3D Stylized Anatomy 101 with Drugfreedave

1. 3D Stylized Anatomy 101 with Drugfreedave: I'm going to show you some simple, extremely basic tricks to block out a humanoid, human like humanesque human ish body in three D. Welcome to three D stylized Anatomy 101 with me, Drug Free Dave. And in this beginner course, I'm going to walk you through how to make a framework for any type of human humanoid character that you want to make. Now, mine turned into a weird killer clown, but it's the skeleton underneath that we're going to be working on. And you can turn yours into anything. Now, anatomy is difficult. That is one big pit. And there's nothing that's going to make up for years and years of study drawing the human body. But I know nobody got time for that. You'll be able to save this blocked out figure and use it as a skeleton for characters, any shape or size. Thinking about the body as simple shapes will make it much less complex and much less stressful. Again, this is a beginner course. So as long as you have a basic understanding of nomad, you'll be just fine. The next video, we'll talk about the type of projects you can make once you complete this course. Then we'll jump right into it. Once again, I'm drug free Dave. Keep drawing, keep sculpting, and I'll see you all on skill share. 2. Class Project: All right. Welcome to, you know, I want to spin. All right, welcome to the class project. So you've seen my killer clown. That was just my personal project. You don't have to make any sort of clown, anything like, literally, it's just the framework. It's just the skeleton. And this will be posable. I'm not going to pose the whole thing. I'm just going to show you how to do a hierarchy. So hierarchy is basically like if we make a pivot point here, the whole arm moves, we make a pivot pivot pivot boot. We don't want to make any pivot boots. We make a pivot point at the elbow, and then everything from down there, a pivot point here, and then all this moves, and then pivot points in the fingers and all the fingers move. So essentially, it's like that old wooden that wooden thing that artists used to use where they could pose it and things like that. We're going to make that put in three D. So once you make that, then you can use it you can make pants, you can make whatever. Anything that you're using this shape for, we'll just make it easier to build out from there. So it just gives you a base. So this class isn't necessarily going to be making a specific character. It's just going to be making this framework. You really can do whatever you want. And that's my vibe. You can also use references if you want to use a reference and then pose your character in that way. You can just do that for the class project. But if you want, you can try to add pants, you can, you know, make different body parts. You can make a more feminine character. I'm going to show you everything that I know. This is what I do if I'm making a character. I did teenage age turtles, and I pretty much did it this way, even though I didn't necessarily know I was doing it this way. But this is the easiest way because you have to start simple and then build up. And you don't want to chisel things out of a sphere. When I first started three D, I thought I had to, like, chisel things out of, like, a shape. No, you want to use simple shapes, and that's what we're going to do in this class. And then after this, just remember that you can save this posable figure, and then you can use it for the foreseeable future for any character that you need to make. All right. So with that being said, let's jump right into it. Let's move to the next video, and we'll get started. 3. Blocking (Getting Started): So white is a little bit difficult to scope with. So let's change it up here. We'll tap here, and we're going to change from lit PBR to MTCP. That just ignores the lighting, and makes it easier to see. I'm using PXG clay. If it's something else, just tap this and just find PXG clay, and then you can just tap out of it. Let's bring in our reference image. We'll tap here. We'll go down to reference image. And then we'll just tap on the image if there's an image there, import photos, and then just find your photo, add. I'm going to tap on this negative space here. You can see my photo is here, but you might want to reposition it. If so, just go back to this area, transform, and then you can move it around anywhere you want. I think we put it right about here. And then you just tap again and you'll be back in sculpting mode. Let's make a platform, so we have a sense of where the ground is, and we're going to use this red line going straight across for that. This is the grid. If you don't see it, the little grid shortcut is down there. Also, if you don't see it, you might have to hit front, and you can see the green line and the red line. Let's add a cylinder. So we'll tap here on the scene menu. We'll add a cylinder. Now we can pretty much edit this cylinder. Let's go over here to the Gizmo, our controller, and there's an orange ring around the outside. It's a little hard to see, but let's use the orange ring and make it bigger. Then let's use the green little sphere to shrink it. And then we'll use the green arrow to move it down. The top line is right below right at that red line going across. And this is a little bit extra. I like my cylinder to look a little rounded. So I just open up these options here, press these three little dots. I just want to change the topology before we validate. So before it's an official mesh in the project. Okay. So let's move the post subdivision up to two, and you can see it's pretty rounded, and I think that's good. I'll go ahead and validate. Now we just have our rounded mesh, which is officially part of the project. Now that we have the cylinder representing the floor surface, we don't need the grid anymore. The sphere is going to be part of the head. Let's move it up. This will roughly gauge the height of our character. We can also shrink it. Maybe something like that. Okay. Okay, so for the head, we're going to have I think a cylinder, maybe a sphere for the bottom, and maybe a sphere for the back of the skull. So let's go to the scene. Let's add a cylinder. And let's add a sphere. Okay. So both of these shapes are validated. Basically, this means these two shapes. They just give us other options that we can do before their official meshes. That's all that is. That's why they're yellow here. Let's take the cylinder. Let's tap these three little dots and let's name it head A. Now we'll use our GzmoGzm doesn't pop up when you press it here, there's a little hidden gzmo right here. Just press that and then you can move it up. This is going to be in the middle of the head, whereas the sphere is like the lower jaw. Let's shrink it maybe something like that. We'll move it down. And, I think that looks pretty good. Now let's name this sphere. Let's go back and bring this sphere up. Shrink it. We'll make this one a little bit bigger. This is going to be like the back of the head. I just turn it to my left and then just move it so it's back of the head. Maybe you can stretch it a little bit. Like so. Something like that, I think is pretty good. And there's one little detail I want to add. So for this cylinder, you'll notice in my drawing the head gets wider as it goes back to the back of the skull. There's an easy way to do that with our cylinder because we haven't validated yet. All you have to do is press on the little cylinder here. And you can press on the radius, the radius will change between one, control the middle node. Then if you press radius again and you see all three, then you can adjust this one. I'll just make this a little bit wider at the top. Then I'll make that sphere a little bit wider as well behind it, something like that. I'm going to validate. Then I'm going to go back to the scene and go to the head, validate. Now we have these other two spheres here. Let's just name those. Let's name this one head C, and this one can be head B. If you want, you can put them in order if you're slightly OCD like I am. Let's save. Humanoid. I might change the name of this later. That's a good start and we can use that for our head. I'm going to tap on C that way when I add a new shape, it's going to add it below that. Let's add another cylinder and this will be for the neck, so we can go ahead and name it now. We'll use our Gizmo. We can move it up. Shrink it. And we're going to use this to stretch it out. Or if you want to go back here, you can obviously do it this way as well. I'm just used to using the Gizmo. The neck is like that. Now we want to do the body. Let's add a box, and we'll use our gizmo, we'll bring the box up. We can shrink it to about the width of the widest part of the back, I would say. Something like this. That's pretty good. I'm actually going to make it a a bit of a taller torso. Maybe something like that. Okay. Now you can see that our body has gotten much bigger than the floor. I'm just going to go ahead and bring the grid back, and I'll just resize the floor. I'll just make this bigger and then move it down. But you can also take all of these pieces and I'll move them up. Maybe something like this, since he's tall. I like this view. So while we're here, let's go ahead and save this view so we can come back to it. Let's hit the camera, add view, and we'll name this one. Okay. And if you want to if you want to do other views as well, sometimes I like to turn things like this, add two, and then maybe just do one that's perfectly to the side. This way, you might see me go back to these just switching back and forth. Let's add a sphere for the pelvis area and waste. We'll go here, add sphere, and we can use our chismo and we'll move it up. And shrink it. And you can turn to the side. Oh, I can use my little thing. You can turn to the side and in flatten it. To something like this. You can actually flatten the body a little bit as well. 4. Symmetry Blocking: Okay. So most of the other parts are going to be symmetrical. So let's start with the ears, and then we're going to mimic that for the shoulders, the arms for the other parts. Let's go ahead and add a cylinder and we'll use our gizmo and we'll bring it up. I'm going to leave it here just so you can see clearly what I'm doing. So the ears, you can see, obviously, we need to change the cylinder so that the flat part is facing out. Go over here and hit snap and 90. If it's not on 90, just tap on it and change that to 90. Now what you can do is use the blue ring and it will just snap to 90 degrees. We can go ahead and make it small and we can smush it with the red. Now we have like an ear, so we'll move it up and then we'll use the red and move it over to an ear type position. Okay. I'm actually going to save this view as well. Now we can just make it a little bit smaller. We can turn it a little bit with the green ring, but you have to turn snap off so that it just turns freely. I'm just going to line that up at the bottom of the jaw and I'm just going to turn it a little bit more. Maybe something like that. However you like your ears. I'm going to make it a. Now we want to mirror it to the other side. We hit mirror and now we have both of our ears. We're going to do the same process for other spots. But since we have a lot of meshes, it's always good to name things. Make sure you're keeping things organized. First, I'm going to save, and then I'm going to go onto my scene menu. This is ears. We're just going to tap on the mirror, tap here and just name it ears. I'm actually going to change this to just in case. Now I'm going to go through all of these and figure out what they are. The cylinder is the floor. I'll just put F R. The sphere is the pelvis. We'll just put waste. Everything else looks like it is labeled, so we'll go ahead and do another save. Let's go ahead and add some more spheres. We'll use our Gizmo. We'll bring them all the way up. Actually, I just thought of something that will make our sculpting a little bit easier. Let's hide the floor. Then let's take everything else. Everything except the floor and we'll just move it down. So that'll be easier, so then when we add something, we don't have to constantly zoom in and out. So where is the Oh, I didn't name the box or at the chest. Body A. Okay, so this fear is going to be the shoulder. We'll go ahead and hit mirror, and we'll shrink it to a more shape. Let's go ahead and name it. So now let's add another cylinder for the bicep. Just be careful because it will go into the shoulder section. For now to keep things simple, we're just going to move this out of the shoulder. We can do add and we can do mirror. Well, actually, we don't have to do mirror, because I forgot that we didn't validate it yet, so we can just do mirror from here, and then it adds its own mirror. Let's go ah and name this so we don't get confused. Let's just put arm B. And then we go to the cylinder and we can use our Gizmo and we can just move it in position. Make the shoulders a little bit smaller. Sometimes I shouldn't say sometimes I usually have to adjust these shapes as I'm working. Don't hesitate to adjust things, make things look right. Now I'm going to turn a little bit to the side and bring this up a little bit. Now we have arm B. Let's take both of these. We just want to take this whole mirror and clone it, we can change the name of this one to arm C. Now we can take the cylinder, if you notice that my gzmo doesn't really change, and that's because of a line. If you find that your gizmo isn't aligned with the shape, then that might be it. I'm going to turn that off so I can just move RMC out like this. I'll make it a little bit wider. I'll slide it down a bit. It's something like this. Now let's add a box. We'll use our gizmo, and now we just want to move the box to where the hand would be. We'll move it down. Remember the box is the palm. I'll turn it a little bit so we can properly shrink it. Move it up. Essentially, this will guide our hands, however we want our hands. If you look at this line, it's going straight, so we want to rotate this to match that. Okay. All right. Great job so far. Make sure to save. So let's go ahead and add these legs now. So we'll add cylinder. And like I was saying before, I do want to separate these. So let's just bring them out of this other mirror and give them their own mirrors. It says, ds. And this new cylinder, we can mirror it now, and this is going to be thigh. Okay, we'll use our Gizmo down. Shrink. I'll give them a little bit longer legs. I don't know why it has taken me so long to work out. So you can see that the legs are they're open a little bit, so you can go and open them up a bit and adjust them as such. So now we'll add a little sphere for the knees. I'm going to rename it. Let's use our Gizmo and just move it down. I'm actually going to stretch it. Something like this. And we can turn to the side and I'd just like to move this up so we can see it a bit better. And then we can use the thighs. Let's take both of the thighs or just the thigh in the mirror. We can clone that and let's rename this leg lower. Now we'll take this and just move it down. What I usually do is move this part back a little bit. I also put a little band in it with the move tool, which we can do a little bit later. But for now, I think that's good. Let's see. For the ankles, let's use a cylinder. Add cylinder. We use our mo, move it down. Shrink it. We have something like this and then again, we can tap this little cylinder options and we can make this side smaller and this side a bit wider. We can also make it a little longer too. Maybe something like this, we'll switch back to the Gizmo. I think that's a decent positioning. And you can center it by moving it to the side. I'm going to use the node just to squash it because ankles are usually fairly narrow. One other little detail I'm going to do is I'm also going to stretch it this way, and then I'm going to turn it with the green ring, so it's pointed a little bit out. See how the feet are a little bit out, and they're not going to be exactly like the drawing, but that we can match. Next, let's add a sphere and this will be the shape of the foot. We have this cylinder. Let's make sure that we're naming these as well. This can be ankle. And we can go ahead and add the mirror. I think the knees I didn't add the mirror either. I just want to make sure that we add those. I'll do a quick save. Okay. Okay. Now let's add a sphere. I'm going to go ahead and bring it out of the ankle mirror. Gizmo, move it down and over. Can you go and mirror it. Now I'm just going to stretch it out. Maybe adjust the size a little bit. Then I'm going to or I'm going to rotate it downwards. Okay. And now I'm going to hit a line. And then I'm going to rotate it just a little bit so the feet are facing outwards as well. So we have something like this. And I want these to match, so I'll just rotate that as well, so they're matching. All right. Let's do a save. Okay 5. Feet, Hands, & Fingers: Okay. So I like when characters have those sort of bigger feet, kind of like Mickey and characters have those shoes with the front part is bigger, so let's make some of those. I'm going to go into the scene where I have the spheres for the feet. Make sure I label them. I'm going to label this A as well, and that's just because we're going to add a few more spheres. Let's clone this and this is going to be front. Now we have two of the same shapes. So we're going to take feet front and move it up a bit. We're going to use the blue to make it a little bit more round. So it's kind of like this. I can make it a little bit bigger. And then I'm going to use the rotate. I'm going to rotate it like this. I'm going to move it up a little bit. It might seem a little bit strange, but it's mostly because we're eventually going to trim the feet, so we're going to trim about half of it. We also want to add a heel. So we can probably take this shape, so we can take feet front, we'll clone that, and then we'll name it heel we'll just move it back to the heel area. I'll give you a good view of my shapes. And if you get a little bit confused because they're two close together, you can just take the heel and bring it out of the mirror. And then you can work on one. For example, this heel, go ahead and rotate it. Like this. So probably something like that. Looks like it's lined up. Now, the only thing is it's very wide, so I'm going to go in, make it so it's not so wide. Okay. Now we can bring this back into that mirror, and then we'll have both of them. For the hands, the first thing I do is add that round piece, which is this area here. We'll go here. Let's see if let's click on this way or tap on it. That way we can add it here. Let's add a sphere, and I'm going to I'm going to bring it out of the palm, and we'll use our Gizmo, and we're just going to place this right about here. And I'm going to just kind of line it up with or just flatten it up with the hand. So we have something like this. So this is a really good way to kind of guide us. Here's a little trick I do for the thumb. We're going to take the sphere that we use for the base of the thumb and clone it. Now we'll take that c, and we'll just go ahead and use our gizmo and slide it over. To right about here. Now we're going to validate it, and we'll just click our little tools here and use move. I'm keeping my move tool pretty small, maybe around 60 or so. Then I'm just going to drag this to the thumb. I'm move it out a bit more. Something like that. I'll just move and we're just dragging that to this thumb area. Then I'm going to make move a bit I'm just going to push on this side. Now I'm just going to drag it a little bit closer so we have that nice curved thumb. I'm going to turn it to its side because I want to make sure that this part of the thumb is fairly broad. I'm just going to just widen it a little bit like this. Okay. I think that looks pretty good. You can put as much of a bend in it as you want. You can also take the gizmo and you can adjust it to where you want it as well. Our thumb doesn't really sit as much on the side of our hand as it does in the front. I'm just going to move it up and then rotate it. But you see that it's going to be difficult for me to rotate the way that I need to so we can use pivot. Sometimes it's good to start with pivot, center pivot. If that doesn't help, go back to pivot and you can adjust it. Okay. So now that I've adjusted it, I can tap pivot again and we're back to normal sculpting, and now I can just rotate it. It's a very useful trick. I use that a lot. Just rotate it. There we go. So it's a little bit off center. It's not directly to the side of the hand. Another little handy trick that you can do. I shouldn't be doing this now since we're blocking, but I can't help it. We're going to take flatten. Sometimes I like to just flatten the underside. I just give some nice lines. So now we'll do a save. Let's add the rest of the fingers. So let's make let's go to the thumb so we can stay in that general area in our scene, and let's make sure that we name this as well. Thumb. Thumb base. Why not? Let's use the tube tool to make the rest of the fingers. We use the tube tool and we use path. We don't need snap. So first, we'll just drag on the screen. Okay. Then we can tap in the middle. And that's going to be the basic bones. We'll tap the little green dot, and now we have our finger. If you want, you can move it closer. Tape I you need to go back and forth, you can tap tube to bring back the tube options. Before we validate, let's make it into more of a finger type shape. We'll tap these three dots, and we're going to uncheck this and we're going to put both of these to four. And then we're going to bring in the post subdivision up to two. Now we'll hit radius twice. So we have three nodes, so we should have three orange dots. Then we can adjust the size. And I'm going to make the end bigger than the bottom. I'm actually going to move up a little bit. I also like to put a bend in the finger, so I'll turn it to the side. Just put a nice bend in it like this. You can also experiment with these settings because they will change things slightly. They might actually look better. Okay. So I'll just use my gizmo, pivot center pivot. Just make it a little bigger. Now for the next fingers, we can take this tube. You can hit. I'm going to stretch this a bit, move it up. I'm going to tilt it a bit and then move it over. Then I'm going to hit clone here and do the same thing with this. We'll slide it over. I'm going to tilt it a bit, so the bases are a little closer. You can adjust these if you want to adjust the sizes. Maybe this one is a, I think. Okay. And then we'll clone this one for the pinky. I clone bring this over and we'll rotate it make it shorter, maybe just overall smaller. Like so. What's important about the hand is straight. Things are a little bit spread out. That's really easy. So take the Gizmo and give the fingers a little bit of room. The only other thing that I would do for the outer fingers like for the pinky, let's go back to tube, and I would just give it a little bit of a bend like this, maybe this one, a little bit of a bend out, like so. But I think that looks pretty good. It's also possible to rotate these fingers or pose these fingers. Just remember, as long as it's not validated, then you can go here and you can make any changes that you might need. Maybe I'll tap that, so it's a hard angle. This is how you would adjust your fingers as needed. Let's mirror all of these to the other hand. So we'll just go to our scene. We have thumb base. We can just hit mirror. We have our thumb. We can add a mirror. I'd be good to rename these. And we'll do the same for the rest of them. Mirror. So now we have each of our fingers separate that we can then adjust if we need, but they're mirrored. So anything that happens in one will happen to the other ones. I apologize for doing that, that looks really weird. If you want to make the fingers do something different or not be symmetrical, Then that's when you would take the mirror, validate, but instead of join children, go to uninstance. This will separate them both. If you do uninstance and hit yes, then you get both of your fingers here, but they're separate, then they're not going to be symmetrical. 6. Body Framing: Okay. So let's shape the torso using the mask tool. So first, we go to the torso and we'll just validate it. Let's hit front so we know we're looking at the exact front. Let's use select mask and rectangle. First, we want to try to get that nice V shape. So we'll just make a box below. So we have something like this. It's just covering the bottom bit. Then I'm going to make another box up here, maybe right below the shoulders. Now we can use our gizmo and we can just adjust this middle section. First, I'm going to take the orange ring and shrink it around what I think the mid part of the waist should be. Then I'm going to use this orange node to just bring those together. We have something like that. Now, this is a little drastic here. We'll go back to select mask clear. Then we can just draw another mask up to that line and then use our gizmo and we can adjust the bottom part. We turn it to the side, and we'll just squeeze this together. Like so. And then we can bring up the select tool options again and hit invert. Now the bottom part is masked off. When we think about the back, we want to try to get that S curve a little bit. It just looks a little bit more natural. We'll just use our gizmo and we're just going to rotate with the red like this. That will push the chest up. Then I'm going to move it back till it's about lined up with the neck area. This is a comical to a little wide, so I'm just going to bring it in a little bit and then just line it back up. Of course, you can adjust as you need. I think that looks pretty good. Then you can go ahead and clear your mask and you have a nice size torso. Let's go ahead and save. Let's add a sphere that will work as h. It's going to tap on the head. Add sphere. Okay. Now we can move this up. Let's just use our Gizmo. We'll move it up. We'll do something like that. Let's go ahead and validate. Then we can use move or a drag. Let's try drag. Make it fairly big, maybe around 80. Then we're just going to drag off into this area. Let's turn symmetry off. And let's make it a bit. There we go. We'll do something like that. Now I'm going to add another sphere. We bring it up. Shrink it. Now, this one is going to be we have to make the left on the right side, so I'm going to flatten it. I'm actually going to go ahead and it. Now we have two different ones. One will be for the left side. You can adjust the size, and this will basically just be the shape that will be the hair that's going behind the ear. Then we can take the other one and that will be on the other side. Maybe a little bit more round. Push it back. We can actually make it more around and push it inside the head a bit. You always want to make sure that you build out the back part of the skull. Let's make this a little bit bigger. So we can see the forehead and the front. And we can use the move tool and we can just move the back of the head. We can use the hair as a guide. Okay. Something like that. I don't know why I say that so much. I'm always saying something like that. I don't know why. Now that's the basic head shape, and I would say this is a basic way that you would make hair just to think about it in really simple shapes. Otherwise, hair can get really complicated really fast. Of course, you can just use your move tool and adjust this at all. Peak, lower or higher as you need. Let's flush out the back a little bit more and give him a little more shape using the move tool. On the back, we just want to pull up like this, and that will give the bridge, I think they're called trapozoid I feel like. Also bring this forward. I'm going to make the move tool a little bit bigger and you just want to bring this forward to the neck. You can see those muscles there. I'll bring it a little bit more forward. Then I'm going to take smooth. Then I'm just going to smooth all of this out and you'll see that it'll soften it and make it a lot more organic. Once I soften it, I see you have that dip in the back. I can use move again, maybe a little bit smaller and just pull up from the middle there. And that will fill out the back a little bit more. Then you can raise it or lower it as you need. And what's great is you can also adjust the wings on the side of the back. Let's say you want to pull this in, but bring this out a little bit wider. If we look in the front, you can see that little the side of the back. If you're careful, you can pull that out from the front. For the neck, we want to make sure we have both radiuses and we can make the bottom a little bit wider. So you can also adjust if you want to make obviously the neck taller or shorter, you can just raise the head up and down. Ears are looking crazy. I need to move them back a little bit. That's a bit better. When I do characters chests, again, I just use a shape. For a man, I usually use let's tap on the back or the body. For a man, I usually use a cylinder, but sometimes I use a sphere as well. If we add a cylinder, and we use our gizmo, can move it up. Shrink it. Then I like to make sure that I have snap on. Actually, we don't really need snap for this. Let's just use this red ring and turn it this way. Flatten it up. I use mirror. We can shrink. Maybe stretch it out a little bit. Now once you have your shapes like this, then you can just plug them in. Notice that I do it on an angle. Once I have a shape that I like, which that looks pretty good, I'll go ahead and validate and then use move, and then I'll just adjust them as I need. If you get stuck trying to move and they won't go into each other. See, when we're in a mirror, everything that we do on one side will happen on the other, so we don't really need this other symmetry. Sometimes just unchecking the symmetry will help because then it's not going to be fighting each other. So if I was making a chest, I would want them a little bit more flat to each other. Like so. And then I would bring this and kind of tuck this underneath that sphere. Pull up on the middle to kind of get them to be a little bit more rounded. Then I would just tuck that right underneath that sphere. I'll go ahead and move them back a little bit because they came up a little bit. Something like this. But what's important is use the move tool. What's important is that this tucks in underneath the shoulder. Because these muscles are connected here. The Again, the anatomy isn't perfect. Obviously, the chest would go underneath and the armpit would be here. There's lots of variables. Ultimately, just has to look good, but it's not bad for just like simple shapes being put together. You can do the rest of the parts of the chest and stomach pretty easily just by duplicating this. It will take this cylinder. You can clone it, you can move it down. Shrink it, and then move it closer to each other. Let's move it up a bit. So then you have the area underneath. Push it back. Let's try to use this for abs. You could also just use spheres or something else, but it would essentially be the same way to make different muscles. But let's try this since we have it. I'd probably make them a little bit more narrow. I wouldn't want them jutting out like this, so I'll push them down. Maybe make them a little longer. You can also take drag if you want to just adjust the shape of them. Drag with a really small. Something like that, you can adjust the size of them. But you get the idea of just using shapes. Now, even though these look a bit crazy. The great thing about blocking is you will eventually be maybe we'll do something a little fancier, rotate it. The great thing about blocking is even though these are we looking shapes now, they're all smoothable you can take smooth. Then you can smooth these out. Normally, what I do is once I have the body a little more fleshed out, then I would just merge everything and then smooth. When you merge everything and then smooth, then it'll all look very cohesive and it'll look more realistic. But if you just want to do something like this, you can smooth it. But once it's all meshed together, then it will smooth nicely. Now it just looks like a weird chest plate. But that's okay. That's part of the process. 7. Refining the Blocks: Okay. So let's go ahead and trim these feet. They've been bugging me. Let's select the parts of the feet. So we go here and we have these three parts of the feet, the front, the middle and the heel. Let's just join those. So now we have that part of the foot. It's still within the mirror. What we'll do is just trim we'll trim this foot. Right now we're looking at the right sides take our line and we just want to trim like this. With our line, we just want the white part to be what we're actually going to trim. Maybe something like that. That's not too bad. You might have to experiment, you might want to go a little lower with it. I think that looks a bit better. Then obviously, with the ankle, you can validate the ankle and just trim that as well. That looks a lot better. Make the ankles a little thinner and rotate them a little bit. Another rule of thumb is, I like to make the inside of this arm straight, so I'm going to take this cylinder and so we validate it? I'm going to go and move this closer together where the wrist is. And then this part, I'm actually going to, I guess I can't move it up. I'm going to go a and use the gizmo. I was going to validate it, but I'll just use the Gizmo for now and just move it so that that line is straight. Now, when you also do that, you want the right side of the hand. If you look at our hands, this is straight and the elbow part comes out, but this part is pretty straight. So we want to match that in here, so we have the palm. Thumb base, the thumb. I think these are all fingers, which I should have. I should have labeled them. I'll have to do that. But now we just want to move this. Obviously, again, you can either move it. That didn't look good. You saw that this hand got a bit messed up. I'm going to take care of the hands. I don't really want to bend them too much. I think they're actually okay. But there is one way to preserve the way that we move them. We have all these fingers, we have the thumb. I'm going to go ahead and take these, I'm going to put them all in the same mirror. So I'm just moving them all to the thumb mirror. Thumb base. We can move everything into the same mirror. I'm going to get rid of these other mirrors. I can go a little crazy here. Now everything is in the same mirror, see if that still happens. Okay. I was just curious if let's see if we select all of these now within the thumb. Yeah, there we go. That's much better. All we did was move everything into the same mirror, and then we still have the fingers are all still editable. That's such a hard word to say. I always have to brace myself before I say it. Let's see if we can do pivot center pivot. We can't, but that's okay. We'll just select all of these. Then we'll tap pivot and then we can just adjust the pivot to make it a little easier for us. I'm going to put it right here in the middle. Hit pivot again, and then we can just slide. Slide this like that. A lot of people want to make and more posable characters and you can't really do it in no mad, but you can using a hierarchy. For example, we'll use the shoulder and we'll make a hierarchy so that if we move the shoulder around, anything that's connected to it will also move. The way to do it because we don't have all these shapes validated. Just in case we might want to we can validate these. We don't really need to worry too much about it. We have the shoulder This is going to be the shoulder. This is going to be the mirror for everything. Let's take this shoulder and rename it arm. Now this shoulder is going to be the first piece in our hierarchy. Rm, we have the bicep. This is the bicep, the cylinder. Let's drag it up and nestle it under the shoulder. We'll take arm V and just delete it. Now I'm going to rename this bicep. RMC. I'm going to rename this forearm. We'll take the form, we'll move it up and we want to nestle it under bicep. We can also validate it, and we'll just delete that random mirror. Then we have all of the fingers and such. This is the palm. Can validate these. The palm. I'll go ahead and nestle under the forearm. The thumb base can validate I'll nestle that under the palm. If it lets me. There we go. Thumb. Yeah, we can nestle it under that. But the rest of the fingers can be nestled under palm. They don't have to be under the thumb. So for example, I'm just going to label these I don't need to label them all. So I'm going to bring them, bring them up, and I'm going to nestle them under palm and get rid of thumb. Now we have our arm here, and this is our hierarchy. All we did was just nestle each of these underneath whatever we want to move. We want the shoulder, we want everything below the shoulder to move. That's the hierarchy. We have the shoulder and then we have the bicep. We want everything under the bicep to move. We want the form, everything connected. Everything is connected one step below. The palm, we have the thumb and we have the fingers. That's that's why we didn't connect the fingers to the thumb because that wouldn't make sense. When you move the thumb, you don't move the other fingers. The other important part of this is the pivot point. The pivot point is the center of the gizmo. If we go to shoulder, If we go to shoulder, you can see where the pivot point is. So just hit pivot and we're going to do this a lot. We'll tap on the shoulder and then we'll just move the pivot to the very middle of the shoulder. Then we'll hit the pivot button again. For the bicep, pivot. Then we'll slide this up to the base of the shoulder. Maybe somewhere like that, and we'll hit pivot. And we're going to do this to all of these at the joints where we want them to bend. Pivot. We'll move this up to about here. We're also going to move it back a bit because I think our arm bends from our elbow. We'll do that. I don't to be that far back. Then it pivot. The palm is going to be at the wrist in the middle. Pivot. I can actually adjust this a little bit. We'll do it later. Actually, we'll adjust the palm back a little bit. I don't think we need to change, I guess we'll continue to work on these pivots, but I think that's pretty good. The thumb, you just want to put it on the base pivot. Maybe down here is where the thumb might originate. Then the fingers, you want to put them obviously down towards the palm. Oh, I forget to pivot. So once you've changed all your pivots, then you can go to your different shapes do each one, everything below it is connected to it. Even the fingers, you can move. Of course, you can go much more detailed with it, but I just wanted to show you how that works because it's very useful, especially when you have a lot of things like this because you may want to save this so you can just use this shape and use this body in the future for other characters. I think that's a very smart thing to do. Let's go ahead and save. Okay. Also, his posture like his arms are a little too straight. So I'd like to give them a little more of a realistic bend. So I'm on the bicep, and I'm just going to push the arm back and then tap on the forearm and then use the red ring to bring this forward. So it's a little more of a natural pose. 8. Sculpting & Adjustments: So of course, if you want to adjust the legs and stuff like that, you can just go here and you can make the ankles a little bit smaller. If you want. You can adjust all of those things on the legs, the arms. But also remember that you can validate, and then you can also use move and you can use smooth. For example, if I wanted to adjust the leg, so it's more smooth and eventually I would just validate it. Take smooth, smooth out the top a little bit here, and then maybe take move, then I would just kind of move it in like so. It looks great. Obviously, for a butt for tus. You can take the sphere and just give him some cakes. I think that's the term the kids use nowadays. Oh, I must have it in a mirror. Well, that's fine. I'll keep it in a leg thigh, and I'll go ahead and validate that sphere. We'll name this bum Maybe we'll open this up a little bit. Okay. And we'll move it in, so it's not so drastic. There you go. I think something like that looks good. It's not too crazy. If I want to do muscles and things like that, for example, on this calf, I would just validate and then you can take clay and you can always add muscles in. For a calf muscle, I'd probably add muscles like this. I do something like that for calf muscles. And you can build out your thighs too, you can build out. This is when it's good if you want to look at anatomy books and things like that. Usually there's a big muscle here, and there's one here, things like that. That's easy way to build up your character. For the arms, the bicep obviously here, s. You can add some clay here or you can add another sphere to go on top of it. But I just want to give you a brief, let's see, what else would I do? I can add some to the forearm. But that's how you make your characters nice and muscly. Actually, that looks pretty good. Smooth is always your friend. Even move, you can give them a little bit of something like that. Let's take a smooth and smooth is a great way to narrow out some of your pieces. Another little trick that I do is for the legs. I take move, and I give them a nice bend backwards. Move them up a little bit. And we'll take clay and we'll add a little bit to his calf muscles. I don't have very big calf muscles. So we'll do something like that. We'll just delicately smooth. I like to drag or use move for the calves for the bottom parts of the legs, I'm just going to pull that up, tuck it in. Okay. Knees can get tucked in as well. I want to be able to see them. But that's pretty much how I build in my muscle. We want to make sure that we cover the back part of the head. I'm going to take this sphere for the head and just clone it, and this will be a back. I just do that so that we can just color everything together. This will also help shape the head. Okay. Make it a little bit wider. Now we have the back part of the head as well. We also might want to take move and shape the lower jaw. We'll take this lower sphere and we can shape it as you want. Although I think that looks pretty good. We'll try to make it a little more sharp. In the back, we can bring the jaw out a bit towards the ears. I think that's good. Okay. This is always a good shape to have it going straight and then like that. Let's smooth out this part of the head because that will push it back. We can use move a little bit and just even it up with the top of the head. Also, as we were talking about the curve of the neck and the head. We want to move the head forward and the neck forward actually too. But for now, let's just take the think these spheres are this is ha Make sure we label everything. Hair side A. I think this is hair side B. Okay. Do a quick save. Okay. Let's name this head lower jaw. Neck. Okay. Looks like everything is looking good. We can validate these. Let's take all of these except for the neck and move the head, I forgot the ears. Let's move the ears up. We can take all of that and the ears. See, I knew because the Gizmo was in a weird spot, so let's get rid of all that. Thank you very much. I still. Do I have something else? Let's see if we can do pivot pivot. We can't ears. I'm going to go ahead and validate the ears. That's a little bit better. Now we can move the head forward. Okay. That already looks a lot more natural maybe around here. That's actually a good spot for the neck. The head is forward, so that's a good spot for the neck. Let's deal with these shoes. Obviously, you can change the shapes and make the shape how you want, but I still like these big clown shoes for some reason. We go down and we have the ankle and the feet here. I'm going to take the feet and just bring it into the ankle. These can all be together now. I'll take feet and just delete that. Now we have both of these meshes together that we can make work together. We'll take both of these, the feet and the ankle and we'll voxll remesh them together. I'm going to do a quick save. Let's voxle remesh them together. 1805 or so. We'll rem now they're together. We can take smooth and we can smooth them as one. One funny looking pair of shoes. I'm going to take move. And the inside has an arch. I'm just going to add that arch in there a little bit. I really did make these make his shoes big. So I'll smooth them a little bit more. Okay. Like so. Now we have I'm just going to name the shoes. Now that shoes and we can clone this mess. Let's we the shoes. Now we just have two, and we're going to take trim. Then we're going to trim off the top part of the second one. We're going to use line and we're just going to trim it, and this is going to be the sole. We just want a straight line. And now we have a mesh and a mesh. We'll take the lower one. I just want to move it straight down. So I'm going to try pivot and just rotating this pivot like this, pivot and then I can move it straight down. Let's make it a little bit bigger. This might take a little adjusting. I'll make it a little wider, adjust it. Move it up. So now I might go and take move and just sort of annually. S. There we go. Then just sort of manually adjust as needed. I'm sure there's better ways to do shoes, but I like to do mine this way. I'm never on the right correct mesh. I just like to have a nice thing going around them. But I think that looks pretty good. A lot going on there at that heel, bring that in a bit. And then you have shoes. You get the idea. You can make lots of different shoes like that, and that's how I make the soles. I'll take pinch. Pinch is great for just getting back some of these edges. Just to make it look a bit ne. 9. Face Tips: I don't want to go to too much into the face because that will take forever. But once you have your shapes, how you like them, head A, and there's another head somewhere. Here we go head, lower jaw. I'm just going to join those together. Let's just join. Now we have the three of these together. I'll just rename it. Head. Sometimes for noses, I can sometimes I like to use a cone. We use our gizmo, we'll bring it up. Forward. Shrink it. Make it a little more narrow. This is a good centerpiece to find where you want the rest of your head to be. Make it a little smaller, a little more narrow. Very easy nose. Okay. So I'm going to tap on the head and use move. One thing about the nose is you want to leave some space for a nose bridge. So whatever piece is behind it, you want to push that back a little bit. You want to allow for a nose bridge. So you want a nice curve there. Okay. Let's go crazy and take head and let me do a quick save. Let's a vox will remish it together. Why not? Let's do it at type 200. Now it's one piece and you can go ahead and smooth it. Looks good. I probably should have added the ears to that. Of course, again, just adjust as you like, but I'm going to push this in a little bit and then maybe adjust the nose a little bit more. Go ahead and validate it. You can also do various noses just with drag. You can do lots of shaped noses, you can make them a little wider if you want lots of options. But let's go ahead and smooth out this cone a bit, so it's not so sharp. You can adjust the nose as you wish. Maybe it'll make the nose a little bit flatter. I'll make the nose a flat. Maybe even a little flatter here. Okay. We have the nose. Let's use clay on the face. Make sure it's not on sub. Make sure that symmetry is on. Then you can just slowly build out your character. Let's say we have that as an upper lip. Smooth it a bit. Can use clay again for the bottom lip. Smooth it out. Then we can use crease we'll start from the middle. It's got lips like mine. Let's see flatten and let's try to flatten flatten the lips out. I really only wanted to flatten the top part. Let's take a select mask if this happens to you and you can really just mask off the bottom lip. And we'll flatten the top. And then we can get rid of the mask. Another cool trick. Actually, let's flatten the bottom part two. So we'll flatten that bottom part, we'll smooth it a little bit. And then we can use pinch to get some of those lines back. We lost our crease in the middle. Okay. It takes some finessing, but I just think these doing it this way just makes it look a little bit more realistic. Now we'll just use clay. I'll make it a little bit bigger. You see the eyebrow situation. I'm going to use that going straight to the top of the nose, but I want to turn off symmetry. We'll do one here. We'll make that bridge, and then we'll do one here, slightly different. It's making the expression from the reference. Then we'll take clay and sub. We don't want symmetry because these aren't symmetrical anymore. Now we can just dig out an area for the eyes. I'll do something like that. Actually, you know what? We can probably do it with symmetry on. Okay. I'll do something like that. We'll smooth it. This is probably the back part of the hair. You can just take move and just push that out of the way. Now we'll go back to the face and I like to manipulate it with drag. I'll turn symmetry off if I wanted to drag this eyebrow area up and everything else, you can just move out of the way as you need. We'll take the back and just kind of move it behind the ear, take this and move it so it's kind of behind the ear as well. Same thing on this side. Now we can see the face a little bit better so you can take drag, and then you can manipulate the eye sockets, however you want. For the eye areas, I would definitely use a sphere for the eyes. We'll move it up. S Mirror. Move it back. You want to make sure that they're fairly close to the nose. You don't want them to be too far apart. I put them a little bit. I'll validate. You might have to use drag and you might have to drag the middle together. I'm going to turn symmetry on. You might have to drag the middle a little bit more together. Okay. Another cool thing you can do is use clay and do I want symmetry? I'm going to keep symmetry off because the eyes are a little bit different. But it's always good once you have your spheres there to add the upper lids of the eye to give him a little bit more of that attitude. So we're going to use clay on the face and really, really small mine at 1:40 or so, we're just going to add some clay here and see how that makes it look like it's the upper eye lid, add them over here as well. Okay. Looks good. Then again, I'll take drag and we can just really drag this so it's in the right spot in the right shape. L so, I think that looks great, another little trick that I love to do. These are the eyes. Let's go ahead and label them. Those are the eyes to take this sphere, clone it. One can be whites for the whites of the eyes, and the other can be pupil is turning into a face thing. I really didn't want to. The pupil will use the Gizmo, bring it out, shrink it, looking crazy. I think he needs a slim slimmer face, I believe, and he might need a chin. But these are all like little extra things that you can sort of play with with your character, figure out what your character needs. Oh have symmetry on. Definitely want to have symmetry on. And drag might be easier if we don't want the lips to move. You can try drag. The hair we can box will remesh together. To do these little details, just use a crease. You can use a crease on the hair. You can use drag to make little sections where it looks like the hair is coming towards the head. And you can use crease mixed with drag in certain areas. So the only other thing that I really want to show you, obviously, we kind of went over faces and things like that, but I really want to show you how cool it is when you vox remesh things together. So I'm going to save and that'll be the last thing because there's so many places you can go with this. Let's just go ahead and take Let's see the neck, the body. Oh, this is all chest stuff. So I I validate all of these, I take the body, not the shoes, the waist, All these arms and fingers, thighs, legs? So if I take all of these and Vox will remesh them together, maybe around 250? Oh? Who. That's so weird. What was that? That was the weirdest thing I've ever seen. Maybe I have to validate. That was so strange. Why would it make a little baby arm like that? What's up with that? Okay, knees validate. I'm just going to join all this stuff together because it's taken way too long. So we have legs. Chest plate. Now we'll try and vox remesh this again. Hopefully it doesn't give me the baby arms. Okay, now everything's together. Be careful when things are close because they will connect. But now you can smooth and you have one smooth And just be careful where you don't want to lose too much detail? Okay. But you don't really want to be too defined because then it just doesn't look real at all. Just keep that in mind. I probably could have done a better job with making the shoulders a little bit bigger. I'll smooth this even a little bit more in the middle. Then I might use crease to bring back some of the detail. If I want. So I can sort of bring back some of the detail and just make it really subtle. Obviously, the hands, I probably could have rounded the hands out a bit more beforehand. But Smooth seems like it's doing a really good job. Okay. So again, just be careful of this situation. But all in all, I would say it's a pretty cool breakdown of the human body. So if you were to usually I probably wouldn't I guess if I was doing a superhero, I would do it like this, but I definitely want to do it a little bit nicer that's something that I want you to do. I want you to play around with it. I want you to get it exactly how you want it, add close to it, color it because that's when you really learn. I can show you and tell you what I know. But you really just have to practice and keep with it and find what works for you, find different methods that work for you. Because all I can do is show you what works for me, and I just have a blast doing it. Hopefully this was fun. Hopefully you learned a lot and hopefully you'll be able to use this when you're making characters and hopefully you picked up a few things that will just make your anatomy look that much cooler. May not look super realistic. Because it's stylized, it's cartoony, that's my style. But that's the stuff that I'm drawn to. So yeah, I'm going to work on this a little bit, and I can't wait to see what you guys create for your class projects. 10. Thank You!: All right, welcome back. I hope you guys enjoyed the class. So as far as the Killer clown, I didn't include it in this because it's like a little over an hour, the video where I transform this into a Killer clown. That is available on my YouTube. So please go and subscribe to me there. Check out my other videos there. I do a ton of three D videos, and I also have a ton of old procreate videos as well. But I do a ton of threeD and I'm always posting things there, tutorials and things like that. It's an extension of this class. So you guys are going to be in the end when you watch it, you're going to be like, Yeah, I made I already made that. I have this figure. A lot of people have questions about doing like clothes and pans and things like that. When you think about pants and clothes, think about it the same way you think about the arms and the legs. You know what I mean? If you make a leg in two sections, you can vox remesh that together. And make it bigger, and then you have pants. Or you can use the cylinder and just make it straight. You know, use the or if you have your leg posed or something, just make the cylinder or use a tube. All it is is it's all the same thing. You know what I mean? Like, there's no way to really make things like hanging off, like, naturally. You know what I mean? It's not that type of program. Everything you're going to be sculpting. So like, if it's hair, You know what I mean? You just want to think of a hair shape. If it's a shirt, think of a shirt shape, the same way you would the chest, the same way you would the arms. Don't overthink it. It's very easy to overthink things. Just say, Okay, like, let me look at the shirt. Let me break it down into a simple shape. Kind of like if you look at my hand, it's like, Oh, okay, this is a square. But we already did all that. And you were already done. I'm just, uh I need to cut. Okay, so please remember to rate and review post your class projects, Rating and reviewing is really important. It will help me out. It's a great way to support what I'm doing, and it's a great way. If you want more classes here on Skillshare, definitely give me some feedback and rate and support. Follow me on social media. If you post your projects on social media, so if you want me to see something, tag me Drug Free Dave, Instagram, Drug Free Dave TikTok Drug Free Dave YouTube, Drug Free Dave. I'm on Facebook, too, but I'm not as active on Facebook. I do post in the Nomad scope Facebook group. So if you're Not in that, then just go to Facebook and join the group. I'm always looking there. I'm always commenting there. And that's a great way to learn a lot about Nomad sculpt. I learned a ton of things from that group. It's great. And one more thing, a lot of people ask me about the STLs. So I have a patrin if you want to support, Patron is a great way to do it. I'm just going to upload everything that I make as an STL on Patron. I already have about five or six of them there, and I'm just going to keep adding there, and I think that's probably the only place that I'm going to offer them either for sale there or for paid patron members. But, yeah, thank you all for your time. I appreciate it. I love teaching, and I love that you guys are spending your time with me, and I love that we're all learning to just get better at our craft. Keep drawing, keep sculpting. I'll see you all in the next video. Okay.