Introduction To Blender Sculpting | Zerina 3D | Skillshare

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Introduction To Blender Sculpting

teacher avatar Zerina 3D, 3D Artist And Animator

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Introduction Class

      1:21

    • 2.

      Introduction To The Tablet Settings and Blender Sculpt Mode Interface

      13:43

    • 3.

      Brush, Stroke, Falloff And Cursor Settings

      17:30

    • 4.

      Introduction To The Blue Brushes

      17:30

    • 5.

      Introduction To The Red Brushes

      6:05

    • 6.

      Introduction To The Yellow Brushes And The Rest Of The Brushes

      17:34

    • 7.

      Blocking Out The Head

      9:47

    • 8.

      Remeshing And Sculpting The Mouth

      24:00

    • 9.

      Sculpting The Nose

      15:08

    • 10.

      Sculpting The Jawline And Moving The Eyes

      14:01

    • 11.

      Sculpting The Ears

      13:05

    • 12.

      Connecting The Neck With The Head

      12:10

    • 13.

      Sculpting The Hair

      20:41

    • 14.

      Modeling The Eyebrows And Adjusting The Final Render Settings

      9:24

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About This Class


Hello guys, welcome to the new Blender course. My name is Zerina and in this course, I am going to show you how to get started with sculpting in Blender.

So if you have never sculpted in Blender before or if you've sculpted a little bit and you kind of need to know kind of basic things to get started I am going to show you all the basic stuff and all the tools that I use for my sculpting as well as the rest of the brushes.

We will cover the basics of Blender Sculpting and I will introduce you to the interface of Blender sculpt and like that we will move forward with the introduction to brushes, modifiers, and Remesh option.

Later we will continue with blocking out the model and peace by peace we will sculpt together girl character using the brushes modifiers and Remesh option that you will learn how to use in this course.
You can download the reference images on Reference

If you are a beginner at Blender sculpt this is a course for you. I will show you all the shortcuts tips and tricks that you need to start and to enjoy your sculpting journey.
What are we waiting for let's hop on to the videos and make fun art using Blender sculpting?

Meet Your Teacher

Teacher Profile Image

Zerina 3D

3D Artist And Animator

Teacher

Hello there, my name is Zerina. I am a graphic designer and a 3D artist. 

Creativity has been a part of my life since I can remember; even as a child, I was interested in art and computers, so I followed my passion and now do what I love. ^_^

Also, I have a lot of teachers in my family, including my mother, so I've always tried to emulate their teaching methods. 

I joined Awesome Tuts to begin my teaching career. And I have more than 5 years of experience teaching computer software for design and computer graphics. 

I preferably work in Blender, and the type of work that I do is; animation, sculpting, and modeling low and high poly models. 

In my courses, you can expect a practical approach to teaching, which means that I will expla... See full profile

Level: Beginner

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Transcripts

1. Introduction Class: Hello guys, welcome to the new blender course. My name is Irina, and in this course I'm going to show you how to get started with sculpting in Blender. So if you have never sculpted in blender before, or if you've sculpted a little bit and you kind of need to know kind of basic things to get started. I'm going to show you all the basic stuff and all the tools that I use for my sculpting, as well as the rest of the brushes. We will cover the basics of blenders, sculpting. And I will introduce you to the interface of blenders, COPD. And like that, we will move forward with introduction to brush his modifiers and rematch option. Later we will continue with locking out the model and piece-by-piece, we will call together girl character using the brush has modifiers and remeasure option that you will learn how to use in this course. For the reference images, you can download them at the link down below. If you are a beginner at blenders cop, this is a course for you. I will show you all the shortcuts, tips, and tricks that you need to start and to enjoy your sculpting journey. What are we waiting for? Let's hop on to the videos and make fun art using Blender sculpting. 2. Introduction To The Tablet Settings and Blender Sculpt Mode Interface: Hey, what's up, guys, Welcome to another blender core is my name is Lina. And in this course we are going to talk about sculpting. So this is actually the, of course, the Introduction to sculpting course. And into this course I'm going to talk to you about called thing, the interface of SQL code. And also how, how can you sculpt humans face. Now at the end of this course, we will have a project that we are going to do. But first of all, we are going to get to know it's called mode in Blender. Before we start just sculpting, we are going to talk about the necessary equipment that you will need for sculpt think. The necessary thing is that you will need to have tablet because it is really hard for you to manipulate the brushes with your mouse. So we are going to talk about that right now. So you don't need a really, really expensive tablet. You can hear on my web browser, I found this one, so I have this one. This is like $60. It is not so it is not so pricey. So you use these vacuum tablets or any kind of tablet, a graphics tablet that you can afford. So, yeah, so that is for D vacuums tablet. And now I'm going to talk to you about the specifications for your tablet. So I'm going to here type down vacuum and this is going to pop out. Once it's turned on, I have here my pen settings. So I'm going to click on the pen settings and this System Preferences going to pop. If you're working on, on Windows, it is practically the same approach. So you go to your browser and then you type down vacuum and this is, this is going to pop up. Right now. I'm going to hear Application choose blender. And you can see here my specification for my 10. So the first, because I have two buttons on my pen, this, the first one a near this, this top here is going to be middle click. And you can change that by just clicking here and right here we have middle click. This upper one is going to be shift because I'm going to show you that in a second once we start, once we go to Blender, now this is going to be my pen settings and also this tip feel and tips double-click distance is going exactly default. Now we are going to go here on the tablet. And here you can set your settings to be whatever you want, but this is how I like to do them. So the first one is going to be shift, the top one. The bottom one's going to be control. And you can go here under keyboard, under modifier, and you can choose whatever which one of these you want. Now, this one, I will change this to keyboard, keystroke, and I will change too. Okay, so I will click Delete and then I will press f because I will also show you that in a second. Now, i o plague. Okay. Let me see if I did it. All right. So I'm going to go here. Keyboard keystrokes, F, and the name is going to be okay. And yeah, the next one can be Undo button, so you can do whatever you want with your tablet. So right now everything is applied now I'm going to go out, go out of this one, n opened my blender. Here is you can see we are in Blender version 2.92. And yeah, we just go to General or go to sculpting. First of all, I'm going to show you how to go from general to sculpting. And then I will show you this one. So I will click General and I will delete all of these in my, in my space clean. And also I will turn on my screencast keys. So here on the left inner corner you can see actually the shortcuts that I will be using. So a couple of notice I, I need to tell you before we start. So sculpt mode is similar to edit mode in that it is used to alter the shape of a model. But sculpt mode users very different workflow. So instead of dealing with individual elements, vertices, edges, and faces, an area of the model is altered using a brush. So it is basically like this. If we go now to sculpt mode here on the top, we have sculpt mode and you can see that I now have a pen, pen view. So it is, now, it is blank because we don't have any, any specific model here, any mesh. So let's go and we are going to be adding it in a second. So now in, or in other words, instead of selecting a group of vertices and Sculpt Mode mullet and manipulate geometry in the brush region of, of influence. Okay, so I'm going to show you that in a second. So sculpt mode is selected from demoed menu. So as I showed you, you can go to general or you can go to sculpting or on the 3D view port headers. So that is basically this year. Now, viewport will change to it's called specific panels. Once we add, once we add the mesh, so let's add a cube and so on, net cube and go to sculpting. Now, you can see here our cube and we are going to pan around the band around and see it from the 3D view port just as we are in layout. So if I move it like this, I'm going to do it the same thing here. So because we now change the settings on our pen. So at the top here is our middle mouse, middle mouse-click. So if I click on it, I will pan around the view. If I press Control on my tablet, you can see that this key, I entered control. Go inside and outside. So I'm just I'm not clicking on my tablet. I'm just painting on top. I'm going inside and outside. Now pan around with middle click, Control and middle click to zoom out and zoom in, shift and middle click to go from side to side, from up to down. You can see how it is, how it is changing. So as I said before, it's called code. It is really different from f, from the edit mode, because here I don't need to. If I go to layout, if I go into the Edit mode, I will not be. Here. I need to move her to see by vertices or the group of vertices. But in sculpt mode, I'm going to move the vertices as I like. So yeah, that is the difference between sculpting and sculpting and the edit mode. So here also, let's see Screencast keys are on. And here you will see also the shortcuts. Now on our left side, we have a brushes. You can see that we have a lot of brushes and we are going to go one by one and I'm going to explain each one of them. But first of all, let's get into the interface. So the first thing that we have here, so I'm going to show you this and then we are going to go to the next, next video where I will explain brush and stroke. Okay? So the first thing that we can see here is this one for this called quote. So from here you can go to object mode, you can go to Edit mode, or you can go back to sculpt mode if you want. Now here under view we have all of these, the settings that we're not going to change because they are added to default. And also these we are going, oh, once we go, once we get more advanced, I will show you these. So on the top we have this sculpted draw that is basically the name of the brush. If I change it to clay strips, this is going to be named clay strips. So this here is the name of the brush and the Brushes icon. So if I go till air, it is going to be all here. Okay? This here is radius. So basically you can see here that I have blue circle. If I zoom in a little bit, it isn't going to be shown. So here I have my circle, and if I turn the radius on, it is going to be bigger. So if I turn it down, it's going to be smaller. So that is basically the radius of this brush. And you can also see the center one, the second, the second circle inside. So that is the barrier from which it is adding more mesh. Okay, so we are going to also click this one here. This is a pen sensitivity tool. So Size pressure unable tablet pressure, pressure sensitivity to it. Because if I didn't click it, it is going to be a really sensible. And if I click here, it is going to adapt. Now the strength of the brush also, if I go here and I'm adding. So let me go here under Layout and let me add a subdivision surface modifier to it. And I'm going to apply this subdivision surface modifier to it, right-click Shade Smooth. Now you will see what I am actually doing. So I added a cube and I subdivided because I had a question from my previous courses, why didn't I use sphere? This is y. So if I go to sculpting and if I add more geometry here, you can see that I have this, this annoying top here. If I go to Edit mode, you can see that it is not, it is not looking so good because I have all of these vertices and I have a lot of triangles here. That is why it's not going to work better than this one. So if I go here and if I add more geometry, you can see how smoother it is and how better it is. Okay? So that is why I'm using, I'm using a cube mostly every time. Now I'm going to delete the cube. Let's select the cube here. And let me explain to you. So the strength, the strength i'll I'll applies to the brush safe. It is going to be one. It is going to create more and more, more and more mesh here. And if I lower it down, the strength is going to be smaller. So I need to go a lot like this. I'm, I need to tap a lot to get this one here. So I'm going to go back because I will have a smooth surface then I'm just going to go back. Okay, Awesome. Now, if this happens, it is, nothing is, nothing is bad. So I'm just going to click on it, go here, object mode, and select sculpt mode. Okay? Now this one, this one is basically if I hover above it, okay? This is the direction add effect to the brush. So this is going to add more of a match, more mesh, add. But if I click, my goodness, it is going to subtract it. So you, I'm just subtracting and adding it. You can manipulate this one on your keyboard as well. So for example, the, the dry brush default, a default application is by adding. But if I want to subtract, if I don't want to go here, I will just press Control and go on site. Okay, So also I have control on my keyboard and I can go inside if I wanted to add more, I'm just going to be adding more and what not. Okay guys. Now we are going to go to the next video where I will explain that brush settings. So we are, I'm going to show you only these here because these down here are more advanced and I'm not going to confuse you. And we are going to just go from a basic interface. And I'm going to explain to you old brushes that you can use for your models. So I will see you in the next video, guys, where I will explain brush and stroke. So see you there. Bye. 3. Brush, Stroke, Falloff And Cursor Settings: Hey, what's up? Hey guys, welcome back to the second video on this introduction to sculpting course. Right now we explained the radius and the strength here on beneath our header. And right now we are going to hop on angle to brush settings. So if I click here under Brush Settings, I have this radius unit. This radius, radius unit controls how the brush your radius is measured. So you can see here that we have view and see. So view. The radius is measured based on how the cursor appears on the monitor. I screen space. So basically here you can see that this radius, it is measured in pixels. And if I go here on Brush and click, seen the radius measured. And based on the real-world units, the unit, type and scaling can be configured in the screen units. So you can see here this C is basically added like meters. So let's go to the normal radius. So the ratio between the brush radius and the radius that is going to be used to sample the normal IE and take the average of multiple normals. So this influence says the brush orientation, increasing this value causes the brush to follow a smooth version of the mesh. While small value causes the brush to closely follow the contours of the mesh. So this one, I will explain to you more in practice. So month we are going to start working on our project. I'm going to show you how to use these. Now hardness and hardness is basically how close the brush follow starts from the edge of the brush. So this is the hardness. Auto smooth sets the amount of smoothing to be applied on each stroke. If for example, it is Jen like this, it is going to be oddest. And I'm going to click these here. So this is also the sensitivity of our tablet. And yeah, so that is it. Now let's go to the stroke, and here we have the stroke settings. Here on. Stroke method defines the way brushstrokes are applied to the canvas. So you can see her then we now we have space. And if I go like this, you cannot see a seat, good. So nothing is changing. But if I, for example, change it to dots, it is going to change it because now you can see that it is really hard. So let me go in. Edit mode and I will be adding a plane. I will rotated in x-axis by 100 by 90 degrees. And right now I'm going to scale it up so I cannot see my screen good, Okay, Here they are. So right now I'm going to scale it up, go into the Edit mode, select each and every vertices, right-click and subdivided a couple of times. So I'm going to subdivide it because I a lot, because I'm going to show you how, how to add the brushes and everything. So now I'm going to go out of edit mode angle just sculpting. Okay, so now all we are, we are here under stroke. So let's go again to space because this one was the first and this one is default. If I turn up the spacing, you can see that I have a lot of it is while I'm going, it is changing. So I'm going to go back. So this, this creates brushstroke as a series of dots. So you can see here that it is basically doing the dots. Okay? So it, the spacing is determined by the spacing settings. So basically this spacing settings here. Now, let's go here under stroke and let's go to dots. And you can, you can go here and check this by yourself. So go one by one. But also I'm going to, I'm going to show you that right now. So under dots, if I turn this trend down and the radius down. Now, okay. Now you can see how it creates the dots. So if I go here and change this one to drag dot, you can see that I'm dragging. And once I click a, once I move my pen up, it is going to be where I put it. So you can see it works like that. So I can even put it here. Okay, so that is the drag dot. Now space we saw airbrush. Airbrush basically means if I click on it, you can see that it is creating more and more meshes while I'm, while I'm tapping on my tablet. So if I tap here more, if I drag it, it is constantly going to create more and more mesh here. Now here under stroke we have all show anchored. And if I click on it, you can see I'm changing the radius of my of my dog if I click and drag down. So I can make it like this or I can make it like this. Okay? So that is the anchored, anchored stroke method. Now let's go to the line. So basically, if I add a line here, it is going to create a series of dots. And you can see. Okay, So that is the line and this is the curve. So I need to go here down to stroke. And I can draw curve. Basically, I can add a curve. I can draw a curve. Okay? I need to go first of all in layout, then set a couple of settings here. And we are not going to do that right now because it is going to get really confusing for you guys and I don't want that. So we are going to bring it to space here. And these D settings right now I'm not going to show you because also they are going to seem a, seem really confusing at first. So we are going to do them and talk about them in the next, next courses that we are going to have. Both, right, pal, I'm going to, I'm going to explain only this one. So it's tantalized stroke what it means if I turn it on, you can see that it is following the path of this, this red, red line. So we can add more and more geometry and feel safe that it is not going to be hard, it is going to be, it is going to blend. So here you can change the radius also off of your brush. Here also d factor Lucan's. You can lower it down and it can be. And you can see that if I, if I pulled this factor old weight to one, to 0.99990, you can see that this line is going to be bigger, this red line. And if I go here under stroke and if I lower down to factor, this is going to be really fast and it is going to be faster. You can see right now what we created weak, hated, unlike some type of canal. Yes. So that is all about stroke and the follow the falloff. So here we have a lot of these types of fall offs. And I'm going to go back here and I'm going to set my, set my plane to where it was before. So right now this can happen because I went too far behind. I'm going to select it and then go to this Sculpt Mode. Now here we are going to click on fall or fall off. And here we have smooth. So smooth is, okay, Let me turn this back and change the spacing to one because we don't need it right now. So you can see now if I zoom in, what it means. So if I change the fall off to smoother, it is going to be even more smoother than what's. Now if I have this sphere is going to basically make spherical, spherical lines. This follows a mate means that the top here, that this is the top of your pen. So if I have smooth, it is going to be smooth. A smooth top tip of my, of my pen. And if I go down here, if I change it to sphere, it is going to be spherical. So it basically he's going to create the dots. If I go here and again change it to smooth, you can see that I need to go more on top to create a circle. Now, let's, let's change it to a root. If I go here and if I created, you can see what is going on. Now. Protected means that it is going to is going to make it, make you disappear right now. So I'm creating more and more geometry to it. Now, let's go to fall off and change it to sharp. Right goal of this, nothing is happening. So we are going to change the spacing. And let's go to custom. So let's create a custom tip. So this can be a custom tip and you can see how it is. So if I click here, see that the top here is going to be like this. If I change it to smooth, I'm going to have smooth. If I change it to sphere, I'm going to have spherical. If I changed it to route. I think it's root. Let's see. This one is yeah, route. So we will have something that looks like this. If we have now the curve, you can see the small detail here. It is really thin line. Now if I changed it to sharp, it is going to be sharper on the top. Okay? Now under fall off, we also have this, this constant. The constant means that everywhere where you put it, it is going to go constantly the same. So that is all about the fall of guys. And you can use a couple of these. If you have like, if you want to make ventricles, you can just go here under fall off and you can make it your own. So if I, for example, wanted tentacle, I will get this one, this one. And this one. Okay, Let's put it more here. Okay? And now, if I click on it, we can put this on tentacles. And it is going to be shown like that. Or we can pull this down and we will have something that looks like this. I get a lot of, a lot of a lot of textures you can use. A lot of texture you can add with this falloff, just you need to go one by one and adapt to each one of them. So, yeah, my advice to you is always go and experiment by herself. So above the cursor, this is the cursor color. So I can change the cursor, cursor color on whichever I want. So basically if I turn to, to read, it is going to be red. But if I press Control and go like this is going to be old, so red and now I can change this to inverse color. So if I go here and got this minus, it is going to be, it is going to be green. So now I'm subtracting and once I'm adding, it is going to be red. But it seems to not work when I press control. So now I press control and it is subtracting. But yeah, nevermind. So that is for the cursor part. And yeah, so this is the fall of opacity. Basically, that means how your follow-up is going to, is going to be on the 3ds piece here. So yeah guys, that is for disbarred here. And now let's talk about symmetry. So basically if I go like this, you can see that I'm, I'm just drawing. But if I go, let me change this to smooth. But if I go here and if I press X, it is going to be symmetrized. And now I can make this, I can make symmetry, symmetry on my canvas. If I go here, why it is going to create here, down here, and up here. So basically I can use the x, y, and z axis if I want. And let me go back and let me show you on the blank canvas because I don't want to have any strokes on my canvas except of these. I am not going to change it right now. So you can see the dots that I dead are that are on my, on my canvas here. So the dot on right side and on the left side. So I'm willing to add this one. If I press Y, we are going to have dots on top as well. So we can make a squirrel one here. And also we have a zed axis. So you can see didn't know, it is on top and on bottom. So now here we have it. If you don't want to have these, you can just disable them and select this one to have symmetrized luck. Now under this flowing here, what we need from here is basically this direction. So I can, if, if for example, I don't have symmetry on, and I want this, this like this texture on this side and I didn't added the symmetry. I will just go here down on this arrow and click direction minus x2 plus x symmetrized. And so I'm going to have the same texture on this one as I did on this one. But if I, for example, added more texture here and I don't have it here, I'm going to go one more time here and change it to plus x, two minus x. Okay? And then press symmetry. That old saw applies on these. If I, for example, have one up here, I wanted to have the next wanted to zed axis and i o press plus z minus z. Okay, so symmetrized. Let's go from minus x2 plus z or plus plus Y2 minus Y. So if I symmetrized it, you can see this alpha line here. But yeah, that is actually what we needed. And yeah guys, so this is all for the header part, the interface. Now we are going to talk more about these brushes here at AQR going to use. So in the next video, I'm going to go one by one and explain the brushes and their settings. So I will see you there. Bye. 4. Introduction To The Blue Brushes: Hey, what's up, guys, Welcome back to the third video on this introduction to sculpting course. So right here, now we are going to start to talk more about these, these called, It's called tools. But first of all, I'm going to go over this follows one more time. So let me just turn this radius down a little bit. And right now I'm going to show you this. I just subdivided. I just subdivided the plane right now a little bit more so you can see the details better. I will lower down the radius here. And right now, I will click on this smooth. So I'm going to add it here so you can see how the top is smooth, the tip. Now, the smooth ER is even smoother than this one. You can see it here. And if I go here and change it to sphere and added, you can see didn't know, I'm adding a sphere. If I go now to Ruth, I will have a center point that it is going to be sharper, but I need to go and dab on it a couple of times. So if I zoom in with my control mouse, control and middle mouse, you can see here that I have a little dot that it is basically pointing at us. Now here we have a sharp. If I click here a couple of times, you can see that it is going to be sharper. Let me just change the radius, the string. And here I have the sharp. Now here I will have a linear. So I need to dab on it. And it is going to be opening your. Now here I will have the inverse square. If I click on it, you can see how aid is going to look like. And also now we have constant. I will click a couple of times and you can see it is creating a, a sphere here. That it is going to be constant and it is going to only build on top. So here we have smooth, smoother, we have circle, we have sphere, we have then root, we have sharp, then we have linear sharper, and then we have constant. So that is what I wanted to go again with you guys and show you that. So right now I'm going to move, I'm going to get rid of these. And I'm going to show you how to do that in a couple of seconds. So let's first of all goal from this brush to this. And then we are going to go by colors. Now we are going to go with a blue ones, then red, then yellow, and then the rest of these. So let's hop on the first one. So as you can see right here, we have the draw brush and you can see the name of your brushes. I think the default is like this, but you can find this, like to open the names of your brushes. Now here we have the draw brush. Basically what it says it is to do it, it does. So I'm going to change the radius here then old, so normal radius am going to lower down to 0. Let me know, See, yeah. So right now, let's go here and put it to 0.5. So I think that that is the default. So no, it's not. And I'm going to incite, I'm going to have smaller. So right now, the draw brush, if I go like this, it is going to create more mesh. And right now here I'm going to click on Click on smooth so we don't need any other. So right here, I'm adding, if I press Control, I will be subtracting. So you can see and also this applies to each one of that group, rush, radius and strength. You have it in every brush. What do you have under the header or the interface you have on this right side, we have the direction, we have add subtract, that is the plus and minus. You can see if I click Subtract now my will have minus here. So you can change these settings here. Then to go up here also we have here normal radius, we have hardness, we have auto smooth, we have everything that we have under brushed headings. And also here we have advanced. We have this texture stroke and follow-up that we talked about. So right now, I will call it here. So under this cursor, I can disable it and now I will not have the cursor dad dizzy. I'm just, I'm just adding more geometry. And I don't see this, this cursor here. So that is basically the dry brush. Now, I will talk about DIY, other ones. So here we have the draw sharp. So you can see this one. And let me just change this one a little bit. Now, here we have the draw sharp brush. If I go inside, you can see that the icon Addis, draw a sharp brush is exactly the same as it is going here on our canvas. If I press Control, it is going to create a sharp, sharp geometry on the top here. And if I don't click control, it is going to subtract and go inside. Now also we have the strength and radius here. And you can manipulate the radius and strength on the keyboard as well. So for the radius, we have F key. F key for the radius. So I'm just painting around. I'm not clicking on my tablet. If I click on it, it is going to be like that. Okay. So also I can press. I can press F and then click nine. Eighty, nine, fifty nine, sorry, I can't press S angle 0. And I can press f, f, f, f, f three. Okay? So you can also manipulated by the Beida. These. Okay. So I didn't see that it is on scene, so I will change the radius unit to view. And if I press F, it is going to be actually as exactly the same as it is here on the view port. So if I want to, if I want to increase the radius, I will press f and then scale it up. But here in scene, if I, if I zoom it out little bit, it's going to be smaller. And if I pull it up here, you cannot see it here. It is really, really huge. So I will go back and change it to view. I will lower it down. And right now I can press F3. And this is three pixels, but we don't want that, that is really low. Now, we are going to go here under Clay brush. So the clay brush works similar to the drawbridge, but is not exactly the same. If you want to manipulate strength, you can press Shift F. And you can see here that we have strengths, so I will leave it at 0.615. And if I draw it, I need to go a couple of times to add it. You can see that I'm adding geometry here. And if I go to Control, I'm going to subtract. This is basically acting like a real clay, so I can subtract or add clay as much as I want to. Clay strips, please just works similar to the clay, but it is not the same. So if I, for example, add a clay, you will see that I added the streets. And if I add the clay, it is going to be, this is not going to be stripped. This is just going to add more and more geometry. If I go here, control and subtract, it is going to also create strips. Now here we have the claim, some, it works exactly like thumb. So if I go inside, you can see that I'm moving and smoothing this part. If I press Control, it is going to even more go inside. Okay, So the thumb actually works as the stroke, as I told you about the drag dot. So if I click here and if I release it, it is going to create more and more geometry here on the top. Now let's go to the Layer. Layer. It is similar to the dry brush, but it is creating more and more mesh than the dry brush. So if I go like this, you can see that it is far more in front if I press Control and if I go inside, you can see now it goes insight because this is the reverse, reverse control of the subtract and add setting. Now here we have the inflate. Inflate works as if it's in an inflating something. So I will inflate this board and it is going to be really slow, but the results are here and it is going to be really smooth. If I want to subtract, I will press control and then go inside. And also you can see the results here. This one is the most used one. This one, the clays trips and the blob. I will show you the blob and also draw sharp. Once we start sculpting the model, I will show you how to use all of these and which one are you will use the most. Now, let's go to blob brush. And if I click here, you can see that is, is instantly inflating some parts and if I subtract, it is going to sink. So with a inflate and the blob brush are not the sea, but they are practically approaching the same, same technique. So this one is inflating, this one as well as inflating, but inflate works barred by VD and blob works instantly. Now here we have, now that crease brush, the please brush works like that. That it is creating a crease inside of your object as like as draw sharp decrease we have here. So if I go like this, you can see that everything is going inside and it is creating a crease inside of this model, you can see that the crease verse is more pinched inside and the draw sharp is not. So it's, it's different. It's really different. So now we have the crease inverse part. And I can go like control. And you can see that now it is really pinched here. Okay, So guys, that is all four D's of blue, blue tools here, blue icons. And we are going to hop onto the next video where I will explain these these red ones. So I will see you in the next video, guys, Bye. Okay. Hello. Hello. 5. Introduction To The Red Brushes: Hey, what's up, guys, look back to the port 300 on this introduction to sculpting quotes. So we finished these, these blue brushes here and we're going to hop onto this red ones. Now, this next one we have this moods brush. So it is basically smoothing the geometry that we have here. So if I smooth it out, it is going to be now the same. So I will not have the, the the subtracted points and the adding points. If I move these out and if I go to decide, you can see that they are automatically smooth. And if I press Control, nothing is going to happen. So, yeah, if I go like this, nothing is going to happen, okay? It will not smooth, it will deform them. So the smooth brush you will use almost every time when, once you're going to sculpt. That is why on the pen, on the top of the middle click, we have this button shift. If I click on it, if I, for example, am on the blob brush, if I press Shift, going to smooth out. Okay, So that is, that is the smooth brush. Now the flatten brush. And you can see here I will show you this on, on these. If I go above them, they are going to flatten this, this blob here that we have. They've I go control is going to add more geometry a little bit. So you can see here how luckily we have. And if I flatten it out, it is deflected in and out. Now here we have the fill. If I go like this on top, it is going to feel these, these lines insight. So, uh, let me go up here. And it is going to feel on the top of the, off some of the object. So for example, if I wanted to feel that here, it is going to go from this side to the most, to demolish concave parts, convex part of this. So basically, let me turn this on annotations and let me show you. So concave. Concave means that something is inside and convex means something is outside. So this is convex and concave. So like a cave like Canyon, this is going to go inside. Here we have the heels and something that is convex. We saved for bump on the road if we have. Yeah, So basically the buildings are the mountains are convex and the canyon is concave. Basically. That is, that is what we wanted to say. So I'm going to, I'm going to change this. I'm going to erase this annotations that I added right now. Also, I could have went to a couple of times back, but I'm not going to do that right now because I already started started erasing. So guys, that basically means that. So I'm going to fill in the part of the, the, the bar dead, it is up. So you can see here, if I add here, nothing is going to happen. But if I am going to fill these bards in, the most upper point is going to be added. Now, under scrape, scrape basically is something like this flattened and smooth brush, but it is not exactly the same. So widths create we are subtracting, subtracting mesh from the, from the model. So you can see here, I'm subtracting more and more. If I price control, it is going to be adding more and more. But we use crepe for smoother lines that we want to achieve over our mouth and nose area. So I'm just smoothing these insight. Now. I can increase the size of my brush and smooth everything like this. Okay, so you can see how much I scaled it. Now, I will move it down and I will see you guys in the next video where I'm going to explain these yellow ones. So you can see that they are categorized in groups. So basically these are feeding more mash. These are most for the smoothing, flattening, filling and scraping the the mesh. You can see also the image here. So this is the scrape. Rashid is basically subtracting mesh. This is filling the deep. This is flattens, so it's flattening the top of the, of the model where you want to be flattened. And this is mooning. And yeah, and these ones are more to add geometry. Add a clay add mesh. Okay. And these ones, I will show you that in a second. So you can also zoom in and zoom out of these by pressing control and panning around with your, with your pen. And this is how I want them to be. So guys, I will see you in the next video where I will explain the yellow tools now, the yellow brushes, I will see you there. 6. Introduction To The Yellow Brushes And The Rest Of The Brushes: Hey, what's up, guys will come back to the fifth video on this introduction to this called Tin cores. So we finished the blue and the red brushes. Now we let go, hop on to the yellow ones. So the first one, some of the yellow ones is this multi plane scrape. So I will show you how this one works. And if I click here, you can see how it works, guys. So it is creating this like pulling and it is creating more geometry onto top and less geometry insight. So it is basically making these concave and convex lines that we have here like so. And opposite of it, it, if you've click control, it is not going to be exactly shown as on here. But yeah, it is working the scene. So you can see, didn't know, I just flattened out these points, but it's actually always worse on the ads. Now here we have the pinch tool. If for example we added a crease. So here I have some creases. And this pinch tool will allow us to pinch two sides together. And with this weekend at scars to the face of our model, we can add lips. We can have whatever you want. And if you don't want to use crease, we can always go and use jaw sharp. If I go here and add draw sharp ones. And then if I add a pinch, I can also pinch that. It basically works every time. If you have D's, if you have any concave lines, so if you have any crease, it works like that. Opposite. If crease, opposite of pinch is by pressing control. But you can see that it is not working as it is working on the ad, on the ad strength yet. So you can see here that it is not now's, it is not subtract, it is not adding, but it works in subtracting. So now here we have the grabbed tool, Web tool, basically, it does what it says. So if I click here, if I drag it, you can see that now I can put it wherever I want. Now. These we don't use the opposite of the drag brush because, yeah, why, why would we? Now, I will smooth this here a bit and I will show you did a lasting 24. So if I go inside, you can see all of these vertices do we have here? But if I use elastic deform, you can see it is going and it is elastic. Old way. If I use Grab, it is going to move only that part, which, uh, we are, uh, we selected, but the elastic deform, if I select the top here, it is going to move this geometry. Snake hook tool. It works as if I select these vertices, they are going to stretch all the way up here. And if I go into the Edit mode, you can see old, these vertices are deformed and yes, so that is the snake hook tool and it is used a lot when you're using dine TOPO. With Dine, dine TOPO, I'm going to explain to you done TOPO in some other, some other courses that I'm going to be using because I think that it is going to get really confusing with design Topo. And for our project we will use remission. And I'm going to explain to you rematch once we are done with these tools now, so that is the snake hook tool. And now we have the thumb, exactly the same as here on top we have the collate thumb. This is the sum. So if I click here and if I drag, it is going to work as my thumb. In real life. And if I press Control, easy, nothing is happening right now because it doesn't have subtracting and adding point. So this Tom snake hook tool also doesn't have it. Elastic deform doesn't have it. And also the grab the bench and the multi scrape day. Okay, the pinch has it. The Multi-Screen doesn't have the inverse, inverse off the, off the brush. So now here we have the Bose brush. If I click here and if I drag, I can pose my mesh wherever I want so I can increase the size of this. I can even rotate it if I want to. If I go inside, you can see that it is really deformed. So you can use the pose brush at which your limbs, if your character has limbs and if you want to just pose it a little bit. So if you want to move your fingers on your, on your character, you can use it only for the for your render. Here also, we don't have the adding and subtracting point. Now this is the nudge. So I am going to lower down the radius. And here I will show you the nudge. So it is basically moving the vertices. If I go, like if I twisted, it is going to create more like a cloth clogged looking like yeah. So you can use this for I don't know if you wanted to have some swirly lines or anything. So you can go opposite directions or yeah. Now this one is rotate. So if I click on to here, it is going to rotate and it is going to create a circle. This you can use if you're working on, I don't know if you'll want to make a snail, Gary the snail from SpongeBob, you can do this with this brush. Now, here I will go back a couple of times and I will, yeah, this one is fine. Slide relax. So here you can see that I have a lot of, a lot of vertices that are colliding. So if I use the, if I use the slide, relax, I am simply relaxing these vertices. You can see here, I'm relaxing them so they are going to come to the point where they were. Okay. So now you can see I can relax these and you can use relax for if you had some problems with your mesh, you can relax the vertices and everything should be fine. Now, here we have the boundary. So for example, if I have this boundary here, I'm going to click and I can fold it. This is mostly used for the bags if you want to create I don't know. If you want to create the like for a drink. You can create milk, milking. In. Inside of here. You can create, I don't know, envelopes. You can create whatever you want animal. So it depends on this. If I increase the size of my radius, you can see this white line here. Do we have? So it is allowing you to see on which boundary it is. It is like overlapping. So you can see right now, the boundaries here. If I go and decrease the size of my radius is going to be here. So this is really useful as well. Now, for my next, next, for my next brush, this is one of my favorite brushes, the cloth brush. So the cloud brush is really popular nowadays in Blender. We didn't have it and I started and it is basically allowing you to create, to create. I'm cloth. So basically this is like a cloth simulation. So you can see you and I'm dragging, I'm making more and more of a plot look like. And also you can decrease the size and also decrease the strength, the brush and create more and more, more and more choline lines. And you can see I'm simply smoothing it and I can select and move. And this is going to create cloth brush. Now, the simplified brush is the same as slide relax. But this is going to simplify all these old, these bigger, bigger details and everything. So if I click on it, it is going to simplify them. So let me just go down here. And yeah guys, so simplify works with dine TOPO. If for example, I turned it on and if I change it to two, if I go inside, it is not going to be everywhere is going to be not the same. So yeah, it is working like that, but right now, I'm not going to talk about those. I can show you it right here. So if I go like this, you can see it comes along so it's not going to be the same, right things. So yeah, so here you can see the results automatically. So right here on top. Okay guys. So let's go down here and the mask brush. So if I click on the mask, I can mask whatever point that I want that I don't want to work with. So for example, mask is mostly used if we don't want to move a part of the body or the part of our model. And we want to move on the bottom. So if I use the grabbed brush, so the G key, J key, G, like a god, G key on my keyboard, I can move only this part, and this part is not going to be moved. You can see I'm trying to move it, but it is not going to work. And if I go back here, if I clean it, so I'm going to clean the mask by pressing control. I'm still pressing it. I'm just not clicking on it. I'm we have multi multi read this placement every sir. So this deletes displacement information applied on a multi-resolution modifier. So I didn't talk about multi-resolution modifiers yet because this is just the beginning and visit, just an introduction. And it is going to get more complicated if you, if I talk about these. But yet that is that a multi-racial, multi-religious displacement smear is also the forms displacement information applied in a multi-resolution modifier. So this, There's one deletes and this one the forums. So yeah, above these, we are not going to talk about them, right, col, because I think that they are not necessary for you to know in the beginning states. Now, here we have the box mask and this one we are going to also talk about in advance, into advanced sculpting that is coming, that course is coming next. So this is the box, box mask. So this creates a mask based on the box select. So if I click here and if I select it, it is going to basically make a box select. And if I breath control, it is going to use exactly the same, the same thing but inverse. Okay, now, if I click here, I have the lasso mask. It is also based on the principle of the Lasso tool that we have in Adobe Illustrator or in Photoshop. So we can get a read of DES. And using the control. And without the control we add the mask. With the control, we delete the mask exactly the same as the line mask. If I click here, the top here is going to be masked. If I go again, it is going to be hidden. If I go like this, the right side that we don't have this mask on is going to be it is going to be masked. So let me select it and let me de-select it with the Control key. So let me just turn these on one more time. Now, Vox hide, this applies exactly the same as the mask, but it is not going to mask it, it is going to hide it. So like this control and, and moving to unhide it basically control. And voila. Now box phase sad and draw phase said we're not going to work with these right now. We are. I'm going to talk about them in more advanced advanced course. Now, the box trim, we have here, the box trim. So it allows me to performs a Boolean operation based on a box select. So I couldn't do this right now because now it is going to bug because I have a lot of vertices here to work with. So it basically, I prefer, performs a Boolean operation here. So it is not going to, I'm going to go 2 times. Back. Here it is guys. And also the lasso tool, exactly the same ID. Preferred performs Boolean operation based on a Lasso Select. Now the line project, it flattens the geometry along a draw line. So if I selected, you can see that now they are here. If I go back and if I do exactly the same thing, it is basically connecting it to this point here and we don't have anything else there. So now the mesh filter here do we have applies a deformation to all vertices in dementia at the same time? So if I go like this, you can see that it is, it is, it is applied, it is deforming every vertices that we have on the mesh like this. So I can go like so hen the clot filter applies a cloth simulation to old the vertices that we have on the, on the, on our object. So, yeah guys, now let us go down. And we have here the move tool so we can move the mesh. We have that rotation. We have also the scale. Okay, so I'm scaling it, led me rotate it one more time. And also we have Transforms. So basically I can move it up and down, right? Decide this is where I rotated. And the red one is for scaling it. I'm going to go back and annotate. Annotate. I just used it in previous videos so it allows me to draw something. So you can see it also in the view port here and also it allows me to erase it. So yeah guys, I can well, I mean, just erase it. And you guys so that is all for this brushes here. And in the next video, we are going to start by blocking out the head of our character. And we are going to model out really cute girl, cartoonish girl and her silly. So I will see you in the next video, guys, and I can't wait for us to start sculpting together. See you there. Bye. 7. Blocking Out The Head: Hello guys, will come back to the introduction just think course. So welcome to the sixth video on this course. And now we are going to make our project. So we will go here on general or go to sculpting. It depends on what you want. I will now go to splash screen and go to my layout. Here. I will delete hold of these and then I can, from here I can import my references and then start to build my head. Now, I found it the d's on Google and I will attach them down below in the description so you can download them for free as of course. But, uh, let's add the references here that I did, I added. So this is the blocking. First of all, we are going to have this one and I will set the set the phase at the center here, then go to the side shift D duplicate rotate in z axes by 90 degrees. And then I'm going to move it, move this one to the center of this sphere here. So let's add it more. Okay, So this should be the center line of our character's head, as you can see. And now we can start blocking out. First of all, I will go here and select this selectable, selectable button. And I will these collect these two, these two planes. And also, let's before, before we do that, let go here and check this perspective and check this back and front. So I can see it here. Both, sorry, back and both. So I can see it on both sides and also in perspective mode when I'm panning around, we are going to do same thing on this one. So let's go this one said to both and perspective now select both and disabled selecting. Now we are going to block out this object, this model, what I mean by blocking out. So we are going to be adding a cube. Now the circle but a cube. Let me turn on my screen gets BGI. So here guys on the left inner corner you can see the shortcuts that I'm using for this project. Now I will select this, this modifier properties and then I will add a subdivision surface modifier and I will increase the number of subdivisions to for now, I will bring this up and let's go into the X-ray mode. So you can click here or press Alt Z. Or in my case, because I'm working on MSc, I'm going to press Option Z for going out, in and out of extreme moved. Now we are going to scale it down and scale it a little bit in, in x-axis. Okay, now let's go to decide and move it in y axis. So you can see for, for the circle right here, now, I will go out of edit mode, shift D, duplicate this, fear, scale it down and put it. Dao. Now boat to decide gravity in y-axis and all the way up. Bring it down. So scale it. Now, we are going to rotate this point here, scale it up even more like so. And now we can move these up to here and then extrude it, extrude them. So we can make a no spark. Like so. Awesome. And the bottom. So you can see that the jaw line as well. So we are going to make it like so let's move this one a little bit more. And we are going to change that later on. So now I will scale these in x-axis. So these are the front once the front ones, and we want also the back. So let's select the whole part and scale it in x-axis. Now, let's select these vertices and scale them in x-axis as well. But let's rescale these a little bit more insight. Now, let's select these vertices and scaled them old way inside. Going to be our chin. These are going to be our jaw line. Let's move it down. Let's go how it looks like. Awesome. And 11 more thing is, we are yet. So we are going to bring this one down, a little lift or wikis. Awesome. Okay. So this is blocking out, basically what it means is you are creating, creating a body width Ds, and then you're going to sculpt them. And here I can see a problem, so I'm creating a jaw line and later on we can adjust this one as well. So let me, let me go to Solid View and then I will select these and scaled them in extrema. Okay? So you can see them there. Okay, right now, I will also add a neck. So I will shift D duplicate this one. Let's do one more time and press. Now go x-ray mode and doing it in y axis. Now, we will extrude it to here and bring it down. Awesome. So we are just blocking out. We're not going to be modelling it. We are going to be sculpting it. And we are also going just to do this Sculpt. So we are now going to be creating her body, just the top of her on her face. Now here because we have a because we have the neck. I'm going to scale it in x-axis because you can see here that it is pretty thin. And also I'm going to scale this up like so. Now I'm going to select the top here, this head scaly down. And now let's let's extrude these points. And let's make her on her shoulders. So I'm going to move this one at the front, at the center, select all of these bottom ones and scaled them to z axis. Now let's bring this one. And also you can see the shortcuts that I'm using. Awesome. Now I will select the neck and slowly move these vertices on the side. Let's see if it's going to work. Okay, I will leave it as it is right now. Now, I will go here, select these four vertices that I add in x-ray mode and press X and delete faces. Now, I will be able to go here at a mirror modifier, put it on top of the subdivision and Allow clipping. Once I allowed clipping, I'm going to select these four vertices and move them to the, now, to the x-axis and n Now you can see that they are going together because of this clipping. And so right now we are done with the front. Now let's also do the Decide. So you can see that these four, these four vertices, our, our, our shoulder, ok. And these, we can move in y-axis. So this is the top k. Let's grab them in y-axis. And let's grab, these are liquid y-axis as well. Awesome. And if this is going to happen, you can just simply just move this a little bit at font. Nothing, nothing serious. I think now that we have double vertices here because I accidentally press F. So now we doped. This is blocking the character. Now we are going to go to decide everything is the same and we can start, we can start sculpting. So we are going to start sculpting in the next video, guys. So I will see you there. Bye. 8. Remeshing And Sculpting The Mouth: Hey, what's up, guys, Welcome back to the seventh video on this introduction, introduction to scold thing course. So right now we blocked out the body, the head, and the top of the body for our character. And now let's hop onto sculpting here. But before it's sculpting, you can see that we didn't apply cheats mood. So I'm going to smooth them. And also one thing that I'm going to do is I'm going to Boolean this one and this one together. So I'm going to select the top, that top, a sphere here, and then go here under Boolean ad would this eyedropper tool, I'm going to select this like jaw union and then I will apply it, but it is going to be so I'm going to go here, apply. And it is not going to work because we have subdivisions on. So I'm going to apply the subdivision and then I'm going to apply the Boolean modifier. I'm going to delete it. And if I go inside, you can see how it looks like. So then I will go here it is called thing and using my brush, using my pen here, I'm going to smooth out these vertices that I have here. So if I going in edit mode, you can see that I'm slowly joining it together. If I onetime smoothing these, these edges. So let me smooth old way. And you can see now that I have a problem, it is not proportional. So with US then the rematch. So the rematch is a technique that automatically rebuild the geometry with two more uniform topology. So remeshing can either add or remove and amount of topology depending on a defined visit solution. This technique is especially useful for it's called degenerate better topology after blocking out the initial shapes. So as you can see here, we, we blocked out this shape of a head and then we are going to be using rematch so that we have more unified vertices here. So you can see here that on the bottom here we have more vertices than we have here on the top. And that is why we use rematch. And here where they join, they are not going to look like this once we, once we joined them together with the rematch. So the voxel, remember, though, that is a disk, so divorces remeasure uses an open a VDB to generate a new manifold mesh from the current geometry. So we can change this voxel size. So this voxel size is the resolution or the amount of detail the 3D mesh will have. So this value is used to define the size in object space of the voxel. So these voxels are assembled around the mesh and are used to determine the new geometry. For example, a value of 0.5. If I used 0.5, it is, I will create a topological patches. Did are about 0, 0, 5 meters. So if I rematch and you can see here that now I have, now It's really, really low Pali, but it is still joined. And if I go inside, you can see how it looks like. So you add the voxel size is also, can also be adjusted from the 3D viewport using Shift R. But I'm not going to use that right now because if you want to rematch your model, you can just go here, changed the voxel size and then a 3D mesh it. So here also, we have the sample, a sample voxel size. So for example, we use this one to adjust the voxel size by picking an area of the mesh to match the denseness. So for example, if I go, let me just go back here to this one. For example, if I go here under rematch and if I use my eyedropper tool to select the this part here, when you select it, this part. Okay, so now if I go here and if I remeshing, you can see everywhere now is the same density as my my jaw here. So that is what remeshing does. And it is really, really easy to work with. It is really better to use rematch, in my opinion than dying TOPO because you have more, more power, more power when you're using it. So you can go Psalm from bigger detail to smaller detail in no time using the rematch here. So now adaptivity. So this one here and reduces the final face COUNTA by simplifying geometry where detail is not needed. So this introduce triangular two faces that do not need as much detail. So for example, if I, if I scale it up, nothing is still going to happen. So if I remeshing it right now, so you can see now that I have also triangles here, and that is what we don't need when, when we are modelling because koalas are really what we need. So I'm going to go back. And as you can see here, we don't have any triangle that I can see. No, we don't have because we use a cube and yeah, it is, it is much, much easier to do it with a cube. Now, I will select this and then we will go here. So fixed poles, fixed bulls is if you hover above it. Shows you what it means. So it produces less polls and a better topology flow. So try to, try to put this always checked. So it is going to be better for you and yap. So the next, the next thing is smooth normal. So this basically applies the smooth normals operator to the resulting match. So if I, for example, rematch it out one more time, you can see that it is the normals are smoother. And if I, for example, use F and use the Smooth, smooth brush, you can see then now everything is moving. If I go inside, wall up. Now, let's hop on to the next one. So the volume, the volume basically tells the are good algorithms and to try to preserve the originals volume of the mesh. So for example, if you are done working with your mouth area and you want to rematch one more time to add more topology on your eyes, more mesh on your eyes. It is, this is going to preserve the volume and the details of original mesh. As, as it says here, jack projects the mesh to preserve the volume and details of the original mesh. So try to have these old lays on. So now we have here paint mask. So this reproject the paint mask onto the new mesh. So if for example, I have, I have a mask here, so I'm going to show you how it works. So for example, if I have a mask here and if this is turns, turned on, if I want to remeasure it to 0.02 and I want to rematch it. Okay. You can see now that it preserves it. But if I didn't have this, so let me just go back here. And if I, for example, have my mask here, and I don't have this paint mask. If I remember it one more time, it is going to disappear and everything is going to be still remains. So this is for the bait mass. So if you have mask on your object, if you want to keep it and keep the current mask on the new mesh. So if you want to rematch the mesh to have the new mash, you are going to add this paint mask. Now, face sets, we have this, so this reproject face said onto the new mesh. So also this phase set is this one. So let me move this up. And here we have these phase sets. So if I draw a face set and if I rematch, my model is going to disappear. But if I rematch it with this face set, it is going to rematch. And also it is going to preserve. That on the mesh. So yeah guys, these two you only use when you have these when you have the phase set and when you have a mask. But I didn't use him yet. I use the bay at the paint mask only but not the face set and also the ring mesh. You can see when you hover above it, it says calculates a new manifold mesh based on the volume of the current mesh, old DDL layers will be lost. So yeah guys. Now, once that is, that is done, we are going to start modeling it. So I want to rematch this mesh to 0.21. Rematch because I want to have less vertices to work right now because we are just going to block these by bees and to meet. So I'm going to use now F on my keyboard. Let me turn these on. So for you guys to see. Now, here we have the shortcuts there I'll be using. And also I will move a little bit this, this point here. So if you want to know which, which brush I will be using, and you can see it here. So you can see the name here or you can see it on this side. So whatever I, I'm using, you can see here. Okay guys. So right now I will be using a grab brush. So I'm going to move this a little bit on the right side. So you can see here the shortcut that I'm going to be using. So you can see if I click year, we have there, left-click. If I drag, you can see here on the, on this little guy. And if I right-click, you can see that I write. So those are only the shortcuts. Now, I'll be using this grabbed, grabbed brush Nile, change their radius so I will increase the radius a little bit. So 0196, it should be, and I will slowly move. But we have a problem. We didn't turn on symmetry. So how can we change this? Well, as I taught you, you are just going to go here down and then change this to plus x minus x and symmetrized. Now when it's on, so symmetry is on because this is the symmetrized model. I'm slowly going to pull these together. If you don't see this chin, you can go into the mode. And additionally, now, now let's go to the side and see what is going on. So I'm going to be pulling these vertices all the way here. And what you can do is, you can see if I click here and if I drag, it is going to create two to like bumps. And we don't want that. So you are going to try to put this little dog on top of the last point on this line here. So pay attention to that because. Heat is going to be harder for you if you don't. Now, I'm going to scale up the radius. And let's add this onto these. Awesome. So right now everything is done. And you can see that now we have a nose and we had everything to have we need it. Now I will go back to Layout and I will hide these. I will hide these 22 planes. So I will hide them in a render mode and in a viewport. And then I will add new ones. So the new ones, who will be this? These ones. So I'm going to scale it down, go into the Edit mode. Let's go here on image, imagery preferences, object data properties, preferences for parties. And let's switch this front to both back. Let's so we are going to set it to back and use perspective. So now I'm going to move this one. I'm going to scale it up and added here. Let's see if I needed. Okay, so we are going to change this a little bit later on. So you can see this side. And now I will shift D duplicate rotate in z axes by 180 degrees. Okay? And now rotate this one in z ds is by 180 degrees, so that I have this side as shown. And I will move it here. Then. Yeah, so this is going to be good. Now, I will go select these two and D select them both. Now I will select the head, go to sculpting. Now, let's one more time. Do the same thing. So we are going to pull these up and me get right on the line. So this is going to be really nice practice for you guys. Because this is for beginners. So I'm going to pull this up on the last vertices here, on the line. Awesome, and on the bottom as well. Select them. Grabbed and down. Now here, this part, I will grab it here, and I will grab it here. Now, let's add the jaw line. So I will move this up and down. And if I go out of the edit, you can see why I did that hen right now. You can see that we had. Some troubles, so we are going to paint this on later on. But I'm going to bring this down a little bit. Okay. Awesome guys shifts slowly. So we have it here. Awesome. Now for the legs, go to Layout, let's go to the side and let's move this neck. So I'm going to press J, y, gy, like this, and let's adjust it. This model. Awesome. Now, let's just scale this one and grab it here. So we are going to leave it as it is. Now. I will go here to sculpting. And let's see. Okay, everything is fine. Now, we are going to go in sculpting and then I'm going to rematch it to 0 is 0. Six. And we mesh. Now if I go inside, I will have a less vertices, but we want to have more vertices. So I will go here, 0.0102, sorry, three mesh. And now I will have a lot of vertices to work with. Now I will go up, increase my price, increase my brush, and smooth the normals out. Awesome. Now we can go and add. Let's first of all add the mouth area. So right now I'm going to be using the inflate brush. The inflate brush. And let's add this here. You can see how it looks like. I'm going to smooth out the park here. And slowly with the draw sharp, I'm going to add a ellipse. So I'm going to decrease the size of the brush. And I'm going to add the mouth theory. And also what we didn't do is I need to select it and apply it location, rotation and scale. Every time that you add a new mesh, you would need to apply a location and rotation and scale because it is going to be better in sculpt mode. Okay? So right now, this should be her lips, but we need to grab it up. So let's use the grab a brush and add this point to here. Let's grab this point. And you can see the progress is here. Now, Fonda side here, it doesn't look good because of this bar did I added here? But it is going to come as it is. So right now, I will go here and rematch it to 0.01 because I need more, I need more vertices to work with. So I think this should be good. Now I will use the blob brush and slowly add an ellipse. So they are not going to be the same as I have it on this, this, this model here, this reference. But it is going to be similar. Now I will add like mouth. You can see it. And now I will use the paintbrush. So the paintbrush, the draw sharp and decrease, are the most used hmm brushes for the lips that we have. Now using the blob brush, I will add more upper lip. Like so. Let's add the bottom lip as well. And let's smooth out these vertices on the site. Now using the dry brush, I will go and do the opposite of it. So I will use Control. And then I will built piece-by-piece with the blob brush. I will just tap down. So let me also, so at this and let's create her cupid's bow here and smooth out. So this should be wide good for, for the beginning. Let's add more geometry here. You can see how it is going to turn out. Let's add more geometry here. Well, let's smooth it out. So using the blob brush, I will go here and slowly inflate this part. Okay? Now I will use the flat brush and I will select Sundays, but they don't look like this. So let's also Pete her cupid's bow. Well, let's increase the size of our brush and also lead to increase the strength. So I need to fall at it from the inside as well. Okay. I will go back a couple of times before I added a blob because it actually turned out to be quite good. So I'm using the opposite of draw sharp. And I'll show here, I will add more. You use the deter lips are really, really big, so I will make sure it's a day or smaller. Width shifts brush. So shift is the smooth brush. And then I will slowly movies insight. This is for the beginning. Awesome. So now guys, in the next video, we are going to make her a nose. And then piece by piece, we are going to model out the to make and sculpt her whole head. So let's hop onto the next video, guys, See you there. 9. Sculpting The Nose: Hey, what's up, guys, Welcome back to the eighth video in this introduction to is called thin course. So we are done with the lips. Let's hop on and do the notes. So I'm going to zoom in and then I will, I'm going to use the blob brush for this one. So if I zoom, if I go into edit mode to the X-Ray mode, sorry. You can see here that her intos is pretty much nonexistent. So we are going to make her nose and it is going to be a small one. So right now you can see that she has a little bump here on the nose. And we are going to replicate that and also replicate that size of her nose. Now, let's use the crease brush and change their radius lower down the radius and add like pretty little nose here. Okay? Now using this crepe brush, this one, we are going to get rid of the vertices, get rid of some of the mesh here that we have. And I'm going to smooth it out also here. And now we are going to be using the DAB law, and I'm going to do the reverse of the blob brush. So let's go and make her so this is her cheek, cheek, cheek. So I'm going to increase the brush and I'm going to add heard some cheeks. Okay. And this part here and needs to be bold way inside. Not all the way inside, but yeah, insight and also this part here. So I'm going to smooth it out and also what you, what it, what is important for the, what is important for sculpting is that, you know, basic anatomy of the body. So old. So that is important. You don't need to know everything, everything we are not university. But yet it is device to have some knowledge of, of human anatomy as possible. So right now I'm going to do, I'm going to make sure that I have enough space. So now here, a lot. So right now I'm going to go inside here and I'm going to add two nostrils. So let's go inside. If you can see that it doesn't look so good From here. But I'm willing to be moving these nostrils a bit up. And from this side is going to look like this. But I'm going to move this down so it looks more natural. And now with the blob brush, I will use an ad, this side of her nose. So this here, let's see it from this side. It looks good for now. Now let's add her nose bridge. Now let's get rid of some of the geometry that we have here. Awesome. And now using the Grab Brush, I'm going to pull it down and arrange it to my liking. So I'm going to give her smaller nose. And you can see that her eyes are here. And we are going to try to replicate that right now. But first of all, let's see if we have something else to do with the nose. Okay, yeah. So I need to fold the nose barred a little bit inside more insight and I'm going to smooth this area old way. And this is going to be her brow bone here. So let's see from this side how it looks like and on this side. So right now, I'm going to move this a little bit more inside. So this bird here and this part more outside. Like so. This is where her eyes are going to be. So right now, the nose and the mouth look good for now. Let's see. Let's go to the side. I'm going to go out to the UK mode. Please save your files, so Control S or I'm going to save it here. As girl. Maybe Girl doll blends, save file, always save your files. Files when you're working. I'm going to give her a really nice smile here. Now, let's hop on to here. So I'm going to zoom in a little bit more and I'm going to use the blob brush. Let's old way. Bring it down. So I'm going to smooth, I'm going to press Control. And I'm going to get rid of these vertices, these these bars that I had here. So I need to make her mouth. And I'm going to pull too tight. Insight. Let's see. What we can do is we can make this part goes inside the little bit more and boastful around and noss around this nostrils. They need to go inside. I'm going to change that like this from the front. It looks like this on the side, it doesn't look good. But we are, we can change that just by selecting that and grabbing debt. So right side. So here we have the nose. And what we tend to do as well is we can, well, we can get rid of the a lot of the mesh here so that we have a natural like nose bone. And let's select the eyes. So the r's are going to be here. And I'm pressing Control and going with the blob brush. So this is going and to be, these are going to be for eyes, save the file always. On the side. You can see, you can see that they are right here. So right now, let's go to our layout and we are going to set for a pair of eyes. So I'm going to be adding a sphere. Go here under, under, add a UV sphere and change this segment is to 16 and the rings to eight. So we divide the two numbers to rotate in x axis by 90 degrees so that we have a tuple here and here, and grab it and y-axis. Now what I'm going to do is I'm going to select this part here. So only these. And then I'm going to be extruding them inside. So not this one. Extrude in y-axis and scale them down. Now what I want is I'm going to delete this vertices. I select this edge by pressing Alt and clicking on the edge, not on the vertices, but on the edge. And then go here and add a grid filled. So right now once I'm done, I'm going to be adding a subdivision surface modifier and let's increase them 24 right-click shapes mode. And we're not going to apply any modifier right now. Right now, let's add a mirror modifier. But you can see what is happening. That is because we didn't apply location, rotation and scale. So control a, O S key means control on my, on my keyboard. It doesn't recognize it as control. It recognize it at OSS key because I'm working on a Mac right now. Don't be confused. Os means control. Now you can see that her pupils are right here in the center. And let's go inside and rotate them a little bit in zed axis insight us. Right now we are done. Let's go and let's go back to sculpting. You need to select the head if you want to sculpt the head. So I'm going to pull here. And using the blob brush, I will add the islets here as well. So we need. Here. And now I'm going to get rid of these. So let's get rid and let's meet her some anemia. She looks really tired. So I'm going to pull this up, smooth them out. And let's see. So we have the eyes here and they should be a little bit to the front. So I'm going to select it, go add jamming y-axis and a rotate them in x. But I need to set the origin to the center of the Mets, then rotate them, grab them on the point where they need to be k and then control a old transforms. Now I will go to scoping, but I need to select the head. And let's go inside and add her more geometry around her eyes. Because they are really a really pout. So we need to meet the inside of the eyes as well. Like so. Awesome. And now slowly we are going to add and subtract more and more rare to see more and more mesh. So these are her cheeks. I'm pressing F and adding more. Now let's use the grabber tool. And let's move this inside the little bit. So you can see how it looks like from here to here. Scrambling to move this part. Let's see how it looks like. Yes, I need to move this old noise. Smoothing it out. Let's go on my time. And now let's use the blob brush. Add more, more here. And we'll lot for now, this is quite good. Don't worry, it should be better. So now let's add her eyelids. Moving these vertices and adding her islets. Like so. On this side, we have the eyelids here. So this is where you should be smooth. And so now we are going to be using the drop dry sharp brush and adding her some islands. Like so. So we need to make sure that it follows the path from the nose. And also we need to have this point Q, this one, and this one. That'll smooth it out. And I'm over. Here, we have it. Awesome. Now let's use the paintbrush tool. Let's create the eyelids even better. And also these two points, Let's move him out a little. It's only I'm barely clicking on the tablet. So right now are fine looking. But yeah. So now I'm going to be changing this jaw line for civil, and we're going to do that in the next video, guys. So I will see you there. Bye. 10. Sculpting The Jawline And Moving The Eyes: Hey, what's up, guys, Welcome back to the ninth video in this course, introduction to sculpting. So we added the eyes and the eye area part on our last video. So in this video I'm going to add jaw line. And also I'm going to correct the eyes because they are too far apart from each other. So what I'm going to do is I'm going to press Tab to go into the Edit mode, press a, and then grab them in x-axis. So I'm going to pull them to hear. Okay, Now, once I moved them, I'm going to select the head and then go to sculpting. Here. I am going to choose my grab, grab brush. So I'm going to move this on my right side. So here you can see all the names of the brushes. And now I'm slowly going to move this part insight. You will see how, how it is going to be better like this automatically when we have a change. So this is looking for really nice. And now also one thing that I'm going to do as well is I'm going to go to the side and pull them a little bit more out. So only a bit. Now select the head, go to sculpting. And now let's move these a little bit. So I'm using my shift key on my pen. And now you can see that this part here is well done. So now I'm going to use blob brush and I'm going to increase the strength to 0.7. So I'm going to type it in and press Enter. Now I'm going to slowly fluff this part up, like so. And also we can add more here. Now let's see how it looks like, okay? And this part here needs to be more or volume. We need to add more volume to the under under eye area here. Let's see it from the side. Press three. Okay, let's add a little bit more and TSH and Shift to smooth it out a gate. Now, the cheek area, I also want to add it here. Let's add it a little bit only. And we are going to little by little, build it in. Okay. And I'm going to give her like cheekbones. Like so. I like how they turn out and automatically we have a different look of our character. So if you want, you can add a little bit more of cheek. Cheek. You can add less. It depends on your liking. So we are done with this part here. We are now just adding a couple of details. And later on we are going to be doing a high, high radical, little low in detail so that we are going to make her eyes. So here we are going to input a crease. So little by little, we are going to meet awesome results. So we are done with this. Make sure to save your file every time you do something. Sometimes lender can crash and that can really ruin your whole thing. Also, if you want the mouth to be a little bit wider, you can do it. I just like it as it is right now. You can see it all from the side. It looks good. Now, I will use my grad brush and then I will pull this down a little bit. I will see in the side view in the X-ray mode. So you can see that eyes are not the same and I'm not going for this animal look here right now. I am just simply showing you how, how it's going to look like. So it is pretty clear like this, I think. So now we are going to pull this this jaw. So the beard here. And I'm going to pull this up like so. So we are going to make her look better. Let's go out of the X-ray mode. You can see here that her jaw line is really like hard. So I'm going to pull it inside and make it a little bit softer so you can see now how it is soft, softer. Now I'm going to go to the to decide view. Then I'm going to use my Blob Brush. I'm going to decrease the radius of my brush using the F key on my keyboard. And let me just go here, screencast. So yet you cannot see them perfectly. So I'm going to be using different color for it. Let me see which one will be the best. Okay, bad press Enter. So here you can see the shortcuts that I'm going to use here. And you cannot see it wide good. I'm going to try to show you it. Let me just move this here. Okay, So for the names of the brushes, you can also read the DEM here and here as I told you previously. So I will not I will not pull this up like this because then you will, you won't see the shortcut there I'm using. Although for this one I can simply move it, but yeah, I'm going to leave it as does right now. So right now I'm going to use this blob brush. So you can see here also the name of it. And let's add it. Real quick. So here you can see my jaw line starts here and we are going to use first of all, the grabbed brush to pull this up. So let's move it. I'm going to move the whole thing, the whole area, like so. And you can see how it looks like. Now, let's move this part of the whole part up and insight. Let's see what it out. Okay, now I'm going to press one and then nine to go to the opposite side and slowly pull this inside, smooth it out, slowly pull it up a bit bar. Pull this down. This part here. This part. So I'm just moving it down soon, this area up a bit. Awesome. Now go to the X-ray mode and you can see that here we have the jaw. Now I'm going to use the blob brush. I'm going to decrease the radius using the F key on my keyboard. And right now, Here it is. So we are going to draw in on and smooth it out. So here is going to draw a line. Here. We are going to give her the circle. Look. Let's see it on the side. See it. I'm going to be using grabbed brush can lead to move a little bit down and will allow. So now let's again go here and use the brush. Decrease the size and increase the radius using the Shift UF, keep going up. So here we have it. Let's add the jaw line. Here it is. And well, so you can see that her jaw line now it's a pretty wide so we are going to change that and we are going to move, simply move this area, Insight, Summit it out. See how it looks like. Now, let's add the ears so that your three are going to be adding in the next, in the next video. And now we're just going to correct all the flaws that we can see. So around the eyes area, I think that we are going to pull this inside, look more like this. And also let's pull this a little bit. No. Let's leave it as it is right now. Or pull this up. You are the creator, so you came to whatever you, whatever you imagine. We can now create the crease here. Here, like so. Smooth it out. And also here we are going to create a crease inside. Okay, Let's use draw sharp and add, decrease inside of here. A case PHI accidentally press Tab and you can see automatically dead. This follows the shape of the nodes. So I'm going to pull it a little bit too down, downward. Awesome. And now using the inflate brush, I will add some of some of the muscles around the eye. So the eyelids I'm going to build in a little bit more using the draw sharp brush. I will go ahead and add some crease inside of the eye. So it actually looks like I added islets because right now it is, it is not showing like I did. So. So let's add a little bit. Let's go now down and let's add more crease. So awesome. And now I will be using grabbed brush and pulling this a little bit to smooth out. And we think you can see how it looks right now. I will pull this a little bit forward because I want to have, for my character one to have higher cheeks. And now I can pull this also inside, but I don't want to. So I will just leave it as it is right now. Let's pull this up little bit and use the pinch, pinch tool. To add the crease here. Use the grabber tool rate now, lower down the radius and pull this shift creased burnish and put the inside and a little bit more of a crease. And that is it guys. So that is it with this part here. And slightly pull this up and down and see how it looks like. Awesome. So I just smooth it out. And yeah. So also the inside part needs to be a little bit over the eyes because right now it is not. Now it's fine. Now it's fine. Say if I zoom out, you can see how she looks like. No doubt this part as well. And a little bit closer to the ice. Okay, guys, speed the rest of the head here. And you can see the eyelids are not looking fine, so I'm going to change that and what not. So in the next video, I'm going to show you how to make the IRS. So let's hop on to the next video, guys. See you there. 11. Sculpting The Ears: Hey, what's up, guys, Welcome back to the video on this introduction to sculpting course. Right now we finished the eyes, the eye area, and those are the eyes and the jaw line, as you can see here. Right now, we are going to go back to Layout and create ears. The first thing that we are going to do is we are going to add a queue, scaling down and grab it in x-axis. Once we do that, we want to add subdivision surface modifier and we want a, we are going to increase the number of subdivisions to 4. Once we did that, we are going to scale it in y-axis and make it a little bit flatter. So it can resemble that year. Now I'm going to zoom out and slowly pull it in x-axis. And right now go to x-ray mode by clicking here or by pressing Alt Z. I'm going to turn on my screencast keys for you guys. So here on the left inner corner you can see the shortcut there I'm going to be using. Right now. We are going to move this up and in x-axis, like so. Now let's select these and scale them in x-axis as well. Let's move them in x-axis and pull them up. Now once we did this, we are going to extrude it one more time. And let's see if we selected all four. Yes, we did. We're going to zoom in a little bit and move it down, scale it in x-axis, like so. And we'll lot right now, let's go to decide view and let's rotate in zed axis like this. Say if I, if I can see like C here. So let's model it out in the side view. So let's bring this like so. Let's create the perfect, perfect shape of an, of an ear like this and also this era root, we're going to pull on the y axis. Now, once we did that, I'm going to be rotating it in zed axis on the opposite side and grab it in x. Well, let's see how it looks like. Okay, we are going to be a range. You get a little bit more. So on the side you can see that we moved it. So I'm going to bring it again to y-axis and now elect assemble these. So let's select these to pull them inside a little bit. And I'm going to move everything in x-axis. So I'm not going to be moving the y-axis eye pressing G x for grabbing get in. Axis. Let's move all of these. Really never lifted up. And let's see how it looks like. From this side, it looks like this. And let's move it actually. Let's see how that looks like, like this. Austin. Let's see from this side, I'm going to simply select these and move them in Y-axis. Yes. So press three, grab them EY and grab them Tao. Also these two grabbed him. Doubt. Let me read this. This is going to be it. Now. I will add a mirror modifier to it. But you can see that it appeared here. So what happened here? Mu modifier is on bottom of the subdivision, so I'm going to move it up. And now we need to set location, rotation and scale for mirror modifier to be applied on right way. So if I press N and if I go to item, you can see here that the scale is totally deformed and also the rotation and the location. So if I go press Control a, a blight old transform, you can see that everything is back now to normal and we have two ears now. Totally, totally did, totally done. Good. I'm going to also move this in y-axis. These four, these four vertices, grad then e, x, and y. So here we have the ears from the side. You can see also how they like. Let's hop on now to sculpting and let's call them. But before that, I'm going to use my mouse. Select them, right-click, Shade Smooth, and also apply the subdivision surface modifier. Now, select the ears here and then go to sculpting. Now from this side, you can see it on the image behind it, how it looks like. But I'm going to follow simply anatomy of human ear and old. So here you can see it. And on the front, if I go from the side view, you see how it needs to be. So I'm going to zoom in a little bit and I'm going to be, I'm going to start modelling much. First of all, was I need to start. I'm going to press X here on the symmetry so that i, one side, that this side, the right side eight will be mirrored on the left side. So the first thing that we are going to do is we are going to change the brush to blob. And let's start creating this inside area of a near. Like this. Okay, So this happened. I accidentally pressed Command Z and I returned it to the previous view. And also, if you press accidentally shift Control, Shift Alt Z, you are just turning off the overlays. So you can press again Shift Alt Z to to get them back or simply click here. So don't worry, you didn't do anything, anything wrong. They're going to speed this one. So basically I'm going to be adding more and more geometry to it like this. Let's create the inside of the ear. So I need to go from this side. Will tend to be more. Let's add a beach geology owner and then pulled inside. But this awesome shift a little bit. And now let created those, those here features. So we are, I'm going to be adding this part here. And the site as well. I'm only using the blob brush is you can see. So don't worry. Now, we are going to be adding this bridge here that we have here. So let's make it a little bit more thicker. And let's inflate this whole part. The top of the ear. This side, we want to inflated little bit and smooth it out. Let's create more of a crease here. So using the opposite of the blob brush, I'm pressing Control D. I'm going inside here as well. Here's what's awesome. And we'll look nice. Let's add a little bit more here. And right now, if I go into the Edit mode, you can see that this is really. Pout. So I'm going to use the grabbed brush and we'll pull it inside. Let's pull it inside. And we'll look. We are done with the ears guys and we can now join needs to get her to our head. So for that, I will go to layout and then I will edit mode. I will select the head, then add a Boolean modifier to it, select the years. So I will select them like this, and then I will add union. From there. I will go under this arrow and apply it. Once I did that, I will select, because here you can see that if I select the head, I selected the ears and but if I click again on the ears, I have a double double meshes. So right now I will select the head and then go to sculpting. You can see real quick that this, that the ears and the head have a different topology, different number of folly gone there for a number of vertices. And we want to change that so we want to join them correctly. That's why we are going to use the remeasure and 3D mesh mesh option here. And we're going to set the number of vertices on the, on the, of the head onto the ears. So right now I will just click rematch because all my, all my numbers are here corrected. And you can see here that we didn't know, we didn't lose any detail around the eye area or the, around the nose m. So right here, we need to smooth this vd up, smooth everything. So I'm using Shift on my, on my pen. If you have some of the imperfections here, you can just go and add the drop-off and the clase trips, add a little bit and then smooth. You can see that automatically it will change and you will not have those like dumps. Let's move this out, smooth it around, and look at data of the mesh. Let's press one. And let's see how it looks like. Awesome. If I go to the edit room, you can see how big it looks like. And we can actually use a Grab Brush, increase the size, and slowly pull this a little bit. Like so. Now I like you to take even more. Okay guys, so this is the year's video. And in the next video I'm going to show you how to add the neck to the head and also how to create the top of her torso. So I will see you in the next video. Bye guys. Bye. 12. Connecting The Neck With The Head: Hey, what's up, guys, Welcome back to eliminate video on this introduction just called thin course. So as you can see a hue, we are done with the tongue body. We are going to make some, some changes later on. But first of all, let's go on and add the neck and the top here of the body. So right now I am going to be going in layout. And then onto the head, I'm going to apply this, I'm going to Boolean this neck. So the first thing that I need to do is I'm going to go into the Edit mode. And first of all, these vertices. So you can see here that we have a problem where this gods deformed. So I'm going to pull it back again. So I'm extruding and scaling. I'm only scaling it in x-axis. I'm not doing anything in, in y-axis because we are going to connect them. So in y-axis, I'm not going to change anything. Now, I'm going to be applying the subdivision surface modifier to it, then click on the head, add a Boolean modifier. Select with this eyedropper tool, select the neck and then add union. Once I did that, I will apply it. And then I will save my file, select the neck and delete the neck there we added. So I'm going to now select the head and the neck together and then GLUT-2 sculpting. It gives you right now. Here if I go to Edit Mode, we don't have the same number of polygons and same number of vertices on the head and the neck. So we are going to change that and we're going to remeasure it together with the clinic. Now you can see that now we have here our neck and we're going to smooth it out. And, and now we are going to be starting, we're going to start from modelling it. So let's sculpt it. So it follows the lines of the reference image here. So this part needs to go up a little bit. And I'm going to increase the size of my brush, the radius, pull these down, and so on. Now, let's decrease the size of our brush and slowly me point here. So I'm going to also go with the smaller, smaller radius and go piece by piece and move it closer to the reference image. Now, if I go to the frog, you can see didn't nothing to happen and everything should be fine. But this jaw line, I don't like so onto here I'm going to be using ink brush. I'm going to inflate this part here, but not so much. So it should follow this line here. Let's smooth this area. Like so. Here I'm going to do the opposite of the block of day flayed brush. So control and add in like so. Let's see it on the side. I actually want the high did to Alt H to read it, we did XYZ or simply go back. And you can see here that we're not going to change anything else because we like how it looks right now. So this here we need to add more and more volume to it. So p53 add more and more, as you can see here. Now if I go to the Edit mode, you can see that the number of vertices and number of polygons are the same on the neck, it on the head. So that's what we want as well. Now, here on the, on the side of the ears, I'm going to get rid of some, some geometry. So you can see now these two perfectly nice lines here. So that is the neck area. Now let's go to the front and yeah, everything is fine right here. Go out of the X-ray mode, smooth it out. Zoom in. Okay, so now 40 jaw line, I'm going to be using this inflate deflate and see how it looks like it. Now. You see that it actually looks nicer like this. So I'm not really sure if I'm going to add it or not. So let's go back to two times and let's see. I really like how this turned out. So we are going to be adding the here. Let's just for a second, Let's move all of these in. Let's see how Okay, I like it better like this. Okay? So we are going to leave it as it is right now. Let's move this chin little bit so it doesn't look so point T. As you can see here, that now I think it looks better, smooth everything up and will lie. So we added, we added the ICC. And here we are going to be using the flat brush, flat brush contrast. So no, this one. Let's use this creek. And let's get rid of DES, imperfections that we have on our model here. So all of these local or the lines, as you can see here on the chin part. Press one. We're going to be adding her some corn on her jaw line as well. So here we're going to add contour. We can zoom in more and added. On this side you can see that now we added it too much. I'm going to simply pull it down. And this part I'm going to pull up, decrease the size of the radius, pull it down and smooth. So let's pull this down a little bit. Smoother. Press one and all that. So onto here, I'm going to use this smooth brush and I'm going to go over her cheeks. So over here to shift this area. Okay. So we smoothen it out and let's see it from the side. Okay, Let's see it from the top. How it looks like to hear. Okay, it looks good. So in the next video guys, I'm going to show you then how to join this area to the, to the top here. But first of all, I'm going to experiment with something. So, uh, let's pull her lips a little bit. And let's now go to the side and pull insight. Like so. I think that they will, they will look better. And using the sharp Joe Sharp brush, I'm going to decrease the size of my radius. And let's draw, draw lips. Okay, Let's go with the inflate brush over it. Let's add some volume to it. And now using the pinch brush, they're going to pinch it together. And we're going to create lines here as well. I'm going to smooth it out. And using the drug sharp, I'm going to zoom in and add more like so, using the paintbrush. Now, let's pinch it together. Awesome. And that's how it works. Okay, so using the inflate brush, I will inflate this part. Tie this one as well. So if you want to see your, your model better, you can just go here under this arrow, click here and change it to whatever material you want. So for now, I think that this should be good. Let's increase the size of the graph and brush and simply move the mouth area like so. So I need to bring in a little bit more to the front. So let's decrease the size for this part as well. And the bottom, the bottom line as well. I'll decide it looks like this. So we can add using the graph brush. I can slowly move it inside and smoothed it out. Okay, yes, so now it now it's shouldn't be better and it is better. Decrease the size of the brush using the opposite of dry brush, I'm going to add her of that bottom, the bottom lip. So just add a couple more details to the lips. Here, in here. Smooth because we are going to be remeshing good One more time. That's 0. And these, these details are going to be lost. But we can do that on the next, in the next video as well. So old school, Let's go one more time with the brush and inflate the bottom lip so you can see how from this side how it looks like. And let's use the grab brush and pull this inside a little bit more. And we'll look here, we have her. So we are going to change it to a little bit more later on. And she's going to look better when we add the hair and everything. So let's hop on to the next video where we will add the top of her torso to the rest of her head and neck. So I will see you there guys. 13. Sculpting The Hair: Hey guys, welcome to the video of this introduction to sculpting courts. So as you can see here, we are practically done, but we need to add some of the details. So the first thing that we need to do is we need to connect this upper body to the head. So as we did with the neck and width, the ears, we are going to do the exactly same thing with the Boolean modifier it. So I'm going to select the head. And then I'm going to add Boolean modifier using these eyedropper tool. I'm going to select this cube here. Do we have? And then I'm going to press on union. Once it's there, I'm going to apply it. Once it is applied, I'm going to select this, this cube here area because we have now the double. I'm going to delete it. And right here we have the upper body connected to the head. Now, in sculpting, you can see here that it is not the same, same. This is high poly and this is low poly, low poly cube. So we only want to read once. I. Okay? So you can see that we practically didn't didn't get rid of old the detailed from the head. Just this sharp line here, which we can, which we can fix later on. So right now I'm going to decrease, uh, to increase the size of my radius of my brush and simply smooth this up. So let's move everything and also the connecting point. Now we are going to do this real quick. So I'm just going to build in the top of her body here. Let's add her some shoulders up here. And well, so I'm not going to do anything else with this. Also. Lets add, we can add a colored bulb. But yeah, with this model, because we were not going to do her body, this should be fine. So you can see how she looks like. Let's give her the back ground. Like so. And let's go to the front and add heard and collarbone. I'm going to be using the blob brush for this one. And let's just color blue and connected with her shoulders. You will see the week I put it. So I'm going to increase the radius because this, the first one was really, really small. Some way to add it here. Let's have that that bone here on the top of our shoulders. Let's add here as well and get rid of some of the mesh down here, okay. Saw on the front here, I'm going to add some the smaller part for the on the neck part here and what all is done. So now on the mouth area I'm going to be using sharp sharp brush as I did before. So sharp brush and then using the pinch, I'm going to pinch it together and create a mode that we had before. So also this part, I'm going to be using sharp, G sharp and add some of the details here and here. Okay, so now using the beloved, the inflate brush, we can inflate her mouth. On the side. It looks like this, and on the front it looks like this. But I will use a drill opposite of the draw sharp brush one more time for this part here. And let's do it one more time. So here, smooth this area up and decrease the size of the radius. So we want to have smaller detail. Like so. Smooth it up. Awesome. Now on the top and on the top lip. Nice. If I zoom out, you can see how it turned out using the blob brush, I will slowly fill the lips. Let's see. Everything looks fine. In here we can pet a couple of, couple of depths. Also. On the top click. Awesome guys. So right now we are going to be adding the hair. And before that, I'm going to save my file. Then we're going to go to the layout, select the head or everything, and then using the C key on my keyboard. So let me turn on my screencast keys one more time. And here on the left inner corner you can see the shortcut. So I will be using C, and then I'm going to increase the radius size using my middle click. So I'm going to pull it and then I'm going to go like this. So I only selected the part. So we want to go to x-ray mode. Also using my mouse for this one, I'm not using the pen and I'm going to select this area here. Gate it is not that lag because we have a lot of vertices here. So we're going to select that again. Get rid of some like so. Okay, right now we can go and use the box select and select, selected like this. For this part. Awesome. Now for this side, we can go and use the pen for this one because we need. Okay. I accidentally pressed Shift on my on my pen here. So sorry about that. I'm going to again do it like this. When it's closer to the ear and we're trying not to touch the IR table. Let's add here as well. Let's see it how it looks like on this side. If I go out of edit mode, I cannot see anything. If I zoom in, you can see from where to where it is. So now I'm going to press shift D. Click right there, left-click p section. And right now I will have two separate objects. So this is my here and this is my model. Right now for the hair Bart here, I will select only the top here, scale it up a little bit, and then add a subdivision surface modifier. Increase the number of subdivisions, and see how it looks like. Okay? So right now I will be only using a solidify modifier. And let's increase the thickness of it. Let's decrease it a little bit. I think that I will decrease it a little bit more and then scale it inside. Okay, this should be fine. Apply it. And now let's go inside and see, yeah, everything is fine. We want to go out and edit mode to object mode, and then go to sculpting. Right now once we are here, I'm going to rematch it one time using the 0.01 voxel size and then go to Edit mode. And you can see that now the edge is totally different than it was before. And now I will increase the size of my brush. Smooth out the vertices that I have here. So it should give me smoother edge of the, of the hair to work with. Awesome. And now using the grabbed brush, I will zoom in and move the banks. So we are going to make her some bags smoothed out even more. And you can see that all the way here, my, my symmetries on K. So now I will go to decide and pulled the day sparked closer. Okay. So right now we are going to pull this this part, I'll her here. Closer to the closer to the body. And yeah. Now we are going to give her some volume and we won't be needing to connect the hair with her head here. So right now I'm going to be using this brush. So this is the layer brush. I'm going to decrease the size of my brush. And press seven. Once I press seven, I'm going to slowly add more and more detail to her here. But let's go back from here. And let's add it like this. So we first of all add a little bangs. K. Let's decrease the string. Smooth out. If it's too much, you can just do the opposite. Smooth out that area. Smooth out this year. Well, and now connect this part with the bags. Lawson. And we're going to, we are going to smooth everything up. So it's now going to look like this. Let's now decrease the size of our radius. Create more lines. Let's go from here now. Go over and across. Thanks. Ooh. Okay. The back looks good. And we are going to make sure that the front looks is good as well. To smooth everything that and that's too much. A little bit so that we can see that the area better. So here OLS, so I'm going to fill ethnic little bit. So I'm using control and I'm doing the opposite of the layer brush here and I'm smoothing. Those are the, those are the shortcuts that I'm using right now. So I'm using control and I'm using shift. So you can see it. I'm slowly building her here. And now on top here, I'm going to zoom in a little bit more and create a little stripes like so. And once I did that, I'm going to zoom in a little more, even more. And this lines. Once I did that, I will connect them to the banks. Like so. Here I don't like this part. Okay. Smoothed out. And so she has a little like tomboy here. Now we are going to we are going to make her a ponytail. So here as well, I don't like how this is too much out. And now everything should be fine. Even I can move this, this stop here, a little bit more. Smooth, everything like this. Then go to Layout, go to the side. And now I accidentally press V. So that is for the circle, select circle, and we want to select box. So every time you press W V on your keyboard, you can just press it's a couple of times, once you get the book. So I box. Now press three and add a curves so we can add a Bezier curve. Rotated is an axes by 90 degrees gravid in y-axis. So it should appear here. Now, I'm going to add this one, this vertices here and the rotated. So I have a little curve and I will add this one here. Now, let's select two of them. Right-click sub-divide. Yeah, right-click sub-divide. And then I will have one more. So I will pull it here. I will lift, rotate this a little bit more. And let's make her Barbie pony tail. So we can rotate this part so that we don't have that harsh line. Awesome. Now, let's rotate it on the Gleick, more movement like this. Now under Object Data Properties under curve, we want to go under Geometry and then scroll down. And here we have the bevel and changed the depth. So I'm going to change it to my liking. So I'm going to make her pony to you a little bit bigger, breast one. And you can see that it is not straight. So I'm going to select it sx 0 to flatten it with the x-axis. And you can see now that is pretty straight. Now onto this vertice. Yeah, I'm going to press Alt or Option S. If you're a Mac user. You can see that I scaled it down and we want to check this box filled caps. So you can see if we felt caps, this capital B filled. And if I de-selected, you can see that I have like a, you can see the inside of the Pawnee ponytail. So I'm going to click Fill caps, select this vertices here. All S ringing old way down, all the way down. We don't see a little bit more. So you can see that now the pony tail looks right. Now on to this one. We can rotate it even more, but we're not going to do night. We are only going to pull this a little bit down and choose a bevel and make her like fluffier, fluff your ponytail. Now, once it's done, I'm going to go here on your object, convert to mesh because this is the Bezier curve we want to change to mesh. So because we want to sculpt it and then go Tim mesh, once we are done, I'm going to Applying the subdivision surface modifier. Because if you, if I go into edit mode, if you see how low polygon count it is. So now I'm going to go here, add a subdivision surface modifier, increase the number of subdivisions to forward in the viewport. Render. Then applied that subdivision and then go to sculpt. Think. Once I'm here, I'm going to apply the voxel of the remeasure like this, smooth, this area here. And now we can, with the grabbed brush, I can pull it down and I can make it even bigger. So I'm going to smooth it every day. This ad a symmetry. So symmetry is it from plus x two minus x. One thing that we need to do is we need to add location, rotation, and scale to it. So Control a or this OS key means Control or Command. If you're working on Mac, apply old transforms and go to the sculpting. So click on the pony tail, then go to sculpting. Once we are done, everything should be fine right now. And let's bring her ponytail. Looks a bit more down. Awesome. Now, I will be using the same brush as I did for my afar, the top here. So the layer brush. And then let's add it piece by piece. So you can see that it didn't rematch. And I'm going to remeasure it one more time. So let's remember to 0.01 as our, as our head. So move out the whole ponytail. And then using the layer, we are going to be adding details. So let's decrease the size of the brush so we have more details onto it. It is not this is not going to look the agreed once, once we've finished this part. So let's symmetrized. It actually. Lets get rid of this nasty line. Let's add two more lines here. So we're going to add more, more geometry to it. Get rid of this central line is really bugging me. Smooth it out. Let's add more and more geometry. So this should be tied, and now we want to smooth it out. And it gives you that we have a lot of details, but it is too high, too high. So I'm going to pull it down and I'm going to change until this should be, should be fine. So guys, we are practically done. And in the next video, I will show you how to put materials on and prepare her for render. So guys, I will see you in the next video. Bye. 14. Modeling The Eyebrows And Adjusting The Final Render Settings: Hey, what's up, guys, Welcome back to the 13th video of days introduction to sculpting course. So as you can see here, we are practically done. And one thing that we need to have here is her eyebrows. So we forgot about her eyebrows and we are going to model them real quick. So we are going to be adding a claim to it. So let me just change this, change this screencast keys for you guys too wide because if it's blue, you cannot see them. And read real quick, we are going to be adding rotating in x-axis by 90 degrees and scale the data. Once it's scaled, I'm going to press G and put it in front of our object, in front of our model here. Press one and then align it here. Once we are done with that, I'm going to press tab, go to Edit road, select these vertices here and extrude him couple of times. Like this. Scale, this old way down and then grab this one and rotate like so. Once it's done, I'm going to be adding a subdivision surface modifier to it. Good. To a number of subdivisions to four. And then slowly I'm going to build her eyebrows. So you can see how it looks like. We're going to put it on the brow bone here. Let's see how it should look like. So I'm going to pull this a little bit more to the x-axis here. Pull this down because she sees carried a gate. Now, no, it should be fine. So once we added that, we want to add a solidify modifier and put it on top of our subdivision modifier and increase the thickness. Okay, let's see. Increase them a little bit more. So increase that sickness. Awesome. Now grab it in y-axis and align that the center, that the front of our brow goes right inside of the object here. And now I'm going to move these vertices inside and align them with the object here. Like so. A rotate in z axes and grab it in, rotate in saddled with, with more. And we'll let, so at this end, at the front here, I'm going to select it and grab it in y-axis. So I can now grab these as well and align them better. Okay? So at the center here we want to select these two vertices and grab them in y-axis so that we have a little bit of shadow showing here. And now once we are done, I'm going to apply the solidify modifier. I'm not going to apply the subdivision because we don't need it right now. Now let's add a mirror modifier. If I add a mirror modifier is now going to look good because I didn't apply location rotation and scale and this happens a lot. So make sure to apply location, rotation and scale using control and a key on your keyboard. So we selected it and wallah, we are done. I can now show my, show my references and now simply using the Shift D here, I can delete that and I will be left with this model. And guys, we are done with a sculpting pull apart and also the modeling part. Now, the next step are the materials. So I'm going to select the body and then go to material preview. Once I'm here, I will be adding material close to these kids job. So like this. And then I will click the eyes, click on the eyes, add one loop cut here. And now I will scale this loop cut like so. So right now I will select the center vertices and I will press Control plus or Command plus. If you're working on Mac and select this center, center vertices. Now I will click two times on plus, because this one will be white and the next one will be black. So I will set the black and assign. I will be left with this. Now, I will select these two vertices and then I will add one more and change it to green, whatever color you want for the eye color. Well, lab. Now, let's change the color of her hair and her eyebrows. So I'm going to go here under orange and then change the color to brown. Select that here. Select this color. Awesome. So we can also change the, change this roughness for this, for the here, so I can increase it and it should look better. And for this one, I can decrease the roughness. Each and every one of them. In each and every one of them materials for our eyes. And you can see that now looking better. So guys, that is it. And now we can add one plane here, rotate in x axis by 90 degrees, scale it up, rabid in y-axis. Select these to grab that, extrude them in y-axis. Bevel these two with Control B. Decrease the size of these lines by scrolling upwards with your middle click, right-click, smooth. And let's add some color to it. Then go to Render, Render View. And we can go and play with the color of world color. So I can put it like this, but it is not going to be really good. It is not going to show really nice. So we could add a light or we can simply add an HDRI. So I'm going to pull this up and then I will use the shader editor for this. Change this to world from object to world. Click on the background and press Control T. So now I will be able to click on this open. Go to two here where my, where my HDRI is R. I can go here open. So this, this one is the random HDRI. Did I, did I choose k? So this is the studio HDRI. So you can download this also. I will leave the link below where you can download them. And yeah, guys, so this is the, this is the studio HDRI and think, and you can see that this model turned out really nice. So now I will be adding a camera. Press 0, press Shift and period key on top of the tab key and set the camera angle. So your liking. Okay, zoom in a little bit more using D ws key. You can, you can move around with your camera. And here I'm going to change this render engine two cycles. Because there you can see these details, the smaller details. And also we can play with the color management here and chain changes to medium, high contrast or high contrast. You can see whatever, whatever appeals to you or I. Under de-noising, we want to check this box under Render and jag eyes. So on the output properties, we want to change it to PNG. And here also you can input the file, the file storage where your file is going to be set while when it's rendered. So I'm going to select it and put it in my file here. And young eyes. So that is all for this course. And I hope you liked it and enjoyed it, and I will see you in the next course. Bye guys.