3D Turtle Tutorial - Character Modeling in Nomad Sculpt

1. 3D Turtle Tutorial | Nomad Sculpt: Hey, what's up, guys, Welcome, drug-free Dave here. Coming to you from Brooklyn, New York. Thanks for joining me for another Skillshare exclusive class. So I wanted to make a really cute little turtle. I sketched him first and then I brought him over to Nomad scoped. And we're going to start from the very, very first sphere, all the way to a finished, polished, adorable little turtle. So I would say this is an intermediate class. It's a little more involved than some of my beginner classes. So it's great for people that had been working in nomads golf for a little while now. But it's also really good for beginners. Beginners that really want a new challenge and are ready to take that next step. I'll be going through everything from start to finish. I'll try to explain every single thing that I'm doing so that you can follow along easily. Sort of looks easier than it is once you get a good formula, are working formula, it gets a lot easier. 3d does take some patients. It's worth it to put in the time, because getting to the end is pretty phenomenal, especially for what you can do on a tablet. If you're new to Nomad scoped, than I would advise you to go back and take one of my beginner courses. Actually have to begin with. There's enormous scope. Once you start playing around with it, either of those classes, you'll learn a lot. I'm going to try to show you all of the little tips and tricks that I do to make sure that my models look the best that they can look. Alright? Keep drawing, keep sculpting. I'll see you in the next video. And for those of you who are joining me for class, Let's move on to the next video, class project. 2. Class Project: Hey guys, welcome to the class project. So of course we're going to make a cute little turtle. So if you have any questions as you move through the classes, then just be sure to post them in the discussion. I'm happy to answer any questions and then we can figure out whatever issue that you might have with the classes. Also be sure to download all of the class downloads. Those are in the projects and resources tab or the environment. The sample sketch, the turtle sketch that I made. I'll probably also have just a sample image of my 3D turtle. And I also might throw in some little 3D files that you can plug in just, just to, just for fun, I tend to save certain objects, things that I made because the things that are small, I like to save them to my iPad that way later on I can bring them into the project and just plug them in places. I think that's really fun and I encourage you to do that as you continue to make 3D objects and make 3D scopes, make little flowers, little accessories, things like that. But yeah, Be sure to download those in the projects and resources tab. But I think that's pretty much it for the projects. For the class project. Just remember that this turtle is yours. You can change the colors, you can change anything you want. You can do the project and then afterwards just play around with it. Usually what I like to do is save the project as one file and then I'll hit Save As, and I'll rename it that way I have the original one that I like and then I'm finished with. And then I'll have an extra one that I can just play around with an experiment. And just in case the program crashes or something like that, I always have the original one as a backup. I definitely encourage you to do that. Also be sure to save after every lesson. I'm bad at saving. I turned off autosave. But just be sure to save your project after every lesson. Just in case something happens. We don't want you to lose all of your work. All right, so I will see you guys in the next video and we'll start sculpting in getting started. That was gonna kinda confusing. I'll see you guys in the next video Getting Started. 3. Getting Started: So here's our little turtle. So we're going to bring him into nomad sculpt, which isn't very difficult. So let's just go to Nomad sculpt. So right now we're starting with this sphere and we want to bring our image. And so we're just gonna go to this little icon here, reference image. And you can see I had previously brought him in, but I had to start the project over because I forgot to hit manual focus. So you can tap on the image here, tap Import Photos, and then just find your turtle photos. Tap it and then hit Add. And now I have two. Good thing, they're in the same spot. So what I do now is I tap on this and I go to Transform. And Transform is where you can move it around. You can move your reference round. Let's just put it down here. Once you have it where you like it, you just tap on the screen once, and then it goes back to sculpting mode. Another little trick. Sometimes the sphere that you start out with a nomad Skulpt is quite big, sometimes bigger than 6,146. So if it is, if it's larger than that and you can just delete it. You can delete it and then you can just add a new sphere. Let's just tap front as cube is very useful for knowing where you are in space. So let's tap front. And also, I do use Lock quite a bit. If you don't see the lock icon down here, then just go up here to the options. They go to these three lines. And then just you can just toggle the lock on and off. One more thing. When I, before I start sculpting, I always make sure that I tap this and that it's an orthographic not prospective. That'll just make it easier to sculpt with. If you're wondering why my clay, I like to call it clay. My clay is red. It's because I'm using a Mac cap, which is sort of a baked in light lighting scheme. It just makes it easier to see Egypt is scope with. So you can find it here in the lighting menu and under shading. So this is the normal. But my cap is, I like to use this one. There's plenty of them. I just use this regular default one. Alright, so let's go involve validate our sphere. We can start to model his little head. So essentially I'm just gonna block blackout the heads that the shape of the head. It's quite round but you can see there's a smaller dome here. So there shouldn't be too difficult. Then we'll just turn it to the side and we'll sort of try and get this matched up nicely. So the most of his head is quite round. So I think this looks pretty good. It's just when you turn it to the side. It's a little bit longer in the back. A little bit longer here. So I'm just going to stretch this out a little bit. So we stretch that out a little bit. And I think I want to use the Move tool. Maybe around like 300. I'm just going to pull the back out. I have symmetry on. I'm gonna make it a little bit bigger and just pull it back out a little bit. So something like that, just trying to match the roundness for his head. Let's take a look in the front and see what it looks like. It looks pretty good. The only problem is He's a little bit He's got a little bit of a dome in the front. So a couple of ways we can do that. An easy way. Let's turn it to his side again. Let's turn it to the right. So the easy way to do that is let's just use our gizmo. And let's clone it. So we can just clone it and then bring it up a little bit. Let's take a look from the front. Now let's just use this orange ring and make it smaller. I'll just bring it up so you can see the orange ring. And we can just sort of use this to make a little dome on top. I think that looks pretty good. It's not bad from the side. We'll take, we'll take the Move tool and just drag this out, drag it back a little bit, just to sort of lines up with the back of his head. Okay, let's tap the lower sphere and let's just bring this back a little bit. So let's bring this back a little bit. And the reason I'm doing this because it looks like this comes all the way down and then he has his little mouth here around this area. So I think that's pretty good for now. The only thing else I might want to do is just take this and we can use the gizmo and just make it a little bit. We'll just squish it in a little bit. With this green sphere. The spheres are for Smashing and stretching. I think those are not the technical terms. We'll just move it up a little bit. Okay. I think that looks pretty good. It's pretty good. Start. So now we'll just make another sphere for this little, little part of his mouth here. So we'll go back here. Add sphere. Let's move this one over. And we use the orange ring to shrink it. We can go ahead and validate it, shrink it down. We want to try to put it in a matching spot. So it looks like it's probably around here. Maybe a little bit smaller, maybe stripped down as a small bit and push closer to it's not really sticking out from his head too much. Okay. So I'm going to just stretch it out. Hold. Not that I'm going to stretch this out a little bit. I think that looks pretty good. All right. So the only thing is on the drawing and he's a little bit more, um, this part and his bottom lip sort of goes right into this. So I'm not sure exactly how to do it. There's a few ways. Let's see if we can take the Move tool. Drag. Make sure we want symmetry on. See if we can just drag this down a little bit. Maybe not even that much. Maybe something like that is even good. I think something like that works. So his head sort of comes down. It's actually he actually has a decent amount of forehead on them. So I'm going to bring this down a little bit more even tilted forward. You have something like that. It will be have all this forehead here, which looks good. It's nice and round bank here. But also importantly, this, this smoothly goes into the bottom of the head. So I think that's a great start. And it's pretty wide. It's nice and wide here we can make two big eyes here. Let's make this a little bit smaller. Only because his eyes, we're going to make his eyes pretty big. So I think that's pretty good for now. So now let's go ahead and voxel merge the head together at 01:50. I think 50 is good because the clay will be a little bit softer. It'll make it easier to smooth. So we'll go here. And we want to make sure that we select all of our pieces. Do we wanna do voxel one and voxel merge? Now we can take smooth. Smooth settings are around 190 and the intensities at about 75 or so symmetries on. And now we're just going to just smooth ER, smooth as little head. I don't mean just move that much over the nose part of the Snoop part. I don't want to lose any of its size, any of its shape at all. But make sure you just go over it. Okay, that looks pretty good. Okay. Then we have is proper little nugget head. 4. Big Eye Sockets: So when really fun way I like to, to help me with the eyes is to actually use the crease tool. As you all know, I'm an artist at a 2D artist. I've been doing that for a long time. So drawing is just way more comfortable for me. So things like eyes. I do this little trick. I just use the crease tool and make it fairly small. The radius about 25. And I'll just draw the shape of the eye. So this is the little, this line here is this nose. The eye. We're going to come up straight and I'm just going to come over. Just keep it nice and round. So we'll start here. We'll just go up, bring it over. Come down on an angle like that. And you see there's an angled line here. So this just comes across like this. So something like that. And looking at it now I probably could have made the nose a little bit smaller. So there is that I tend to always make the nose a little bit big for some reason. I'm not sure why that is, but I always tend to do it. But it all depends on how big you want the eyes to be and how big you want the nose to be. And there's no pressure. So like if you decide that you want to like if I decide I want the nose to be smaller. Just undo, make it a little bit smaller. And then just do the same thing and then just continue to do what we did before was this voxel merge all of this stuff together. And we'll just smooth everything again. It's important to, it's important to make the changes as, as you notice them. Because you really have to like you, you really have to hold yourself accountable and make things in a way that you want to make them. And you can't really rush and you can't really cut corners. I mean, you can, but in the end it doesn't pay off because you're going to spend so much time sculpt or on anything east, but you don't want to spend a lot of time. And then say, Oh, I wish I would've went back and redone this, just redo it as soon as you as soon as you understand that you want to change something. Okay, so now we're back, the nose is a bit smaller. So let's take our crease tool again. Let's just try it again. So I starts here, comes up, might be a little too aggressive. Comes up, something like that. And it comes down. So something like that. I think that's pretty good. And the reason why I do this with decrease because then I can go ahead and use my clay tool. I use clay will start with a radius of around 85, intensities, about 60 symmetries on. And let's do sub, Let's see how big this is. Comprised, make it a little bit smaller, but this hasn't really, I mean, essentially we're just kinda digging out the, the eye sockets. So it's not really an exact science. But you use your crease is a guide as a guide for how you want your, you know, your eye shape to be. I'm going to make it smaller. It just meant you didn't you just make it smaller or bigger? Bigger for the for the larger areas and then smaller if you really want to try to get in there and make the shape very specific. Sure it's nice and deep. Didn't have to be too deep, but, you know, I think that looks pretty good. I'll go a little bit deeper because when we smooth it out, some will come back. So you just want to be cognizant of that. I think that's pretty good. That's a pretty good spot. A little rounder, where's cheeks are? I think that's pretty good. Then you just submit them out. You not to press too hard. You don't have to be too aggressive. You just smooth it out and make it look nice, make it everything looks soft. Because remember, all of this can be sort of changed and fixed. If you need to, if you feel like it's not sufficiently round, then you can always use the move tool. Quite small. Maybe rhino, around 100. And you can lift, oops, let's make it bigger. You can lift things and sort of rounded out a little bit. If you need to. Maybe one a little bit more, round out here, things like that. But I think this is looking pretty good so far. I'm happy with it AlphaGo about here. So yeah, I think we're doing pretty good so far. So let's put his eyes into place. We're gonna go into more detail. Maybe we'll do it in this video. We'll see, but we'll just add another sphere. So now that we have two spheres, so we have this, the head sphere and the one we just made. Let's name the one we just made. And the other one can be head, rename head. Okay, so we have head I. So we'll use the orange ranges, shrink it, bring it forward over around where we want it to be. Maybe something like this. Okay, so we're not going to validate the eye yet. We're just kinda sorta leave it there. But I do want to build out the eye socket a little bit. So let's tap on the head and we'll use move. And I just want to make this a little bit more round. Back here. Maybe I'll make it a little bit smaller and just stretch it out. Something like that. So essentially I want this straight and then I wanted to almost like a teardrop shape. So that's all that's all I've done there. We'll leave the eye alone for now. Because I think we're making good progress. And we have our eye and we ever had. So let's add another sphere and we can start to block out his body. So we'll go here, we add another sphere. Let's turn it to the right and let's just figure out our proportions. Slide it to roughly where it's supposed to go. Maybe something like this. So obviously we have the back part of the shell and the front part of the shell. Okay, so I think that's a good size. Another thing that I want to do. And we also have to make sure that his head is in the right. I guess his head is in the right spot. So one thing that we need to do is make sure that he has a base because he's sitting. So when, when a character is sitting or standing, it's good to have a base. That way the things that are flat can be flat and you can see what they look like when they when they're in contact with the floor or the ground. So for that we'll just do a box. A box is good. So add box, flatten it up a little bit back. So he's sort of sitting. I think something like that will be good. Now of course, we're also going to have to do the front part. But we might be able to get away with cutting this in half. So let's go to the sphere that we made for the back of the show, and let's validate it. Flattened it out. We'll use this blue sphere and it's just sort of make it a little bit more flat. Something like that. Let's make sure that we name the sphere that will be his, the back part of the shell. So it makes sure that you name it back shell. We don't want to name it back shell, but just make sure you name it. Okay, so I always like to think of little fun ways to make the shell, make things easier and simple and efficient. So you can see the shell has this little outer part here. And I think I've done shows before where I've used a tube. But tubes can be a little, a little tricky and take more time. I think since this is such a simple character, we'll just use a tourist. 5. Torus: I don't know why I said it like that. So we'll go to Add and then we'll go to tourists. Right? So you can go ahead and I'll just pull it out so I can show you what it looks like. So there's our tours. I'm gonna go ahead and make it turn it 90 degrees. And I'm going to, I'm going to wrap it around the shell. So it can be a little bit smaller. Something like this, I think is pretty good. Maybe a tad bit smaller. I don't want it to get lost too much in the shell, but I think that's pretty good. So once you have your tourists and place, Let's move it up a little bit. Even stretch it a little bit. We can go ahead and validate it. And then we can take our trusty Move tool again. This, it goes up behind his head. So I want to make sure that I have symmetry on and just move our, make it a little bit bigger and just move it out this way. So I think what my problem was is I didn't have the Move Tool big enough. So now that the move tool is around 370, It's moving a lot smoother. And this is another opportunity to use the lock. So I'm going to lock it because we can't see the bottom, but we want to bring the bottom-up. Maybe something like this. It's kinda stuff I usually edit out, but I think it's good to show. Like sometimes I, I, I make those mistakes. And by now I sort of wrote can recognize like when a tool isn't working the way that it's supposed to be working. I can recognize it, but that also just takes time. Okay. I'm pretty happy with that. I think it looks cute. So now let's see if I can take the gizmo and flatten it like I tried to before. Yeah, there we go. Maybe I'll even move it down a little bit because right now it's a little bit bigger here than here. So if I move it down, should alleviate some of that arm. Move it forward a little bit too. Okay. I think I like that. Okay. So we're going to block in the arms and the little legs. But there's a few things that I see right off the bat. I feel like his head is tilted down too far. So I'd like to actually tilt his head up. So to do that, I'm going to grab the eye and the head and makes sure I don't have anything else selected. Then I'll just use my gizmo and just slide the head up. This is also a good time if you feel like you want to reposition things. I want to reposition his head a little bit further back. You look at the positioning here than I might have to bring the tube out or bring the tourists out a little bit because his head is decently far back. The weight isn't the weight should be in the center. So I do have to make sure that I move his head back some. So now that I've done that, I just need to move the tube. Let's take it off lock. I just need to move the tourists. I'm probably going to keep calling it a tube. I just need to move this out a little bit like that. Baby steps. One more thing that I wanted to do is now that we have the tourists separating the shell. And this clearly looks like the back part of the show. I'm not sure if I want to use the front part is the front, but that might be the easier option. So let's take the split tool because the split will split this shape, but it will create the back part and the front part. So let's make sure we tap on the sphere, the back shell split. We use lasso. We just want to trace. Here's a little tip. Let's start down here. Bring it all the way up, and then we just want to trace, try to get it in the middle of the tourists. Just like that. Now you'll notice that we have the back shell, back and then the front. So let's rename this front shell. So now we have the back and the front parts of the shell. 6. Boolean Operations: Okay, so we're gonna do some Boolean operation. Boolean operations in this one. So basically we're going to use the front part of the shell and we want to cut out some sections for him. So it'll be nice to cut out a section here. That is Nick would be going into the shell. So that's sort of like cutting out a section there. We also want to cut a section here so his arms can come out. And then a section here. So his legs can come out. So the easiest way to do that, I think, is just to use spheres. And we'll use a bunch of different spheres to cut out. And I think it's easier to do one at a time. So let's go ahead and add a sphere. We can mirror it, will bring it down, we'll shrink it, and then we'll move it over a minute. Why don't I see the mirror? So I was there it is. That was weird. So I had to tap mirror on top and then tap it again and it popped up. Alright, well, let me do that again because I don't want anything to be confusing. And that was really confusing even for me, but I think it was a glitch. So we're just going to add another sphere. So there's our sphere. Will bring it down, shrink it, tap mirror, and then separate. Okay, good. So when you look here, we do have the mirror, we do have the sphere. But this is just going to, we're going to use this to carve out of the front part of the shell. So I'm going to stretch these out. And I want to place them because where you placed them is very important. Because that's what's the shape of the front part of the shell is going to look like. So right now, I'm imagining that this is just carved. Even though it's a sphere, it's going to be carved. So I think that looks pretty good for the bottom. Can probably make them a little smaller. Maybe something like that. Let's move it back a little bit. Because we also want, we also want this part is going to come into the shell like this. So we want it like this. I know it's weird right now, but let's see how this looks. So let's tag the front shell. And let's take the mirror first and let's validate it. Will validate that mirror. I'm going to drag it up underneath the front shell. Must select them both. So now we have the front shell and the mirror. And I'm going to turn the mirror off. If you have an issue doing that, then go to your advanced setting and turn off sync visibility. Pretty sure that's the option. So if you have that checked, turn it off and you should be able to easily deal with these. Okay, so we want front shell mirror and turn the mirror off. Voxel ramesh 200 emerge. Now we have those cutouts here. That's good. That goes right into the back part of the shell. So we want something similar to that. I probably should have cloned these before I cut them. Actually, I can, I'm just gonna go, I'm just going to undo. I'm going to go to my settings and I'm going to take the mirror and I'm just going to clone it. Now I'm going to go back to front shell, my other mirror. I'll uncheck the one we just cloned. Now I can go ahead and just voxel re-image them again. So now I have the same thing, but I can bring back those. And I can sort of figure out how I want to make the arms, whoops. I don't know why the pivots all the way up there. I'm going to tap pivot, reset, pivot. Now it's where it should be. So now we just have to figure out where we want the arms to go. Let's make them a little bit smaller. One thing that I That I forgot, even though I duplicated that, it's not going to work because it's not a mirror. So actually have to delete that. And I have to add another sphere. And I have to mirror. Because it won't, it won't react in the same way as just a regular layer. And actually did that when I, when I practice this, I did the same exact thing. So let's skinny these up and actually want to maybe turn them even. I think, I think this would be a nice spot to carve. But I'm going to shrink them even a little bit more. I think that would be a nice spot to carve. Something like this, I think might work. So again, we'll just take the mirror and we'll validate it. So now we have the mirror. And I think the front shell got renamed. But I know that this is the front shell. So now I'm going to take this mirror, I'm going to hide it. Voxel. We measured 200 and let's see what it looks like. Okay. It's not bad, so we have a nice cut, their clean cuts. The only thing now is this front part of this show. So we want to, we want to have we want to make it so that his his neck can come out from somewhere. So we do have to make that separation. So let's add another sphere. I don't think we have to clone this one. I think we can just maybe skinny it up a little bit. Just kinda figure out tilt it forward. I think this is a good a good place to have it. I'm going to pull it out so you can see this, whoops. So you can see the shape of the cylinder. So I have it like this. And all doing is really, I just want to cut off a section like this. Because I want the, I want this part of the shell to look pretty much like this. Now I'm going to have to go in and carve some of this out. But that's okay. So you just wanted to let your sphere a little bit and just try to get the front to look like this. I'm going to validate this sphere. Now we have this fear here and I think mirror ones, the front part of the show. So I'm going to highlight both. I'm going to hide my sphere. Same thing. We'll voxel remission 200 carboxylate. Alright, so now we have the front part of the show. I think it looks pretty good. So let's go ahead and take our trim tool. And I just wanted to carve out the space a little bit. So we'll just use lasso. And we'll just make sure that you read the front part. Make sure I didn't accidentally cut anything. Locks. I don't do that again. So now I'm going to use my lasso and I'm just going to carve out along the edge a little bit. Just like that. Perfect. Let's rename this to France shell. And let's go ahead and refresh it at 200. Now let's smooth it out. Get everything nice and smooth. Okay, I think we're doing well. 7. Arms, Legs, & Other Adjustments: Alright, so there's some other little details that might be nice, like trimming a little bit more in here. This little section. We don't really need it. So he can take your trim tool and I'm using the lasso and I'm just going to trim another little section out like that. Maybe I want him even make this perfect up here. Whoops. Use have to be careful of that. You just have to be careful of accidentally cutting pieces you don't want to cut. So if that does happen, you can always use the mask tool like I'll use Select Mask and lasso. You can just mask this off. So once you have that masked off, you can go back to trim. I'll tap left so I'm looking at the exact lift and then you can just make it really clean. Then you go back to select Mask, tap and then clear it. So nice and clean. And then just, you know, anytime you do anything, just make sure to smooth it. Make sure to go back and some of it out. One other thing I wanted to do is drag this up a little bit to be bottom of his chin. So let's just drag this up. Alright, so let's use tubes for the arms and legs. So we use path pair, snap. There we go. And then one extra. So let's drag these to the right position, something like this. So we'll drag these nodes until they're roughly where the arms should be. So something like this, something along these lines. Alright, so let's tap radius. And basically radius just means that you can, now, you can take the orange node and you can make the front. You can fake either side bigger or smaller. So we're going to make both sides a little bit bigger. Maybe something like that. Then you can just sort of just sort of maneuver the arms. I think in the picture they might be a little bit lower. So I'm going to lower them just a little bit. And even though they're going into this shell, I can always change. I can always drag the shell down a little bit. But I just want them to be in, right ish position. This out a little bit. So essentially you just want them something like this. This is a little shoulder, so I'll just move it out a little bit. In the front part, you can see the front part of his hands is flat, so this tool will actually work quite well for that. I'll make this a little bit bigger. Here we go. So now we can mirror. And now we have both of the arms on either side. I'm going to go ahead and hit spline. I'm just going to stretch this down a little bit more. Spline just makes them nice and curvy. Okay, I think that it looks good. I'm going to bring them both together. Now. I do like to move before I validate. I want to keep these nodes. So I don't want to validate it because then this will go away. The editor ability goes away. Is that actual word. So the thing is with the gizmo, you can see that the gizmo was not not being too helpful here in this instance. So that's when pivot comes into play. So imagine, we don't really have to imagine, let's say we wanted to move this arm straight down or straight in towards each other. That's when the pivot will come into play. So I'm going to tap pivot. Now I want to rotate this. So it looks the way that I want it to look. So I'm gonna make the red point towards the sky straight up. You might have to sort of move it around a little bit until you get it exactly how you want it. I'll take a look at the top view. Top do you actually isn't too bad. These have to be careful not to touch the, the nodes or else it will reset. Now the red is pointing straight up. So now I can move it up and down if I wanted to. So we're still in pivot edit mode. So we're just editing the pivot, so we're just editing the Gizmo. If we wanted them to move straight towards each other, Right now, the green and blue are not helping. So I'm going to use the red ring to twist it. So now we have the blue. The green is pointing forward and the blue is pointing where I needed to go. So now that we have that set, we can tap pivot again. So now my gizmo is set. So now I can easily just take this blue and move them in towards each other. Very helpful when, you know that kind of thing happens and you need to adjust the pivot. So to make it easier, we want to use two tubes that are exactly like this for the legs. So we'll just have cloned. So we tapped clone and then we take the red arrow and move them down. But obviously, the shape is all off. So we do have to adjust the shape so we can bring the middle one up a little bit. And you notice that gizmo is sort of in the way now. So I'm just going to tap tube up here. So that way the gizmo goes away and you can actually see what you're doing. Alright, So maybe I'll make this a little bit bigger. I'll bring this down. So now it's just a matter of preference. How you want as little legs to be. But I think this is pretty good. And again, if I want to move them inwards, I have to edit the gizmo again. So I'm going to tap pivot, point this straight up top and appoint this straight. So it's like a 90 degree angle. Tap pivot again. So now at least I can sort of have a little more freedom. So maybe something like this will work a little bit closer to each other. So let's take a look. I think that looks pretty good. Alright, so let's, let's sort of so we want to make this, we want to edit the shell a little bit. So let's take, we can take drag or move. I think I'm going to try and move. I'm going to I'm going to tap the front shell and I'm just going to lock it so I don't accidentally hit the arms. And I'm just going to bring this down a little bit. In this part. I might even bring up we definitely want to raise the bottom part just so it's not so much on his legs. So maybe something like that. I think that's pretty good. I might actually bring his legs back some. So I'm going to unlock. I'm gonna go to his legs. Let's just see how his legs look if I bring them back. Yeah. Kinda like them back a little bit further. So it kinda gives him a little but because he doesn't really have a button. So let's give him a little a little, but let's try the arms. Maybe I'll bring the arms back a little bit to you. I'm happy with that. So let's give them a little neck just with a cylinder. Pretty easy. So we'll go here and we'll just add cylinder. And let's take it out of this mirror. This just rename it neck. And while we're here, let's rename the mirror limbs. And let's rename this arms. And this one is legs. Okay. So let's go to our neck and we can go ahead and validate it. And we'll just shrink it. And we'll just drop it down. So this will sort of be like a bridge between the body and the head. But I also have decided that I think I want to put the head a little bit lower, even lower than it already is. So I'm going to grab the head and the eyes, move them forward a slight bit and move them down. Okay. And I'm also going to just adjust the other parts like the tourists. I'm going to adjust that as well. And maybe even the front two. Let's see how this looks. If I adjust the front part of the shell. Just move that down a little bit. Okay. I think that's pretty good. 8. Arms, Legs, Voxel Merge: So let's validate his arms and legs that we can sort of pull them a little more into. So we don't have this gap here. So validate both of these. And I'm going to take the legs. I'm just going to sort of move it just a little bit further back. And n. Okay. I just want to fill those little gaps. So I think that's pretty good. I'm going to go back to the middle shell and just drag it up a little bit from the bottom. Just to give it a little little curve. Bring it in some something like that. Just so it looks a little bit more like he's sitting. Or I should say, this isn't really going straight into the ground. I think that's pretty good. So I'm actually going to box will re mesh the arms and the legs just so they're a little bit softer. So voxel and our 3D mesh the arms at 200. And I'll reverse the legs at 200. And let me just see how this looks. Might be able to even go a little bit less. Let's rematch at 1170. I think when? Seventies. Okay. For now. So I don't really want the neck too wide. It's basically just to fill some space. So it's not, so it's not so loose in there. We want them to be snug and it'll show. And his arms are pretty much touching the back part of the arms where the shoulders are. So I think I just want to voxel rematch the neck, the arms, and the legs altogether. That way we can smooth everything out and see where we are. So let's take the neck, the arms, and the legs. And we'll just voxel boxer merge them. A 200. Now we can just smooth everything out. The arms connect nicely and can smooth out these poems and this little legs. Okay? You can, you can also do a little adjustments. If you wanted to like say you wanted as little legs to be bent a little bit more. You can do that. You just might have to do selective mask like we did before. And you might just want to mask off any areas you don't want to move. So now I'll go to either move or drag. You can edit. You can sort of pull and stretch as you as you desire. I think I just wanted to pull his his legs out a little bit. So when we put some toes on, there'll be right around, right around here. And then always go back to selective mask. Tap the circle and tap clear. Okay. I think I think it's looking good. 9. Fingers & Toes: So let's add some little fingers and toes. He's not going to be anatomical. So I think I might just give them two or three fingers. Three or three or four fingers, something like that. So we're just gonna do those with spheres. So it will go here, add sphere. And it's still under limbs. So I didn't think, I didn't think I just want to take the sphere out of the limbs. We have legs, see the limbs and is now everything. So we have our sphere. We can go ahead and hit mirror. These are just gonna be little small, little nugget fingers. They'll just going to sit kinda acutely off of his hands. And the keys here is you just wanted to kinda help them on the edge. So something like this, maybe flatten them a little bit. So we can validate and then we'll just clone, clone. And then we take the arrow and move it up over something like that. And maybe we'll give them another one. We'll give them another little fat finger loops. Again, I'm not too worried about being anatomical. I mean, this is just like fun. It's just fun. But if you wanted to do that, then of course, feel free. It's the best part about art is you can do whatever you want. Especially in my classes. I wholly condone doing whatever you want. Now, I made his fingers a little bit bigger. I think they made them all a little bit bigger than the drawings, so I'm just going to shrink them up a little bit. I noticed I tend to do that at times. I'll make things. Sometimes things will just wind up being bigger than they should be. So I'm doing a lot of I'm doing a lot of moving and adjusting. And essentially all I'm doing is I'm just trying to make them so that they're circular, but they're a little bit squished. And they're sort of going along the same angle as this is the side of his his his palm. So that's essentially what I'm doing. I'm trying to make them sort of squished. And then I'm trying to make them go in a little arch. And this will take some time, but the more you get used to the gizmo, the easier it will be. But it is, it is a bit tricky at first. So, um, you know, give yourself, give yourself a break and just give yourself time to sort of get better with the gizmo. So now we'll just do one more for the little thumb. And it's pretty good. I want it to be that big. So I'll clone the middle one. I'll go back to my gizmo because that's the only time clone pops up. Clone. And then we'll move this to some area. Turn it out a little bit in something somewhere like that. So it looks like a little thumb. So now we can do the same thing. We might actually be able to use the, the three fingers for the toes. So let's see. So this one is the thumb. So it's good to name everything. So this one is the thumb. Let's put that on the bottom. So let's take this mirror and clone the whole thing. So we'll just clone the whole mirror. Will get rid of the thumb. And I'm going to name the mirror toes so I don't get confused. And unnamed the other ones fingers. So now that we have toes. So now we have just these three spheres selected. I'm going to tap the gizmo and I'm going to bring it down. So I might be able to get away with using these toes. Feet are using these fingers for his feet. So we're sort of running into the same issue with the gizmo. So I'm going to tap front pivot. And you just adjust the pivot so you have better control. Bring his little feet as little toes in. And you can adjust individually as well. If you see one that needs a toe that needs reworking, you know, you can do that too. So big. I guess maybe it's his big toe. Kinda make sense. So now he has his little fingers and as little toes. Okay, Let's voxel merge all of these parts together because they don't need to be separate anymore, like the toes and the hands and stuff. So let's Let's go ahead. And sometimes I completely forget where everything is in the, in the app. It takes me a minute. So let's take all of these fingers, toes, and lakes. You know, I think the legs is the arms and the toes. So I've taken all of that. The arms, the legs, all that. And then when a voxel ramesh 200 actually let's do 250. Let's do 250. And let's say before we do it, Save, we can go back to voxel 3D mesh. The 250. Here we go. So now everything is together. Now we'll take our Smooth tool very gently. Want to keep that detail. Now he has fingers and toes, and I feel happy about it. 10. Eyes: Okay, so now let's do his eye slash eyes. So let's take this sphere. Let's bring it out so we can see it. And let's make it bigger. Something like that. Here we go. Because we want them to have big eyes. So we need to make them a little bit bigger. Alright, so I'm going to validate this high. And I'm going to, I'm going to go here. Oops, I go to this little icon. And instead of Metcalf, I'm gonna go to lit PBR. I'm going to hide everything else. So this one, I'm going to clone. So we have i, I'm going to rename the first one. I white i1. I'm going to clone, and I'm going to rename it corn for cornea. I'm going to hide it. So now we have another eye, which I'm going to rename pupil. I'm going to hide that too. So high white. I'm going to clone lots of cloning. I know. And I'm going to rename this. I erase. So now we should be on I erase. And let's pull it out. Okay, so now this is how we're going to construct the eye. We're going to do another Boolean operation. Let's make this smaller and let's shrink it. And then sort of figure out how we want this to go. So he is really big eyes. I think something like this is good because we don't want it that deep. Let me flatten it a little bit more. We don't want his iris to be that deep. So maybe something like this will work. Okay, so let's go back here to our options to IY and IRAs. And let's tap. I wait, and I erase. We're going to hide. Now we'll voxel, will rock swimmers them at 200. Okay. So I'm going to bring back corn. I'm going to tap on corn. Then I'm going to tap here for the material. And I'm going to tap refraction. Refraction makes it clear, but you can see that it's not looking good right now, but that's okay. First Paint Glossy, then absorption. Then we take the absorption color and change it to white. So now we take the index of refraction and bring it, bring it down to 1.3. So there are a little issues with the eyes. But one way to fix it for now is we'll take the corn, we're ready. We're already on corn and we're just going to make it the slightest bit bigger. Just like that. Now let's take the pupil will go to our little color circle here. We'll go to black, and then we'll take away all the roughness. And then we'll do paint Hall, shrink it down all the way out. So you can see what we're doing here. Maybe flatten it up and we push it back in. Just like that. Let's actually color it before we place it in the eye. So in order to do that, we want to hide the cornea. We don't have to worry about the pupil. But we just want to be on Iwate. And let's hit front. Alright, so let's take our Paint Tool. I'll tap on it. And we'll hit Clone. So then you're gonna get a new Paint Tool and the bottom. So let's go to these options here. So we'll press the little pencil button. You have your falloff. Let's set that to the straight line. And then we'll go down and grab dynamic radius. Okay, So with your paint circle, I rename mine paint circle. It Just wanted you just want to make a nice circle from the middle. It might take a few tries to get it where the middle is. Unless you, unless you're sphere, is perfectly symmetrical. And see mine is off. So sometimes I just have to do it a few times until I get it, how I want it. That's pretty good. Now I'm going to take the smooth brush, but I'm going to lower the intensity all the way. So what I do is I tap it and then I clone it. So I have one on the bottom. And this one stays with zero intensity. It's very small. But zero intensity. That way we can smooth the paint, but it doesn't mess up the it doesn't mess up the shape of the eye. And also here, I'm going to go here to the little layers thing. You can add a layer. And I probably should have added a layer for the black. But here is where if you want to add some color, you can go to your paint circle and just change the falloff. Change the falloff to where it was, something like this. Now you can go in and you can change the color to, let's say a say brown like that. Now you can change the color of the eye. Make it a little bit lighter towards the middle. You can do something like that. Alright, so let's turn the corn back on. Looks good. Okay, so the cornea is back on. So now I'll select all of these and I'll push it back into the head and just see what we have. Okay. Not too bad. Bringing out a little bit. So we don't want the eye to be too far popping out of his head. But I think this is pretty good. And judging by this, so we want the eyeball to be sort of on the closer to the bottom, will shrink it a little bit, bring it out. So something like this, I think looks pretty good. This is a decent spot for now. So I'll just tap view so we can sort of see what we have. And I think it's a decent spot for now. So one thing I'm noticing is I want to stretch his head. So let's go to the head. Move my trusty Move tool. And I just want to spread the head out to sort of match the drawing a little bit more. Top can even come down a little bit. I think that's good. So now for the eyes, this actually looks pretty good. So you want to have that straight line on the bottom. That's very, very important. If you don't have it, you can either push the eye back and you can do a little bit of pull as well with your move tool. If you need to. Now I'm just going to adjust this just to make my life a little bit easier. Okay. One thing you'll notice is that the head actually goes into the eyeball like this. So we're going to use the corn. We're going to use that to carve out, to carve out of this the head. But before we do that, let's take the eye white. So all of these three, and let's mirror them. So we'll do add. And then we'll do mirror. And now he has his other eye there. You can check it out, see how it's looking. 11. Eye Adjustments: And you can check it out, see how it's looking. Now and now everything is mirrored. So if I select all of these, I have all the functions, or at least I should. Yeah, so I have all the functions of regular eyes. So you can change anything if there's something that you want to change that you don't quite like position wise. But I'm pretty happy with that. Part of me wants to flatten out the eyes. So let's try it. Flatten them out and bring them a little more forward, and also tilt them up a little bit. So before we move on, I think the only other important thing to do is just continue to work on the shape of your head. If something looks off, then just adjust. Which you know, I'm I'm good at. I'm always adjusting something. I think I always want to. Now the top of the eye is a little funny, so I'm just going to stretch this up a little bit more. I think I'm gonna use in Fleet and just inflate this a little bit. And then I'll just use smooth. Smooth it out. I don't want this to, I don't want this to get too close together, so just make sure that you keep it like sort of separate. Okay. So once you have that, once you have a position that you like, use the cornea to do a Boolean operation. So you can carve out the shape in the head. So we'll take the corn and we'll duplicate it, will clone it. Just so we don't get confused. Corn erase, erase out of the mirror and then mirror it itself. So I'll validate it. We have the head, we have the mirror, and we'll hide the mirror. Voxel ramesh 200. There we go. So now that cut out that carve what we needed. So again, just in case that was confusing, basically what happened was it wasn't when I erased since the original one was inside this mirror. It wasn't actually two separate pieces. It's just one piece but it's within a mirror. So I just had to bring out bring it out of the mirror and make it its own beer. Two pieces. And then validate that mirror. So once you validate it becomes two separate meshes. So that is what allowed it to get carved out finally. Okay, so now that we have our eye is carved out. So I think I want to take the flattened tool and just sort of flatten this out. Either flatten or pinch. Let's see what looks better. So I'm gonna go ahead and box will remiss this again. We measured at 200 and then just trying to smooth it out. Okay. And just want to drag this up a little bit. Because I want the bottom to be nice and flat. And I might just go back-and-forth between pinch, smooth and flat. And just to sort of build out this this area because I really want it to be clean. So I'm just flattening and flattening the areas that were sort of affected by the by the merge. So I'll just do a combination of flattened pinch gives you a nice crease as well. But that's basically how I flatten that out. It just, it really just takes patient, patients. But I think that looks good. One thing I'm noticing and this has completely, I just want to want to try this out. His eyes aren't really elongated. Let's take all of these, the three I's and let's just see what happens if we stretch. It. Should see how it looks. Right? I mean, it isn't that bad. I don't think it looks too bad. You can always you can always check it out. You can always go to the eye white and see what it looks like without the brown. Right? Yeah. Here we go. Because the brown does give it a different sort of look. So we'll leave I'll leave it, I'll leave the brown on for now. But I think this looks pretty good. Okay, So next we have the details in the head and the details on the shell and in the back of the show. So that'll be the next thing that we work on. 12. Lashes & Shell Details: So one thing I'm noticing with my character, It's very important that the shape of the eyes is very important. The fact that his eyes are like this, it makes him look a little mean. So I'm going to use the drag tool on the head. I'm just going to lift up here. And then that will give your characters instantly make them look sweeter than they did. Okay, that looks much better now. Alright, so the next thing I want to do is let's add a quick eyelash area like this little, this little bit tube tool path. And keeps snap-on thing. I'm always going to keep snap-on from now until forever. So let's, let's go back to firstly, let's go back to my cap. So now we're on tube path. We're going to start around here. Here we go. One die, let go two dots, three dots. Tooele about here. And you want to do one coming off and tap on that one. So it's like a hard turn. Will tap the little green thing. And now we just have to adjust this because this needs to stick off of his head, not be in his head. So something like this. You can actually bring this down a little further if you want. You can always add nodes by just tapping on the on the tube. Once it's, once it's basically there, I'm going to hit spline, so it's nice and curved. And then we can do the same thing we did before with radius will tap radius and make this one this side bigger. And decides smaller. Hide this one. This one will go right into the skin, which will give it a nice sharp ending point. I might need to bring this down a little bit. Maybe something like that can make this a little bit bigger. Then we just want to mirror and see how we like it. Maybe a little smaller. So there we go, something like that. Then he has nice little eyelashes. He or she. We can go ahead and validate. I'd like to take the smooth tool and just smooth out the end. Then I'll take flattened. And this is how I sort of shape it. Flattened the bottom until it's pretty much the shape that I want it to be. So something like this can even use the drag tool. You can just drag it a little bit, smooth it out. Something like this. Now I know why my character's head is a little bit smaller. When I turn it in the top is kinda like an alien head thing going. So I'm actually going to use the tube tool and just kind of round out the back of his head too. Okay, here we go. Let's good. Alright, so let's add some details to the front of the shelf. First. Leaves are creased tool. And we want the radius to be quite small. So let's start at ten. And I also don't want symmetry. Okay, so firstly, we just need to make a line from the top to the bottom. So let's tap Lock so we don't accidentally do anything else. You want to try to get it as close to the middle as you can. That's pretty good. Let's also do some here as well. You can actually put on symmetry because this is gonna be equal, the rest is going to be equal or symmetrical, I should say. So you just want to put a line like that. So the next line, we'll just make one line coming down in the middle here. So now let's start from about here, and we'll do two lines coming up slightly. Then we'll start here and we'll have two lines sort of going down a little bit. Perfect. Let's turn our little guy around and check out the back of the shell. Let's turn Lock off. So now we're on the back of the shell. We might need to subdivide this, but let's see. So basically the shell is, it's only 8,572, so it's, it's not dense enough to put a lot of detail in. You can try dynamic topology. So if we go here, we tried dynamic topology, turn that on symmetry. You could try this. Then actually it looks pretty good. So it's either to do dynamic topology or you sub-divide the whole the back part of the shell. So let's do a little test and just see how it looks. I'm gonna do one line here. They meet in the middle, on to another line here. Would they be in the middle? And then I do a slightly angled line down. I can probably do it better than that. Connect those and do another one like that. Then to do a line going up, do a line from here, there. And then there. It looks pretty good. So now that we've done that, let's take a look at the difference. So that looks pretty good. But let's take a look at the difference. If I take the back of the shell, multi-tier is subdivided, Let's see, I subdivided twice and then delete lower. So now we have crease. And why I'm not using dynamic topology anymore. Let's see how it looks. It looks pretty much the same. Just make sure it's nice and smooth. It looks pretty much the same. Here, it looks pretty much the same. So that means that I think in this instance, I'd rather, I'd rather use the dynamic topology. So I'll just do this once again. I'll do the same, the same lines. This notice that I'm angling up as well. These lines. Alright, so now we do one down and try to make this as clean as possible. And then I'll just connect these two. Same thing. So I'll do one slightly down. Connect these two, this one up, this one is slightly up. This one's slightly down. That looks pretty good. So we'll probably have to go over these lines again. Once we color, once we color the, the shell. 13. Shell Edge Detail: Alright, let's add some detail to the tourists. So I'm actually going to do the same thing with the tourists. I'm going to actually use more tourism, going to sub-divide it just once. So I'm gonna take the flattened tool and I just want to flatten out this plane right about here. So I'll start at the bottom. I just want to try to make that nice and flat. I think that looks good. You can even do a little bit on this side if you want. A little bit on the bottom. I think that looks pretty good. Now what my crease tool, I really want to try to add some, some divisions and the shell here. So e.g. see how that looks. Now if I want a cleaner than that, then I have to use dynamic typology again. So I'll turn that on. And I'll start from the bottom. And I'll make this one a little bit bigger. And I want to make sure that I bring these all the way around. So they can be a bit tricky. Because what happens is, you see, I was actually on a different layer somehow. I don't know how that happened. So I'm going to lock it so I don't accidentally do that anymore. Another thing I can do, I can hide the head. I can hide all this stuff to make it a little easier for me. Here we go. So now I can crease in peace. And essentially we just want to make sure that we have the divisions in the middle so they don't meet up with these lines. Let's hide the floor to you can just do one in the middle. Okay. So let's bring everything back and see what we're looking like. Okay? Or show is looking pretty good. I think it looks great. The only other thing that I might want to add is this little. So the little detail resubstitute the crease for the face. I kinda want to stretch everything. So let's just see how that would look really quick. Otherwise, it's just going to bug me. Go to the shading window, and let's go to LEP PBR. Now let's grab everything on the head. So this ys, because we want everything to be as it is. All of this stuff. I just want to see what it would look like if I were to stretch it out. I think the wider one looks better. Let's go back to make cap is add these two little pops right here. I would paint them in, but I'm probably we're probably going to make him a or by going to make his skin subsurface and paint doesn't really show that well on subsurface. Subsurface. So I'd like to add cylinder and touch snap and make sure that it's at 90. And then drag it just tilted forward. And now you can shrink it and just hit Snap again so you can freely move around the gizmo. Would that it's snapping. Right? So this looks pretty good. All we have to do is we want two of them. Number one, so let's just go ahead and mirror it. Can make it even a little bit smaller. And just look at the shapes. So it's just like a teardrop shape. That's all we need is a nice teardrop shape. Let's validate it. Let's try with the move tool. One thing I want to use is the symmetry. But I don't want this symmetry. I want symmetry going down in the middle. So I want the symmetry button here. And this is the symmetry that I want the green. I'm going to tap on the red to turn that off. So basically what that's gonna do is now when I move this down, it's going to move the back along with it. So something like this. I'm gonna make the move tool really big and just sort of push on the other side, on the underside. So we have a nice bend. I also want to push this way a little bit just so we can sort of get it a little bit tilted outwards. So now let's bring them both together and put them in the position where they should be. And this is where you can actually see. Here's a lot more forehead in the drawing. Unfortunately, I think I I probably could have made his head a little bit bigger. Let's shrink these up. Quite small. Okay, so it's gonna be something like this. Try to smooth this out. So they're not so harsh. And there's absolutely no reason why I smooth on one go and smooth on the other because they're both the same. Let's go ahead and try to add a crease to his face. And I'm actually going to do that on a new layer. So let's just tap layer and let's just call it crease. That way if we want to get rid of it later, it's just that much easier. So we don't have to do the upper line, we just have to do the mouth. So we're going to start halfway down like in the middle. Want a nice smooth stroke. You want to make sure the end is deep. So something like this. Actually it looks pretty good. The best part is you can add a new one. You can try. If you want to just try it again. Now, we can go back if we like that one, we can keep it. We can try a new one. So I do want to try another one that's a little bit smaller. I think that might be the winner. That one looks yeah, this one looks a little bit better. So I'll delete the other one and we'll keep this one. So if I were going to do a nostril, I start with decrease. Let's make this on a new layer two. So I'd start with decrease and then inserted just make little markings where I think I want the nostrils. Then I'll use clay. And you might even want to turn on dynamic topology. Really small. Then when you smooth it out, make sure to turn dynamic typology off. Here's a little nose too. If you fancy a little nose. 14. Little Tail & Lighting: What's up, guys, Welcome back. It's a new day for me, a new listen for you. So I've been experimenting and there's something else that I wanted to really quickly and it has to do with tobacco physical shell here. So we're going to take this part. Oh, no. What's up with this? So I figured it out when I was stretching the head and I made it a little bit smaller and I guess I made the shell smaller as well. So I want to add a little tiny little baby turtle tail back here. So it's kinda tricky. I'm going to use mood and just sort of pull this up a little bit. Not too much. Maybe something like this. You can see how that looks a little strange. Just pull this up a little bit. Okay, something like that might work, that might be enough. That might be enough. So now we'll just add a sphere. So we'll bring the sphere down and over will shrink it really, really small. Go ahead and validate it. And now I'm just going to take the, I'll take the move tool again. Turn symmetry on, which is sort of pull it out. And then sort of just make it a little bit sharper. Something like this. Think works. I'm going to flatten out the top of it. So something like this. It looks like a decent little tail. Now let's slide it in hoops to get used to the moving things around and just kind of kind of awkward in this new build. Maybe even a little smaller. Flatten it out a little bit. Just like that. Touch. Just a cute little tail. So I don't know if I'm going to keep it, but I thought about it and I kinda liked it. Maybe if I make it a little wider because he would have a little tail. So maybe something like that. It's kinda nice. Alright. I like it. Alright, so let's make him PBR now. So we'll go to this window. Lit PBR. We have a better assessment of our little turtle here. I think he looks really, really cute. I feel like I want to put something on his head. I don't know what but I don't want to put something on his head. So let's start lighting him. So firstly, we'll go to the same window that we did for loop PBR, though our Lighting window, and we'll turn the environment off. So then he should be fully black. And we can actually go to the next window. We can go to the background and turn off the reference image. I'm gonna go ahead and save. So now we can start by lighting him. We'll just add our world light. So I'm going to rename this w1. I'm going to try to just do the lighting very linear in the sense that I'm not going to, I'm going to try not to move them around too much because sometimes I can just spend forever on lights. I love it. So I'll just move this over. So this is just the word light. Anywhere you put this, obviously, it's going to have Major shadows on our character. So I'm just going to leave it where it is. I think it looks good. So we have the one-world light and I always have it pointing sort of coming down like this, sort of in the front, coming down like that. So we have shadow. So we have shadows over here. And while we're here, let's go ahead and add a camera view. So just go to this camera and add view. Okay, so that looks pretty good. So let's rename it front, just so we don't get confused. This is our front camera view. So now we can add another light, but we needed light up this side of him. So we'll go to another light and we'll add. We can use another world light. So let's see if we move this one over here and name it W2. We can name this world light tube, but it's even though we moved it, it's still pointing in the same directions. That's how it is with world bytes. So let's actually move it the arrows so it's pointing on the other, the other side. So maybe something like this. You can go up or down depending on what you what you fancy. Think something like this works well. So, and also you notice he's very plasticky and I actually hate that. So I'm going to select all of the parts that are his skin and everything in the shell and everything and just make it like a matte white. I just think it looks a lot nicer. So let's go here to our Scene menu. And we're going to take the head. We don't need to have any lights highlighted. So we'll take the head. This tube is the eyelashes. So let's go ahead and validate this, this mirror. I'm going to rename it lashes. Okay. So we have the head of the lashes. I'm going to just kind of put them all up by the head. Actually, you can connect them to the head, that's fine. So we have the head, the lashes, and then these are the eyes. I'm going to name this mirror eyes just so we know what it is. So we have eyes. I'm going to move that up to. And this is just a little organization. You don't have to move these up, but it's just a little bit easier for me. This was my backup I that I never did in this tutorial, so just pretend it's not there. Then we have back shell tourists. The tourists is the shell edge. So I'm just going to rename it. Shall edge. This sphere is the, I think that's the tail. Maybe. What is this fear? The tail. So this is the reason why I name it, because sometimes you can't see all of the shapes, all of the meshes. So this is all the shelf stuff. In fact, Shell, shell, edge, tail, we can connect to that front shell. We can connect to that as well. Then we have this mirror, which is the, let's see, let's just name it brow dots. And these we can actually validate as well, brown dots. So we're bringing this up in sort of connected with the head because it's sort of in the same vein. And these are the limbs, so let's just name them. So we have the limbs. Then we have the all the other parts. Okay, so now everything is pretty much, is pretty much together. So we want to take the head, all of these things, the limbs, the shell, not the eyes obviously, but maybe the box too. We can throw the box in there. And let's just make it a matte white just to make it easier on the eyes. Maybe around like 0.500 or so. I think I like 0.500. Maybe even a little more math than that. I'm noticing. I feel like the head wasn't getting oh, see what happened. It's also a good lesson. So I was on this random layer here, so I'm gonna go to the base and then I'm going to paint all. And now the now it's colored because wondering why the face wasn't getting the color and it's because of the layers. So I think this looks fantastic. I think it looks much better. Like this. 15. Spotlight Turtle: One more quick thing that I'm noticing. If I zoom in, you see how this is sort of not clear, like it looks like these little squares. So that shouldn't be like that any eye. And it's just a matter of the I probably can just be smoothed out. Just make sure you don't do it on the cornea. If you tap here, it's gonna go on the cornea, which is the outer shiny layer. So instead, you have to go into the eyes and just tap my white. You noticed when I tap them, then all of these got selected. We don't want those, we want just the eye white and we want smooth. So let's see. I'll go to the base on the eye white layer. Now I'm just taking my smooth brush and I'm just going to smooth, smooth that out. You see how it just gets a lot more. A lot nicer. A little bit over there too. So now it's a lot nicer. We don't have those artifacts there. So continuing with the lights, continuing with the lights, we want to make one coming from the top-down is one that I like to do. So let's add another light and we'll make this one a spotlight. And I want to rename it top-down. And here's our spotlight. We need to use the gizmo, whoops, and tap on it. We need the gizmo will bring it up. And I just want to put it directly on his head. And of course you can adjust the all the intensity and things like that. I might make the angle a little bit bigger and I might bring it forward. I'm not sure if I want a forward or back, but I think that's pretty good for now. We do have another light, which we could always add. If we add a light source, it might be nice to hit them with a light source. But for now I just want to give him an edge. So maybe we'll give him an edge, either the left or the right. And we'll do that using The, using another spotlight. So we have top-down, we have the world lights. So let's add another one. And let's change this one to a spotlight as well. Let's also rename it to edge. We'll just call it edge. I think that I think that works for the edge. We want to bring behind him. Then we want a pointed at him. And we can raise the intensity. We can make the intensity fairly bright. Hopes will move it back a little bit. Now, as long as I have the edge light selected, you can see it back there. I'm gonna move it off to one side or the other. Doesn't really matter what size. But you can see already, you can see the effect. And this is why sometimes it's kind of annoying. But when I'm, when I'm posing him, when I'm posing my characters. Sometimes you have to relate them for each pose if you want them to look the best. Okay, so now I'm just going to straighten out my light a little bit and sort of pointed more towards him. A little bit smaller. So now if you bring it in, It's going to be a little bit brighter. If you angle it towards him is gonna be a little bit brighter. Maybe something like this. You can, you can bring the intensity up to get a stronger edge. Things like that. So there's a lot of different things you can do to give it that nice edge. Put it down a little bit. Okay, I think that's pretty good. So another thing if you want to test out the other side, you can just drag it over and then angle it over here. And you can see which one you like better. Like. So let's ask what trim his feet and the shell. Whoops. We do have a little bit of trimming to do because we want to make sure that he's flat. So if he was sitting, he'd be able to actually be able to sit. Alright, so we have the box here. Let's see what it looks like without the box. So it looks like it's there are some pieces that go below where the boxes. Looks like it might be this piece. So let's bring the box back. So when we trim, we want to make sure that we have symmetry off. We don't want symmetry. And we also want to, we're going to use the rectangle. And we don't want to trim it too close to the top edge. Because when we smooth it out, it's going to move up a little bit. Because if we trim right underneath his leg and then we go to smooth it, then the clay will sort of move up a little bit and you'll see all the jaggedness and we don't want to see that. So put this back, so it's perfectly left. Trim tool symmetry, half rectangle. Let's start with the legs. And actually we can make this longer because the leg goes back under here as well. So I'm gonna do a little bit underneath. So probably something like this. It's good. Now we'll go on to the other shapes. So this part trim there. This part. But the same distance. This part might need a little trimming to this one. I can go a little bit higher because you shouldn't see this part of the shell anyway. And then we have the tail. So we'll do a little bit lower for the tail as well. So let's hide this and see what we have. So we hide the box. Now we see that it's trimmed on the bottom. I'll turn the environment on so we can see. Now the bottom is all trimmed, so it's nice and flat. And I can take smooth and just smooth this out a little bit. And I don't have to be worried about actually before you smooth it. Taps symmetry. So you don't have to smooth it twice. Okay? And here's another thing. There's always a lot of issues. So if you notice I'm using symmetry, but the symmetry isn't quite perfect for the feet, for the legs. This one's a little bit higher. Symmetry is very complicated. I don't want to get into it too much, but just know that if this happens, It's because of the local symmetry. So it's because of the symmetry of the legs, the arms. And I think even what's all connected to this, I think the legs, arms, and the neck. So since we have all those together, it changes the symmetry. So it's not everything is going to be perfect. But since we didn't move the turtle off of the central line of the project. You can go to symmetry. You can tap world and see this is the world center. So this is the very center of the project. So that's the World Center. So using world center, we can tap on the leg. The symmetry is perfect because it's not going off of the legs, It's going off of the whole project. So now we should just be able to smooth it. Just a little soft, smooth, nothing too crazy. Again, this is like if I get if I get this printed, it's going to sit like on something. So, you know, just just kinda want it to be a little smoother. But you see the mesh sort of moves a little bit. That's the reason why I don't do it. Right up to the edge. Because if you lose that, then it'll show when you sit it down like when I bring the box back. Now it still looks like he's sitting, so I'm happy with that. Let's turn the environment backoff. And we actually have our lighting so we can, we can adjust the environment light. So let's turn it back on for an hour to 2.89. This environment is one that's included. If you're wondering, this is an image that I made in Procreate. If you want to import it, just tap here. Import photos. You tap the photo, and then you tap Add. And it will show up down here. So this is the one that I'm using that I normally use. C has this nice, this nice pops of light That's because of the environment. And again, there's obviously other environments that you can use as well. You can play around with. So 2.89 is way high. So let's turn that down. Maybe one is good or maybe a little bit more, maybe 1.25 or so. It's probably decent. I think that looks pretty good. I do like how it looks without the environment and I think it's very, it looks, it looks very cool. The thing is, is you can add a little bit more shading when it comes to post-production. So that's why I make it a little lighter now. So when it comes time for post-production, I can, it'll be a little bit more dramatic. But I think that's good for now. 16. Paint Job: So let's go ahead and color this little guy. This is the fun stuff for me. So we'll tap on his head. And he has a base. He has like all these other things. But I think I just want to color the base because I can always come back later and adjust it. So we'll color the base for the head. I think that's the only thing that has layers. Yeah, that's it. So we'll go to our colors. And I think we wanted to. It's kind of nice. I think that that's nice. A little bit lighter. So something like that. I like the roughness. Let's do pain all. So this is this color is 81818181. If you want to do the same exact color that I'm doing, be 8181. Now that I've colored, I noticed that this is a little crazy. These are a little crazy here. They don't they're not really going smoothly into the into the face. So I'll just take my move and just see if I can adjust them a little bit. Let's turn symmetry off. As we're quite hard. As you can see, it doesn't look really smooth at all. I didn't see it before. Lock. Okay. So not perfect, but I'll take it for now. I might do them again, but I think there are, I think it's fine for now. So let's take these and color them black and turn roughness all the way up. We don't want any shadows or anything on the eyes. Okay. So now we have the rest of his body. So I'm going to go to the paint, go to this little eyedrop here. Boom. Now I'm going to touch this once that grabs the color. And now we want to just cover this. So a tap on the arms and legs, tap this. Paint all go. Now we have the front half. I think we want sort of a yellowish color. Let's save. So think we want a yellowish color. Maybe something like that. F phi d894. Pretty good for now. Alighted. Now for the back of the shoulder we want brown or do we want greenish? Think we want like a light sort of soft brown. So maybe something like that. This color is b f986c. I think that's pretty good for now and I might change these colors, but I just want you to, if anyone wants to match the colors, That's why I'm doing it like that. So this part should be, I feel like a little lighter. Maybe something like this. Or maybe it should just be the same color. Let's see what it looks like. I think I like it the same color. I think I like it the same color. Rooms forgot his little tail. In order not to do that again. I'm going to join the tail and the limbs. So I'm going to take the tail and limbs and I'm going to tag them both and then I'm just going to join. I don't know what happened to the color, but I'll paint it all loops. Color. I drop tail. Here we go. Very nice. I love them. I love it. So this, let's see what color we want this I think maybe a little lighter. Nothing too crazy. Okay. So I'm very happy with it so far. I think it looks great. And I always add my little shadow. Let's go back to my whites. So we have Iwate, unselect the corn and pupil, just Iwate. Let's go to the layers. So we have a couple of layers here. I want to add a layer and name it shadow. I always do this. I always add my little shadow. Now let's do a paintbrush. Black. And I just like to do, I'd just like to paint the shadow on the eye. And then I'll take that layer and bring it down to maybe something like that. 0.600 or so. I always do that. Okay, So I was looking great. The only other thing that I want to do is maybe give him some facial details. So his eyes a little, a little iffy. Get rid of this mouth. What does this? Let's get rid of this two. We don't need those extra layers. So I'm just in the head. I'm in nostril. That's crease here. So I want to smooth this out because you can see when you get close, this is because of the because we use the dynamic typology. But should be good once we smooth it out, should look a lot better. So let's take this color. Let's take our crease and we'll tap this little circle that's the line through it. Eyedropper. And then we'll tap the screen. So now we have the green. Let's go darker with it. So we'll go darker and more rough. And remember we're using the crease tool, but now that we've tapped the color, it's going to do the crease, but it's going to add the color. So now we'll start right in the middle. And we'll just go along or crease line like that and it will make it nice and dark in there. And we can take the smooth without intensity, and we can just smooth out the color a little bit. I think that looks good. I'm going to tap on the base and just smooth out a little bit of this. His mouth. And a lot of these, a lot of these weird markings are also from the shadows too. So you have to be careful because the shadows will sometimes make it look like there's a pattern on the skin and it's just a shadow. So let's do the same thing with the nose. Crease. Just add a little bit of creasing here. We'll take just a regular smooth, Let's just see how it looks. Just kinda blend the edges a little bit. Here. I think it looks good. 17. Color Details: So there are some other little options that we can do, a little tiny things that can help. So e.g. on the, on the hands and the hands and feet, we can add a lighter color to the, to the palm sort of areas. So among the limbs, I just added a new layer. And we can just name a lighter because this will be lighter than the skin color. And again, you just tap the little eyedropper, get the color and then just bring it up a little bit. I'm going to make sure that I'm on world this way when I color the limbs and I know that there'll be symmetrical. So that's another little fun detail that you can add. Cold hands and feet. And other fun detail is to give him a little bit of blush for his nose and cheeks and things like that. So for the head, we'll just add a new layer and we can call it a reddish. So then we'll just go to read. Maybe around here. You can bring the intensity down to about 35, make the brush around 50 or so. Maybe a little bit bigger. You can just lightly go over the nose. Make it even bigger. Lightly go over a little cheeks. We can take our smooth with no intensity. And we can just blend this in a little bit. At least try to when that as much as we can and then take the smudge. Smartest is pretty decent. Smooth won't work. Okay, So I'm just trying to smudge it around a little bit. And maybe since smudges and since a blend or smooth isn't working so much, I'm going to turn the intensity down and turn the brush up a little bit. And I just still want to lightly go over these parts of his face a little bit more. Even though it's really light and you can hardly see it. It does make a difference. So now that we have that, we'll go to the layer and lower the opacity of it. So you can just see it. So maybe something like that. That's another little trick. You can do the same with the hands. Let's do reddish. Just add a little bit of redness to the fingers and the toes. Just the slightest bit. We want it to be like barely noticeable. Okay. I think that's good. I want to bring these down into the skin a little bit more. I'm going to change the pivot so I can go straight down with them, which is straight down like that. Okay. Let's go ahead and make this like a warm gray color. Can validate it. If you want to do a little extra, you can always do the same thing we did for the mouth and the nostrils. To the shell. So essentially, we take the color of the shell, make it darker. Then you have to just trace your lines again. So let's use crease. And I don't want symmetry for the firstline. Pretty good. Can turn symmetry on. And you can just trace your lines like normal. And same thing with the back part of the shell. Grab this color and make it darker. And we'll just trace our lines. Thing I can do that a little bit straighter. Really gives them the depth. Really gives it that little bit more depth to just make it look a little more realistic. I'll do the same with this. Just solo this. I want to make sure that I don't move too far back as well. Because the furthest side, the farther I moved back, the thicker the crease will be. Can you guarantee to these? Let's take a look at the color here. I might have to just I mean, I think that's pretty much it. I think I'm happy with them. Let's turn on some post-process. 18. Post Process: Let's turn on some post-process. Really see what he looks like. He looks great. So in post-process, this will all be specific to your, you know, your, your iPad. Because some things will be a little bit different, but we'll just run through this. I'd like to turn my render resolution all the way up. I always keep this on reflection, global illumination, and keep on. I didn't want to test out having the body B subsurface, so we'll test that out as well. But for now we'll just keep going down the line and global illumination, ambient occlusion. See this, this keeps it nice and dark. I don't even need it that dark. I think that's good. Depth of field is fine for now. Can take a little bit of, a little bit of blur off, so it's not so blurry. I think this looks good. And here's another, another tip. If you're finding that you kinda want the background to be blurry but not the character. It's because of the box. So just add a plane. Let me turn, turn turn up post-process off for now. So we'll go here and just add a plane. So you want it just below the gradient, right at the level where the boxes. Okay? So now I'm just going to spread, whoops, turn it off. Now, it's going to spread this out. It's printed this out. So now he's on the plane. We can get rid of the box or we can just hide the box for now. So we'll color the ground terminal. Open this up. Now let's turn off perspective. So we turned off perspective and I don't like it 19, I'm gonna put it down to maybe 12.5 or so. 12.5. Stretch this out a little bit more. So now it's more like he's sitting on the ground, will do post-process. Now you have a little more leeway with the depth of field. So far blur, I'll turn all the way up and even change the color. This here. Alright, I think he looks pretty good. I think I'm going to call this guy done. But really fun to make. I'm always worried in the beginning. I'm afraid that is not going to look good enough for me to like, I've never gotten over that. I think that's just how I am as an artist. But if you just keep with it, if you just work in those small baby steps and make a formula, then he won't let yourself down. You know, even if you have to make a ton of changes, just do it. Because it's really, really rewarding when you get something that you really like. I'm going to save this view too. You can see I just made the background a little bit lighter. And I, I, the light w1, I just made probably roughly like 200%. So that was the only difference, difference that I just made. I did forget we wanted to see what it looked like if he was subsurface. So we'll do the head limbs, see if we can make him more a little bit more depth. Shadows are a little he's just a little softer. Subsurface, which I think looks great. Let's change everything that's subsurface. Why not? Just keeps everything such a nice, realistic look. It's truly, truly special. Get rid of those like really dark shadows when you don't want them. Southern knew a few extras. On little turtle. I actually made the eyes. I sort of just squish them. So I think I can probably just show you here. But I selected the eye, the cornea and the pupil, and I just squish them back down, made the eye a little bit bigger and then I made the pupil bigger. You can see the difference. So this is how it was made them see, I squashed them a little bit and it made them a little bit bigger. And then it made the pupil bigger. And you can see there's a big difference in Q-factor. There's just so much to do. So I'm going to continue to work on this. But I think I'm going to call the project done. But I will be doing more. I'll work on him some more, probably on YouTube. So I'll see you in the next video and we'll chat a little bit more. 19. Thank You!: Alright, thank you guys so much for joining me and just hanging out with me and sculpting with me. I hope you had a good time. I hope you learned a lot. This has been a new passion of mine teaching. So of course, if you have any suggestions of things, That's just you bet I should do better, please let me know. Also the class project. Be sure to rate and review my class and also upload your designs to the project and resources tab. Create project. I would love to see your turtles and I'm sure everyone else would love to see your turtles. And I want to see what you do if you change it. If you, if you experiment, I want to see that as well. Feel free to upload whatever you want to upload. I'm happy to see. I'm happy to give you feedback if you want it to. Of course, you can check me out on Instagram drug-free, Dave, TikTok or YouTube, all drug-free, Dave, I actually, I actually continued to work on this turtle and actually made another turtle. But I continue to work on classes afterwards and I just post them to my YouTube. Even make the thumbnails for this class and lots of different things that I just continue to do and I always do that. I finished his sculpt and then I just keep working on it. So make sure to check that out. But yeah, I don't want to take anymore of your time. I really appreciate you guys. As always, keep drawing, keep sculpting, and I'll see you all in the next video.