. So every time you do that, it will make it a little bit closer to what the original color is because we lowered the intensity. So it's going to make it a little bit brighter here. I'll raise the intensity a little bit more. An oxy raise the brightness a little bit more. Raised the brightness. And I'm just going to concentrate it right here and lower the intensity a little bit. You just want to get, you just want to smooth transition. You want it to be lighter in this side, we raise the intensity a little bit. Just try to get it a little bit lighter. Right at this point. A little bit much. And I'll make it a little bit brighter, even still a raise the opacity. Just right here. I'll add some more brightness. So you want to do the same exact thing on this side. We'll start again with this color. The base color were lower, the intensity. I think I had it to around 15 or so. We just want to do the same thing. Just slowly, make the brush a little bigger. Slowly brush in this side, I hopefully it's not too hard to see. So slowly brush in on this side. And then you can go around maybe once or twice. But you don't want it to get really, really light on that side. But it's okay because we can always add in some black. After we've finished with this gradient. After we finish with the blue. Then we're just going to start concentrating on this side, you can see I slightly tape, take my Apple pencil off the screen. Then it starts that it kind of builds up that layer. Let's make this a little brighter, actually was just raised the intensity. So erase the intensity. You can start to see a little bit of a difference. Maybe we will raise it a little bit more and just see what we get. Nice. Now I'm gonna go and raise the, raise the brightness a little bit. See what we get. Nice. Brush a little bit bigger, lower the intensity. Just kinda make it a little bit bigger here. Now I'm going to raise this color a little bit more. Raised the intensity. Just to get that nice, lighter pop. It looks like there might be a little bit of a brighter. I'll raise the intensity just a little bit just to kind of make, give it that nice bright pop right there. So it's a slow process. But you just have to sort of build up and you just want to keep it as smooth as possible. Let's see, let me rotate my whenever you see this and I want to kind of get like I made this environment. This is gonna be, this might be a little confusing. You can change environments. Here. Where is it? Here? You can change environments. And I, excuse me, I created this one in Procreate because I liked the way it looks. So this is another one that I created. Obviously you can see it kind of changes the tone. So environment's kind of changed the tone. Again, that's in, that's in the shading menu, this little light here. These environments at the bottom. Obviously you see all these environments that you can go through. And they add just a general environment. So they add different colors, different lights, different reflections. That's what environments are. I like to use this one. And if I want to get this off the eye, especially so you guys can see it better. I can change the rotation. If I change the rotation, it does change the lighting and changes the color quite a bit. Maybe I'll just leave it there. But if you want to get that out of your way, you can do that. But we haven't added added any lights. So you can see it gets very dark in some spots. So we'll leave it there because I want you guys to be able to see what we're doing. 10. Blue Eyes Blue 2: Okay, so now we have a good little colored glaze. Now I'm going to take the smudge tool and go about 120 or so on the size. Now we just wanted to sort of just sort of clean up what we've painted. So we're just going to smudge. It would be nice if we could blend. But we can't really blend because there's nothing really else on this layer. So we're gonna have to use smudge, smudges and my favorite tool. But dissent justice, just clean up. Just sort of make our gradient a little bit smoother. So that's all we're doing. We're just kinda like smoothing this out. See how jagged this is. Like this is very jagged here. I'm just going to use smooth and just slowly just sort of try to make it a little bit of a smoother transition by going back and forth. This is the same thing that I would do in Procreate oppose using like an airbrush or something like that. Just sort of go back and forth and just try to smooth it out. Just try to make this gradient. It's smooth. You don't really, you don't really want to see any of the color transitions. I'll make the brush a little bit bigger. That's what I'm, what I'm trying to do. Just trying to blend all this together a little better. Again, this is just me being a perfectionist. I think I might just want to make it a little bit darker on this side. So I'm gonna go back to the black color. Go to the paintbrush. I'll make the brush pretty big and I am just going to lightly go over the dark end, the dark side up here. I'm just going to go over that a little bit. There we go. Now it almost looks riper. We want to have, we want to have the nice black round pupils. So in order to do that, we're going to just make another layer. Now we're gonna do add layer. We'll name this one. Pupils were still on eyes in order to stay on eyes, sometimes it's easy to tap the head by accident. And then when you're painting, you won't see anything happen. That's because it's happening behind the eye on the head. So you just have to make sure that your eye is always selected. Now let's clear our cell mask. That's what we hear. Cell mask. Tap this up here, clear. Now our eyes are looking good. But now we want to add a new one. So we're still on Ellipse. Make sure that we're on the right layer up here. Pupils. Now we can go ahead and add the pupils. Another note for this, as you want the pupils to be closer to the inside. So obviously it's nice if we can get it perfectly. But we don't want them, we don't want the pupil to lean more to the outside. We wanted to lean more to the inside because it'll just look better in general. Hopefully that makes sense. So I'll do an extreme example of what I'm talking about. Like if we do make it, we want the pupil to be closer to this side. Obviously not this extreme. Rather than rather than mike closer to that side. Because that that's gonna make it look like his eyes are looking in these directions instead of like this direction? Does that make sense? I don't know. We'll start out trying in the middle. Actually not too bad. I have to do it again because I have to turn symmetry on. Symmetry can be tricky. Sometimes it tries to get me. He just did. I think that looks pretty good. Now we're gonna do the same process of going back up here. We're on cell mask, we're gonna go back up here, tap, invert. Remember where on pupils. So now we're just going to use black. We're going to keep it shiny. Better go to the Paint tool. Keep it shiny. Shiny black, glossy black. Now we're just going to color in. Let's turn ours, their intensity all the way up. There we go. Now we've covered that in black. Just make sure everything looks okay. Now we can go back to sell mask. We can tap on the options up here. And then we can just go to clear. Now we have our eyes with a little bit of that gloss. Now I'm just gonna go over the jagged lines with let's see, let's try smooth. Let's see if smooth works. I'm gonna start with the bottom one. I'm going to start with the black. So that's that outer layer. I'm gonna start with the black. And let's just see if I can just do a nice smooth stroke all around. Because even though it's a little blurrier. I think it looks, I feel like it looks nicer than having that jagged, that jagged edge. See. First of all, I love you guys know that song. It's a jagged edge. So now we're gonna go to the blue and let's see if we can still use the Smooth tool. I'm gonna make it a little smaller. And actually don't know, we might have to do like smudge on how it looks like it's smoothing. I'm just going to smooth around that too. I might just smudge. There's a little bit of it, there's a little extra space here. So I'll think I might just smudge just to kind of like just to kind of get it closer to this edge. I'm just going to smudge this just to sort of get it a little bit closer to that edge. That's again me being me being me. I'm gonna take it off. I'm gonna take it off sym symmetry. I'm just going to smudge this on its own. Because sometimes the symmetry they did, sometimes the different sides look different. You know, there's different lighting and different things. So I'm just going to smudge this, smudge this on its own and make sure I'm on the right layer. Little bigger. There we go. Now it's doing something. Look a little bit better than it looks a little bit better. Let me smudge this. I'm just basically smudge actually works a little bit better. Essentially, I'm just making it so that everything is nice and smooth and blurred a little bit. So it just feels a little bit more natural. So same process with the pupil, backup to the pupil layer and see how this is jagged. And let's see if we can use the Smooth tool again, smooth has been coming through in the clutch. Just do a nice smooth transition symmetries off. So we'll do this one. We'll do them manually. Looking pretty good. If you want to get really crazy, you can go back into paint. You can go to your layer up here. You can go back into blue. You can get that color. You can bring it all the way up to even a little bit of a lighter color. You can really like the intensity down. You can make us some little marks like this. Really get a little bit of a light, a light pop. I'll just smooth it using the smooth tool. Just kinda smooth it a little bit, make it feel a bit more organic. Then you have a little bit more of those light pops. But you want to just make sure that it's smooth so you can look at it, zoom out and it doesn't look unnatural. Something like that I think looks pretty good. At the end of every video, make sure to save your work. 11. Details & Adjustments: So here's another little trick. I sort of feel like the eyes are a little too far apart. There's little too much like whitespace. This is, again, this is something really extra. But I always notice all these little details. So I'm gonna tell you about it and teach you about it. So obviously I can't go back and move what I've painted. Unfortunately. I'm gonna do another little trick with the eyes. So I'm gonna click on the eyes. I'm going to use the gizmo and I'm going to stretch using the red. I'm going to stretch the eyes a little bit, not too much. And then I'm going to bring the eye closer with the arrow. Something like that. I feel like that's a little bit well, let's see. Maybe a little less. There we go. Just a tiny bit closer, I feel like makes a big difference, at least to me. I'm a stickler for details. That's just another creative way to sort of fix something that needs fixing in my eyes. So there's always a little creative ways to just always keep thinking about small details. And there's always like a creative way to fix it. Just takes a while to sort of build up those problem-solving skills and then to fix whatever you think might, might look off. Okay, so now let's just add a little bit of final touches to the colors. I think I want to make this a little bit darker, so I'm going to tap on that. Go to my paint tool. Let me grab this color. I just think I went I wanted a little darker. There we go. Something like that. I want to add some a little bit of a lighter blue. So I'm going to tap on the head. I'm gonna add a little bit of a lighter blue. So I'm gonna grab the blue that it is. Just bring it up a little bit. I'm gonna take a little bit of the roughness away. Just a little bit of the roughness away. Now I'm going to make my brush a little bit bigger and lower the intensity. Because these are just like small details. Now, just like we did with the I, I want to add a layer on the head. This is gonna be whitish. Now, let's just go ahead and add in some little pops of white. I'll make the intensity a little bit lower. I'm just going to kind of very These little bit over his skin. The next step, let's just match this orange color in the background. So we'll go to, let's see what's the easiest way. Will go to this little picture image here. And we'll click on this color. And we'll just try to match the orange. Actually, it might be easier if I just I guess we can do it this way. That's a pretty decent match. I think. You can do suggest it to your own your own tastes, whatever you like. But I think that's a pretty decent, It's a pretty decent match. So next, I don't really think we need the, the reference image anymore. So let's get rid of the reference image. We're going to tap on this image icon. And we're gonna click on references, reference image. We also don't need the grid anymore. Let's just tap on the COG over here on the right that settings and we'll get rid of the grid. Now we're cooking. I'm going to hit front. Even though he's a he's a little lopsided really. But that's okay. Now let's add in some sort of floor. We'll go to our primitives. Maybe we'll just add a plane. A plane, which is a flat square plane. Let's make this bigger. So I'll just bring it back a little bit. Something like this. This might be tricky depending on your lighting and things like that. But we just want to color this will wet and validate it. And I'm just going to color it, so I'm going to tap on it. I'm gonna go to the Color option down here. Let me see if I can. Let's see if I go to paint and see if I can just grab this orange. I can. I'm going to tap on that. Tap on the paint. Paint all as you can see, it's a little bit it's a little bit different because of the lighting. So we'll adjust that later on. Let's make it bigger for now. So tap on it. Gizmo. This little orange ring will just make it bigger for now. Then let's just zoom in. And actually we can probably change to perspective. I was real close. This now we're in perspective. You can see he looks a little bit different. You can adjust to taste. Click on the little camera button again, and you can actually adjust this. The focal, the lens. It's almost like a different lens if you're looking through it. So if you noticed, you can go up and down like this. You can just play with that and just make sure you have it. Ray-like it thinks something like 20 or so is works for me. Makes sure to save. 12. Lighting the Scene: Now we'll just do some simple lighting and we're pretty much clear from here. So we'll just do some simple lighting. So we want to tap on. Where do we want to tap on? We're going to tap on this little icon, the little sun icon for the shading menu. And the first thing that I like to do is get rid of the environment. So now we're gonna get rid of the environment completely black all shadows because there's no light. There's only the orange from our background. Let's add light. This is a, what kind of light is this? Directional light? Doesn't matter where you move this. It's not contingent on where you move it. I like to bring it up for some reason. I like to bring it over my character. But whatever direction this white arrow is pointing. So it's kinda hard to see. There we go. So see how there's green, blue, red, and then there's this white arrow that's pointing out. Wherever that is pointing is where the light is coming from. This light so you can change it. Now it's pointing this way, so all the light is coming this way. You can angle it down and the light is coming from up top. In our reference, are lighter. A light is coming from up top. But you don't always have to use this kind of directional light. Because there's some other lights that we can use. Although this is not bad. For now, I'm just gonna take this light here, see this little box. I'm gonna click the little box and I'm going to make it go away for now. Let's add a second light. Here. I'm going to tap on. This is the second light. I'm going to tap on this and I'm going to just change the color a little bit to maybe something just white. I'm just going to use just completely white. That way. It's kind of a neutral neutral color. I also want to change the type of light it is. So I'm gonna click here. You can either click this little box. So if you click on the light, you can click this little box or you can just go back up to here and click on the little color square. I'm gonna change this to spotlight. Spotlight is pretty basic, pretty simple. I'm gonna move it in front of our character. We could all areas later always fun to work with. So I'm gonna move it to one side of the character up a little bit, and I'm going to turn the lights on him. Move it back some. Now I'm just going to go into the options by clicking here. And I just want to turn, I'm gonna turn the softness up. Cone angle is fine. And here's the intensity. Obviously you can adjust that. I'm going to bring it back a little bit more, bring it up. Something like that. So there's one light. Now, I want to duplicate this light and put it on this side. So to do that, see if I can do it here yet. I'm click on the Light. Click on this little box with the three dots. Clone. Same thing with a mesh. Now there's two of these lights, so I'm gonna bring this one over. And obviously it's facing in the wrong direction. I'm gonna bring it over to this side. Then I'm going to use the green ring to just slide it over. Now he asked me bring it up. So now it's pointed at him from both sides. And we can always adjust these slides later on, so don't worry too much about them. They're a little bright. So I'm going to turn the intensity down to 20. On both of these lights. He's looking pretty good, looking cute. Now I want to add another light. I always like to add a different kind of light from behind. So there's some other light to light up, a light up the bottom of him. Okay, so these are our two cloned lights. Let's add another light back here. And we'll color this one. Let's clear this one orange, almost to match the background. Might change it later. So here's the orange light. I'm going to bring this light behind him. I'm going to change it to let's experiment and make it a point light. Kind of hard to see. I'm going to tap this light. I'm going to tap this. Now we have our three lights here. So I'm gonna go to 0. Really, really bright. Really bright. But now he's lit from the back as well. We could take the intensity off of that. But I think I want to make it a spotlight. So now let's make it a spotlight. Let's point it back towards him. This actually might be a good job for the directional light. Let's see. I'm gonna bring it behind him a little bit off to the side. Take your time with working with the lights. It can be a little tricky and a little confusing at first. But essentially you just want this cone facing him. If it's not wide enough, you can make the cone a little bit wider. C can make it wider. Turn up the intensity a bit. I'll move it back a bit. Maybe I'll move it a little bit more off to the side. Something like that. So we have that nice that nice pop of light on the side of his, on the side of his head. And actually I might want to bring it around a little bit more, so let's just bring it around more to the side of his face. Something like this. Let's see how that looks from the front view. Again, to make it easier, I'm gonna do this front view like this. And then I'm going to, I'm going to add view. Now I can always go back to this view if I mess with the lights. And I want a pseudo looks like from the front, I can just do add. I can just do my view. Okay, So now what he needs, it was going to have to figure out how to make this the colors a little bit closer. So it doesn't look like a plane and then the background. But also he needs some of this orange to bounce off of him. Let me try to figure out how I want to do that. So there's two ways. We could always bring back the environment, which is very bright. So let me, let me lower the intensity of the environment. So back we just clicked on here shading and then we scroll to the bottom. The exposure can bring the exposure down some That's sort of helps, helps a bit bring it down. We'll even a little bit darker. We also have this light that we can work with. But let me think about the best way to do this so I can keep it concise for you all. 13. Extra Lighting: Okay. I've come up with a plan for our lighting setup. I think it will involve turning one of our 21 of our two spotlights off. We can either turn Let's go into the lighting up here. Return this one off. I'm actually going to bring this. I'm just going to bring it in so it's easier to get to when I need it. I'll bring it closer to him. Right now this one is off. What I think we need to do is turn this light back on. Show. Then we need to need it. We need to make that nice shadow. So let's turn back on our reference image. So we go to the little picture to my reference image on. Now we can see him and he has this blur right here below him, but he also has orange on the bottom. That's what I want to try to do. I want to try to, want to try to make the shadow below, but also this ambient light bouncing off the bottom of him. One thing I see first is I need to, I need to lower this. I've clicked on the plane and I'm going to lower it a little bit like that. That looks like a decent decent space away from him. I'm also going to make sure that this is rough. The roughness is all the way up. Maybe not all the way up, maybe 2.6 something, maybe 0.700 in whatever, something like that. We just want to make sure that this is, that this is rough. You can also, let's see if any colors will help. The colors don't really help. I can sort of match it and make it a little bit closer. Back to our light that we just adjusted. Whereas that light, I can't even see it. This is our, this is our directional light up here. I'm just going to move it so the shadow is underneath him. Something like this, I think is good and we can play around with the intensity. The intensity really who we can almost match. We can almost match that color with the intensity. Nice. Brought the intensity up. And actually let's see what happens. I don't think it matters if we bring this away and I don't think there's changes if we bring this away. I'm not really That's actually not too bad. Let's see if we can edit the color of this base to match a little bit better. Almost make it disappear. Just try to almost make it disappear if you can. Something like that. I think works. Now let's try to angle this light and it's kind of hard to see the light, but it's stuck there. I wonder if we can angle it so he doesn't have so much light. Bit bright. Very bright. Let's see if we change it to a spotlight. What we can do. Now if we bring this intensity up, cone angle, really, really wide softness. That's sort of another way that we can kind of pull it off. But I would like. Let's see if we can move it back. It's kinda nice. So I just wanted to get that shine off of his forehead. And since we move the light back, kind of helped. Let's take a look at our view. That's not bad. So I might have to change the color of the base again to see if they're to see if I can get it a little closer. So let's just try. Not really. That's okay. Not the biggest deal. Just try to get a close as close as you can. And we'll go with that. The next part that I wanted to try to do is sort of get a glow on the bottom. Now we have three lights. We have the one spotlight up here. We have the colored light back here shining on his side. Then we have our one spotlight here. But we have the other one that we turned off. Let's go ahead and turn that on. Oops. Let's rotate it so it's like looking upwards. I'm going to change the color to that same bright orange. Like that. I'm going to try to bring it right underneath him. Now I'm just going to use the gizmo to move this light underneath him. I think it'll be a shadow. If I go below the plane. I have to keep it above the plane. But I want to make this angle, the cone angle bigger. Want to make the cone angle really, really wide. So that way I can stay low and still be underneath him. I'm trying to get it directly underneath. Of course we can we can adjust the intensity and things like that. But I just want to get it so it's right underneath him. Something like this. Maybe a little bit on the eyes actually looks good. We still have the shadow, but now we have this light underneath. Let's adjust, bring down the intensity firstly. We do have the shine from the light. Unfortunately, I don't know if we can get rid of that. Hide it. We might be able to angle it. Maybe we can bring it far back and actually angle it. So let's take the cone angle back down. Let's pull it away. Make sure it's facing in front on. I just wonder on the bottom of him, what I'm gonna do is I'm going to bring the cone angle even down even more. Because I just went on the bottom. Now I'm gonna raise the intensity up a little bit. Right in the middle. Maybe even maybe even tilted down a little bit. Just so we have some of that orange coming from the bottom. That's not that's not bad. If you want to hide your lights, just go to this cog up here. Lights can turn them off. You can turn toggle the icons, the light icons off and on. So white is off. I think that looks pretty decent. Now last but not least, we'll just do some post-production. In the next video. Make sure to save. 14. Final Touches: I know lighting can be very confusing, but it might be easier to just take one light at a time, move it around, change the colors. You don't have to do exactly what I'm doing to the t. But I hope to I hope to just impose the reasons why I make certain decisions. I think that's even more important than actually like what I'm technically doing. Because you can easily learn that by playing around with the lights once you get used to it. But the part that I really want to show you is my thinking. Why am thinking about different things? How on problem-solving, like why I want to get this shine? Because when something's in are completely orange space, the orange is going to bounce off of him. So that's why I was doing all these things with the lighting. I wanted one light to show the shadow down here. And then I wanted a little bit of a shine from the orange. Because if the environment is orange, then that's going to be like more realistic. That's going to feel more real because the environment is orange here. If I change it to blue, I'd have to change these other lights to a more blue hue. But also sometimes it's nice. Let's, let us say, for example, if I want to change this back color to something else, like maybe it looks better as like a lighter color or even like just a maybe a blue or a pink. Sometimes they can look really, really nice. Just to have if I could different colors shining in, a different color coming in. Sometimes that can make a really, really big difference and just look pretty. You know, it doesn't always have to be completely perfect. But like, it's nice when things just look pretty. And sometimes it doesn't even need to be a color. You can just make it like white. Like a white shine, something like that. Let me move this over here so I can see what I'm doing. But we'll keep it sort of hokey, but oranges for now. Okay, so now let's do some post-production. So up here, post-process, Let's just click that. You can obviously go through the scenes. This is looking really, really clean here. Maybe you can get this to match. Notice when I touched this, this went out of focus. You have all of these options. Go through and play with them. I can go on forever about trying all of these things, going through them with you. But it's better if you just play with them and just see what they do. Otherwise, these movies, videos, we'll just keep going on and keep going on. Depth of field isn't, isn't a very important one. That see how this far edge of that is blurred out. C Now it's not blurred out. So far. I always like to do the far blur, near blur. We don't really have something that's like in front of his face. So it's not as important, but play around with them. Bloom, play around with because bloom can affect like how bright certain things are, how bright or in glares are. The next, it looks pretty good, so we'll bring it up a little bit. All these things you can play around with, they're just more exposure things and color grading things. Meaning changing the overall color. If you wanted to be a little more blue, you can kind of play with it here. Whoops. There's lots and lots of adjustments or reset all. There's lots and lots of adjustments you can make bright, you can make them by playing with that. Kind of nice. Maybe I'll keep it. Lots of fun things you can do here to play with. Vignette is just the darkness all around. I kinda like, I'll turn it off. Why not? But experiment, That's the main thing is experiment. I have an iPad Pro, so my app Wipro up 2021, so it's powerful, so I always keep these on. The other. The last thing I wanted to do is see if I could change the color of this. So I've clicked on this plane. Now I want to go back in here and just see if this, any of this makes a difference. Doesn't really. Another thing I can try. If I do paint all. Another thing I can try is to match the background to that color. Let's see if that works. I clicked up here on this picture, and let's see if I can change the background to that color. Pretty good. It's a pretty good match. I'll click on him again. Now our background is very close to that color. The only thing that could change, It's a little dark back there. Wondering one of the ways that I could get rid of that is if I brought one of the lights to light up the back of this plane, or if I maybe shorten the plane. So let's tag, Let's click on the plane again and maybe we just shorten it. So let's see, let's see if this works. Now I'm gonna take, I'm just gonna bring it forward. Bringing this plane forward. And let's see if the lighting changes. Now you can see it's a little bit brighter. Let's go back to our view. Click on him. And it's a little bit better. A little bit better. We can change the background color to match a little bit. Little bit better, I think. Little tiny bit closer. You see there's a shadow here. You can go into your lights. You can kind of see where certain shadows are coming from. That shadow is coming from this light. Let's see which light it was. Let me just tap on there. There we go. So now we can see light isn't Oh, it's this light. That's our spotlight. If we want the shadow to go away, we can bring this light down a bit. We can angle it little bit. That way. There's no shadow from him on the edge of the frame. That's where the shadow is coming from. The last thing that I always do that I like to do is go through and I like to turn off my lights and just make sure there isn't something better. When I'm not using my lights. I seemed to like everything so far. The environment, I'll turn the environment off. That's also a really nice look with the environment off. So when I liked the way it looks with the environment off, I usually do the middle and I'll just lower the exposure a little bit. We are kind of get the best of both worlds. Let's go back to our view. Here. I almost forgot there was one more little step that I forgot to do. So I'm gonna dial everything back. I'm gonna turn off post-process. I'm gonna zoom in to the mouth. Make sure I'm on the head. I just forgot to meet me, grab the color, let me use my paint. Grab this color and I'll just make it really dark. I'm going to turn that roughness all the way up. I just forgot to add a layer here and do inside mouth. Make sure I'm gonna paint tool attorney intensity all the way up. I just forgot to color in the back of the mouth. So it looks like the color this in darker because I don't really want shadows and things like inside the mouth. I think just making it darker is the solution. There we go. Now let's see if we can actually smooth this. To smooth it. Get rid of some of those little jagged edges. I want to just keep it really dark in the mouth. A stickler for details, save. One of the options as good as cog. You can turn up render resolution mine is already at two. I think the default is 1.25. Now you can export. You just go to your folder here. Scroll down export PNG and export this fork. The export resolution is high. Anytime you see this makes sure that you have it saved first because it's just a very high. It will take a lot of RAM and your app might crash. So I see this all the time. So don't be too scared about it. Just make sure your project is saved. If you've saved it, you're good to go. Click OK. Might take a couple of seconds. I'm actually going to make it perfect. So I'm going to extend the side of this. I'm just going to hit Done because I don't want to export it yet. I'm going to tap on this. Now I'm just going to stretch that even more. Then I'm going to click on him again. Now I'm just gonna do the same thing. I'll go to the folder export PNG. Now it should now panned all the way across, and I liked that better. Now I'm gonna hit this arrow. Save Image. Click on him. Then we have our finished project here. All right, great job guys. This was really fun to do, was fun drawing this. And I've always wanted to make it in 3D. I'm happy that you guys are here to kind of go through this with me. Hopefully it was helpful. Hopefully I just explained the way that I think because that's the key takeaway is why I am doing certain things, why I'm make certain decisions, why I'm making certain decisions? That's what's more important, the technical stuff I guarantee you will learn if you keep playing with it. It's the y, it's the, it's the details and it's the y. I'm doing certain things that really makes 3D character designing and things like that and lighting special. Just knowing why certain things are happening. All right, so I'll see you in the alto. Let's get onto the next video. 15. THANK YOU! : Alright guys, we did it. Thank you so much for joining me. I hope you had a good time in class. I hope you learned a lot. I hope that you take my yapping and that it sticks with you. It's all about thinking creatively and just thinking on the fly and being able to see changes in spending the time to get the result that you want. That's the main thing about these classes. That's the main thing about what I tried to teach and what I love about teaching, and what I love about Skillshare and what I love about you guys joining me in class. It's all about you and just growing your creative abilities, growing your technical abilities, especially with this class because that's something that I had to do recently with nomad scoped, which has continued to build up my technical abilities. And even when making these classes, it helps because it makes me explain things really, really clearly. Kind of like the symmetry thing. It helps, it helps me. And it's very rewarding also when you share, when I get to see your work, when I get to see that you're engaged, that you had a good time when I read your reviews and things like that. All that stuff helps me, keeps me going. So please drop a review, shout me out wherever I love to share your work on my social media. Drug for Dave drug pretty 3D. Check out my YouTube. I do YouTube Live videos where I just sculpt so you can come and just watch. Obviously you just heard the way I think for a long time, but I make live videos. You can ask me questions, we can interact. I have a Facebook group for Procreate. If you're also a 2D illustrator. I have a Facebook group, procreate tutorials and guidance. I'm on Tiktok. I'm trying to do a lot on Tiktok. I feel like Instagram is sort of ligand, but Tiktok is like Tiktok is where it's at these days. So find me there drug-free Dave. Youtube.com slash drug free Dave, drug-free Dave and drug for David 3D on Instagram. I think I think that's it. I think that's it. Skillshare. We're already at Skillshare. I think that's it. Please share your blueberries. I can't wait to see you them. And I can't wait to teach you guys. Again. I appreciate each and every one of you. As always, keep drawing and I'll see you all. I messed up. I messed up. All right. As always, keep drawing, keep sculpting. And I'll see you all in the next video.