3D Modeling for Beginners with Nomad Sculpt *NEW Updated*

1. 3D Modeling for Beginners with Nomad Sculpt *NEW: What's up, guys drug-free? Dave, here, welcome to Nomad scope for beginners. Updated version. So if you're brand new to 3D, brand-new to know Mexico, this is a great place to start. This is an absolutely beginners class. So if you have never used nomad, if you're just getting into 3D, I'm going to explain everything step-by-step slowly so you can follow along. I'm going from the absolute first step, which is opening nomad scoped. So we're gonna make a little 3D frog, but it's not really about the frog. It's about all the steps that go into making him. There's lighting, texturing materials. Some of the new features that are really loved nomad scope are things like subsurface scattering. Subsurface scattering is when you can see light through the mesh, which really gives us an opportunity to make scopes look a lot more realistic. See the red that you're seeing is subsurface scattering. There's also things like layer hierarchy, updates on lighting, shadows, ambient lighting, a reflective lighting from things that are around. There has been some big changes. So that's why I wanted to make this new class and also just ushering all the new 3D artists that are discovering 3D yard like I did on the iPad Pro or on Android tablet. That looks very confusing. But once you start doing it more often, it just gets easier and more fun. And you'll be able to create just about anything that you want to create. Amazing 3D application. Anyone can learn 3D and here on skill share with me is a great place to start. I'm glad you're here. So let's move on to the next video in the class, projects. 2. Class Project: Hey guys, welcome to the class project. So of course this is a beginners course. Of course this is the beginning of course. We're gonna go through all of the technical aspects of nomadic scoped. Well, maybe not all of the technical aspects We're gonna go through enough to where you can get started. You can make shapes. You can sculpt those shapes into simple things that you might want to build into more complex things later. So all you have to do is make a fraud doesn't have to be exactly the way that I do. It, doesn't have to be the same color. And you'll see at the end of this, I make a bunch of different colors. I changed the textures and materials. That's where the fun comes into it. That's where you really learn a lot, is playing with nomad scoped. So I'm just sort of giving you a pathway that you can follow. Because there are some things that you just might not think about if you've never used the application before, then some things will be tricky to figure out. So I'm going to walk you through those more important things. That way. You can open it up and be confident and you can start playing around and really exploring nomad. But yeah, I think that's about it for the class project. We're just going to make a frog. We're gonna, we're gonna light them. We're gonna do the materials, we're going to change the there's there's some other little frog nuggets. There's a lot of fun stuff there we're gonna do. So just follow along, have fun. Try not to get overwhelmed. I'm going to keep it relaxed. Luckily, I'm sort of naturally relaxed. So hopefully you will be two and you'll have a lot of fun with me in this class. Alright, let's start sculpting. Let's move on to the next video. Getting Started. 3. Getting Started: Hey guys, So I'm gonna run through this as simple as I can. It'll be a lot, it'll be confusing. But trust me, the more that you work in Nomad, the more you get used to the tools. It will just get easier and easier every time you use it. If you get stuck, reach out, or go to the Facebook group. You can find a lot of help there. And the nomads gov website has a ton of resources and frequently asked questions and things like that. So you can find your answers online for short if you get stuck. Okay, so first-off, opening nomad. You want to download it, obviously. And we opened nomad. So it opens to a sphere, which is great because I use a lot of spheres in my work. When you're doing 3D, when you're thinking about 3D, think about shapes that make up other shapes. So e.g. if you're going to make eyes, you could just clone this. You would have two eyes, a base to start with. And there's other shapes. But I'm just going to go down the line here. So we can just get these squared away. And there's not too much on the interface. But it can be confusing. Obviously if you're not used to it, but it'll come in time, so don't get overwhelmed. So we'll start with the project menu first. That's this little folder up here. So we'll tap that. And we have our projects, so that's what we're working on now, the name of it is blank because we haven't named it. So then you have Save, Save As rename. And these are pretty much the same as other programs. Saving it will just save an updated version to whatever you do. It'll just save it, Save As we'll save a separate version. So if you change the color and you are like, Oh, I like the old color, but I want to save the new color. Then you would do Save As rename, just renames it. And open is where you can open another project or open, open something else to go into this project. Add the scene so you can save, if I save this sphere separately, we won't get into it. But if you scroll down, you can export to different different 3D formats. Like an OBJ is something that I do normally. If I made a nice little face or shape and I just wanted to save it for later. I would export it as an OBJ and I would just export the selection. Then you can bring it back in. You can just bring it back into the scene or in a new scene, you can bring something that you've saved. But don't worry about that too much now. But I just want to move through here. So of course sometimes I have to explain some more complicated actions. Delete, deletes new, you can start a new scene, and so on and so forth. So these are all pretty self-explanatory. We have our sphere here, so that's pretty much this menu. If you go down, render is where you save it, like you save the image. So obviously transparent background show interface, screen 7201080. So these are all sizes. You can make your own custom size. The screen is plenty big for me, so it just kind of exports it like this. I'll do the four finger tap and get rid of the menu. It will export it like this. But the files are pretty big. So that's pretty much this first menu. The first thing that we should do is we can just save this and we'll save it as demo. Okay, so once you save it, then you have your first save project called demo. We can get started. So the next option here is the scene. So you have add, delete or clone join, which is grayed out because we only have one shape. So this is a sphere, it's a shape, a mesh. It's a 3D object. There's lots of names for things in 3D. So sometimes I might go back and forth between different, different words, but any object or anything that you make is its own mesh. If I had two of these, I would have to sphere meshes. Meshes or two sphere shapes. Sometimes they can get confusing when you're watching tutorials or watching videos. Because sometimes people refer to it as meshes, shapes. I like to say clay is mama name CLI, have a holistically. So in the Scene menu, in the same menu they were on, add something that you're going to use all the time. And primitives are these primitive shapes. So this sphere is a primitive shape. So let's say I delete it. So let's go to scene and see this little trash can here. I can delete this sphere. I can go to Add, and I can make a box. So you'll notice that this little cubes here and this will help you. So let's say we just have front that will go to the front of our box. So I'm just going to make it a little smaller. You can move it around, you can look at it. It's just a nice clean box. One other thing that I probably should have said at the very beginning, you'll notice that my mesh, my box right now is sort of a reddish color. And that is because I like to sculpt in met caps. So a Metcalf, we're just going to jump over here to the shading menu. This little sun, yours is here. So this is probably this is the default, the lit PBR. That's just regular, That's just normal. Mat cap is it's kind of like a baked in lighting system. And for me it just makes it easier to sculpt. You can change it. If I wanted to do like a darker color, something a little more like clay or more like whatever. But I just like to do this normal makeup. I just think it's easier to see. So again, that was just in this little sun. If you're just here, I go to my cap. One other thing that I always do when I'm first starting to sculpt and get into it is now we were here. We're going to jump over to this little film thing here, the camera. And I always sculpt in orthographic. Orthographic is Here's perspective and orthographic. Orthographic basically gets rid of their perspective. So when you have perspective, e.g. the, the, the ends of these boxes would be closer and because it's further away. So let's see. So for perspective, you see that it's different. And you can actually, you can actually move it to the perspective is a lot. But that's something that I'd like to do later on. After Horace, after I've already sculpted what I'm sculpting. But to begin, I go to orthographic, it's easier to sculpt and you won't get confused with your perspective. You won't get confused. So just to recap, if your mesh is white and urine lit and you can go to met cap. That's how I like to sculpt and make things to start out with. And also go to your camera and go to orthographic rather than perspective. I just think it's a good starting point. When you want to get started in 3D and when you want to get started making whatever you're making. Okay, so let's jump back to our Scene menu because there's a lot here. We have our box, which is right here in yellow. And again, when you add a primitive, primitives are all these shapes. So we have a box, we have a sphere. I'll move this, move the sphere over. And we can add some other shapes too. We have a torus, something like that. And so these are, these are your shapes. Now you notice that I moved them around pretty easily. So let's start from the beginning. So we added our square here from going to this plus the squares of primitive. Primitive is just a basic shape. So that's all a primitive is. You don't really have to think too much about that word. Just a basic shape. 4. Gizmo / Symmetry / Mirror: When you start a new scene, when you make a box, it will have this funny-looking thing called a gizmo. Gizmo green, red, blue. Very confusing in the beginning, but it's actually quite simple. So it gizmo just helps you move your object around in space. Of course, you can drag like this, you can move it around. But it's really just moving the camera angle. It's not actually moving the shape, it's just moving where it is on the screen. So one thing that is important with the gizmo is you'll notice that the green is facing up and these arrows are facing in certain directions. And what can help you with that is this cube. And notice as I tilt it, the cube also tilts. So you can hit front to know that you're exactly in the front. So the gizmo, the green arrow up and down, the red, left and right. And then there's a blue that you can't see because it's facing towards us. But if you turn it, then you can see the blue arrow as well. So that just moves your object around in space. And notice that I'm double tapping undo because I just want it to be in the center. And this is one side note. I want to add when I do my sculpting, I like to use symmetry. So symmetry is very important with a lot of the things that I make when I'm sculpting a character. And it has two arms, two legs, two eyes. And I want to do things symmetrical because it cuts the time in half. Rather than, let's say e.g. if you were making a character with two eyes, rather than making one eye and then making the opposite eye. That takes double the time. So that's when, that's when mirror comes into it. So if I tap mirror and then I tap this red arrow, you see that there's two of them there. So essentially that's what this is. So I've mirrored it. It's in the front and I can make what I want to make. If I wanted to make two arms, two legs, I could just use the mirror. So that's why it's important. That's why I always undo. Because I want to, I want my shape to be right in the middle. And what happens if I move it? If it's not mirrored and I move it off. And then later on, if I want to, let's say if I validate, validate is it's not a primitive anymore. Now you can use all of the tools. So it's a set shape in your project. Once you use him, once you validated, then the symmetry can be a little different because we're not in the center anymore. So I would say to sum that up and make it less confusing. When you're starting to sculpt. Don't move things left and right too much like up and down is okay. Even forward and backwards. But you're probably going to want to use symmetry a lot. So just try not to move it that much in the beginning because symmetry is very important for 3D. Okay, so back to the gizmo. These arrows, move it around. We've already gone over that. See this orange ring. That's just your scale. And they have these cones which I never really use. There's also this flat plane that I don't really use. But these spheres, see the spheres here. Those stretch it. And let's say that you, you know that you want this to be the bottom, but you want to just make it taller on top. And you can use edit. So if you tap edit up here, you see all these other little tiny dots. So that's just how you can have more control. Oops, let's make it a little bigger. Let's say you want to stretch just the top. You can just grab this loops. If you tap on it, you can put in a numerical value. I'll just cancel that. But you can just drag it up and down. But for now, I'm just gonna get rid of the edit. We don't need it. It gizmo is just something that you'll get used to over time. And all it is, it just helps you move your object in space. So let's say we wanted to add a sphere on top of our box. So pretty simple. We just go here. We go to add, and then we find our sphere. And you notice the sphere is inside the box at the moment. So we're going to use our gizmo to lift it up over the box. Now we have this sphere on top of the box. If you wanted to lift the box over the sphere, then you just tap on the box. So you can tap on them. You can lift the box up. He wanted to box to be behind the sphere. You can move it behind. So that's pretty much just the gizmo. Let's bring this fear on top of the box. And let's make the box a little more squat, sort of like a like a like a little platform will make it will make it a little bigger. So let's say you wanted to add another sphere, but you wanted to make two of them. Maybe one here and here. That's pretty simple as well. We can just go back here. Hit Add. We'll go to sphere. And we can bring our sphere up with our gizmo. We can bring it forward. And then we can slide it over and we can shrink it. So right now we have our one sphere to the left side. But that's okay because we haven't validated. We haven't really talked much about validating yet, because right now we're just dealing with the primitives. So you see everything has this Validate button. And, but we're not gonna do that yet. So I'm gonna take this, I'm going to tap on this sphere. I'm going to hit mirror. So then it's going to mirror it. So right now the symmetry is set right down the middle. So anything that you hit mirror, it's going to mirror it on the other side. Like this. Symmetry can be very confusing at first. But just know that when you're in the front view, the default is right down the middle. If you want to see where your symmetry line is, you can go here to symmetry and you can't even really see them until you validate. So let me just do that real quick. Just so you can see, I'll validate this big sphere. And then I'll go to Symmetry. And then I'll scroll all the way down to show line. Here we go. Once I tap on it, then you can see the, the line down the middle. Okay, So we have a few shapes here. We've gotten started with our 3D object. So let's kinda dig in a little bit more to the Scene menu because there's a lot going on here. So we have our box and I think we can validate it and we don't need to mirror it. We don't need two boxes. We can just go ahead and validate it. So we'll just have validate and you see it turns white. And that's our box. And if you want to rename that, just tap these three little dots. So you have instance clone in name. We'll just hit name and we'll call it base. We'll call it the base. So now we have the base. And you don't have to worry about these too much. Obviously delete clone. If you wanted to make a second one, you can just clone it. And then you have base one. And that's just a second version. So now we have another, another sphere. And if you want to delete it, you just go back in here and hit Delete. So that's the base. We have our sphere here which we validated. So we could see the lips, which we can see the line. The sphere is already validated. And basically once you validated, all that means is that it's a set part of the project. And now you can use all these other wonderful tools that we'll get to in a bit. If you make a mistake and you validate something like let's say you validate it and you didn't mean to. You can just undo. And then you can write back to an invalidated shape. We have them, we kinda like where they are so we can validate them. When you look back here in the Scene menu. This is the sphere. If I touch the eye, it kinda just hides them and brings them back. You can see that they're underneath mirror. So that means that there's still mirrored. It's still fine. You can still move them as though they're sort of like a mirrored unit. Okay, so just tap this. We have this mirror here. We can actually rename it arms. So now that we have a few objects, Let's look at this little menu here. So you can see RAM. It has the used 52 mb free, 6,170 seen vertices 16.3 and then in parentheses 22.4. In our scene, we have a mirror here. So it's actually just mirroring this one shape. So it's not quite double because it's mirroring the one shape. So you want to keep an eye on the scene vertices 16.3 is fine. You don't want to get up into the millions. My system can go up until about five or 6 million before I start having issues. I try not to do scopes that are that big. So just something to keep an eye on. So right now it's fine. Scene vertices 16.3, all these shapes are made out of vertices. There's all these weird terms that I don't really want to get into because they can get very confusing. But there's like polygons and vertices doesn't really matter at this point in time. Just know that scene vertices is how big. Scene is how big your project is. And the higher that number is. Like once it gets to about 34 million, then you can have some crashes. The system might crash. There's different iPads, there's just different Android tablets. And they all have different strengths. And they might have more RAM or less RAM. So it's hard to say definitively where your point, where it'll be too much because there's so many different devices with so many different specs. So rule of thumb for now, if you're starting to go over like 2 million, tries to try to keep it as low as possible. So let's jump to clone. So if we tap clone, then we just cloned these two, these mirrored spheres. So let's do that again, just so you can sort of see what we did. So right now, undo it again. There we go. So if you're on a mesh, like if you tap on a mesh, then you go here and hit Clone. Then it'll double that. So let's say we wanted to make some shapes on the top of this sphere. Yes, this is gonna be like a little frog. So let's make some eye shapes. So let's tap on the sphere. Will go here. And we could do clone. Actually don't know if that's the best way to do it. We could do clone. So now we have sphere three and let's name it so we don't get confused. Let's let's name it eyes, even though it's only one eye right now. Just so we don't get confused. So we're on this layer. We can bring this up. Same thing will shrink it, and then we'll slide it over. So now we want, we want the symmetry back because the AI should be in the same spot. So let's go back over here. So we have I selected, we want to do the mirror. So let's go add again. And then we can go down and we can tap mirror, see these red. So we contend mirror. And then it mirrors it. So then it's almost the same. So it's sort of like we're sort of going backwards so you can mirror it before you validate it. But then you can also just take the eyes, go to Add and do mirror. And it's the same thing. So now we have this mirror here, we have eyes. And I'm just going to name the mirror. Instead of mirror, I'm just going to name it eyes. Okay, so now we have our two eyes. Do we like where they are? I think that's pretty good to me. Come pretty close to each other. And we'll turn our Canvas and maybe we'll just move it back a little bit. Okay. I'm tap front. Okay. So the eyes you number it's still a mirror, but we like the eyes. I'm not going to do anything else with them. Let's get rid of this one bracket. Because know-how I tap here and then like it's two brackets and that can get very confusing. But we don't need it right now. So we'll go to this one and we'll validate it. So once you tap validate on this red than on the mirror, it'll say join children. So that means that we're going to join these two spheres together as one. Doesn't mean we're going to move them together. It just means they're going to be one shape. So we hit Join children. Confirm. Now we just have eyes. And I know that can be a little confusing. So just practice. If we wanted to make, if we wanted to double this, we wanted to take these eyes. Let's tap on them. Ok. Oh, oh, this is another weird thing and this is specific to this this particular update. I don't know why. But sometimes the gizmo will just go to someplace that's not on the mesh. So e.g. I. Was tapping here and I didn't think that the gizmo would control this, but it does. If this happens. Now, this can be very, it confuses me often. If that happens, just go over here to pivot, just tap pivot, and then tap Reset. And tap pivot again. So a pivot is essentially the point at which your Gizmo, like the center of the gizmo, is your pivot. So e.g. if I tap pivot again, this is a little advanced, but I mean, I'm here so I might as well just tell you what I know. So if we tap pivot, notice that we have our, we have our rings here and we have our arrows. So let's say we wanted to make this vertical or tilted vertical for some reason. You'd have funny-looking eyes, but you can actually move the pivot point to the center of one of the eyes like that. And you can move in any way that you want. But then you would just tap the pivot button again. So now the pivot point is in the center. So now it's going to turn everything from that center pivot. So that's all a pivot is. If I want it to move. If I wanted to put the pivot point there, then it would just, you know, so the center is where the pivot point is. So hopefully that's not too much. I'm just going to undo and bring the pivot point right back to the middle, that's where I want it. So another thing I think is really important is keeping track of your scene. Reorganize everything from the bottom up to the top. Doesn't have to be that way. But I think that's just the more, the most clear and efficient way to do it. So we have the base. We have these arms. Here. There we go. So there's both of the arms open, actually have the base. So notice I have all of these checked. So if I, for some reason, if I tried to hide one of them, the other ones high too, which is a little weird, but I guess that's what it is. We're happy with our legs. We can we can validate this as well. So we'll validate join children. And then we just have our arms here. So we have the base, we add the arms. We have this sphere, which is kinda like the body. So that's up here. So let's rename it so we know what it is. Body. Then let's bring it down over the arms and under the eyes. So we'll just long press it and drag it down. And also be careful, there's always like these parent and children sort of links. And we didn't really want to link anything right now, so we'll just keep them separate. 5. Join, Merge / Remesh / Reapeaters: So let's get rid of this box and let's make it a cylinder. Let's make it slowly sitting on sort of a lily pad type cylinder. So we've tapped on the box, go to scene and we can just delete it. So we'll tap on here and delete. Or you can just delete from up here as long as your base is selected. Delete ad. So then we have a cylinder here. Doesn't really look like a, it looks cute, but isn't really like a lily pad. So let's shrink it. Remember the green moves it up and down. Let's shrink it with the green sphere. And then let's make it larger and shrink it. Or he could make it larger and then shrink it. So something like that. Let's just go ahead and validate. So now let's drag this up. We'll tap front on this little cube, will just drag it up. So it looks like he's sitting. Next. I want to use join and voxel mesh here in the Scene menu. So here's join. It's grayed out because I don't have two or more selections made. Now you can see join and also voxel Ramesh. So these two things are sort of similar, but they're very different. In order to use the joint and the box with the mesh. First, let's make the shape of our little frog here. So notice that right now we're in the front and let's spin it to the left or to the right maybe. So you want to see left here? Now we're just gonna use one of the tools on the body. So we'll take the Move tool. And right now my move tool is the radius is, let's do about 200. So you see these options here. And this is going to be wherever you are, whatever tool you choose. And we'll go through the tools now so don't get too confused about it. We're just using move. We're just going to use the, these 2 bar. So this is your size. The radius is just the size of the tool. And this is your intensity. So this is just how hard the tool is going to do whatever it does. So we have the intensity here and the radius, which is the size. And you also have symmetry. So remember, the symmetry goes down the front. So let's tap on the sphere, which is the body. And I still have my line there so you can see my symmetry line. So if I want to use the Move tool at radius 250 and full intensity, I can choose symmetry on or off, off one side of it. Undo symmetry on. Both sides. Actually haven't done a frog like that. So that's actually quite good. So let's bring the radius up a little bit. So we're just going to make it a little bit bigger. We're using the Move tool and we'll just slide it out like this. And notice I'm going to just slide my mesh back to the, back to the left. And I'm just going to stretch this out. And it's actually pretty good. We don't need to go too crazy with it. You can make it a little smaller and then just pull out the bottom a little bit. So something like that. It looks more like a nerd, like the candy. That's all we're gonna do with the move tool at the moment. But we do want to join. So let's go back to our scene. And we can actually use like the arms or the legs. Let's use the arms. So the arms are already down there. It's a little easier to just use the arms. So we're going to clone them. So we'll tap on the three dots. Clone. Tap on the three dots again and just rename them so we don't get confused. And we'll I'll name mine fees. Okay. So now we have the fetus will go to our gizmo. And again, the gizmo is lower than what it should be. I don't actually know why that does that. So we do pivot, reset pivot. And now the gizmo is, it makes more sense. Okay. Now you notice when I moved it over, it actually moved them all over. When we really want them to be symmetrical, we want them to move out. We wanted to mirror each other. So I'm just going to tap Undo symmetry, move them out of the back. And we can make them smaller. Let's I'll just move them out so you can kinda see what I'm doing. So I'm going to make them flattered as well. And we just want to tuck them into his sides. Definitely don't ever have popcorn when you're shooting. When you're trying to shoot. Because then one will get stuck in your throat and it will keep you from talking when all you need to do is talk and it'll keep you from talking. Still can hardly talk. Can I talk? And my back. Okay. I'm back. So we'll just sort of tuck them in. Kinda like this. I think that looks pretty good. If you want it to make them longer or something like that, you can make them longer. You could turn so that there were more forward, things like that. Using our gizmo. Going to make them a little smaller, move them back a little bit, something like that. And I think I like ok, so now he's got his little feet. So we can actually do the first thing that I wanted to do. So we have the fetus, which is selected here with this checkmark. We have the body and then we have the eyes. So I don't actually need to join them, but I just want to show you what that does. So we have the eyes, the body, and the fetus. So now I'm going to tap Join and you just see eyes. And that's all of them together. So join and voxel merge. They bring things together in two fundamentally different ways. Join, which is what we just did, brings them together. But you still have the ability to separate them. So you would just tap on these three dots and go to separate. Now you notice this is blue now. And I can touch the bracket and it just his eyes, eyes, eyes. You do lose your naming. But it's still has all the separate shapes. So that's join. Join you can use still it preserves everything that you've made. If you join things together, everything is preserved. You can always separate them at a later point. So now let's undo. Okay, so now we're back. I just wanted to undo that. Now the difference between join and voxel merge. Voxel merge actually joins everything together. So e.g. I don't know if I wanted to box will merge the feet because I don't need to. But let's box will merge the body in the eyes. So we'll go into our scene menu. Eyes. Body will check them both. And we'll go to voxel Ramesh. A voxel merge or voxel Ramesh, same, same thing. So voxel emerging, that's going to bring these objects together, but it's going to fuse them together. So sort of like you're soldering these, these things together. So they're gonna be one piece. You can't separate them unless you undo, which is just backing up a few steps. But once you voxel merge, then they are together. The meshes are joined together. So what's really important with voxel remeshing is this number, the resolution? I never use the build resolution, so I'm not going to go into that. And I don't usually use keep sharp edges because normally when I sculpt, it doesn't, it doesn't seem to really. So it says this option is mostly useful for simple primitive Boolean operation will introduce distortion in some areas due to the points being snapped on the edges. So basically what this little thing is saying, that it's good for a Boolean operation. I know that's really weird term. All that is is, if I wanted to do that really quick, just as an example, I'll make a new sphere. So we have with the sphere and we have the body. So to do a Boolean operation, you're essentially just taking one shape and subtracting it from another. And the way to do that. And this isn't, you don't really have to worry about this right now. But the way to do it, because eventually you will, is, so we have these two shapes and we're gonna do a Boolean operation. We're going to remove the shape of this sphere from the body. So we go to our scene. We have our sphere here. We have our body, so you select them both and then you hide. Again. I don't know why it does that. I'm a white hides both. But you select them both. You hide the shape that you want to subtract. And once those are both selected, then you voxel, you voxel merge them. And my rule of thumb is I usually voxel emerge at 200. So we voxel merged at 200. And now you see that it is subtracted that shape. So that's a Boolean operation. Boolean operation. So let me just undo this unneeded sphere. We can go back and essentially voxel remeshing. Again. It just brings everything together. So I do want to voxel Ramesh, the eyes and the body. And the reason I do 200. So I'll show you why. So we'll go to glue back to our scene. The eyes and the body are both selected. Voxel box will merge. Let's do 200 like I always do when 99, 200, same difference. So now I'll voxel merge. So once I've voxel merged, you see that everything is joined or whatever I emerged to his joined. It's a little, it's a little weird. You get these little weird marks. Now introduce the second tool, which is the smooth tool. So we'll tap that will make our Smooth Tool bigger with this radius, radius, slider. And the intensity I usually keep around 80 or so. Now we'll just smooth it out. And voxel remeshing it. 200 keeps the clay, I like to call this clay. It keeps it fairly soft. So that way you can get this nice smooth mesh. It'll be nice and smooth. You do have to go over everything sometimes when you ramus because you get these artifacts. But that's okay. You just keep symmetry on. We just use Smooth Tool and you can make your mesh really, really smooth and really, really clean. I do spend a lot of time smoothing. And if I have any issues, sometimes I'll just remeasure it the same number and I'll smooth again. Okay. Why do I voxel remains at 200. So I found that voxel remeshing it 200 keeps it's soft and it's easy to smooth and sort of move the clay around. It keeps it malleable. It keeps it does a good job of smoothing it out. But I can still it's still malleable in a sense, like I can still move it. The only difference is if I was to voxel remission. So let's go back to our scene. So if I was to voxel, remeshing it at a high number, that would add a lot of polygons. It would add a lot of size, a lot of density to the clay. So the higher you go, the more density. If I had really fine details, I might, I might voxel merge it at like 300 or 400. That way it will preserve those very small details. But I don't have any details. And you kinda don't want to work on details at this point when you're still making things because you don't need them. So just keep the number low. And 200 seems to be a good number for me when I do my voxel merging. If you do it too low, then it will be too soft. And when I was smoothing the top of this, these might start to deform. So when you emerge at like 50 or something, it might be a little bit too low. And which is good for the size of the project, bad for trying to hold shapes and details. So that's the only difference. So 200 is like a good rule of thumb for me. And I would say that, I would say to use that more often than not. The next thing on our menu is instancing. Instance is very much like clone. So if I tap instance, you see body one. It's very much like clone will go to our gizmo here and we'll slide it over. The only difference is since it's an instance, it's like a copy of this one. So if I take move, It's kinda move both of them. Now they're dancing. That's instance. And since we're here, I'll show you some other fun updates with this this version. So we have our, our body, our arms, our feet. So just for fun, let's highlight all of these. Maybe not the cylinder. We don't need to highlight the cylinder, so we'll, we'll check off the body, arms and feet. And then we'll tap clone. So now we've cloned them all. And unfortunately they clone one after the other, which is unhelpful from you at the moment. So I'm just going to bring them together. And then I'm going to select them all and I'm going to join them. So this will be frog clone. Now we have frog clone. I'm just going to hide the other ones. So now we just have our frog clone here. So let's go back into Scene menu, add. And then we'll touch will try array first. So array gives you this menu. And notice there's two frogs. Now, we have read The Count X offset x, count y offset y count z of z. Very confusing, but here's a cheat sheet. So if you use the gizmo, notice that you have green, blue, and red. And notice that the red is at number two. So that's how you know which direction that array is going. So you can slide. And I've made seven of them. And they all went out towards this red direction. So that's how, you know, seven count X red. And it's going in that direction. The offset, all that is is the space between, just like the song. So the offset, oops. We'll slide on the offset and it just spreads them out. Green goes up. So if I take, if I go here, I keep touching it. If I go here and I multiply an hour, I just slide to the right, change the offset. That's all that is. Z. Go like this. So now I have a bunch of them. But notice that my scene vertices are huge. So if I was to validate this, the app would crash. Because if I was to validate it, that would make them all real innocence. You don't mean like right now they're just kind of repeating off of one. But if I was to validate it, it will make them all real. And then my scene would be 18.8 and it would definitely crash. So that's where you have to be careful. And I'm not going to I'm not going to validate. I'm just gonna go ahead and delete the array. And then we just goes back to our regular frog clone. So we'll go back into our scene. We're still in frog clone. Add. And then curve. Curve allows you to repeat the frog on a, on a curve. So if you don't see this white line here which might not show up. Just tap edit. So let's say we wanted to make a couple of ways to do it. I mean, you can just tap in the middle and it'll add nodes, which allows you to curve. You can add more nodes or less nodes. You can bring the nodes together. And when they turn red, that means that they kinda go away. So if you wanted to make our little rainbow arch of frogs, and up here again count and there's no red, green, and blue. So the count is where you bring up. Now there's three, there's four or 56, and so on and so forth. And that's essentially what happens. Closed. You can see it just closes up. Our curve. Spline, spine just keeps it nice and curvy. If you don t have spine, then it's kinda ugly. It's kind of it's kind of rudimentary. Spline makes it nice and curvy. But those dashes, that's just extra. Okay. So, but it is a little confusing. But at least, you know, if you need it to make a frog rainbow, at least now you know how to do it. If you learn anything from this class. Probably won't be a frog rainbow. Now I kinda wanna make a frog rainbow though. I think that would be cute. Now I'm definitely going to make a program file. So next up, go back into seen frog clone. Add. Next up will be radial, which is one of my favorites. So we'll tap radial, radial. These can be a little confusing because you still have the radio and you still have the frog here. So radial is where you set how many frogs will radiate from one-point. Say, let's say the point is in the mid, is in the middle. And if you use radial and you make five, then they'll all spread out from the middle. So we're on radio here. You see, you have, we do have the red, green, and blue, but essentially you just want to use the green. You can see the four here. That's made it very funny looking. I could bring it to one and then it's normal. But once I go to 45 or six, then it just starts to make like this. The radius, you know, everything is repeated in a radius going around. So if I wanted to spread these out, I have to go back into the scene and go here to the actual frog clone. Once I go there, I just use the gizmo and I just pulled them apart. Kinda cool looking. So that's the radius. Pretty much. You can still spend them look like they're doing a little dance or something. So you can spin them. Obviously, you can still move them up and down. But that's radius r radial. Very, very useful. I'm just going to delete it to go back to my regular, normal frog clone. Next is mirror. So very simple for our clone add. And then you have Mirror. Mirror again. It does the same thing. Loops. So we're going to go back in here and go to frog clone. A mirror again, you can just mirror your frog. However you need. That's mirror. So let's delete our mirror and just go back to our regular frog clone. Actually, let's just delete it so it's in the right, in the center. There we go. I want to keep it in the center. Like I always say. 6. DynTopo / Lit(PBR): So before we move on to the next section, I just want to edit his little legs. And let's see if you can figure out my issue. So we'll tap on the legs. And you notice that they don't turn purple. And that's obviously because we're still on frog clone. Will hide frog clone and we'll just go back to our regular frog with the three sections. And I'll just drag the frog clone underneath and keep it hidden. So now we can tap on the arms and we'll use the Move tool. And right now they just looked too much like spheres. So I'm actually going to just drag them back into the body a little bit like that. Now let's move on to the next menu. Here. Looks like a little pyramid. You have multi voxel den topo, dynamic topology. And then you have deci UV. You have primitive. Actually never tried to tap on that before. So multi-resolution. I never really use it or pay attention to it, but I will do sub-divide. So if I was trying to add details to this and I felt like the clay wasn't dense enough. You can sub-divide it. And it will actually divide all of the vertices into. So if there's 25 of them, if you sub-divide, I think there'll be 50. So it'll just get that much more dense. But if you notice, right now, let's go in the body. So the body is quite big at 142. So we'll go into this little pyramid menu. And if we do sub-divide 142 k, we subdivided, it's 568 k. So that's a lot. So we can make some really nice details, but we sacrifice making a really big, heavy, dense mesh. So I'm just gonna go back. So that's multi erase. What's also similar? So voxel is the same thing that we did on this menu. It's the same thing here. So if you notice this little pyramid actually changed. So voxel is the same thing that we did on the other menu. So we've already covered that dynamic topology. You don't really need to worry about it now. So let's say if I wanted to add detail, but I didn't want to make I didn't want to change the multi-resolution. I didn't want to make it a really big, dense, heavy piece of clay. You can use dynamic topology. And once you enable it, you can add details. And they will be, they will be more clear because it will just add the vertices around whatever you're doing. So e.g. let's say I want to use the crease tool. And let's turn off dynamic topology and see how it looks. I'm just using the crease tool here. So now let's undo, will turn on dynamic topology and do the same thing. It actually looks pretty much the same. So luckily, our meshes and too low, our meshes, quite big. 142. If it was a lower mesh, then it would be a little bit harder to see. So e.g. that actually goes into the next thing. So this is called decimation. Decimation will lower the vertices in a mesh. So if you get to 1 million and you have a bunch of frogs and you're like This is too big. My, I don't want my, my tablet to crash. What you can do is decimate. So decimate will remove some of the vertices. It will make the meshes smaller. It will make your sculpt smaller, but you will sacrifice some detail. So e.g. I'll hit decimate. Now it's 71 K. Decimate, it's 35 k. Still actually looks pretty good. So now let's use the crease tool again. I don't have dynamic topology on. So let's use it again. Still, not terrible. Let's see what it looks like with dynamic topology on enabled. It looks better, it looks like it did before. So that's dynamic topology. It's a bit advanced. I didn't really learn what that was until I had been sculpting for awhile. But It's there, so I wanted to show you what it is. So again, that's dynamic topology. And what that means is you can add detail without adding a lot of density and a lot of size to the sculpt. It will add the size, but it'll just add it right around what you need. So it's sort of like it's creating a detailed mesh as you go along. So that only this part looks very detailed. So that's dynamic topology. Once you start sculpting a lot, you'll definitely run into situations where you're going to use that. Okay, so I tapped undo. So our body is back to where we started. It's at 142 to k. And so this next option here, the material, the body. This will come into play once we're not in makeup anymore. So we're just going to stay in Metcalf for now. Because there's a few details I want to do to the frog before we move to that next step. The first thing I wanna do is add some eye sockets, eyes, and then some skin folds, and maybe a little tail. So let's do that real quick. This will also be a demo for some of these tools that I use often. So make sure that you're tapped on the body will use clay. We still have symmetry on you can see. And clay adds clay, tap Undo, or you can hit sub and it takes clay away. It's actually kind of cute. So I'll tap Undo. So these are the eyes. So here's my size. My radius is about 85. Intensity. You can raise the intensity up a little bit. I'm staying in sub one, b sub. And then we're just going to make some eye sockets. So essentially I'm just going to make some circles. And again, it's not, you know, no real rocket science, just, just try to make some circles. Once it's at a place that we're, we're happy. We take the smooth tool. Same settings as before. Maybe make it a little smaller. And I just like to smooth everything out. I'm always smoothing on one side because we have symmetry. So we don't need to smooth both sides. Although sometimes I will go into the side. But it's probably just a human brain thing. So now we have some eye sockets. Let's quickly add some eyes in there. So we'll go back to where we were. This is a good practice. So we'll go to the scene, we'll go to Add, and then we'll want to add some spheres. Spheres always start in world centers, so that's below our frog. So we'll just drag them up or drag it up. We'll make it smaller. Move it over. You can just find the right spot for your sphere. We don't want it sticking out too far. A little more, something like that. So once you're happy, you can just tap mirror and the other one will show up exactly the same. Again, this is the big reason why I really like symmetry. It really helps with things like that. Then once you're happy, you can just have validate and you have your eyes. Remember to name them. So we have our mirror and our sphere will just validate the mirror. And then we can just rename it so we don't get confused eyes. So now let's use the inflate tool. Another one of my favorite tools, radius can be about 80 or so, intensity, around 70. So in Fleet will just drag right around this outer loop. And this is a good, This is a good exercise to and whatnot to do. See I forgot to tap on the mesh because I was still on the eyes. So you notice when I'm on the eyes won't do anything down here. So you have to tap on the mesh that you want to work on. So now we're back in inflate or on the body. And we'll just drag this around. Is it a legs? You can double it up. So we just made some little skin folds. And notice it's kinda ugly. So you can either do it again and see you until it looks nice and just give it a little smoother. With the smooth tool. I like to smooth everything. It just keeps your mesh nice and clean. So we'll take, we'll go back to inflate and just do the same thing over as little CDs. Smooth it out a little bit. And I think that looks pretty good. And also I want to give him a little tail so you can take inflate and you want to stay close to that, to the center. So now he's got a little tail and we go back to smooth. I'm just lightly smooth it out. So he's got his little tail there. If you want. You can even put you can use the inflate tool and you can do the same thing. You can make a little. Oops, little skin fold over his little tail. Notice this is the reason why I didn't join the feet and the body. Because now you have that nice clean separation and it's hard to get when you voxel merge them together. So this is how I sort of hide that. I keep them separate and I add the skinfold. Notice on the tail, which I just made. It's hard to get that crease. But you can manually put it in. It won't look as good. So we'll take the crease tool. Also. If your toolbox looks like, if your toolbar looks like this, just tap on it there. So we'll take the crease tool. Radius is about 30, some 30-something. Intensity is pretty high. Remember we have symmetry on. So we can start from here, bring it around to the center. So something like that. If you want to add a little more detail with a little tail. And then after that, I'll just take the smooth tool again. And notice you'll notice I do it almost automatically before I do anything. I take this move tool and I go over it just to make it a little more natural. I think that's pretty good. Let's give him a mouth. And there's a few different ways that you can do this. One way that I like to do really, really big mouse. So I'm turning him to the left. I'll tap on left. And there's the trim tool. Trim tool is really great. And you can easily figure it out. Lasso. You can lasso it. Polygon is a little more difficult. But essentially you can just add these dots, then hit the green and it goes away. And I'm just showing, showing these to you quickly because these are a little more advanced and I'm going to go through the tools one-by-one, but I don't want to get bogged down on the tools because there's just so much line. Pretty much cuts the whole thing. Rectangle does a rectangle. Ellipse, does an ellipse, sorry, poor frog, that so rude to do. So, we'll just use the lasso for the first option. And I'm not gonna do it this way, but I just want to show you. So we're using the Lasso. We've turned to the left. And then you just draw a really big mouth like that. Then he has a really big mouth. So that's one really easy way to do it. Another way, a more subtle way, is you can use layer. So we'll tap on layer. And let's turn our intensity up to about 60 and our radius to maybe around 50. You want to make sure that you have sub checked symmetry and sub. Now you can figure out how you, why you want to make your mouth. You can give them a really small mouth. At the top. You can give him a bigger mouth. When you use layer, just remember to keep keep the pen on, keep the pencil on the screen. Because when you let it go, it'll go deeper. So once you have a mouth that you're happy with, then we can go take this move tool and we can just smooth out the mouth so it doesn't look so jagged. I'm not pressing too hard. You can always load lower the intensity as well because this is going to be quite soft. So just smooth around the edges, Can smooth on the inside until it looks a little cleaner. Okay, I think that looks pretty good. Maybe I can clean up inside a little bit. Okay. And I like to add, I like to add some little details to this. So I'm just going to take the inflate tool and I'm actually going to add some. Let's go in closer is add some little, you know, I know it's a it's a frog, but he can have some you can have some details that just kinda make them a little irregular. You don't have to add them. But that's the sort of thing that I just like to do for fun. And it's always fun to stylize what you're doing. And again, I take the smooth brush and smooth everything over to make it nice and unnatural looking. But this is, this is where you can really have fun with it. And you really start to develop your own style. Like for me, I like to add those kinda like skin folds. Even sometimes they might not work. And then I just, I just delete them. But just remember that you can go ahead and experiment with this. Because that's the only way that you really figure out what you'd like to sculpt and what really keeps it interesting and exciting. Because that's a very important part of all this is you don't want to think too much about it. Obviously you guys are starting out, so you're gonna, you're gonna be thinking and you're gonna be overthinking. But once you know how to use some tools, think about ways to use those tools to really make it stand out. Use them to the best of your ability. I mean, that's what I do and that's what I like to teach. So I think those are good. He brought his need, those little skin things will just keep it normal. I kinda like that. So now that we're happy with our frog, we can take them out of mat cap. Again, you have to make sure that you don't want to put anything else around him, put anything on him. You just once you're happy with him, then we can switch it from Metcalf two. So we go here to this little option here, shading and see it's has met cap. That's what we've been sculpting in this red. So we're going to change it to lit PVR. Pvr just means regular. It's a base, white, whitish. And then we can start getting into the next levels. Then we can start messing with the materials and the lights and things like that because you can't light it and makeup. So I just use this for sculpting. Now we can move on to lit, PBR. 7. Surface / Environment / Lighting: So now that we've changed to lit, PBR, this is essentially our model and it's just plain, it's just the base white. And what I'd like to do is change this, change this to a more matt coloring. And it's just a preference of mine. But I find that I like to change it to a more matt white coloring. And then I'd like to light it. I like to light it before I start adding the paint, before I start painting, anything like that, I just change it. So in order to change the color, in order to color our sculpt, essentially, I'm gonna go down here too. Sphere. You can see it has a line through it. But if you tap on it, brings up the stroke painting. Now this is the same. So the painting menu is pretty much the same. It's also here. If you go to the Paint tool, you'll see that these options are up here and you go to this little paintbrush. So this is the same sort of thing. This is the material. Right now. It's a black sphere if you tap on it and you have all these other spheres. So these are all sort of materials. Different glossiness are different matte. If I wanted him to be gold, I can tap on that. You can tap on these and change his color pretty easily. So once you choose a color that you want, I don't really want this color, but that's fine. Once you choose a color that you want, you can do pain all. And it paints your sculpt. So like I was saying, as nice as this red is and it's actually kind of nice. I like to just do it a white color. So let's just go here. I usually go here. Same sort of thing. But you also have all these options here. So we have pain all force pain all I never usually have to use force panel. I just do regular panel. So the roughness is we don't really have a lot of lights on it right now. But roughness really plays a role in how rough the the meshes. So right now it's not that glossy. If I were to make it really glossy, I would turn the roughness all the way down. And now it's still sort of looks like porcelain, like it's really glossy. So I can bring it up to really, really rough. And then when it's really rough, almost no light, almost no light is reflected off of it. But again, we're using red and I want to go to white. So I'm going to use this color window here to bring the color all the way to white. So it didn't it didn't change because I didn't hit penal. So just remember to hit panel. So now I just want to test where I want it to be. You can either use this sphere or you can use the actual mesh. So I think that's a pretty good spot point for 50 or so. And then I'll do pain all. And I'll go to his feet. And then I'll tap on this and I'll tap pain all again because it stays the last paint whatever the paint job is, it stays there. So now I can touch his arms. I can go here and go pale. So also, if I wanted to, I could go up here to the scene. And I could select all of these. Then I could paint. I could paint them all and they would all change the same color. So that's pretty much how that works. But you'll notice I didn't change. Let's uncheck these. Somehow. I'm on frog clone. Uncheck that. So his eyes, I want to be glossy. I tap on the eyes. Then I tap on here and I'll just bring the roughness all the way down, all the way down, all the way down. Here we go. And paint all. So now the eyes are glossy. And Lina, what, let's give him two teeth. So I'm just going to use the eyes. A good or a scene. And I'm gonna go to the eyes and I'm going to clone. So now that I've cloned, I have eyes one. I'm going to tap the three dots and rename it to T fees. You can just call them teeth. Teeth if you like as a TIF. So now that I have Tethys here and I'm just going to use the gizmo. Again. I don't know why the gizmos all the way down there, pivot, rosette, pivot. Another backup. Now we can just move these down and move them out. And then just take the scale and make them smaller. And then you can just use the gizmo to position them where teeth would be. And obviously, we need to stretch them back. I'll bring it out so you can see what I'm doing. So I'm going to stretch them back because teeth aren't gonna be like gumballs. They're gonna be more like mentors. Like this. So maybe a little further apart. And maybe we can squash them down a little bit, something like that. Then we can move them back into his mouth. Then we can use the tilt on the gizmo. We can use this tilt to get them into position. And that's going to take some time to learn how to really use the gizmo most effectively. Let's make it a lot, Let's make them a little smaller. We can bring them down. So maybe something like that. And you can even make them smaller if you want. So something like that. I don't think they need to be as glossy as the eyes. And this is something that I think is really important. Textures like the roughness and the mat. They really pay, play a big role in how your scope looks. So try not to, unless it's something that all of the material matches, like everything is glossy or everything is met, then it's good to use different materials, use different surfaces. It'll just make it look a lot more professional and a lot nicer. For the teeth. I do like the gloss, but i'm I'm going to just ease it back a little bit so it's still glossy, but not as glossy as the eyes. And then I have pain on. Another fun thing that we can do, since we made our other frog and we made it a shape. Let's go back to our scene. We're frog clone is. And let's select it. And let's just move it over and maybe shrink it. Something like that. It's just an easy way to just add something else in the scene. If we want, we could even voxel merge. We can voxel merge it together. So let's go to our scene and go to voxel. Will voxel merge it or read voxel remits Ramesh, both pretty much the same. And let's just smooth. Let's just smooth out our little frog here. I don't know what we're gonna do with him. But That's the fun part. Sometimes it's just fun to have pieces. And this just kind of like enhances our scene because it adds something there. And if you want, you can even give them a little tail by using the inflate tool again. And you can just give them a little give him a little nub tail, then use smooth to just kinda smooth it out. So it looks a little more natural. Now at least he has a little nub tail as well. You can even cut it up to them to if you want. You can tap on it. You can cut it up next to him. Almost like they like it's a little buddy. Of course, if you wanted to use this frog, you could do the same thing. You could select all the pieces. You could clone it, and then you could shrink it, and it would be the same thing. So now we can start to light our scene. Let's go ahead and hide our frog clone. Because we just want to concentrate on lighting this guy. And because later on we can bring back the frog clone. But I don't want him to get in the way right now. So for lighting, this option here. So this option here is the same place where we changed from Metcalf to lit PBR. We can jump down to lights. So this is where you add lights to your scene. Lights are very important to make your scene look good. And to make the textures and everything looked good. Lighting is very important. So here your lights, here's your environment. Environment is also very important. And this, this environment is actually one that I made in Procreate because I want it to look a certain way. These are all the environments that are included in Nomad. Again, you just go to the shading window here, and then you go down to environment and you can click on it. It has all these environments that you can use. This is the one I'm using, but you can see it really changes the look. And this is basically all just the ambient environment. Because the environment is what really dictates the light and how things look. If we're inside some place that has warm lights, it'll look like this. So that's pretty much what the environment is. It's just the atmosphere. It's like if you walk outside, that's the environment. That's the that's the light. If you walk outside and you have glasses. The environment around you is what's going to be reflected in your glasses or in your eyes, things like that. So again, we'll tap on it. And we will tap on this route, this environment here, which is the one I use. And if you don't have it because I've included it in this class. So if you need to import this, then make sure that you've downloaded it to your iPad or that you've downloaded it and send it to your iPad since the image to your iPad. So just go to import photos and then just find the photo. And you can, whoops, you'll be able to add. Then you hit Add. And it will import to your environments. And you can use anything as an environment. It's just, I did a lot of trial and error and I think this looks nice for what I need it for. So this is the environment. But first, we're just going to turn it off by checking this box, this box here. So now it is black, it is dark. And that's what we want. The background you can see is gray. So let's just change that and just make that darker as well. So I'm gonna go up here to this little picture. You have background and then you have color. So we want to tap color and we want to bring the color down until it's a little bit darker. Something like that is good. Okay, so now we can start lighting our frog. So we're gonna go back to the lighting menu here. This little light. And we'll jump down to where it says lights. Remember it's black because our environment is off. So this is where you add a light to the scene. So this first light shows up here. And this is a world light. Or I think it's, it might be called directional late, a directional light. So a directional light is sort of like the sun. It just comes from a certain direction and it's sort of lights up everything. It's not very it's not very focused. It's just like a basic light coming down. So the light will show up here. In the old version, the gizmo would automatically show up for the light is. But now you have to tap the gizmo in order to move the light around. So we're just going to move the light over and up just so it's a little easier to see. But with this light, with a directional light. So with this default directional light, it doesn't matter where you place it. That's not what dictates how the light works. You can place it anywhere. The only thing that dictates it is where this white point is pointing. So e.g. all of this red ring, this blue ring, the screen ring. So if I move this, the light moves wherever that is. Even if it's coming from underneath, from below and coming up. So that's pretty much how that light works. So I'm going to delete it because I want us to have the same setup. So I'm gonna delete that light. Then I'm going to add the light again. Because now we know this is the default place that the light shows up. And I think we'll just leave it there for now. I'm just going to move it over and move it up. But I'm going to leave it in this direction so that we can have the same light setup at the moment. So let's go back in the lighting menu. You have the eye obviously, so you can turn the light on and off. And let's rename IT world. And also, if you tap on the light, you have all these options. Here. You can change the color of the light. Like let's say we want it to be cool. You can bring it up to a blue. And you can bring it over depending on how cool you want it. Something like that. You can change the intensity. So right now it's on one. You can bring it up until it looks ridiculous. But we'll leave it at one for now. We'll leave it at one. And this is just the shadow so we can leave everything else where it is. So let's make a new light. And remember, that's why I always name these because I can, sometimes it's hard to know which is which. And the second light right here. Let's tap on this little icon on the left. And let's touch spot. So this is a spotlight. So this does matter where it's moved. As you can see, I think for this light we want to put it behind him when I shine it on his back. So you can sort of see it on this side because this side is very dark and we want to lighten it up. Maybe give him a nice rim light or edge light. So you might have to turn your Canvas to make it easier in order to see the directions because the light it, because sometimes it can just get a little bit confusing. So I like to turn it on the top and then you can move it in the place that you want. So we'll move it here, maybe over a little bit. Okay, now I'll just move it back around. Then we want this part to be facing him. So let's use the red so we can sort of move it. And right now obviously it's not pointing in the right direction. So I'm just going to continue to move this until it's where I want. So maybe down over, maybe back some, something like that. So now that it's pointing to the shadow side. So when we look at it this way, you can see that nice, that nice light right here. And now you can just dial it in until it's how you want it. And I think that looks pretty good. Maybe I'll bring it a little bit closer. Actually looks better, a little bit further away. So something like that works well. You see it's shining on his back a decent amount. But when you look at it from this view, then you see that nice lighting. This sort of eats into the shadow. Here we go. I think this looks nice and this is a good point to save this view. Because it's good to have a view that you want to continue to work with that way if you turn it and change the lights, you can always go back to this view. And this is really easy. You just go to this camera and you just hit Add view. So we'll change the name of this one by pressing here, and we'll name it front. And also while we're here, we can change it from orthographic to perspective. I like to put it on ten. 8. Illumination & Color: So now maybe we want to add another light, maybe coming from the top looking down. So I'm gonna move my scene back a little bit. I'll go to my lights. And we didn't name this one. So I'm just going to name this one edge light. So let's add a new light. And we'll change this by tapping here to a spotlight again. We'll go to our gizmo so we can move our light around and we'll move it up. Then we'll just position it will change our Canvas, whatever makes it easier for you to kinda get it in the right spot. So we just use the gizmo and just try to get it to where it looks pretty good. You might want to put it a little bit loops. You might want to put it a little bit in front of them or a little bit behind him. Whatever you think looks it looks nice. I think I like that. I feel like it might be a little bit too bright. So I'm going to tap here. Anytime you're on a light, there's always these little black box. So that's sort of a shortcut to your details or to your light settings for each individual light. So for this top light, I'll tap the settings. And here I can lower the intensity a little bit. If I think it's too much. And maybe I'll change this one to match the other light. I'll make it a little bit more blue. So now I'm gonna go back into my light panel and I'm going to change the name of this to top. Top is fine. I should've said overhead, but that's okay. And just to show you the last light, I don't know if I'm going to keep it. But just to show you the last light will add, it, will tap the light. And that's a point light. It always starts out super bright. So I'm going to scroll down on this intensity. And maybe I will just change the color of it to maybe a yellow. So for this point light, maybe I'll move it down and move it over. And I'll go to my settings and just turn down the intensity a little bit more. So the only thing that I'm not that I don't like about the point light is I don't feel that it respects the shadows. And it looks like that that might be something that's changed in this in this update. Let's make the light really bright and just check, check to see. It does look like it's sort of respecting them, but I can still see if the latest here, it really shouldn't be inside the mouth. So that's the only thing that I have issues with. But you kind of get the point of a spot of the point light. I don't feel like the shadow would be the light will be so deep in the mouth from all the way down here. But that's spotlight. I don't usually use it that much. If anything. I'll just use it as a I mean, excuse me. That was the that was the point light. The directional light is the one that I do use often. If I wanted to add a little bit of flavor to the side, I'll just use my gizmo on the spotlight and just sort of maneuver it. Maneuver it over to the side of him. Maybe move it out a little bit further. And also with the spotlight. And there's a lot of options with the spotlight. You can change the softness, really soft or really hard. And you can change the cone angle to really wide or really small and concentrated if I make it really small. And then I take away the softness. See it's almost like a stage spotlight. I usually like it to be soft. Maybe we won't make it so yellow will just make it warm. Okay, I just want to raise the cone angle. And this is a little advanced, but you'll notice these dots. These dots are the same thing in the menu. So if you go to the lights, if you go to this spotlight, it has softness, cone angle. And these lights sort of work the same way as you see. This kinda just points the light. I'm gonna go back to where it was. So that just points the light. Beige one is how wide the lightest, the cone angle. And this is the hardness and the softness. So that can all be a little confusing. You'll learn more about that. But the reason why I told you is because I want to I want to I had the cone angle a little small and I just wanted to lighten up the whole thing. So I just wanted to make the cone angle a little bit big and I'm going to just show you everything that I'm doing. So what we've done so far, if you remember, I may dislike cool and I made the world like cool. So I have two points of cool light and then I have one point of warm light. And actually the back we can probably make warm as well if we tap on this light. And it's already a little bit warm, but we can make it a little warmer even because it's nice to have two different temperatures hitting on both sides. So once you get your lighting to a place that you like, we can add the environment back. So we'll go back to the lighting menu. We have our environment. Now it's gonna be really bright at first. So we're going to have to lower the exposure. So now that we have the environment back, you can see it's very light and we have exposure and rotation. So the exposure we just want to bring down because we've already set up our lights. So now the, the environment will just, it'll be like a fill light. So these spots that are really dark and it's sort of just will level out your your sculpt. Sometimes I use it, sometimes I don't use it. So let's just bring up the exposure to a place that we like. I think that's pretty good because it lightens it up a little bit, but it's still keeps the nice shadows. So e.g. if I was to go a little bit more, it starts to get a little washed out and we lose some of those nice dark shadows. So that's why I'm so crazy about finding the right spot. Because I want it to be, I want it to be lit and easy to see. Now some of those dark shadows, those dark shadows, or what makes it look realistic? I think 1.38 is a good spot, but, you know, give or take. This is also a preference. Okay, so let's color the frog. But first let's just change the texture of the base. So if tapped on the base, and we're gonna go to our little pink circle here. And let's just, let's just darken it a little bit and turn up the roughness to about phi, about half 0.5. And then we'll just hit panel. There we go. Alright, so now we can paint our little frog character. This is where the fun begins. It starts to look like a real 3D painting. I do love it. I like the white and the matte white. But painting is always fun. So first, we can type a little camera and we can go back to our front view. So this is the view that we liked. And notice that I actually saved it while it was still an orthographic. So an easy fix for that. It should just go to perspective. And I'm going to bring this back down to ten, where I liked it. Now see this little arrow pointing down in the circle. I'm going to tap that and it's going to update it. So now we have it exactly the way we want it in perspective. And with the vertical foot FOB field of view is at ten. Also. Let's save. So we're going to tap this folder here and then we're just going to save. Okay, So now, now our little frog is saved. Okay, so let's color. Tap on our frog or a little base here. And we'll go to our little color circle and we'll figure out what color to make him. And I usually like to bring it up here. And you can scroll through the colors. You can color them any color that you want, of course. But I think I'll stay traditional and keep them with the sort of greenish, yellow, yellowish green, something like that. So we'll go paint off. And now we can tap on the eyes. I was thinking about making mine just black. So we'll go to black and we'll turn down the roughness. So they're super glossy. Okay, so now the eyes are black and of course you can make them other colors if you want. You can make them yellow, something like that. But I just want to keep it simple and just paint them black for now. Because once you start getting into making really elaborate eyes, it gets very complicated. And I want to try to move through this without confusing you too much. So now he's little Tethys. Tap on the little teeth. Wood or a little color window. And let's make these. They can be white or they can be a little bit off white, which is what I tend to do. And you can tell that I'm a stickler for details. So they're a little bit off white and paint. Now we need to match the feet and the arms. So an easy way to do that. You can tap the little paint circle and then you can tap this little eyedropper here. So we'll tap that and then touch the paint. So now it is back to whatever color you touched. So we can go to the legs or the arms. Will tap this one at pain all. And same thing with the little fetus. Will tap this phenol. Now he's nice and colored. And you can change the color of this as well. So let's say we want to if we want to give them a background. Well, I guess we did want to make this sort of like a lily pad. So maybe we'll just use another color of green. Another shade of green. Not sure what Lilypad color would be, but I feel like it would be dark. Like lily pads are sort of dark. Maybe something like that. You can play around with the roughness. But I think that's I think that's pretty good. Okay, So a few things that I noticed that I kinda wanna change as I want to bring the teeth up closer to the edge of the mouth. And I want to maybe change the background color. So the first thing I'm gonna do is change the background color by touching here. And we had made it a darker gray, but I think we want a bluish color. I think that will look nice. I think I like something like this. Make it a little bit lighter. So you can pretty much choose whatever color you want. And now that I've made the background, sometimes it's nice to add a light to match. Now we made these lights pretty cool. But let's see what it looks like if we add this backlight. If we change the color to a blue that's sort of matches the background. So I'm gonna go into this blue color. And let me just go into it again because I noticed I kinda did that a bit quickly. So we're going to touch on the backlight, and then we're going to touch on the shortcut. Then we grab the color here. And let's just make it more of a blue color. You can even bring it darker to make it a little more rich. Something like that. You can press the X and maybe even a little more intense. So this looks sort of give the illusion that the environment is affecting his bouncing off of our little frog here. Let's do the same thing with this top light. So let's touch here, and let's just make it a little more, a little closer to the background color blue. Now for the teeth, I'm going to touch the teeth. I'm going to open the gizmo. Ever useful gizmo. And I'm just going to bring his teeth and closer to the front of his mouth. Just so we can see them a little bit better. Alright, so let's change the material of his skin. So we're going to tap on the body. And then we're going to go to this round globe here. And we have our materials. Opaque is just the regular default material, which you can't see through. Then we have blending. So if he tapped blending, you can change the opacity. See he becomes see-through. Except for his little legs. Poor thing. We have refraction. Refraction is almost like a like glass or like frosted glass. Then you have things like reflectance. We can change how reflective it is. You can paint a glossy here. If you wanted it to be like glass. You have absorption. So there's a lot of options you can play around with. With refraction. There are very, very useful surface glossiness, interior roughness. So all of these you can just play around with and they will give you a very different look, your frog and they can get, they can make it look really, really cool. So that's refraction, really fun. Subsurface. Subsurface is more of a subsurface will get you the most realistic because the light coming through, we'll actually shine through it. So let's go to sub-surface loops and look at some of these details. It looks like it got really glossy for some reason. I'm not actually sure why. But it seems like when we set the refraction, it seems like when we set the refraction, the glossy paint sort of sort of took over. Because now the subsurface. But a way to do that again is we can take our little eyedropper, grab the color of this. And then we'll go back into the color and we will bring up the roughness until we get it to a place that we like. And I like it to be too where you can just see these highlights. I think that looks most natural to me. So now we'll do pain all. We have a nice material. I want to show you the beauty of let's do this. I want to show you the beauty of subsurface. So we're going to touch on this light that's coming in from the side. Let's bring it really close. Then let's tap the options. And we'll just raise the intensity. So see you in the mouth. You see how we have that redness. And that's because you can see through the material. This isn't really the best. Let's see if I turn these lights off. When I turn the other lights off, you can see that certain places, the light is actually shining through the material. So that's one of the great things about subsurface is that it gives it a realistic look. And it's and it's see-through. And it just makes sure it gives you a sculpts a very nice look. You can tell that I'm really excited about subsurface case. You were wondering let's put the light back. I'm just going to undo. Okay. 9. Explore Break / Subsurface / Post Process: So I hope you guys are enjoying the class and I hope you're having fun. I hope it hasn't been too overwhelming. I just wanted to sort of take a little mental break and just kinda have fun with it. If there's anything you want to change or any colors. And there's always things that I want to change what I'm doing, these scopes. And of course I just wanted to record them all so you can see what I'm doing. So the color of this for some reason is bugging me. So I'm going to use my eyedropper, touch the green. And I guess I must be still on the eyes somehow. So what happens? So I'm still in the pivot mode thing. So let me get out of the pivot. I think I just wanted more of a matte. I think I like more of a more pastel looking colors. I think that's what it is. So maybe something like that is better. And then the blue and the background, maybe I'll just make it a little more gray. I'm actually don't mind the blue, but I think I wanted a little more. We want a yellow. I kind of like yellow. I kinda do like the yellow. But I also like to match. Sometimes I like to match the background and the so if I do yellow, I might just do a yellow for the lily pad as well. Even though it doesn't make sense. And actually it's gonna be hard to match that color, yellow. It would be easier to match the background with the Lilypad. So let's see what that looks like. It's kind of an art in itself to sort of try to find, find this colors and make it, make they look kinda seamless. But I can already tell that doesn't really look right. Well, I feel like I'm getting closer. But sometimes it's nice to have the back, the backgrounds and stuff sort of matching. But I usually don't usually can't make up my mind. Or maybe a more, maybe that's a nice That's kinda nice. Let's stick with that. So I just changed the blue color. And since I did that, I'm going to change the color of this as well because I want to sort of match the blues. I like to match the sometimes it's a bit hard to even like find the right color. Let's play with the overhead light. This light, That's the top light. Let's see what happens if we make that white. White actually looks good. Let's see what happens if we make it warmer. Now I think just white looks good. I don't think it's too bright. Maybe you can bring the intensity down a little bit. And then we have our world light. Let's see if we change that to just white. I don't mind a little bit of the blue there. I think I want it to be a more purply blue. Closer to our backdrop. That's white. I kinda like white though. Maybe just the slightest bit of cool. I think I like that better. We have our sidelight. Let's see what that looks like. Just white. With a little more intensity. I kinda like that. I think that looks nice. And these are the kinda things that I that I spent a lot of time on. And the more you sculpt, the more you'll, you'll sort of figure out little nuances. And look at my work, look at other people's 3D work. Look at 3D work that you really like, that you really enjoy. And try to, try to really hone in and figure out what it is you like about the lighting or what it is you like about the scopes. That's the only way that you really learn how to do what you wanna do and how to make the scopes look how you want them to look. So he's lit pretty well. We changed the body to subsurface scattering, but we didn't change the back, legs and the arms. So let's go to our scene and will go the arms and the feet. So we have those selected and we want to change those as well to sub-surface. Okay. So while we are while we've just changed those subsurface, let's go back to the scene. The arms and the feet are selected, but let's select the body as well. Now all for all three of them are selected and they're all subsurface. So there's a lot of things in this menu. When you saw it before. The inside you can tell was like a reddish color. And that's this color right here. Let's see if there's a way that I can. Let's turn off the environment and let's turn off the world light. Okay, so I've turned off all the lights except for this light. And I'm going to try to turn up the intensity. And I'm going to move this light behind it so you don't have to do this. I just want to show you some of the options here. So I'm just going to move this light behind him. Whoops. Move it towards him. Maybe I should turn the environment back on. Okay, so now we can sort of see through him That's subsurface. So you can see underneath It's a reddish color. So if we go back to sub-surface, whoops, let's, let's get our feet, arms, and body. So let's select them. And we'll go back into the materials. And this is that color. So now we can cycle through and you see that it changes. So if we put it to a greenish color, then that shine is going to come through as green underneath. We put it back to that reddish color. It's going to be that orange-ish depth. You can play around with this. This makes it more or less, more or less dense. So now you can almost see through the whole thing. Although it's as though it's made of wax or something. Then there's translucency where you can turn it down and it's solid. You can turn it up and it's the most translucent it can get. So that's pretty much subsurface. So now I'm just going to back out and bring it back to where we had it. Okay. Okay. So now we're back to where we had it, where his body is subsurface and he's looking happy. Okay, so let's save, first and foremost, let's save our project. Once we've saved, we can go on to post-process. Now I think he looks pretty good. And there's a few other things that I would do, but I don't want to over-complicate it or do too much. One of the things being is, I would color in sort of along the edges and along the bottom. I would color it in darker. I feel like I should do it now that I'm talking about it. I guess you're here. If you want to learn, I guess I'm just gonna do what I would normally do. So with each mesh, the eyes, the teeth, you can add layers. Layers are very, very useful. Let's say you want to paint a design on it, but you're not sure if you want to, maybe later on change the color. You can use layers, just like Procreate or any other thing where you can use layers. So let's say the body will tap on the body. And I want to do some darker accents. Maybe like around the edges. So I'm gonna go to my paint. I'm going to go to the Eyedropper. So now I just touched the skin. I'm gonna go back into paint. This is the same exact color of his skin. So now I'm going to drag this and make it darker. So once that's darker, I'm going to go to the Paint tool. Now I can paint on him. But the thing is, is I don't want to paint right on this because what if I want to change the color of him later? Or if I want to do something else to his paint, his color or something, I don't want this to be directly on skin. So undo. I'll go up here to this stack. Right here. Layers add a layer. And now we have our layer here, and we'll go to the name it and I'll just put it, I'll just make it darker. Now we have a new layer. We using our paintbrush radius is about 66 or so. And now we can color in. I'm just going around the edge. Maybe back here. Symmetry is still on. Maybe along the edge of that. And maybe along the bottom. And maybe around the edge of the eyes, eye sockets. So I think that's pretty good. Here's another pro tip. Now that I'm a pro, but the smooth, Let's tap on smooth. And we want to smooth out this color, but we don't want to affect the mesh. So intensity can be brought all the way down. But before we do that, tap on the smooth and hit Clone. And then you can rename it, say Clone. Or you can just rename it to color smooth or something like that. Color smooth. Now on the bottom you have color smooth. And this is just a clone of the smooth tool. But in color smooth. Turn down the opacity all the way. And now we have our radius. We can go in here, and then we can smooth out this color into a really nice blend. So this is just blending the color, make it a little bigger. I'm just blending in that color along the bottom. And we can also blend in around the eyes. So having that color, color smooth is really, really useful. I use it all the time. Now I have an extra one. Mine's called smooth color, but it's the same thing. So I'm going to delete this one because I have smooth color. Now I'm just gonna do the same thing with the front legs and the rear, that little fetus. So I'm going to tap on it. I'll make a new layer darker. We'll bring our tools. And then I'm going to touch paint. Symmetry is still on and I'm going to go around the edge. And maybe along the bottom. Same thing with the feet. Tap. Add a layer darker and you don't really have to name them anything. I'm just kinda doing it for so it doesn't get confusing and stay consistent. But I don't think I'm going to do anything else with these feet. So it's not like I'm gonna get confused. But I just want to do things to stay consistent. So you'll know what I'm doing and why I'm doing it. But since I do it so much that there are certain places where I know I don't I won't have to. When I go back to these front legs, the darker layer is still selected. So I'm just going to paint a little bit more back here. We go. And I also need to go back to the body. Whoops, let's go back to the body and paint right here. Because I noticed that was sort of bear smooth color. Make it a little bigger and then just move this out. We'll go to the leg. Smooth it out. That's a nice smooth. The reason why the leg is smoothing out better than the body is because the arms are only 12.2. So that's not very dense at all. So the clay is still very soft. And that affects how the color blends. The body is 142 k, So it's still smooth. It's just not as blended as the legs and the feet. So what I'd like to think of what we just did is sort of manual ambient occlusion. So it's sort of manual. Shadows that, you know, like the skinfold would have a shadow. So we're just adding in those small manual details that are going to help us later on. Okay, so now let's jump to the greatest tool of the mall post-process. So this will make your look. This will make you look, this will make your work look like the final render would. So this is processing all the lights, the colors, everything, and making it look the best that I can look. So first let's just save. So now we'll go back to this little shutter looking icon and we'll tap post-process. And as you can see, some things are like sort of out of focus and things like that. I like to keep these on Mac samples full resolution because I dislike, I like it to be the best that it can be rendered resolution I'm going to raise to the max. And let's tap on our little frog here. And I noticed that sometimes I have to tap in front of him for him to be completely in focus. If I tap on him, he looks a little bit out of focus. But if I tap right in front, then he gets it comes into focus. And we'll get more about that in a second. I keep both of these checked. Both of these options I keep checked ambient inclusion, which is sort of what I was talking about before. If you turn it off, you can see that you lose some of those shadows. But he turned it on and then you get that deep shadow in the mouth and things like that. And you can adjust these and play with these. But I usually like to keep them. I just don't keep them this high. But that actually looks good though. So sometimes you just have to play around with the levels and see what you like. So that's ambient occlusion. Depth of field of course, just makes it in the whole thing and focused or it blurs out the back. And also depth of field looks, the less you have, like if we hide, if we hide the back, the Lilypad. By touching that, then you see the depth of field is much more. It's just doing the depth of field on what's well we can see. So if we touch any part of this, his legs are out of focus. But if we bring the lily pad back, where's it at? For bringing the cylinder back? Then there's a lot more to work with. So you can see the back of the lily pad is way more out of focus groups. And you can see the near blur. You can turn that down if you want. Just the back will be out of focus or you can have the back-end, the front, which actually looks pretty good. Then you have Blum. Blum just deals with like the reflectance bike off of the surface. So if I turn it off, you might not be able to see too much of a difference. But if I turn it on and I raise the intensity a lot, then you'll see that it starts to get sort of shiny. So that's bloom. I really don't know how that, how that looks. I don't think I want it to be that blew me. So we'll bring it down. And I kinda wanna make it be a kinda want to make this blue color more of a blue color. I'll do that in a second. Okay, So that to post-process, there's tone mapping. So if I turn it off, It's a little bit lighter. And you can play around with this until you get the settings that you want. You have exposure contrast, saturation. You might have to dial it in until it's where you like it. Yeah, I guess I had mine on income. I like it off. Color grading the same. You can change. It actually looks cool. You can go to each of these colors and you can play around with it. And it will slightly change the way that your whole scene looks. And then you have some other options here that you can sort of play around with. Vignette that makes that darkness around the edges, which usually looks pretty nice. You can turn it off for this scene. Then you have all these other options that you can play around with. But we don't really need to mess with those right now. These are the main ones. And the only way that you'll learn it is just to play with them, see what they do, adjust different things. And especially on this model since we've made it this far, this is really simple, so you can play around with all this stuff and see how it works. 10. Glowing Frog Nuggets: Let's add back our, Where is he? Frog clone? So we have our frog clone here. Let's, let's instance. So we have our frog clone. And I'm gonna instance him. And I'm going to keep that one. And you notice I just dragged it up so that it's linked with the frog clone nominees, the gizmo. And I'm going to move this one, maybe back here. And maybe I'll even make it smaller. And then I'm gonna go back. And I'm going to instance, Whoops. So maybe you need to instance that, there we go. So I did another instance. Let's just make these a little different. We'll go back up here will instance again. And maybe we'll, we'll make this one really small. So we'll make that really small. And will instance again. Maybe we'll do one here. Just trying to keep them sort of random instance again. And I'll drag one all the way over here. I think we need one. Maybe looking that way. Maybe we'll make this one bigger. Okay, That feels random. I feel like we need another small one. I want to make this one big. You can tell now I'm just kinda going crazy. K, It looks good. And I'll just add another small one over here. Maybe looking off the other way. Okay, so now he has some little friends. They're all instance. Let's select them all. And maybe we'll make them like I want them to be pink. Okay, so they're all pink. Let's say we want to make them, let's really go crazy. Let's collapse this altogether. And then I'm going to clone it again. But this one, I'm gonna go into the material and make it an additive. So now they're sort of bright pink and you can do always unlit. And that actually makes them glow. If we wanted to make them glow. So if we go into post-process now that we have like these really cool looking, glowing pink. Let's go back to our ys. This all of them. This is all of them. Let me go back into the material. You can, you can adjust, you can make them brighter. But I think that's kinda fun. Didn't really need to be glowing, but I just wanted to show you show you what that's like. If they were glowing, can sort of make it dark and have them going, there's just so much you can do. So much fun. But I get here, I just have so much fun with all this stuff that is really hard to stop. So we have the original frog clones. Let's change the color underneath to a darker pink. Roughness. You can get a different look. You change it. Let's change the ad, the additive. Let's change that color. Maybe a pink like that. So I just wanted to bring you in on that on that process. Now I have to change the colors of these back to penal. Oh, actually, I mean, we can save our project, but let's make sure post-process is on. All this is on render resolution is up k. All this looks good. So to save, go to this folder. Scroll all the way down to Render. And we can just do screen for now. We'll do screen export, PNG. That'll sort of count up to 50. Then we have our sculpt. So we'll press this little Export button and we can save image. And now it's saved to our computer or to the iPad. That's a nice view, so we'll add that view as well. Then I just want to make it brighter. So I'll turn back on the environment which I forgot to turn it off. Just make it brighter. I think that looks nice. And I'll export this to. Okay, so then we have our frog, and now you have it all saved. And now you are well on your way to making great nomads scopes. 11. Awesome Eyes! : But now we're going to continue to play and mess around. So I'm gonna make this a little brighter. It might even be nice to make this a spotlight. Let's see. I need to back this lineup. I think. Let's grab the color. Let's see, maybe I want to change, make it more rough because the light was shining on it a little too. Now, not my, not to my liking. This is way too bright. Is that this light? Now it is. So I just want to kind of get that light off of the off of the ground and off of the background. The bat the ground in the background. So I'm going low with it and pointing it up. And I also, I don't know if I want it necessarily as bright because then you can't see the blue. I want to be able to see the blue in it. That looks better, at least I can sort of see it a little bit better. Let's make this a little more mad. I don't think I need to see that. Gloss. I did want to I didn't want to change his eyes, which I love doing. So I do have a few issues with the eyes, so let me turn off post-process. Then let's go to clay. I kinda wanted to just know what they need to be on the base. I'm on the bass sub. I wanted to do that. I wanted to flatten out. I wanted to flatten out the wrist flat. Make it nice and flat. I think that looks better. I wanted to drag. Sometimes you can drag the corners of the mouth up a little bit. It looks nice. Okay, Let's make really, really cool, interesting eyes. So we have our spheres. And the first thing I'm gonna do is change the sphere, change the material to refraction. That's number one. I'm going to tap absorption. I'm gonna go to the absorption color, tap and go all the way to white. So now I'm going to change the color, the stroke painting to white as well. And I want glossy. Alright, so now they're white and now they're glossy. On the body. We're going to add a layer. And this is going to be I whites. And we're actually going to paint all of this white on the body behind our little clear sphere. And to make it easier, you can actually hide the eyeball. And I'm gonna make it yellow. Should be a little more precise, but it feels good to paint them quickly. It looks pretty good. And you can go around the edges and you can erase it if it came out around the edges anywhere. Especially since I used that gloss. I don't want it showing. Right, so we're doing good, doing good so far. Now, let's take our, we can actually take the eyes and clone them. And then we want to change the clone to an opaque. And we want to color it black. And we want to paint it clever it rough, pain all. Now we take our gizmo and we shrink it. We move them over like this. And I can actually see there's some issue with the mesh behind it. So what I'm gonna do is I'm going to, I'm going to go back to the body. I'm going to go to the base. I'm going to smooth that out, make sure post-process isn't on, okay, it's not. So I'm just going to smooth this out here. I'm not sure why it was like that. I'm just smoothing it out a little bit. So now we'll hide these circular eyes that we just made. So we just go to P1, will hide them. And I wanna make plus shape eyes and eyelash. I mean, obviously frogs don't have eyelashes, but my frogs always do. So it's kinda look like this and it's going to look like this. So in order to do that first, we're going to add a sphere. We can bring it all the way up. I do have a light up here, That's why it's so bright. And we can paint this black. We want to bring the roughness completely up. So we have our sphere. It's not validated, but we can go ahead and validate it. So now we're just going to tap symmetry. Now we're just going to pull, pull the sphere until we have a nice pill shape. Something like this. We can turn off symmetry. So now we can do pivot, pivot, reset pivot. And now our pivot is in the middle, which is where we want it. And we can make are you can make it a little bit smaller because right now it's huge. And we'll bring it down. And now we just want to clone this one. So we're going to clone it. You can do that here in the scene. You can do it here. We can go to the sphere that we're, that we've just made, let's call it, Let's rename it to Pill Hill H for horizontal. So we could go here and clone it. But you could also just clone it from here. Contempt clone. And then I'll use this blue ring to spin it. But that's actually a little less precise. So I'm going to undo. Here's another little trick. You can go here to snap. So we'll tap snap and you see this 90. You can change this number to whatever you want. But 90 degrees will only change it. 90 degrees. Well, we forgot to clone it. So let's clone. And now we'll do at 90 degrees. Then we have our r pluss. Go into the Scene menu and we can join these two. So we'll make sure they're both selected and then we'll hit Join. Now we have our let's rename it to pill. Eyes. Let's put it right next to P1. So we'll just drag it up right by P1. We can go to our gizmo and then we can just bring this down and place it right inside the eye. So I'm going to place it on the left side and we'll have to just manually mirror it. But we know how to do that. So now I'm just going to shrink it. You can see it in there. Now I'm just gonna move it back until it touches the back surface. And I want to tilt it back because it's obviously you can see that it's tilted forward a little bit. But I just have to remember to turn the snap off. Otherwise, it won't. It'll only go 90 degrees. So we'll turn snap off and then we'll just tilt it until it's nestled lightly in his eye. But I tend to like my eyes a little more towards the center. You want to have the eyes a little more towards the center and you always want to do that. Whether you're sculpting, whether you're doing 2D, when you make eyes, don't make them directly in the middle. Put them a little bit closer to the inside, that whether looking straight. So we'll go back here. We're already on pill eyes will do add. And then we'll just go to mirror. And it's still mirroring down the front half because we never moved our frog. So it's just mirroring directly on the other. On the other side. I'm gonna go ahead and validate the mirror. And I'm just going to rename it to pill eyes. It always takes the name of the mirror, which is annoying. So now let's see if we can pivot, reset, pivot. Now it's where it should be and I'm just going to bring the eyes up a tiny bit. So now we'll just add some quick eyelashes using the tube tool. I love using the tube tool. So that's right here. I'll tap that tube tool. We'll go to Path. Now we can just bring it in a little bit closer. We can start right about here. So we'll place the Apple pencil down and then drag up and two points will form. So I can take the Apple pencil off the screen and then go back on the screen. And another point will form once I start to drag a little bit. So that's another one. I'm going to let go, come back and drag comeback and drag comeback and drag comeback and drag. Now I'm going to bring one off of that surface and I'm going to tap this one. When I tap this node, that just kinda gives it a right angle versus a curve. Now we tap the green. So let's tap radius. Now we have an orange dot here and an orange dot here. So we can essentially control each different side. So that's when you press radiants the first time. And there's the two dots that controls the front and the head and the back. So let's just move in and let's make this part smaller. So something like that. We can even bring it up a little bit. Now let's hit spline so we can see a little bit more to what it would normally look like. That makes it nice and curvy. And I also feel like it's a little deep in the eye. So what I mean by that is I kinda want the tube to sort of show a little bit more. So I'm just going to bring all of these little nodes out. This can be tricky, it'll take some time to get used to. But once you do, it's fairly easy and very useful. The tube tool is really great. So I'm just bringing all these nodes out a little bit. So they're not so deep in the eye. Perfect. Just angle this up a little bit. I just raised I thought my eyelash came a little too far down. So I just raised it up a little bit. And now I'm going to go through the same process with mirror and painting it black because it was just a little bit too low. Like this part was like way down here. So now I'm just going to validate. And OH, here's another crucial step that I forgot. It's a good thing we came back. The other crucial step is to zoom in to this thin edge and kinda hide it inside the mesh. Like that. This way just looks like a clean seem. Perfect. Now I'll just go ahead and validate and smooth. This. Looking good. Turntable usually doesn't work well. I can ever get a good turntable. Okay, So maybe I can make this maneuver it. That's pretty good. I don't touch the edge, don't touch the edge. So that's pretty good. There we go. So we've got a little turntable too. Alright, keep drawing, keep sculpting. I'll see you all in the next video. 12. Thank You! : All right guys. Thank you so much for joining me. I didn't want it to make this class for a long time. There's some fundamental changes, changes for the better. So if you run into issues, you have the discussion here, but you also have the nomads gov website. There's a forum. The creator is very much in touch with the artists, with people using application. Our response to them makes changes, works really, really hard. And it's actually quite amazing how close-knit the 3D nomad scoped community is. Also, there's a nomad scope Facebook group. You can find me on Facebook. You can check out the groups that I follow. But the nomads scope Facebook group is really, really amazing. It's a great community. You can post your artwork. You can get some tips, see tutorials and things like that. Speaking of tutorials, I do live videos on YouTube. I do tutorials on YouTube. I do 3D stuff on YouTube, 2D stuff on YouTube. I love Procreate. Also. I have Procreate classes as well. So 2D and 3D. I love all that stuff. That's on my YouTube, youtube.com slash drug-free. Dave, do you want to see more of my 3D work then check out my Instagram, instagram.com slash drug-free. Dave? I'm on TikTok and yeah, I think that's it. I hope you had fun, please let me know. If you have issues, let me know things that you're confused about. It's tricky when you're first getting into it because it's overwhelming. I know. The more you, the more you get into the application, and the more you try to make things like just try to make little cute things like this frog is very simple. Try to make things like that. To start out. I really tried to introduce you to the things that are simple, but also make scopes with good. Thank you guys all for being here. As always. Keep drawing, keep sculpting. I'll see you in the next video.