Advanced Stylized Character Sculpting in Nomad Sculpt

1. Advanced Stylized Character Sculpting in Nomad Sculpt: I get so many requests for The D Girl, so let's just do a Three D Girl. If you're hearing, you know your way around nomad sculpt. You know the basics. But now it's time to do some of the harder stuff. So we're gonna build her from the ground up, creating the head, face, body, clothing, accessories, everything that gives her life and personality. But this class isn't just follow along and make my character. I want you to learn how to figure things out. I never know what issues and complications I'm gonna run into when I'm making a project. I'm constantly experimenting, making changes, but I always find a way to get to what I need in the end. And that's where the real lesson is. Problem solving is one of the most important skills you can develop as an artist, and sometimes you accidentally end up with something better. So if you're ready to start making stylized human characters and nomad sculpt, then I think we're both in the right place. Alright, keep drawing, keep sculpting, and I look forward to seeing you in class. You're on Skillshare. Be sure to check out all the glasses I have at trogfredave.com. 2. Class Project : Okay, so for today's class project, we're going to make a three D stylized girl. So mine is like a golf girl, but it really doesn't matter. You can change the colors. Mine is black and white. You can add colors. You can add whatever you want. I really want you to run with it. That's where the magic is. That's where you learn. I'm going to show you my workflow, my formulas, and just the way that I think to get to a character that I like that I think is fun and that can keep me going. So at any point in time, feel free to experiment, change something. You can change her into a superhero. You can change her into a monster. Doesn't really matter, have fun with it. I think that's where we do our best learning is when we have a nice foundation. We have a good outline, but then you feel comfortable enough to do what you want to do, 'cause this is your art at the end of the day. Alright, let's jump to the next video getting started. 3. Getting Started: So let's get started in Nomad Sculpt. So let's go to the little camera icon and switch from perspective to orthographic. Let's hit front on the Snap cube. Let's go down to the grid and just tap that to turn the grid off. So next, let's tap this little Sun icon and switch from it PBR to MTCAT. I'm using PXG Clay. If yours is different, just tap here and then find PXG clay. Next, let's bring in our image as a reference. So we want to tap this little picture icon. Go down to reference Image. Tap that. Import from photos, I save mine as a photo. Tap here. Okay, we can X this and now hit Transform, and you can take two fingers to position it where you'd like. I think I'll put it right here. And then tap with one finger to go back to sculpting mode. So let's go ahead and save the project, so we'll tap the little folder. Save. And I'm just gonna name mine Goth girl. As you sculpt, you should save as much as possible. So that's pretty much all the setup that we need. Let's jump right into sculpting. We're gonna start with the head shape. I think the face is probably the most important and most difficult piece. So let's tackle that first. 4. Head & Face Shape: Alright, let's start with the head shape. So we're going to use move, make sure that symmetry is on, and you want to make the move radius. A bit big. So what we're going to do is kind of make this slight angle towards the bottom. So you just want to slide that in. Actually, let me make the move tool a little bit bigger. There we go. See how it just slides in? We don't even need that much of an angle. That's pretty good. We can use Gizmo to kind of make the face wider. Okay. And let's use move just to raise top part. Okay, so you pretty much want something like this, very simple for the front of the face shape. So when I turn it to the right, so I'm looking at the left side. So now we just have to work on the back of the head. So the back of the head is going to go straight like this and then come around. I manipulate this. You notice this part? I'm dragging up like this, and I want the front of the face to be fairly flat as well. So I'm bringing that forward a little bit, making the top of the head fairly flat. Nice and round on the backside. Now the bottom here, I'm going to move this slightly forward, which again is going to flatten up this front part. Okay. So for the side, I think that looks pretty good. Front part is kind of flat, flat ish top and then round in the back. So you want to put it to the front, make sure the front silhouette still looks about the same. And let's also tilt it this way so we can make this round. So just continuing to use the move tool and just making that nice and round. Okay, I think that looks pretty good. Check out the front. Front looks good. Side still looks pretty good. So now let's add some ears. So we're going to use cylinders. So we'll tap here, add cylinder. I'll use the gizmo, shrink it, move it forward just so we can see it. Actually, it doesn't need to be that small. So I'm going to hit mirror, move it over. And it doesn't have to be on a line. I can take it off of a line. So I'm going to move it back. Now I'm going to use this stretch just to make it closer to the width that I want it. And again, this is a styli so I like nice thick ears, and then I'll rotate it this way. Okay. So that looks pretty good. You want to rotate it like this. Okay, that looks pretty good as well so I'm going to stretch it and then rotate it like so. We look at the front. Looks pretty good. I'm going to hit a line now because I like the positioning and the angle of the ears, but I just might want to move them a little bit further out, up or down, maybe up a little bit more. So I'm just looking at the reference and just trying to match what feels right. So I think that feels pretty good. And we will have to it looks like we'll have to just use move and raise the head up more because if you can see the ear is a little bit lower than the eye. But then there's a lot of forehead up here. So if that was the same, the eye would be here and there's no forehead. So we just need to make the top a bit wider. And higher. Okay, that looks good. So again, I'm just going to turn it to the top and make sure that with the new shape, everything sort of feels natural for that new shape. I want to make sure that the top is fairly flat. There we go. And it's still nice and round. Okay, so it looks good from the front, looks good from the side and the top. You got to check the top or else it'll be like a cone head, it won't look good. Let's take the gizmo and move the ears straight back a little bit. Okay. That looks good. That way we can see that cheekbone in front of the ear. So it kind of completes the shape. Once you're happy with the shape and position of the ear, let's just go we'll tap the three dots and bring the post subdivision. Let's do up two, just because we're going to do some details on the years later and we just want to raise the resolution. So I'm just going to go ahead and validate those. And now for the head. So now let's draw the shape of the eyes with the Crease tool. So here's my I just want to show you my crease settings just in case you want to match those. Okay, I think that's it. Yeah. So with crease, we're just going to match this shape. So what's really important is not putting the eyes too close together. You want some space in between. So make sure you have symmetry on. And let's just start with a curve, maybe around here. See, it's a little too close for me. I want it a little further away. So we'll go up and stop around there. So that'll be the first one. Now let's go down. And then like this. Okay, I think that looks pretty good. So now what we want to do is use clay and sub, and we just want to get rid of some clay inside the eye. So essentially, we're just making the eye socket. Okay, I think that looks pretty good. So now we can go to our smooth tool. Make mine a little bit bigger and just smooth this. Okay. That looks pretty good. So I like to take flatten and I'll make the flatten tool a little bit bigger. I just want to flatten this out. I'm going to start around the middle of the nose area and just flatten that out. Okay, smooth it again. Okay, that looks pretty good. I like it. So although this looks pretty good, there are some things that I notice that I want to adjust. So see how this kind of is an angle almost right here. It's very subtle, but I want that to be a little bit more rounded. And I want to pull up here on this eye socket. And I'll pull down here, this is a little bit more rounded. The bottom part of the eye, which isn't very clear right now, this bottom ridge, I'm just going to move up with the move tool just to kind give that a little bit more how it is in the picture. So It's it's pretty straight here and then it curves up. So I'm just kind of working on this shape a little bit with the move tool. Okay, that looks good. Let's save. Okay, so we have the eye sockets, and as I'm looking at the eye sockets, there's still not enough space for the forehead area, so I'm just going to use move and just raise this up a little bit. Okay, so there's enough of a forehead. Speaking of forehead, I need to bring the forehead forward or else it will not look right. There we go. So the forehead should be, sort of in line. The top of the head will just adjust. Make sure the move tool is big. That way you get nice big smooth movements. See, the head is a bit lumpy and it's a bit sharp. So you just want to make sure that you kind of smooth everything out, make everything round. I'm going to go to smooth, and I'm just going to do a rough smooth back here just because we've been manipulating it a lot, and I want everything to be nice and clean and smooth and round. Okay. So now let's add two spheres. We're gonna use those for the eye whites. So we'll go to a scene. We'll add quad sphere. I don't know why my quad sphere is different color. That's so strange. We'll add a quad sphere, and we'll just move it into position and make it smaller. And hip mirror. Okay, so really what I'm referencing is how high the eye is in the image to the ear. So it's right above the ear. So now I'm just going to move it straight into the skull and flatten it. And I can take it off of a line. That way we can rotate it so the positioning will be correct. It looks pretty good. And if you like the positioning, you can always hit a line if you just want to move it straight into each other or forward. Just use a line because if it's off, then it's going to be a line to the shape, and it might get into trouble. Okay, I think that looks pretty good. I think I want to make them a little bit bigger. Okay, I think that looks good. We can go ahead and validate these spheres, and let's start naming a few of these items up here. So this quad sphere is the head. This mirror, whites. You can name it whatever. It's just I usually do P one for pupils and P two for eye whites. But as long as you know what it is, it's fine. So these are the ears. Okay. Let's save. Okay, let's do some quick adjustments on the eye kind of upper brow area. So when I'm looking at this, the shape really is a little bit different than what I'm seeing here. So first, I want to go to the head and just move this part up on both of them. So the eyes, I think I want to put deeper into the head. Okay, I like that. And then with move, I'm gonna make it pretty big. I think I might need to push this Oops make sure you're on the head. Push that in a little bit. I just want to see a little bit of the roundness on the bottom. Oh, actually, you know what it might be? I might have to pull this out. More. There we go. So really, it was pulling this part out a little bit to get that flatter shape there. So I like that. Of course, you can make it a little bit bigger if you desire. I think I like that. And I might even take the eyeball and just move it. A little bit like that. Just for fun. Just for fun. I like that. I like the shape. So you might have to work it a little bit, but essentially, you know, you want to just make sure that the eyes match the shape of the reference. So something like this. So these are the eye whites. Let's go ahead and add another quad sphere, and let's make sure to long press it and take it out of this mirror. And let's rename it Is P one. And these are B pupils. So we'll hit Gizmo. Put it in front so we can see it. Y a mirror. Okay. Then we'll shrink it. We want these to be nice and round. But we do have to flatten them because we don't want them to poke out too much. So we do need to flatten them, and then we need to rotate them so that they sit nice and smoothly on the eyeball. So it can be a little tricky. And you want them to be Here we go. You want them to be a little bit inward on the eye. You don't want them to be in the middle of the eye, you want them to be more towards the center. But I think that looks pretty good. They still look a little bit not as round as I want. So I have to figure out what's causing it to look that way. Usually, it's just a rotation one way or the other. Okay, I think that looks pretty good. Also, it could be the surface of the eye white. So you just want to, you know, kind of butts around with that until you get what you like. Okay. And I think I want to do a few things that are that are not symmetrical. So I like the eyebrow area. I think I want one raised higher than the other. So that'll be pretty fun. That way, it's not so even though the character is not symmetrical, it'll be fun to have a few things on the face that are not symmetrical, as well. So let's move this part up a little bit. Yeah, that looks good. Now, when I turn this way, it's really important that this part needs to go inwards. So that needs to push in, like so. And since I did that, you can see that it kind of changed the way the eyes are. So, you know, if that's the case, then I'll just move the pupils further in. I think that looks pretty good. So let's throw in the nose, so we'll go to a scene. Actually, is that scene? Yeah, that scene. We'll add a Look at this. It's like freaking out. We'll add a cone. Tap the gizmo. We'll bring it forward and up. We'll shrink it. We'll bring it down. It looks like it's about here. Ish. We'll bring it into the head and then we'll rotate it. I like that rotation, but I want it to be longer. I'm going to take I already had it on the line. If you don't make sure you have it on a line. Now just stretch it upwards. See if that was enough. That was pretty good. I'm going to take a look at the side profile and this will help me nail where the nose should be. Probably should be a little bit further out, too. But I think that's pretty good for now. And by a little bit further out, what I mean is, let's um let's just validate it. So I think I want to take this part of the head and actually just whoops, pull it out some. So you might have to make the move tool a little bit smaller. Okay, that looks pretty good. I want to make sure that this is going in. And then I want to tap on the nose. I may make sure I didn't put it in a mirror. You can see that I accidentally put it in a mirror. And the way I could tell is because I tap on it and it looks messy. See how these look clean, but then that looks messy. So let's tap the cone, bring it out, and just label it nose. It's not too bad. Oops. I want it to be on the nose, just to adjust it a little bit. They don't want to take move and just curve it into the face a little bit more. You can even take the middle and just pull it down a bit. We can tap the little flask up here and we can smooth it. There we go. Nice. And then you can adjust it again if you need. Because when you smooth, sometimes it loses a little bit of shape. But I like that. So the nose is quite small in the reference image. So it looks like it's about there and very small. Nose size is very, very important. I always make my noses way too big. I just want a little bit of a lift here. If I can get it to lift. Sometimes you might have to just flatten it to get a little bit of that lift. Okay, very cute. You'll notice I do a lot of adjusting experimenting. It's very, very important. Okay, so let's do a quick save. 5. Lashes, Nose, & Lips: H. So as I was saying before, I want to make the head asymmetrical, some of the details of the head. So let's just take the head and clone it. Okay. And the reason I'm cloning it is because I might use it for the hair in some capacity. So I want to make sure I just have this nice round head. Okay, so we'll go to the normal head. Let's just take move, and let's move this eyebrow. Let's take symmetry off and then move this eyebrow up a little bit higher. Okay. And sometimes when I put that one up higher, I might put this one a little bit lower to just accentuate it. I don't want her to look too angry, though, so you do have to be careful of that. I think that looks pretty good. Again, I just want this to be fairly round. I think that's all right. Okay, so for the head, I want to do an eye lid before I do the eyelash. Let's take clay and we'll keep symmetry off for now. Let's make sure that we're not in sub, so we don't want sub. Now for the clay, I just want to make an arch like this. Notice I have the clay to very small. Like that. I'll take smooth and just smooth that out. So we'll go to clay again, and we'll do the same thing on this side, but it can be less pronounced. Okay, we'll go ahead and smooth this. All right, nice. So now that we have that, let's go ahead and make these beautiful eyelashes. So we use tube. Path. We want to hit Snap. Where is it? So we want to tap Snap. And with the tube tool, we're going to start here, tap down on the screen, bring it over to here. But I guess this is an advanced tutorial, so I'm sure you know how to use this tube tool. Okay, so let's add some nodes to these lines. I always wind up putting an extra one here, so why don't I just do it now? Okay, there we go. It looks perfect. Tap that. Then we can tap the radius twice so that we have all of them selected, and we can go ahead and adjust this Something like that. So I'm going to undo SNAP because this part of it actually looks in a pretty good position, but you want to make sure that this is going into the eye right at that line where it meets the eye whites. I think that looks good. Okay. Now, let's see if we hit mirror. I want to see how all looks pretty good. I think we can use that. When you do the shape is asymmetrical, sometimes one side won't look right, so you just have to be careful of that. But these look okay. Okay. I like to do my eyelashes flattened, so we'll use profile. And I think I can make them even more flat, but just way that's not the one, is it? It Sometimes it's oh, there we go. I think that's what I was going for. Sometimes it's a little bit tricky to figure out which direction, but I think this smaller rectangle is what we want. I'll just hit Twist, and then you can twist it. Maybe something like that. Looks pretty good. I want to make these smaller, actually. Okay. Those nice and flush. I think that looks great. I think that'll work. Let's add another tube tool to the bottom and we'll do exactly the same thing with path, make sure Snap is on, and we'll start about here to here make the whole thing a bit smaller. Then I'll use all the radius to make the ends nice and sharp or tapered, I should say. Okay. Okay, I think that looks pretty good. So now I'm going to take snap off. That way I can do the same thing like I did before and buy this into that crevas crevas and do the same thing with this end. Okay, we can go ahead and mirror that. So now we have the bottom one as well. And maybe we can do profile. I kind of like that better. That's beautiful. So that was easy. I just used profile and just made that small rectangle, and it works really well. If it doesn't look like mine, you might have to hit twist and then twist it a certain way so that it matches or look that it looks normal. But I love the way that looks. So I'm going to go ahead and do I want to validate it, or do I want to see if I can You know what? I'm just gonna validate it. I'm going to take these and validate and just make sure that both of these are labeled. Nice. Okay. Let's save. Okay, so let's do a little bit editing the ears. I like to jump around a different spots, apparently. So the only thing that I wanted to do was make this part a little bit more round and this part a little narrow at the bottom. I like that. I'll look at that. I like the way that it looks. Now I'm just going to take the flask and just smooth them a little bit. They're a little bit more round. I like that. So that looks good. So for this nose, see this little piece right there, I'm just going to trim that with rectangle. I'm still not sure how how small I want the nose because it is a little big in comparison to the reference. It's a little big and a little low. Okay, there we go. I think that stretch might help. I might take a cheeky drag and just drag out the drag that out. Sometimes I like to take flatten and flatten the bridge a little bit. But, you know, just little fun little details. Okay, so for these eyebrows, we might as well do them. I'm going to do them the same way I did the eyelashes, so I'll use a path. The first one is up here around there, so maybe something like this. Okay. Make sure snap to validate these. Definitely going to be profile in profile settings, can I make that smaller. What I'm actually trying to do is make it taller. I can cheat and use the gizmo. I could do that. Let's do it. Let's see what happens. So that's about the thickness that I actually want. So I'm going to use all the radius, go back to a little squiggly line and just adjust this. Let's see what it looks like if I make it a hard angle. It's actually not too bad. I kind of like it. Let me add another one here and see if I can just add a little something. I like the way that looks. I think it came out pretty good. So I'm going to go ahead and Mm, I was going to validate it, but I want to add a little bit more resolution. So I'm going to press the three dots and at least bring this up to one and then validate. And then we'll add another one on the other side. This one can be lower. Okay. I'll make it thicker there, and then I'll do profile. Whoops. Then I'll do radius and just make this much smaller here. Okay, they look pretty good. I can't tell if they're too big or too bushy, but I don't even know if I care that much. So I'm gonna validate. I like them. I like that they're not symmetrical. I'm feeling it. Okay. And you can always adjust these a little bit, too, if you want to kind of fart around with them and see if, you know, you like a different position better. I think that looks pretty good. I'm gonna move these in so they're not sticking out so far. There we go. That's much better. Make them look a little bit more subtle. They don't need to be out an inch from the face. Let's save. Okay, let's make sure that we have these named, these eyebrows. So here's one down here. I'll bring it up here. We can connect them, I guess. So this would be let's see. Brow up. And this will be brow. Okay, save. Okay, so for the lips, I think I want to use another cone. So we'll add a cone Gizmo, we'll move it forward up shrink Okay, now I want to rotate like so because usually you can see the underp of a lip from the front. I think that looks pretty good. I'll just give it a quick look. That looks okay. Now that we have it tilted like this, let's hit a line and then pull it a little bit more. Perfect. Let me go ahead and it take it off of a line. I think I want to make it a little bit wider here. Okay, I think that's good. Now we can figure out where we want the mouth. Let's move it over, rotate it a little bit. I'm going to hit a line so I can just bring it straight back into the head. Now we can see it. I want to move it up. That actually looks good. I think that looks pretty good. And we could. Let's let's validate it. We'll use the flask to smooth it a bit. And we can make any little adjustments that we might want. But I think that looks good. I might just use inflate for the bottom part of the lip. I'm going to make sure I'm on the head, make sure symmetry is off. Uh, Okay, so we'll just kind of match match that a little bit. And then on the cone, I think I want to just move. So symmetry is still on, so I want to go to symmetry and hit Local. That way, we can still use symmetry on the lip. Okay. Yeah, I think I like that. So I do want to experiment with this lip if I want to bring this up a little bit. More of a lip shape. But yeah, I think that looks pretty good. So the only thing that I'm a little bit worried about is the smooth transition from the lip to the face. But the profiles look pretty good, to be honest with you. The front looks really good. So maybe I'm not too concerned with it. Part of me would like to She has a big, like, lower jaw now. So part of me wants to see what this is like if I shrink it a little bit. Okay. I think I like that. Sometimes I like to take flatten on the lip. Turn symmetry off. Okay, so what's happening is I used inflate, but we need to there's not enough resolution for me to be able to adjust this bottom lip. Let's voxel remesh it. So I'm just going to pull up here. This is the same thing as voxel remesh up here. It's just a little shortcut. I'm going to do like 250 for the head. So let's re mesh. And that's okay. We'll just smooth this out. Yeah, that still looks pretty good. I might box forms it a little higher and smooth it again to get rid of those marks, which I think that worked. Well, it's not so bad. I might be able to use crease invert. Priest and invert gets you a line, but you just want to smooth it so it's not so it's more subtle. But I like that. I think that looks pretty good. All right. Let's save. 6. Ears & Neck: So let's do a little more details on the ear. We'll take crease. Symmetry is okay. We want to make sure that invert is off. We'll just do the customary whoops, make sure we're on the ear. Customary crease like this. We can take clay with sub and we can just clay some of this out. Maybe I'll do another crease down here just to make it interesting. But you really don't have to I mean, it's very stylized, so it might actually even be too much, to be honest. Sometimes it's better to just maybe drag some of these parts in and just call it a day. 'Cause it's easy to it's easy to get kind of lost in the details, and I don't really want that many details. So, you know, just like I'm saying, I didn't really like that many I didn't really like what I had. So maybe just something a little bit more simple like this, not that much detail. I think that works. It really doesn't hear. But once you start getting too much detail, then you don't want to start getting too realistic, you know, because it is stylized. I think that looks good. And one thing that I usually do for years on the back, I'm just going to use move and just stretch this part. Into the head a little bit, because that's what years do. Okay. That looks good. I'm really happy with it so far. The only thing that I might want to do is take these, and you can do miscellaneous over here and decimate to get them smaller because they're kind of big. Usually I do this at the end, but I don't want to have to go back and do a lot of this stuff, so I'm just gonna use quad remeasure. And see this, I'm just gonna do half. Up. Wait a minute, did it? Like, not? I feel like it didn't do anything. It's not really doing much differently. This is seven oh seven. Why is this one so big? Yeah, I'm not sure what's up with that. Anyway, so it's smoother now, so I don't really need to do the flask. This one I still need to do the flask. I think that looks good. I'll just bring a little bit of this out so it's not underneath the skin. There we go. Beautiful. All right. Let's save. Okay, so let's do a quick neck. So we'll add a cylinder. We'll go to the kismo shrink, bring it down. So it's a little bit bigger at the bottom. Oops. So we want the neck to go to be about there, probably. We can validate that. And I might want to take move and just kind of make it a little bit Make it a little bit wider on top, a little bit wider on the bottom with a nice curve in the center. I think that looks good. Okay. And then another thing I usually do with neck is I'll use move, and I'll bring down the front. So I'm just stretching the top so that it's a little more flush with the body or with the head. So it's just a little more natural. What did I do? Move. Okay. I think that looks pretty good. It got a little lumpy. I'm not exactly sure how it got lumpy, but it did. So I'm just going to undo. I don't want it to be lumpy. So I move that down. Maybe the whole neck. I'll just give a nice little curve. Okay, I think that's a great spot for it. So I'm going to go back and do what I did before opening these parts up a bit. Nice. Okay. I want to make this a little bit more straight. So one thing I'm finding really difficult is keeping that straight. I'm not sure why. But usually, it just comes down to making the move tool a bit bigger. Okay. I think I like that. I mean, it's a little tricky, but I think we got there in the end. Yeah, I like the way that looks. I like the subtle curve in it as well. Okay, so I think I want a voxel remesh, the ears, the head, the lip, the nose, and the neck. So I want to put all those things near each other. So the cone, I'm going to move up, lip. And also, it's 4,684. I want to raise that because the head is so big. I don't want to have something so low, remeshed with it. So I just want to go to here Multi res, and I'm going to do it twice. So the ears, where are they? So down here, we're going to validate those, move them up. And it's pretty high resolution, so I think that's fine. The nose we'll bring that up. And again, we'll just go here, multi res. We'll do subdivide twice. So it was the head, the lip, the nose, the ears, and the neck. Cylinder. So I'll bring that up. And do that twice. I want to make sure that I'm choosing the head last. I want to do a save before I do this because sometimes big voxel remeshes is when the program will crash. All right, so let's just do a voxel remesh at like 275. Okay. Looks pretty good. The lip is not where I would want it to be. So I think what I need to do is take the lip, for example, and vax will remesh it on its own. I'm going to do like 200 to try and lock in that shape. The nose as well. I'm just going to voxel remesh them. So let's see if that makes a difference. Let's do 350 it this time. Very high resolution. And the reason I'm doing it so high is because I want to lock in those details. I think that looks pretty good. I'm going to turn smooth. I'm going to turn symmetry back on to smooth the neck and the ears the nose. And the lips, but I got to be really careful. Let's turn symmetry off because the lips are asymmetrical. So we'll turn symmetry off. We want to get this nice and smooth. I'm going to flatten this bridge. And then I'm going to use crease Yeah, I think that looks pretty good. I can do a little smooth if it needs it. I think that looks pretty good. All right, so we have the head and the neck. I think this is great progress. I'm not sure if I want to do the body and the hair, but great so far. I make sure that you give it a nice save. One thing I've been thinking about, the mouth seems a bit off, and I think I figured out what it is. So usually when someone is doing this expression where their mouth is kind of off to one side, the lip is sort of pulling the mouth up. So I'm going to take drag. And just drag this lip up. I actually think even just that makes it feel a lot more realistic because it feels like there's a point where, you know, the lip is actually pulling the mouth up to that side. So I don't know, just a little thing so you can think about it, but I think it looks much better. 7. Hair Shapes & Tubes: All right for the hair, let's add a sphere. And we can go ahead and validate it. Let's just use the Gizmo to move it up and then back a bit. Let's turn on X ray and let's just stretch it a little bit like this. I'm really just thinking about the hairline in front. Then if we look at it straight on, I want to stretch it a little bit like this. I think that looks pretty good. Something like this. Now we can take select mask with rectangle. We can select it right about there. And then go to our gizmo and just pull this down and then stretch it that way. So like mask, we'll clear it. We can turn off Xray. So the next thing I want to do is trim the hair like this. So we can just take trim, rectangle, then we can just trim it like this. Like so. So now what I would do is make sure you're on the hair, Box will remesh it. I'm going to do about 200. Okay. That looks good. If you want, you can use the flask and smooth it a bit. All right. I'm going to do Xray again, and I'm just going to trim this bit here. Let us use the lasso. Just trim that bit there as well. I want to move the front of this hair up. So I'm gonna use Move tool and just kind of scoop this up a little bit. Keeping that top nice and flat, just scoot that up. Beautiful. So now I want to see how there's a break here. So it sort of resembles a crease in the hair. So we're going to make that. It's a little bit off center. Let's say the nose is center, so this is a little bit off. So I'm just going to match that. And I'll start right around here with crease tool. Whoops. Turn symmetry off. Okay, and just do something like that. Looks good. So let's make this little area that sort of goes out. Let's use the move tool, and we want to move it quite big, and we want to make sure our symmetry is not on. So I'm just gonna drag this over. Mainly focusing on keeping this part nice and smooth. I'm even going to bring this part out a little bit. Okay, so we kept that nice and smooth. So next, I just want to trim this area because right here, you see how it's curved like that, and this is sort of curved out. So all we need to do is take trim, and we could maybe use ellipse might be a little cleaner. Otherwise, we'll just use the lasso. The problem is, I don't want to cut any of the other hair. I think this might work. And I think that works. And now for the other parts of the hair, we're just going to use tubes. So I think I want a bigger tube here going over and kind of like curling to the sort of sideburn area. And then we'll do this little one in front. So let's start with a path going here. Snap is on, that's good. So this should snap. So I'm thinking something like that. Make the whole thing bigger and then use radius, all of the radius options to make it a bit smaller. I'm going to turn snap off so that I can easily move this into that hair area. So it just sort of disappears into the edge. So I think that looks great. Now, with hair, I like to use angles and, like, flat planes. So let's just try the profile, which usually looks pretty good, and I think that looks awesome. Sometimes I like to you can play around with this. For example, something like that. There's You can add some other little planes. I feel like I want this back part to come up. It's a little hard to find with this. Oh, I think that's it. Focus. So I think something like that looks pretty good. Okay, so the only thing I might want to do is move it in to the hair a little bit more. Okay, I think that's great. Quad sphere. So this is hair. We'll just name all these parts. This is, I guess we don't have to name all of these things. All these tubes. So I'm going to clone this one, and I'm going to use this one for this little wisp that kind of goes over the eyebrow. So I'll use the gizmo just to move it. Maybe even make it a little smaller. And now we can go into this tube options and just adjust it as we want. So I'm just gonna move I'm just gonna move it so it kind of curves in the opposite direction. And of course, we can bring it out from inside the inside the head. It's actually quite big, too big. So let's figure out how to first let's just make a square. Figure out how to make it thinner. There we go. So is this thinner? Okay, it looks like something like that is more what we want. So the profile shape is very important. Sometimes you just have to play around with it until you get exactly what you need. I don't know if I want four parts or if I want three. Sometimes sometimes three is good, but we'll do four, but we'll do it kind of like that. Again, we now it's just matching that shape. Looking at it this way, this part goes up. This part is like this. The whole thing is still a little bit too big. Okay, so it looks decent. The positioning is a little off, so we'll just raise it up. Ooh, let's let's rotate it a little bit and just make sure it's kind of in the hair. So that looks good. Okay. I think we'll do something like this. Oops. Okay, I think that looks pretty good. So it can be a little confusing, a little hard to navigate. But, you know, it just takes some time. You know, I really just takes some time and getting used to using the tube tool. And having lots of these tubes and shapes kind of stacked on each other. So that could be a bit difficult. But, you know, just give yourself some time and you'll get it. So one thing I noticed is this should kind of go seamlessly to the crease. So I'm going to place it there. I like that. Okay, so that looks pretty good. We have this one that goes back. That looks good. Eventually, maybe we can add another one like here or something like that, but we'll see how we're doing. We could possibly use this for this, but you know what? Sometimes it's easier to just add a new tube and not continue to copy and paste. So for this one, it seems like it's about here. I add a little curve to it. It looks like it already took the it took the attributes of the previous tube, but that's okay. Alright, let's take a look at this. So it looks like I have it way too high, number one. I'll stretch it a little bit that way. It looks decent. This is a little bit weird. Let's see if we make it a triangle. I think a triangle looks a little bit better. Ooh, let me turn snap off. It's like a one of those wedge steak fries or something. So I like this. This is a little strange. It's like a little bit of a strange situation happening. I'm not sure exactly why. It could just be the resolution. So let's try tapping these three dots and raising the resolution. So we'll raise it to one and see, I didn't really change too much. Hmm. Okay. No that it looks terrible. I think we're gonna soften it up anyway. So I think that it could possibly work and be fine. Okay, so I think we're just going to accept that for now. We can always go back later and adjust it. So I want to take another tube, whoops with path, and I want to go from here down behind the behind the ear. Whoops. I always forget that you can't move those. Okay, so we'll do something like this. I'm going to turn snap off and move that in, add a new one there. So basically, we're just following the hairline. Et's make the whole thing a bit bigger and then use all the radius and make the ends a bit smaller. Okay. That looks good. Tim I might actually tuck behind and then make it disappear. Okay. And some of these elements I can make a little bit bigger. So I like that. Let's check out profile. And let's see if we want to just this at all. So, as you can see, I don't really have it as an exact science. But, for example, adding a new adding this new node here. So now I can see that it's adding another line going down, and I really like that. So that's pretty much what I want. The only problem is you have to make sure that it's actually going behind the ear. So I think that looks okay. Snap is off. I might need to bring some of these nodes a little bit closer in. Okay, I think I like that. Yeah, I think that looks pretty good. So I'm gonna validate that. So let's just continue with the tube tool. I feel like I want to make it the cheeks a little bit go in a little bit more. They feel a bit too wide here. Okay. So like I said, I'm constantly making changes to my characters. You got to constantly just keep your eye out for things that you might want to make different. Okay, so what is this? I'm seeing some parts here, but I'm not actually sure what that Oh, that's the hair. I'm just going to use move and just move that out of the way. Okay, so this hair looks pretty good. I'm going to go ahead and voxel remesh it at 200 or so. Let's try using a tube with path to make some hairs going off this way. Let's turn snap off. Let's make the whole thing bigger. Then we'll use radius and make this smaller. Use profile. Again, I want to add. Oh, I like that. You know, a lot of it is just trial and error with these shapes. And I'll just kind of play around with it until I get something that looks nice. And, you know, that's just the reality of it. But I think that looks great. I wish it wasn't as fat. So I could try and find If you can't find it doing the profile, you know what? Maybe I should I believe it. If you're happy with it, which before I do that, I'm just going to do post subdivision to one and then validate. You can always use your gizmo and flatten it this way. So it's not so thick. Maybe I'll use move and just give it a little bit more curve. But I think that looks good. So I think this part is the hair. I'm just gonna use move and get that out of the way, so we're not seeing it. Yeah, I like that. I'm going to do the same thing on this side with path. It's a little thick. I really want to thinner. Okay, I don't mind that. If you want, you could even do this one down in front of the ear, so it's not tucked in. Oh, you almost not tucked in. You know what? Maybe let's try if this one is like this. Kind of like that. Yeah, I'll take that. So I'm going to do the same thing and just raise the post subdivision to one and then validate. Then, of course, you can just adjust it if you want to with the regular tools. What is that? Oh, that's the eyebrow. I was wondering what that was. So maybe I'll just push it in so it doesn't compete with the eyebrow. Like so. Yeah. Okay. I like that. And this little bit of hair, I feel as though I need to puff this out a bit. Yeah, these look pretty good. Let's save. 8. Hair Details & Body: So for the rest of the hair, I would really just keep it simple. So you can use crease with maybe invert and you can really just make some cool little Oops. Some cool little lines like that, but not too many. Maybe I'll do one here and maybe not even that hard, but it's really just to just to give the illusion that there's some texture. I'm actually not going to do too much more of that. Then these edges, I might just flatten. It gives it that same sort of look that we've done with these hairs, you know, there's lots of flat planes. Maybe we can even add some back there. But I think that looks pretty good. And of course, if you really want to add more details to the hair, you can do things like adding some little flyaways that kind of go all the way back. We turn snap off. So I'm going to use profile and I think I want. I think I want to triangle. You know, you can add some details like, you know, little hairs like that. If it was more realistic, I would add more hairs like that, but I don't really think she needs it. And plus, I want to keep this a little bit more stylized and as simple as possible. It's not really simple, but you know what I mean? It's not simple at all, actually, but, you know, This, I think I want to smooth this. Oh, I have to validate it. And There we go. That looks much better. You can also do things like flatten on some of these edges, too. But I think that looks good. Yeah, I like it. Safe. Sometimes I just like to go back over things that Increase invert. So I'm going to keep all these little moments where I'm doing small adjustments. I do them a lot, and it's just part of my process, and I encourage all of my students to constantly adjust, constantly be scanning to see what can change, what needs to change, and what can be better. I think this needs to come out more. So I was just playing around with my pinch tool settings for the lips. And I realized that in the stroke options, if you go down to silhouette, and I guess this one is selected. So this was unselected. And once I did it, it started acting the way that pinch should work a little bit better. So just something to note, check this out, 'cause I was able to kind of get some details in the lips, which I really like. Grease So anytime I'm doing mouths, you want this crease to be the deepest right here. You want that to be the deepest crease. I've been wondering why Chris hasn't worked well for so long. Hopefully hopefully that's the fix. Alright. So pretty happy with the head. Oh, you know what? We need to do. Those little wing tips on the eye lashes. So we might be able to use drag if it's really small. Are these matched? I can't remember. Just put symmetry on. So let's see if we can do it with drag. Drag is a little tricky because things can get very ugly, very quick, as you can see with the lines, but it's not too terrible. Let's try and move. Now that we kind of have the basic shape, we might be able to use move. It's not too bad. Either that or I was going to use a tube tool and just tack it onto the edge, but I think that looks okay. Let's save. Okay, so for the body, let's start with a cylinder. I'm going to add a cylinder. I'm going to move it all the way up. I guess it shouldn't be that high up since all of this is the head. I think the bottom is actually the best place. T I'll just name it body. We'll move it down. We'll light it up with the neck, although I might have to move the neck. I might have made the neck a little bit too far back. I might have been a little overzealous. I'm just imagining how the width of the body this way. I think that looks bright. The neck is a little long, so I think right about there probably works. We'll make it a bit longer. I think something like there is how long her torso is before her dress. We'll make it a little longer. I'm going to add another cylinder and I'll drag this down we'll tap for the cylinder options for her dress. So I think we'll just do something like this. Not really thinking of the, um, the curve and the neck or the spine or anything just yet. I just want to block in everything. So usually for legs like this, do I want to use more cylinders? Hmm. I can either use cylinders or tubes. I think I use cylinders most often. So we'll just bring it down, and we'll make them both match for now. So we'll just get them roughly the same size. Can mirror them. Okay, something like that. Let's add a sphere for the knees. Probably should use another cylinder. I know that sounds weird, but let's give it a shot. Instead of that, getting always get sidetracked name and stuff. A skirt. Let's add another cylinder only because when using a cylinder, you get that nice plane which lends itself more to knee. Okay, so something like that. And then for the bottom parts of the legs, I think maybe we'll use tube. Okay, so that's a good starting point. I want to place it behind the knee. You want to curve it like so. I want to curve it out a little bit like this. Make them pretty big for the calf. And then we can where is the Oh. And then we'll do radius, and we can make the ends kind of smaller. We probably don't need snap anymore. Okay. Not too bad. Okay, so for this body, we definitely want it to be more round on top. So let's just let's validate, take the flask and then smooth it. So that should round the top out. And then we can just make it a little bit bigger we need to. So it kind of goes back to that original size. And I kind of like this whole that very smooth shape. So it's something that I might try to match that. So let's say if I make this a little bit bigger, then maybe I take this shape, the body shape and kind of match it so it flows a little bit better into the skirt. Okay. Now, remember I said about the neck. So I'm trying to think if I want to actually trim the neck and move it up. I guess we'll give it a shot. So let's just do Xray so I can see it. Lasso. And honestly, I might just lasso it. I'm using split and not trim. So then with the neck, I can move it up and see what I think. I think that might look a little bit more natural. I think. Maybe a little bit bigger, too. But honestly, that's the reality of it. I do a ton of a ton of changes. And honestly, I don't know how to like if I'm doing a tutorial, I think sometimes it's just better to show what I'm changing and why cause the reality is I'm always gonna I'm always gonna have changes. So if I'm thinking of the neck, usually the necks aren't straight. Um let's see if I can get some curvature in the neck. Why the neck looks so Okay, so I think that looks okay. So now the body probably wind up moving everything back. So the body is usually curved. So just using move, just pushing the body. So we really want to get a nice curve. So I think that looks pretty good. We have the curve in the back, which looks pretty good. Now, the top part of that, I'm just going to use move and just bring this more into the neck. Especially back here. I'm going to pull that part up so that we get sort of this nice curve. And the only problem is I still want her to have I still want her to be kind of flat where the neck meets the body, so I don't want to curve it too much. But I think that's good. Let's do Xray, and I just want to bring this back part. Pop a little bit. Okay. All right, so I think that feels pretty good. We have a nice curve there. I think that works. I think I like the neck better where it is now. The only problem is somehow I mean it's so thick. I thought it looked right, but it feels silly. Okay. But, you know, those little adjustments, I don't think I need to go too crazy in this video, but you get it. All right, good. Alright, so for the skirt, since we kind of have the body, let's sort of match the body. So let's smush it like this. That looks pretty good. Looks like we need to make it a little wider. Okay. And I think we let's add let's add some resolution to it. So I'm going to do this to two, post subdivision to two, just so it has a little bit of a little bit more resolution. Looks like we need to make it a little wider still. So I'm going to validate the rest of the moves we can just make with the move tool. So for example, I'm going to make it a little bit more rounded in the back because even though we can't really see it, we're assuming that she has some sort of backside. So you want to account for that a little bit. And then this I'm just going to adjust. So it's closer to the skin. And I think the front I think we want I think we want the front down a little bit. I think I like it better like that. Let's just raise this up a little bit higher. Okay. I think I like that. And honestly, before we validated, I probably should have, I probably should have did the whole so it's hollow inside. But we can always do it this way. If we clone this and make it smaller. Let's do Xray. Make it smaller. Move it down. And then we can just do boolean and boolean, it's the same thing. Before we forget, let's just go ahead and vox or remesh it. Okay, good. Let's see. 9. Arms & Hierarchy: Okay, so for the arms, I think we want to do let's do cylinders first. So I'm just going to fast forward through this bit. I did try out the cylinders, but I really wanted to use tubes because I wanted more versatility in how I move the arms. Part of me is thinking maybe I should have used a tube tool. Well, I'll tell you what. Let's hide this and let's try with the tube tool. Only because there are some slight things I want to adjust. Let me turn snap off. Actually, let's just make the whole thing bigger at first. This bigger down here. Let's mirror it. With the tube, then you are able to curve it in. That is helpful, to be honest. It is a she's wearing this jacket, so that makes a bit more sense. We have the arm you can't really see the curve in the back, but I still think that's okay. Make this a little bit smaller. Now that I'm thinking about the body, let's see. Let's give her a little bit of a slimmer belly. Let's bring this down. And we can add the shirt. I want to add, if we want to work on her chest, I think we can I think with whatever this is, I'm not actually sure how I want to do this yet, but we can deal with those details when we get to them. I know it should be flat here. Okay, so something like that, I think is pretty good. We don't really have to go overboard, although you can if you want. Okay, so we have something like that. I still feels a bit. Let me hide these for a second and just take a look. Oh, it actually looks fine. It looks fine without the arms. The arm makes it look a little bit funny. Okay. But that's right because that means that the shape is actually decent. So I'll just do this so you can see the general shape again clear. All right. And I might need to just move the arms up a bit. Maybe that'll help me out. Let's do a line so I can just move them straight up. Okay, I like that. I think what I want to do is take this mirror clone it. I'll hide one of them. So this way I can just manipulate one side. Okay. So this is going to be this arm is actually more behind her, I feel like. Okay. Yeah, so one arm can be down like this. I think that looks fine. Okay, I think that looks pretty good. And then we have the little cuff. So I think for the cuff, let's just do Taus. I'm gonna take it out. Actually, it doesn't matter. I'll just leave it in the I'll take it out. We're going to put this in a general position, take it off of a line, so you can maneuver it a little bit easier. Get it nice and flush. Ish. Let's go to the tube options and just make it a little bit thicker, then we can just stretch it. It Sometimes it's a little tricky to get it, not looking silly. Okay, I think that looks pretty good. I'm noticing there's a ridge in the Yeah, there we go. I think I'd rather do that because we can smooth that out. But at least if we do that, that ridge is there. Please excuse my stomach making all kinds of noises. I think that looks pretty good. Okay, so I do like that. So this is the arm down. And I'm just going to, let's go to the tube. So let's go to the arm and let's raise the resolution. So let's go to two and validate. We can validate the mirror. The Taurus, I just want to raise the subdivision to one. Actually, no, we don't really need to do that. Let me undo that. So the Taurus, I'm not going to raise the subdivision because I think it's not going to be directly connected to the arm. So now that we have these arms, let's just solo them, and let's trim one side. You don't want symmetry on or else it'll trim both sides. Okay, so let's do a quick save. So now we have that arm, let's bring back the other, let's see, arm down. Again, I always start randomly labeling things. All right, so let's clean this up a little bit. I think these are the old arms. So let's just delete those. We'll go to the other arms that we saved. So this tube, which I think we can keep that tube there, maybe even unmeror it. And then I think maybe we add another tube and just connect those together. Let's see if we can get this flattened a little bit. So I think that makes more sense. So let's take path. We'll add another one here. Male person is here. Okay, so now let's get this in the right position. So I'm just gonna get rid of all these just to make it a little easier. Turn snap off that'll help Okay. Let's take a wide view and just take a look and see what we need. So there's something like this. There's a little arch here. And of course, we need that ridge again. We want to make sure we have that. Let's bring this down. Et's make this part smaller. Okay, it's looking decent. Maybe we can even use the same Taurus clone it and rename it. Up. Now I'm going to readjust this a little bit. And I want them to be slightly bent forward so that when I'm looking at the front view, everything is kind of bent down forward because for the hand is going to be bent forward a little bit as well. So let's take another look. Yeah, I kind of like the way that looks. I make it look good. So just a little bit of adjustments, it seems like for this, maybe I'll make this a little smaller. Take this arm and make this a little smaller. Okay. They don't have to be exactly together. But apparently, I can't help it but to match them up as much as possible. But I think that works. It'd be nice to get this cuff. Okay. I think that looks pretty good. And what's nice is we use both the same taurus so that we'll keep the hands and things regulated so one is not such bigger size. Because even in the drawing, this arm is much smaller than this arm. This hand is much smaller than this hand, and they're not they should be more they should be more the same size. They should be the same size. Okay, let's say. So one thing I notice the proportions are off. So for example, if I make it roughly the same size as the drawing, you can see that the head is way too small. So it might be easier to make the head bigger or the body smaller. And I think it might be easier to make the body smaller. Skirt Because I think all of these are just the body. So I'm trying to give it a quick test. I think that did work. The only thing I don't want to happen is I don't want things to go off center. So I turn the grid on, and I'm just gonna shrink, and it seems like it's not off center. Everything is staying on center. Although this is a little off, it seems like. Not that that's a huge deal, but Okay, so now let's do a quick check. It looks like the head is still a bit too small. So I'm gonna make the head around the same size. Can probably just match it like this. Oh, actually, actually, that's that's not too bad. I actually seemed like it was roughly the right size. I'll make the body a tad bit smaller. Whoops. I think that's a better ballpark. So that's just another way to get some of these details down before we go too far. I like the hair and the head. I want to start locking some of this stuff down so eventually we can kind of move an adjuster. So we have the neck. Oh, this is so let's relabel the neck neck. This is the head split, which is just the head. Okay, so the neck, I'm going to put the head nestled to the neck. And then the head, we have the brow up. We have the hair. So let's label these hair. These we can go ahead and validate. Okay. So we have the eye lashes. Those look good, so we can validate those as well. Connect those to the head. The backup head, we can delete the lashes. We did we already, let me see. Oh, those are the lower lashes. So we can validate those. So those are the lower lashes. I think we can put those with the eye lashes. The eye whites, we can validate P one. We don't have to validate that yet. So I'm gonna connect those to the head. So now, if we wanted to, for example, move everything, the neck, at least, everything's connected to the neck. So we could always do a pivot and move that down here so we can tilt if we needed. Of course, the same thing with the head. Auto pivot. Pivot, auto, pivot. Whoops. So if we do pivot with the head, you want to move that to where the neck is. It's just helpful when we want to kind of give her a pose. I want to make sure these both are in the right spot. Pivot. Okay. Neck, pivot. I think I accidentally put them in the wrong spot. Pivot. Good. Okay. All right. Good. Let's save. 10. Collar & Lapel: Okay, so for the collar and the lapel, I think I want to try a cone for the collar or actually maybe a cylinder. Cylinder might work. Let's try. Let's try a cylinder first and see if we can get there. We'll make this part smaller, this part bigger. I'm going to give it a little more resolution. Just lower this. Lower it to about 20, and then let's do whole. Let's see how that looks. I'm going to raise division Y so it could be a little bit more flat on top. This is division X is 20 and division Y is eight. I had to uncheck constant density to do that. Okay, so let's move it down. Of course, we just really need the back. The neck is super long, so I don't know if I want to keep that long neck. But I don't really want the collar eating too much into the hair. That's my current dilemma. If we want to bring the body down, I think we might let's see. Let's make this collar. I'm going to move it above the body because all of these things arm down, arm down, cuff, arm up, where's the arm up? There's two arms arm up, B. Label these so that they make sense. Arm up. Okay, so I nestled these. They're all nestled under Wait a minute. Let's take arm up. I think this needs to be nestled under the body. Same with this. Body, skirt is nestled, arm is nestled, arm up is nestled. This mirror, I think this is the knee, right? Knee, and then leg calf, just so I know that's the lower leg. That can also be under the body. You know what? But this should probably be nestled under the skirt so that if we move the skirt, it moves the legs and the knee. So here's the legs upper thighs. So I'm going to nestle that with the skirt, as well. So now we have the body here. We want to take pivot. We move it up to the base of the neck. And then hit pivot. The reason why we're doing the pivots is if we did want to move something, it makes sense. I'll show you what that means in a minute. So the skirt, pivot, auto, pivot. Let's do pivot. Let's do a line. Let's move it up to the waist area and then hit pivot. For the thighs, let's do pivot again and we'll raise this up to the hip joint. Maybe there is good. Pivot. Let's see thighs. Let's take leg thighs and actually nestle that under this mirror. Then we'll take those pivot auto pivot. Wait a minute. Oh, wait. Did I do something wrong? Hold on. These are the thighs, this should be above, and this is the lower parts. I'm going to nestle that to the thighs. Of course, the pivot, again, is supposed to be of high here. Pivot. The knee okay. And actually, the knee, if we want to pivot the knee, let's move it towards the middle. Pivot. And then this part of the leg, Oh, is it in a double mirror? It might be in a double mirror now. Hmm. It could be in a double mirror. Since I put a mirror in a mirror, I think that's what might be happening. Um Okay, so let's see if we can just take these and add them into that cylinder and get rid of this mirror. Okay, I think that's better because I think it's not a double mirror now. Everything is in the same mirror. So leg calf, pivot, and I want to put the pivot towards the back. Actually, let's just leave it in the Actually, let's put it towards the front, lower part of the knee. So I think we want to put the pivot in that area. Okay, so let's see if this makes sense. So we have the body and everything moves below it, so that's good. We have the skirt, everything below it should move. That's good. Then we have the legs. This might be a little bit weird because yeah, because of the mirror. But that works. Nice. Okay. So now I can take body and take some time if you need to kind of work that out. Hopefully, you have some experience with the whole nestling and what's it called? I can't remember the term. I always forget it. Nesting. I can't remember. Hierarchy. So basically with hierarchy, anything that you put under something else, you know, so the body is the one on top. That means anything connected to the body is going to move if you move the body. One step forward, we have the skirt. Anything you put under the skirt will move if you move the skirt. And, you know, pretty much that's pretty much all it is. Okay, so the reason why I was doing all that is because if I wanted to take the body and move it down, and then take the collar and move that down, and just rock with her long neck. We could do that. I'm going to angle it back. I think that's pretty much what we want for the collar. So I think I'm going to go with that. I want to give it a little bit more resolution. We'll validate and then just trim it. So for trim, I think I want to use line and I think I want to trim right about oh Let me think about this for a moment. I think I want to trim right about there. It's not too bad. That's not too bad for a collar. I'm gonna do pivot auto pivot, make it a little smaller. Maybe even shrink it this way some. Now we need the other part of the pill. I actually think that looks really good for a collar. Now, we trimmed it, of course, I'm going to voxel remesh it around 160 or so. And it's still a little pixelated or a little messy, so I'm going to try 200, see if that helps at all. I can go to the flask and smooth it because I can't stand looking when it's all edgy and bad looking. So we need to connect another part. I don't know if I want to use tube. Here's my original idea. So I think I want to use a cylinder to make this part of the lapel. So we'll add a cylinder Oops. So we'll just flatten it, maybe make it a little bit better tilt it towards us. So I'm thinking something like that. Maybe a little thinner. Give it a good stretchy puh. Okay, so I think this might work. I'm going to give it a little more resolution like I always do. Much Oh, that's 44 K. This I think we can rock with two for now. We'll validate it. I probably should have just mirrored it. Validate. We'll take move. I want to slide this part down. Until it matches the drawing. So I think that looks pretty good. We'll pull it up here. Okay. I kind of like that, but I feel like it got a little weird on me. So I might need to use move a little bit bigger just to get some nice smooth shapes. I really love the move tool. My favorite tool, um, but yeah. That looks pretty good. I like it. So the only thing that I'm struggling with now is how to connect them. Let's see what happens if I pull this forward. If I pull it forward, let's try drag. And let's just see if I can drag either drag or move. If I can kind of match these up a bit. So I might go in between drag and move a little bit here. Oh, so it's pulling up from the back, so that's not good. Okay, so now that I'm thinking about this, I think there might be an easier way to accomplish what I'm trying to do. That head neck is really long. I could possibly bring the hair up a little bit, but that's okay. I'll deal with that later. I was thinking, let's go ahead and hide this collar. Jacket. Lapel. I don't know how to spell Lapel. I'm just going to name both. So we hide that collar. If I add another cylinder, To post subdivision Gizmo. Let's put it generally in this position we want it, which would be something like this. Let's take it off of the line so I can make it a little thinner. I want to try to match up with the lapel. Okay, if I can just do something like that and then just use the move tool to manipulate it, that might be a lot easier for what we're trying to do. So I'm just going to go ahead and validate it. Sometimes you got to live dangerously. And I want to make this lapel or this collar shape. So first, let's just try Oh. I think that's pretty good, right? Okay, so let me try pulling down from the middle a bit. I think that looks pretty good. I'm going to take the whole thing and move it up a bit, maybe even back a little bit more. I'm going to take move, and I'm just going to move this front part down. I would trim it, but I want to use move so that if I do trim, it's just going to be with Move tool, it's very easy to kind of get it into position. And by position, I just mean I want it to line up with The Lapel. Not too bad, to be honest. The only thing that looks weird to me, I can't tell if this issue is just because of the hair or what. I think the hair I think I might feel like the hair is a little bit too long. Either that or it Or I move the head back. Now, if I nestled everything in the head correctly, that should be a simple fix. So if I move the head back, maybe even down a little bit, she doesn't have a crazy long neck. That's why I nestled those things together so we could easily make those changes if needed. Okay, this looks good. The only thing I don't like is this line should go straight to the collar, which it doesn't So I think what I have to do is use the move tool on the collar and just Oh, there we go. That works. So I'm just building up the jacket. Yeah, that works well. Let's get rid of some of this neck because I can see it. Yeah, that collar looks great. Looks great. So let's take this. And now we can do Xray and we can just trim a lot of this area that we're not seeing. So basically, all of this. So I'm pretty sure we haven't lost anything. Yeah. Good. And if you want, you can make them a little bit sharper, but I don't think I mind that too much. I don't mind that it's not as sharp as the reference. It doesn't really bother me. Okay, this one is 15, this one is 27. They're not too far off. Let's get rid of this collar, the old one. Jacket Lapel, let's validate. Now they are far off. Let's just vox remsh this cylinder. The apels's vox remsh them as well. Do 160 or so. Now let's try a box where miss them both together. This is so strange why it's not letting me. There we go. Bugging me. So let's go let's go 200. Just because I really like the shape. I don't want I don't want to lose any of the shape. So we'll keep it nice and smooth. That looks good. Pretty happy with that. I might even just take this and just brush this down. Brush that down. I think these are just the arms, those are okay. We can always just take clay or trim. We can always take trim and just trim that part of the arm on both sides and validate. Actually, before I validate that, let's pump the post subdivision up. We'll do, let's keep it at two. What's this one? This one is 26. This one is 23. This one, let's also validate. I keep doing that. I constantly validate and then I'm like, Oh, I want a little bit more resolution. I could just voxel remash, but for some reason, I think it's faster to just hit Undo and raise this. We'll do two there as well because we're going to do a lot of details on the arms most likely. Now I can go back to this, validate, and then trim this piece. Nice. Okay. Still wish this was straight, but I'm not quite sure how to make it straight. So I'm using drag right now just to sort of just to kind of move them around? I'm not really sure how I can get this straighter. I mean, it looks okay, but, you know, I'm always there's always some detail that I'm trying to make it look perfect. I think it might be this. Okay. That's a little better. That's a little better. So there's a cylinder going around the neck as well. Let's add a cylinder. I'm going to bring that up to here. What is this cylinder? This is the collar. And then this cylinder is the necklace. I can't really, I think it is called a choker. Choker is what it actually is, but that's okay. So we'll move it down. We'll just shrink it. And this is obviously really simple. It's just a cylinder going around the neck. And then maybe bent forward. Okay, good. What's really great about this is it's a natural breakpoint for the neck and the body, so we don't need to oxo mesh them together. Nice. Okay. All right. Let's see. 11. Skirt & Shirt: Okay, so let's adjust the torso. We need to figure out this little tube top thing she's wearing. But first, I want to make sure the body makes sense. So the bottom of this, I want to flare out a bit. Okay, so I think that looks a bit better. I think I'm just going to take this and body. Let's clone it. I'm going to bring it up. Let's just call this top. Let's call it body top. And we can just trim. Okay, so let's trim the top about there. Then let's trim the bottom right about there. Okay, so we're still on body top. So now we can vax remash this. Might do about 170. So I'll remash that. I'll use the Gizmo to make it slightly bigger. Oh, you know what? Let's do pivot, auto pivot. We'll make it slightly bigger. Okay. And I think I want to use flask and smooth it. There we go, so we can smooth it. Take a look. That looks great. Okay, so if you want to give a little shape to her little tube top, I think I want to just use move. Make sure symmetry is on. You can pull it out. Et's pull it on a little bit more, and then you can drag it away from each other. So it looks a bit more natural. So you drag it away, and then all you have to do is maybe make the move tool a little smaller and pull the bits that are supposed to be close to the body, just pull everything back in. Especially this top area. You just pull that back in. Okay, I think that looks pretty good. It might need a little tweaking, but it's not too bad. You know, this part, I think we can press down a little bit, the sternum. Let's press that down and then likewise move this. I probably should have did the sternum part first, but that's right. Okay. But yeah, a little bit trial and error. Adjust and adjust and adjust until you have what you like. Let me try to smooth this out a bit. I like to keep everything nice and smooth. Even this, I might take this and just smooth. Okay. Okay. I like that. Do a quick save. Okay, so I'm just going to make some slight adjustments. They're little random things. Yours is going to be different than mine, so I'm not gonna explain every little thing I'm doing, but I want to include it because I want to show you everything that I'm doing to the sculpt. Alright, so I'm going to validate this and then smooth it out. Move that down a bit. Maybe move that up a bit. This I feel like needs to come back a little bit mops. Right? And this is a style thing, but I think I want to add a flat plane to this edge. I could use pinch since I think I've fixed it. It's actually not bad, but I think I'd rather use flat slow and see what's going on back here. Okay. Okay. I think I like that. For the back of this jacket, it needs to have a back. I think I want to just use I think a cylinder will work. And we'll kind of do it the same way we did the skirt. So we'll make this a little bigger, make this part smaller, make the whole thing smaller. Okay. Actually, I don't know how long I want the jacket. I don't know if you want to be able to see the top underneath. Not show. So I'm just gonna make it thinner. So I think something like that I can work with. It's mainly just the height I need to figure out. I think that's a pretty good height. Okay, so I'm going to do whole. I think that's a good size. I'm going to give it some resolution, so I'll raise the post subdivision and The only other thing I'm thinking of is if I want to use tube and give the jacket like a trim. But I feel like this is fine. I'm just going to validate it and the rest I'll work out with trim. I'm going to use move, and I want the jacket to kind of splay sew. That looks pretty good. I need to squeeze these together. Bring the top back. Okay. I don't want to do it too much because then it can start to look kind of crazy. But I think I like the way that that looks so far. I'm gonna make it a little thinner. I don't want it to look too overbearing, either. I think I'll just make it thinner. There you go. I think that works. I think that works. So what I want to do now is I'm going to use move, and I'm going to take it off of symmetry because the arms aren't really super symmetrical. It really just needs to be flat. Oops. I'm going to lock this because I keep tapping off of it and it's really annoying. So I'm going to lock it. Let's bring this part down. And actually, now that I'm thinking about it, you don't even really need to see the sides. But I think something like that looks a little bit more natural as though it goes up to this part. And you know what else would look good? I'll take flatten and flatten this plane right here. And then I'll just take move and maybe give this a little bit more a little bit of a push in. Okay, so that can be her little jacket. I think that looks pretty good. I'm actually going to take this Oh, I have it locked. I want to take this and flatten this part of the lapel sleeve type thing. Are they symmetrical? I think they are. Okay. All right. This arm, I'm going to move in a bit more. What is all this? That's the body. I'm going to take clay and sub and just get rid of that. What is that? That's the back of the top. I can just take move and just move that out of the way. Just move that forward. Flatten this a bit more. Whatever this is, we'll just move it out of the way. Move. Okay, 'cause honestly, I think, actually, I don't know if I box will remsh that together or not. Maybe not. I think I might just ox will remesh this to the collar. I think that will work. Alright, that's looking good. Let's save. 12. Legs & Boots: So one thing that we should do first is add the feet or shoes. So we'll do that really simple. We'll just add a sphere. We'll foot. And it's already in the same mir, so that's why we're saying two of them. All right. So I think, I'm just going to validate and I think I'll just use MOV to kind of straighten them out. Okay. I think I like something like that. So now I'm just going to trim the bottom. I'm going to trim a little bit below the leg. I think I like that. And I'll just adjust it so it's perfectly leading into the foot. Alright. I'm gonna rock, re mesh it. Like 150, clear up that bottom. Looks good. Okay, so if the cloneed foot is selected and I take select mask, I'm just going to use rectangle and just kind of select this like so, use gizmo, bring that down, and then just flatten it. So then we have something like this. So now we'll take mask, clear it, trim with rectangle, and then just trim the bottom. Trip it a little higher. Then just do a little voxel rematch. Probably 150 you'll do. That'll serve for at the bottom of the foot. Obviously, we need to make it a little bigger. We'll look at the bottom, and we'll just give it a nice stretch. We can take move. And just give it a nice little stretch. I think that looks good. Let me do pivot auto pivot. What did I accidentally? I don't know. Okay. Okay, so now we can just adjust them all. I think with the heel, I might want the round part a bit smaller. I think that feels a bit better. So I'm gonna go back to the heel. I'm going to use flask and just smooth it out. And then I'm just going to adjust it again as needed. See, there's some spots there that are not kind of coming out from the foot enough. So I'll just pull those spots out. Okay. And this part of the leg? I'm going to give it a little bit more resolution. I'll raise the post subdivision up to at least two for now. I think that looks pretty good. Kind of like that. Leave this down a smidge. I like the wide bottom to it, so I think I'll just leave it like that. Yeah, I think that looks fine. Okay, cool. So let's save. Okay, so now that we made the shoes, they just need to be a part of the whole leg system. So they're already nestled under the legs. So we have the foot, and we have the sole, so let's just go ahead and name these. Foot sole. Okay, so the foot, we can nestle under the leg like the calf because we want that to be connected. The sole, obviously, we want that connected to the foot. So the foot pivot point, see if we go to the gizmo, the foot pivot point, if we tap pivot, Oops. Obviously, the foot is always going to pivot from the ankle type area. So kind of right around there. Then we hit pivot, so that's locked. Now that we've done that, if we move the foot, the sole should move as well. It's not perfect, but it'll make it a little bit easier to pose the legs. All right, so let's save. Okay, so now that we've done that, we need to clone these legs. So let's just take this whole legs setup and clone it. And let's name the second one. Let's just name it leg B. And let's name this one leg A. So leg A is going to eventually be on this side. So we can just go ahead and hide all of the other mirror. Okay, so back to where we started, let's go ahead and take the thigh, and you should be able to rotate it out. And honestly, you can just disregard the whole left side. Just think about it as this one leg. So it's going to be something like that. Ooh, another thing that we should do is add a quick quad or just a box. It doesn't really need to be nestled in anything. And this is just to represent the floor. So let's just hit the gizmo. We'll bring it down. It's always easier to kind of do the feet, I think, if you have, like, a solid ground. Okay, so, something like that is good, I'm gonna go ahead and turn off. Oh, my God, look at this. It's insane. Oh, smooth shading. I'm gonna turn that off. Hopefully yours doesn't look like that. I don't know what's up in mind today. I wonder if it's, uh, Is it the scale? No, even with the scale change. It's not really I have it really big so you can see everything clearly, but maybe that's something to do with the new nomdUdate. Anyway, so now that we have the floor, we can figure out what, you know, how we want to pose the leg. So I think I want I like the way everything is looking now. I think I might tilt her hips maybe over to one side, eventually. I don't know if I want to do it now, but let's see. Okay. Sure if it's easier to just do it now or do it later. I guess we can do it now. I guess we can live dangerously. I just want to give her a little a little bit of a twist. So this leg, I want to take this thigh part, and it seems like she has it angled a little bit like this, maybe out a little bit. Then the foot, we can rotate and maybe put down. And it looks like we need to let's rotate the whole leg up a little bit, and then this part down. I might have gotten a little overzealous. I think I like that. Alright, so let's work on this foot. I really want the foot to be solid. Okay, so I think that looks pretty good. Sometimes when I want the foot or something to look solid, I'll take move. And if I like where it's positioned, then I'll just take move and just literally just move the foot or move the sole. There's no way to really I shouldn't say there's no way, but, you know, the foot is some of the foot is off the floor. So that's kind of what I'm going for here. Okay. I like the positioning of that leg. I like most of the details. I think everything looks good. I'm double thinking this cylinder. But you know what? I'm going to validate it. I'm going to use the flask and I'll smooth it out. Okay, and then I'm going to Oh it's taken everything. If that happens, so I just want to move just the knee. Then you can go to where is it, go to group and go to object. And then you'll be able to just move the knee. With these legs, obviously, they don't really look like thighs and it's stylized, but I still want to put a little bit of a little something something on them. I don't know why that's showing one there. It's not showing Oh, here it is. It's just hidden. Okay, so let's bring this up to two and we'll just validate it. Maybe we'll try inflate to just inflate some of this leg up a bit. Keeping it really simple, maybe a little bit bigger on the front. Something like that. I don't really want to go overboard. I just want to do very, very minimal. So I think that worked a little bit of inflate in the front going up and then a little bit in the back for, like, the hamstring. But I think that's great. I think that's really all you need. Try to smooth it, so we're not really seeing those muscles. It's not a really muscly character, so we don't really want to see a lot of those shadows in there. But I think that looks great. So the next thing for this part, I want to do the same thing in terms of adding a little more topology or a little more resolution. I think that looks good. So let's just go ahead and validate. So now that we've validated, we can just use move and kind of get this a little bit more nestled up to the rest of the leg. Doesn't really need much. Okay, so I think that looks pretty good. We have the little knee there, I can just rotate a little bit maybe bring it in a little bit. Maybe even smooth it down some. Okay, nice. So now that we have that, but this looks so good. It makes me want to just I think the smart thing to do, honestly, since we did all that work for this is just take those old ones that we had and delete them. That way, we don't have to do that again. We can just take this and clone it because all the work is pretty much done. Sometimes I like to go back and re adjust the points, but we already validated, but it's okay because we can still alter the shapes. So I think that's fine. So now, for this leg, I got to think about what we want to validate and if we want to vax will remsh the whole leg together or not. So I'm thinking we just do the shoe everything but the soul. So I think we do all of these. Well, the knee, let's go ahead and raise the resolution of the knee. Let's just do here, multi res, subdivide, subdivide. So now let's take all of these except for the soul and Vox will remish them together. Maybe we'll do like 200. Let's just see how it looks. I think it looks okay. So now we'll just smooth smooth it out, and I think that looks great. Smooth out the foot. Yeah, I think that looks wonderful. So now that we've done that, see if you hit solo, you're only seeing one. So, honestly, we could probably just Actually, you know what? Let's Let's take the soul out and the foot out of the mirror. Take both of these. Actually, let's take one at a time. Symmetry. So we want to stay on world, but we want to flip it with X. Soul world flip it X. Interesting that it's not touching the floor. Annoying. That's okay. Let's go to Auto. Let's go to a line. And let's just bring this Oops. We'll bring these down to the floor. Let's go pivot, auto pivot for now and just move this down to the floor where it should be. Okay, so I think that should be there. That's good. So the other leg So now let's hide the previous leg. So we'll hide the previous leg and what happens if I bring this out of the mirror? Oh, no, same thing. So now we can concentrate on the other leg. So we can rotate it. This leg is down and maybe turned a little bit inward. I wonder if this leg should be like back a little bit more than the other leg. Oh, is that not nestled? Sole should be nestled to the foot. There we go. Oh, I forgot I forgot I did that. I forgot I had already bent the heel. Whoopsi all right. Okay, so I kind of like this position. It feels different than the other one. Let's go ahead and do the same thing. We'll take everything except the sole. Vox Oh, no, I got to do the knee thing again. So for the knee, let's just voxel remesh it like 150. It's kind of overkill, but oh, wait, did I accidentally I accidentally vox remeshed a bunch of stuff. Just the knee. Okay, that's better. Now we'll take all of these and Vaux remesh. Come on. I cannot believe it's not registering that I'm hitting voxel. Let's do 200. I think we did 200 on the other one. So now we so I'm going to smooth lightly on the knee, mainly on the top because I really want that shape on the bottom. I love that. Let's move this foot a bit. Okay, so now we can just go ahead and take this and actually, no. Let's pull them out. Perfect. We can get rid of this. I'm still going to nestle them, although this is the whole leg now. This is now leg B. This is leg A. This is this hole. Perfect. We don't need this mirror anymore because we have both of our legs. Now we can just look at the their position. I mean, they're not bad. She's a little wide legged here. So obviously, there's, you know, we can sort of play around with this if we want. Or, again, we can rotate. Does that rotate everything? Oh, it does. What if it's like that? It's so fun to experiment. Let me do a line and move this up. And then with this leg, I'm going to do solo, hit pivot. To about there. I'm just gonna line it a little bit better. So what if I rotate this down now? I think that's kind of cute. This might be a little I might have to go back to object and just move the skirt a little bit. And now that I'm looking at this pose, I feel as though I'm trying to think of which leg would be Oh, this might be a little bit turned a little bit too much. Is that a little too crazy? Let me rotate it a little bit. So the knees not so Oh, no. Well, let me get it off of object. Bring it in a little bit more. This is not bad, but the thighs thighs are a little low, I think on both, especially on this one. The knees should be level at least. Which means that I might have to adjust this, which can be a little tricky, but I'm going to put my move tool up really high. So that hopefully things move nice and smoothly. We'll take this and we'll just try to move it down. I want to make sure this is the heel is actually supporting her heel. Se that's gonna be very uncomfortable. I feel like I want it to be flat. So it's gonna be a little difficult, so I'm gonna delete it. 13. Leg Stretches: What you want to do now for the leg that's going to be flat against the floor, just take your move tool and drag the clay all the way to the floor. This was before I deleted the sole, but we're going to delete it again in a minute. So this looks really bad, so I'm going to delete it. I'm going to take the leg and I'm going to move it all the way down to the floor, just like how I want it. So I want it like this. Now what I'll do is just make a new one. I'm going to take this leg, I'm going to clone it. This is going to be so. First thing I'm going to do is trim the bottom. You know what? Let's hide. Let's hide leg A. So now that the bottom is flat, let's take select mask. So we just want to make a rectangle. I'm gonna do it over the whole leg. And right about there, I think is good. We'll just take the mask and move that down. It's just to solo. I'll flatten it. Okay, so like mask and clear, trim can trim all of this. Voxel remesh, maybe around 150 or so. It's overkill, but you can always use quad remeasure or decimate later to kind of lower that. Okay, we'll uncheck solo. We'll bring the leg back to SLA. And you know what I should have done? I probably should have, um, Let me think for a second. I'm going to do select mask over the whole leg. So right about there. And actually, let's see if I can just bring this up. Well, there's sole A. Okay. This two pivot auto pivot. So now we're just working with the sole. We can make it a little bit bigger. Okay, I think that looks great. Let's go back to the leg and clear all. Might have to boxel remash it again and just smooth it, unfortunately. I'd rather not do that, but it's fine. So this, I'm going to take the flask and smooth it so it matches the other one. And I think that's better that that's flat on the ground like that. So let's save. Tricky, tricky tricky, but it looks good. All the details look good. Her poor legs. Okay, so if we do want to connect the body and the legs, we can do that. Let's take the skirt and just hide it. Sorry, girl, we got you exposed here. But let's take select mask. And we can just select mask the tap the leg. We'll just select mask the top of it and then invert. And then we can take the gizmo and we can kind of move it up a little bit. So, I mean, it's not perfect, but, you know, it'll do. So this side, let's actually clear this. We can do the same thing on this side. We'll just select the top. I'm trying to select not too low because we like the way it looks with the skirt on. All we really are doing now is just kind of helping them connect to the whatever anatomy she has. But why not, you know? Why not? So let's go to mask. We'll clear that. It looks good. And honestly, you could probably, you could box remesh all the body and stuff together. I don't know if I'm gonna do that yet, but let's bring this skirt back and just check make sure everything looks good from, like, a turntables perspective. Yeah, I think it looks fine. And if you want to do you can add another quad sphere, bring it down, you can kind of make hips. So you can kind of give her a little bit of a middle area if that suits you. So something like this, I'll go ahead and validate it, and then I'll go ahead and work this up a bit. So then we have the backside, which I'm going to turn symmetry off because they're not symmetrical. But, you know, if you want to give her some anatomy, give her a little backside. A little bit of a front. So, you know, so if the camera ever does glimpse up there, you can just paint those black. And at least she has something on, you know. So I think that looks fine. So I'm gonna take smooth and just kind of smooth this a little bit. Even though we shouldn't really see those. So bring the skirt back. Okay. Great. We'll do a quick save. All right. Let's jump into the hands. 14. Hands & Fingers: Okay, so let's jump into the hands. So what I like to do is just do the hands separate. I don't place it and then build the hand from there. So let us Wait, what is all this stuff? Oh, is this? Oh, this is the older leg. Let's just get rid of this since we don't need it. I'm gonna hide everything. That way, nothing is in our way. So let's add a box. I'm gonna go ahead and move it all the way up to the top. And I'm gonna rename it palm. Okay, so we'll just make it kind of palm sized. What is that? How is there a soul that's not hidden? Okay. I'll make it a little bit thinner. Sometimes I tend to make the hands a little beefy. I don't think it'll really work for this character. Okay, so let's stretch it a little bit, and I think it looks fine. I'm going to validate it. And let's just voxel remesh it at like 150. And then take our flask and just smooth it. Okay, so now we have something like this. Looks great. So for the thumb, I usually do I probably just use the tube tool for all of the fingers. So I'll use the path. I pretty much just do it like this. One thing I always do with fingers is I add another little node there to get that curve in the thumb. I'll probably add some more nodes, but something like that. We can take snap off since that messed us up a little bit, but that's okay. Let's just see if we can use the Gizmo and rotate it out a bit. There we go. Going into the settings, I'm going to add another node here. Starting to look a little bit better. We'll make the whole thing a bit bigger, and then we can work on our radis So I want to make this part wider. And I want to lift this a little bit away from the kind of chicken leg shape of the thumb. There we go. So it should look something like that. I'm going to rotate it a little bit. I'm going to rotate it out from the hand. Okay, so hopefully that makes sense. The tube tool is a little tricky to kind of get right sometimes, but, you know, it is what it is, I guess. So now I'm going to make this round. So hide this. I'm going to uncheck constant density, and I think we can do post subdivision up to two for now. And then I'm going to bring the division X down, division Y down. I usually just do this until it's round. Let's raise the post subdivision up again. So I'm just trying to find the right numbers, you know. Okay, so I think I like Okay, so post subdivision is four. Division X is six, division is eight. Obviously, you know, these might change. But you can kind of see where I'm going. Even now, it looks way more like a thumb than it did. So that's what we're that's what we're looking for. So I'm going to bring this. Obviously, this goes into the palm. And even on the palm right here, we can just add some clay. Oops, let's turn symmetry off and just add some clay here. I'll just smooth it 'cause that's where the thumb is coming from. I'm just going to trim this little piece here. Oop, wrong piece. Oh, I'll leave it. I'll trim it later. It'll be fine. Okay, so I think this looks pretty good for the thumb. I'm pretty happy with it. So let's keep moving. So the rest of the fingers should be a little bit easier. Not really, but fingers are always kind of annoying and tricky. You know, even when drawing, they're they're really tricky to manage. But we'll try our best. So it looks like I added it. Yeah, it looks like I have it connected here. Let's label this thumb. Let's take this tube and delete it and just add another tube. I don't really want it to be connected to anything. So what I'm going to do is just add a shape I'm going to put the shape right here. It doesn't really matter, and now I'm going to do the line. The reason why I put the random shape there is so I could add the line and it won't go into another group or anything like that. Now I added it, see it's just underneath the sphere, I can go ahead and delete the sphere. So we'll just name this whatever finger A. You can turn snap off. So normally, let's see if you're holding up your the P sign, it's usually angled. Well, maybe it could be angled back. I don't know if I want it angled back or angled forward. I think angled forward a little bit. Okay, so let's add there's usually, three segments in a finger. So I usually do something like that? You know, I love to do that little that curve at the end of the finger. So we'll see how it works. Let's take our gizmo and see if we can stretch it this way. Definitely more finger ish. Then let's see if we can do the same type of thing. We'll uncheck constant density. We'll go into the settings, and let's see if we can skip the formalities and bring this to four to begin with. Oh, no, it won't let me. Interesting. Let's bring the division X down and division Y down. Keep an eye on it. Let's see if I can now. I can now. Let's bring these down nice and low. I can't remember what the other numbers were. The other numbers were six and eight. So let's try six and eight. Okay, so we'll go back into the finger settings, and let's make it thicker. And then we'll work our radiis to see if we can squeeze it, so I'm squeezing the top one a little bit closer. I'm skipping the one that's giving us the curve and making that one a little bit closer. And the rest of the finger I feel like can be a little bit smaller or more narrow, I should say. I feel like my favorite three D animated things, that's what the fingers kind of look like. I would like it to be a little thicker this way. So I'll just use the gizmo. I think that works. I think I like it. Of course, you can feel free to sort of maneuver these around. If you want, you can try adding more of an angle if you want, just by tapping the node. But I like it. I love fingers like that. Okay. The thickness is pretty good. You know, it's a feminine finger, so it shouldn't be too beefy. Let's see if I can bring this a little bit closer. Okay, so let's do a quick save just in case. I'd hate to do all that again. Let's clone this and let's just name this B gizmo. We'll move it. Really, I'd like to have the I'd like to have the pivot at the base. So let's do pivot. I think right about there. I took it off of a line because I feel like when it's on a line, it doesn't actually, I want the pivot to just be what I'm setting it. I'm actually going to do it. I'm going to point this arrow the way that the fingers pointing. Okay. It's not necessarily pointing straight up, so I don't want to line because then that's not respecting just the fingers orientation. So what am I trying to do? Oh, solo. Okay. All right. So as we can see, the palm is really not quite what we need right now. Let's try flatten. Let's even do symmetry and let's just flatten the edges of this to make this a bit more round. And even Oops, so, I guess that's fine. I guess we can flatten that, as well. I'm gonna go ahead and smooth our palm. And the palm might be a little bit too long. What do we think? Is the palm too long? Mmm. Let's go. So in symmetry, you can go down and do show line. So maybe let's do local as well. So let's do local. If we do X and Z, then we can easily just use move and kind of bring this down a little bit. I think that looks good. I want to use my flask and just smooth everything just to keep it, nice and clean. Here we go. I like that. Okay, so now we just have to, you know, I have to change the pivot for the original finger as well. So let's just solo it. We'll turn it to its side. Sometimes I don't do these, like, little things, but it just makes it so much easier just to get it done. You know, just changing the pivots will make life so much easier, because then you can, you know, you can adjust it without all the farting around. Okay, so this one, I think we want to go like that. This finger is usually smaller than the middle finger, right? Let me see. Yeah, the middle finger is longer. And also, I think the finger we look at the fingers. So if I'm doing the P sign, this one is, like, straight in line. I need better lighting. I'm sorry. Straight in line with the finger. What that means I'm going to bring this over a little bit more bring this over a little bit more. Something like that. And how much space is in between? Oh, so it really should be a V. See the V? If you do the P sign, it's like a V. So we want to make sure and's funny because there's so many things that I just don't really think too much about. I never really you kind of draw and you sketch, but you're doing three D. Everything is just so Um, you just have to think about every little thing. I guess you don't have to, but I have to. Alright, let's clone. And what comes after BC. Okay, so since we have all the we have everything worked out on these fingers. Let's just bring this forward. I got to get some Broll of me moving these fingers around. Okay, so I also want to look. Okay, so when I'm looking at my fist, this is very rounded here, and it rounds off right to the pinky. And these are kind of pointed towards the thumb. So this wouldn't be right because it's pointed straight down. So that's good to know. So we want to rotate it towards the thumb, maybe even rotate it down more, rotate it a little bit this way. Okay, so that's pretty good. Then obviously, we have to go into the settings and do the annoying process. I wish I wish I could set a hierarchy from this node and maybe just bend everything, but that's unfortunately not the way it works. I got to do it a long way. I really would prefer them not touching because I think I'm going to voxel remesh the hands together or the fingers and everything together. But I think I can work it out with this thumb now that I'm thinking about it. Okay, so I think that's pretty good. I just want to make sure that it's actually pointing where it should be pointing. Okay. Okay. I think that's good. Let's clone this and we'll move it over like that. I think I'm going to keep that same. I think I'm going to keep that angle because I think that feels probably a little bit more natural. I'll rotate it a little bit more this way. And this finger can be much smaller since this is the pinky. Let's make the whole thing smaller. How are we looking? It's not bad. Not too bad. So if we go to the palm and we go to move and turn off symmetry, we can probably start bending this a little bit forward. Oh, actually, let me go back and turn off the blue. Oh, actually, we turn symmetry off, so it doesn't make a difference, but it's good that I turn that off now because I'll forget. Alaa. I'll just forget that I have that other symmetry, but it doesn't matter because I forgot that I turn symmetry off, so none of those things are processing. Let me use drag because I just want it to be nice and round. And only thing that I don't like about move is sometimes it can cause these depressions that are annoying. Let's do something with the hand. Let's take the back of the hand. I'm going to turn symmetry back on and I just want to pull the back of the hand out. Yeah. Oops. Okay. I'm going to push the top. Back in. Okay. I'm going to take this. Because the hand is it's like, you know, the whole thing is curved. So that's all I'm trying to that's what I'm trying to do here. Yep, let me turn symmetry off. I try to bury those fingers again, but I think that works. So I can adjust these. Maybe I'll even just move them forward a bit. Okay, how's that looking? That doesn't look too bad. Oh, you know what? It looks like these fingers these fingers are actually down. They're not really up, so I'll just bring them down. Sometimes I find myself, I'll get a little frightened and I'm assuming that lots of other artists feel that way. You kind of get to a point where you're like, Oh, it looks okay. I don't want to do something that could mess it up because it looks like just okay now. So I physically have to not think that way because that's very limiting. You know, I would much rather I can acknowledge that I think that way, but I don't I don't usually do that. Like, usually, I'll continue on with what I'm doing, whether I think I'll mess it up or not. And granted, that is the beauty of, uh, being able to redo, you know, undo and redo and all that jazz. I feel like the thumb is a little big, I kind of want to rotate it. I need to change the pivot for the thumb. So I'm going to put it kind of where the knuckle is. And you'll see why because I want to angle it a certain way and it's just increasingly difficult with the pivot where it is now. So I want to line it up with this knuckle. It's a bit hard to make sure that it's good. Oh, that's pretty good. Okay. So part of me wants to just angle it out a little bit. No, I guess I should have done it from the base. I'll start down here. I don't really want the base moving too much, but I'll keep the same kind of angle. Yeah, I think that looks pretty good. Okay. So let's take this. So obviously, these are going to be connected and they just kind of flow into one another. So I'm just using drag and just dragging this. Make sure you don't have symmetry on, by the way. I. 15. More Hands: And just a fun fact. Anytime I clear my throat, I always stop the recording. So I don't have any clearing throats in the final video. So if you hear one, it's definitely a mistake, and it's one that I missed. Aside from, I might leave this in just for fun, because, uh, it's an interesting part about the recording. Setup, anything that I mess up on, I always stop the recording so I don't have to find it later. Okay, so I think this is pretty good. So the only tricky thing is, there's a lot of these spots that are touching, and that's very tricky. That's a very, very tricky thing. And also, you know, I want this to be more round. So symmetry is still off. Okay, that looks good. I think these two fingers need to go up towards the front of the. And I think I'm going to use flatten to sort of flatten this and just have a flatter palm. Okay. Looks pretty good. Flatten this part. Hand looks so beefy right there. I don't really want any part of the palm to be too beefy. That's one of those problems that I've had in the past, so let's clone this because we have all of our separate fingers. So let's clone it. This hopefully we'll make it very easy to do the opposite hand. So we'll take all of these clone. Oh, why does it do that? Let me undo. Let me see if I put all these together. And then clone. That's much better. All right, so now we have this. So I want to kind of explain my thinking. So one issue that I have with nomad, I don't know if it's a nomad thing or just a three D thing. I want to make these parts touching, but I don't want them fused together, like when you x remesh, and then they become connected. So you try to smooth, and then it just looks like one piece. I don't want that. I like the separation. So sometimes what I have to do is vox or remesh everything separately so it's not touching and then use mask and manually move things in position. That way I'm not box remiss and things together while they're touching. So work with me. That's what we're going to do with these. This first thumb, let's just go ahead and validate and finish off how it looks first. So it doesn't need much work, but obviously, thumbs don't look like that. So I want to flatten the bottom. We can just hit solo. I want to flatten the bottom of it. That should be honestly all it needs. Okay, so flatten the bottom looks good. Let's just go ahead and smooth it. And that should look much more like a thumb. Okay, I think that looks great. So now the thumb is good. And see it's touching that a little bit. I wish it wasn't see if I can just actually smooth it and make it a little smaller. I didn't really work. Okay, so I'm going to use I want to use gizmo and just make it a little bit off it's really only this part that is the issue. I think I'm actually going to flatten it more and just make the thumb smaller rather than rather than doing actually what I'm talking about. Hopefully they won't box or re mash together. Hopefully, they're far enough away, and we'll see. But if so that's good. We can move the thumb a little bit later. I would say that's good. The only thing that I know we're going to have issues with is these two fingers now. I'm just trying to think of the easier thing to do. I think the easier thing to do is take this finger, the gizmo and actually, let's see, maybe we can rotate it out. If I can rotate it out, and then later, maybe we can just rotate it back. I don't know. But let's try it. So nothing else is touching. So we're actually doing a really good job so far. Well, it's a little bit. I'm gonna move it away a little bit and just rotate it away because I don't want those, sometimes it reaches venom. I don't want that. So let's just go for it. So this finger, I think we said it should be smaller. So we want to make sure that fingers smaller. I like the positioning. Um, I think that everything looks good. So once you're happy with all of that, then just vox will remsh it together. So let's do a quick save. You always want to save before you do big voxel remeshes. All right. So we vox will remsh this. I'm gonna do like 250. Boom. Now it's all one piece. Let's go ahead and actually, before we smooth, let's see what we got. Let's not waste any time. So let's go to mask. Let's go to select mask. Let's see. Let's go to regular mask because we're not going to be able to select mask it. Let's try to get the finger It's tricky because with mask, you don't want to hit any of the other parts or fingers or something like that. So it's a little tricky. Can't even lie. But I guess you're seeing that it's tricky. But you're also seeing that it can be done. Well, actually, you haven't seen that yet because I haven't figured it out yet. All we have is It's probably an easier way to do it. I probably should have used select mask, but I feel like I've, I've committed thus far. How do we get? How do we get that finger? How do we get all of it? No. Okay, so I think what I'm learning is the easier thing to do would have been to, I think, flip it up. Because if I flip it up, then I'll be able to easily select it. So I think that's a lesson learned from me. Does that make sense? Because right now still since I've only rotated it and I didn't flip it up, it's hard for me to select underneath the finger. And if I flipped it up, I would be able to access it. I think that's a good lesson learned for me. So now I might have to undo this and redo it, but if so, I'm just going to bring you with me. So you'll see, you know, the issues. So it'll just make sense. I mean, 'cause, believe it or not, as I'm doing a lot of these, like, sculpts, you know, a lot of times, a lot of times I'm trying out new things, things that I've never done before, trying out things different ways to see what's more efficient. Alright, let me make sure I didn't touch any other parts. If I do the gizmo and go like this up, see. See, C, C. So there is something else selected here. Oh, you know what it is? There's parts that aren't painted. That's what it is. I see you now, you're stupid. Good. Okay, that's good. Okay, so now let's just invert this with mask, we'll invert. We'll take our gizmo and we want to put it at the base of the finger. So we'll pivot Pretty much like that, what happened. Okay, so now we did all that work just so we could rotate it back how we had it. So really close to that other finger. I'm just making it a little smaller. Probably don't really need to do that, but that's okay. So yeah, I think that's great. So I'm gonna unmask. I'm going to take this thumb. Remember the thumb we were dealing with. Okay, so I think that looks great. And here's a great chance to just do any other little changes that you might want to make. You know, maybe the fingers sticking out too far or something like that. Maybe you want to give the thumb a little bit more of a bend. I can do all of that. I think I use let me see if I use drag, sometimes Oh, no, no, it's the same. Okay. All right. I got you. So now that we've done all that, we can smooth. I'm actually going to take some off this. This is way too beefy. So I'm going to use flatten and I'm going to flatten this a little bit more. Okay. And then I'm just going to smooth. Now, when we smooth, everything should just look natural. The parts that are touching should just touch. All this area, all this thumb should just become one nice fluid piece. Great. These parts of the fingers should just melt together and look natural. And then people will see your sculpting and be like, Oh, how did you get those fingers to touch? Like, how did you voxel remash that while they touch? And you'll know how. Yes. I'm going to move this down. I still don't like you see what I'm saying? I always make the hands so plump. And I don't really know how to get out of that habit. So you're looking at it from the front, I don't really like, Oh, you know what? Let's just use Let's use clay and sub get rid of some of this clay here. Et's smooth that, and let's just see how it looks. Okay, I think that looks better. I think it looks better. I mean, I think it should work for her hand. This is a little beefy here. So let's see if I can just, like, use move. Kind of tame that a little bit. It's just sticking out a little too far for me. Alright? I like that better. Try to smooth this out. Okay. So I'd say I'm pretty happy with that. Finger Are these fingers too big? Are they too big? Oh, I didn't even You know what? I didn't even do, the whole flatten thing. Completely forgot about that. I just want to flatten those fingers out at the end so they don't look like tubes. Nice. Okay. So let's just unsolo Oh, no, nothing solo. I forgot we hit everything. Should we do the other hand now? Or should we just position this one? Let's position this one. All right. So let's just position this Madam, she just had really huge hands. Let me look. I know that's correct, I think. Trying to make sure if she's facing if I have the fingers right. No, they're right. I didn't really think about that too much. Okay, that's pretty good. I think I like it. Okay, I like that. I think that works. So now the easy thing we can do, let's just go ahead and validate this cuff. And then we can just use Move to, you know, we just move it where we need it. Or plump it out where we need it. I use a little bit drag like I always say, drag is a little more accurate with the smaller pulling details and stuff. Nice. Let's save. Okay, so and piece. I need to do, like a demo for the hand. But this will be just for video, so 16. Mace: Okay, so we finished one hand. I think it's best if we do the mace. I think we're just going to keep it simple for now. I'm not going to go and look up maces. Okay, so I like something like this, like wooden, a few little truses down there. Yeah, I think that's pretty easy. That's pretty simple. Okay, so let's just go ahead and hide everything like we did before. I just find it easier. That's my one thing that I wish Nomad had was a little tick box where you could just hide everything. I think that'd be so useful. So let's add a cylinder to start and we'll just make this kind of handle shaped or length. Okay. I think something like that looks fine. There were some truses on it, so we might as well just go ahead and make that as well. Let's just start calling this what it is, Mace handle. And then we'll just add some Tauruses Okay, let's make it a little thicker. Something like that. We'll clone it and move it down and make a bigger one. So, you know, obviously, this kind of thing, can you can adjust it so it's, you know, however you want it to be. Okay, that's good. Let's clonee it again and put one up here. Maybe maybe we'll make it a little thinner. To kind of switch it up a little bit. We'll do something like that. Alright, so now we'll add the end, so we'll just use a spear. Do we need another one here? Let me clone and let's stretch one. I guess that doesn't really make it's not really that helpful. Maybe if it's bigger and it's more on the mace side of it. That's why I wind up spending hours on projects. Sometimes I just get caught up in details that don't really matter. But that's the journey. That's the journey. Okay, now I'm trying to think if there's an easy way to do what I'm going to do. I don't think that there is. I think I just have to place them manually, which is annoying. But I think that's the only way to do it. We'll add a cone I'll shrink it. Make it a little bit longer. I'm going to uncheck constant density and just see if I can get it a little bit more round. Since there's so many of them, I want to bring the resolution down as much as possible. I'm going to bring it up to two just so it's nice and rounded. Don't actually want them sharp. I could get it to, like, I think that works. Now, can I make this wider? Yeah. Perfect. I thought I had it below I thought I had it below 1,000. Really want it below 1,000. Okay, so that's good. And maybe a tad bit smaller, tad bit longer. See how that looks. Yeah, I think that works well. So I'm going to clone this. We're just gonna call this mace spike. We'll do a quick save since so we don't have to do all this again. And let's do X ray. Let's take pivot and let's move the pivot down to the base. Let's make sure it's in the middle. Okay. And I don't know if there's an actual I'm sure there's a correct way to do this, like a correct way that they're organized, but, I mean, that's a lot. It's a lot. And it doesn't matter enough to me to do all of that. Unless you make maces for a living, no one is going to be wondering like, Oh, why is this mace not correct? Hmm. So yeah, we'll just clone. And this is, uh, you know, this is easy. I'm probably not gonna talk too much while I'm doing this. But I'll just show you the whole bole process. Let's take a look and make sure that it looks right. Yeah, I think it looks good. Part of me wants to, like, just place them all and then rotate them one by one. But then the other half of me is like, no, like, do each individual on so you don't have to come back to it. I'm always battling with something in my own head. But I guess that's the artist's condition. The only thing that I'm really trying to make sure of is that it's just on the edge because otherwise they'll start getting a little bit too short. Let's see how it's looking. It's looking good. And there's probably some people that model different things that probably can do this way faster than me. Like, there's probably some sort of method, someone who just, like, sculpts maces all day and be like, Oh, well, you could have just done this. That's kind of the cool thing about no Mat is you could really just figure those things out, you know, sometimes there's been things that I've had to just figure out ways to do it because I may have watched a tutorial or watched someone else do it and it just doesn't it doesn't click with the way with something that makes sense for myself. You know, that's kind of how I sometimes I need to figure out how to do something myself. And sometimes it'll be a way that no one else does, or no one else likes to do. But that's just how the brain works. I mean, that's really why I got into making tutorials, 'cause you know, some people teach different, explain different. How are we looking? Okay. I feel like we're making some good progress. Let's try the other way that I was thinking. I just like place them where I want them to go and then just come back to them. I think now my fear is that I'll forget one. I don't like these little bald spots. I don't want any to look a little too close together. Okay. Nice. So we'll do a quick save so I don't have to do that again. And I don't think there's anything else that I really want to too with this thing. May Spikes. So I'm just gonna join these together. May Spikes Quadspee Okay. Validate that Taurus, Taurus, why is this one so These ones don't need to be that detailed at all. So I'm just lowering the resolution. You know what? Let's just join them together. Mace Bar deeds. I sure but handle Deeds, but that's okay. Mas ball Maze handle. Okay. So now the Maze handle. Is that just the cylinder? Why is that so high? I'm just going to lower this to 25 just because it doesn't really need to be that high. Now we have the maze handle and of course, we want to invalidate it, change the pivot to the base of it. Pivot. Okay, so now we can first, let's save. Let's bring up the other hand. I guess we should take the mace and just flip it. Let's do Snap 90 and just flip it down. And then we'll take the hand. Let me see. Is everything from the palm? Yeah. So we'll take the palm. Let's just set the pivot to the bottom of the palm. Center ish. Well, we can turn snap off, and then we can just we'll just have to do the hand in the opposite way, and then we'll just flip it. So this part is quite confusing. But essentially, as long as we make the hand holding the mace in a realistic way, we can always mirror it later. So we'll jump to that in the next video. H. 17. Mace Hand: Okay, so let's just work through this. So if this was being held, it would be in the hand. Pretty much like this. So that's pretty much how it would be being held. We should be able to at the end just mirror it and then flip it to the other side. So I'm just going to turn it it so it makes a little bit more sense to me. All right. So I think that's pretty good. The only difference is obviously the thumb has to be a bit different. So all these need to be out more. But I think that's pretty good, honestly. Let's see if you're holding something, usually the thumb is covering those fingers. We might have to these actually look pretty good. I'm going to move them down a little bit. I wonder if we should just clone these open so we don't have to close these two fingers. If I delete these two, it might be easier to just clone these two fingers. Does that make sense? Okay, so the hand would be a little bit more I just want to make sure that the grip. That's pretty close. I'm looking at my own hand now. We're holding something, the grip is pretty close. I just want to make sure it's not the positioning of this that's kind of messing me up. You know what else? The hand would be a little more wrapped around. I'm just going to do that editing. I'm going to pull the hand. I don't have symmetry on, but I just want to pull the hand so that it's a bit more wrapped around. Yeah there you go. So this area is a bit more closed around it. That makes much more sense. Then I can take this finger, where's my gizmo and then move it down and it doesn't feel like it's so far away from the handle because it shouldn't be. This one I'm going to move down as well. See, that feels way more like a grip to me. We still are missing another finger, let's make sure that we clone this. This one move that down. This one, we need to make sure that this is still going into the coming out of the hand. It's a little tricky, as you can see, but that's the nature of hands. They're just really tricky. S. Okay. Oops, so that looks pretty good. So the thumb, I'm going to rotate in. I'm going to rotate it this way and then back out. I want to keep the maybe it's better to do it this way. I want to keep this in, but I want the thumb to be kind of out like that. Okay. So the only tricky thing, again, the only problem we're going to have is the same problem that we had before where I'm just going to use flatten and flatten out some of this palm. So it's not so big. This piece, I'm just going to drag back into that thumb. Okay, so the hard part is we still have to or we still want to, I still want to have these fingers close. So again, it's with the remeshing. The remeshing is, you know, that's always going to be an issue. So I like the fingers how they are. I think I'm just gonna x remsh them. That way, I don't continue to edit them. Otherwise, I'll be editing forever. I'll literally just be working on them forever. So let's flatten out the thumb. Just start doing sometimes you just have to start doing things systematically and not thinking so much, which I love to do. And I think that's one of the fun things about these advanced courses because even though still I explain a lot and I explain everything I'm doing, hopefully, it just makes sense on a different level because I'm more trying to show what I'm after rather than, oh, like, this is how you do this. Because you know, if you're doing a character holding something, then eventually you're gonna be like, Okay, well, how how do I make a hand holding something that looks good? You know? And I like doing that, but it's, you know, it's very difficult. It is quite difficult. Okay, so, um, So this is gonna be tough, but I really like the way that the hand looks. I kind of want to bring back the other hand and check the size. Oh, the size looks decent. But I think it looks close enough that I'm not gonna worry too much about it. Oh, I think this finger is just in very deep. All these fingers are in so deep. Okay, I'm going to use move, and I'm going to Oops. On the palm, I got to get rid of I got to get rid of, like, all of this stuff. It looks really bad. I'm never on the right thing. Well, you know what? Let's bring this out. We'll bring that out. We'll flatten this back here. And smooth it. We'll flatten all this just to get that nice and smooth again. We'll flatten this area. We're going to lose a little bit of size, and that's okay. That's actually good because the palm is way too way too big for her hand. I should say the size of her palm is just too big. It doesn't look natural. I think it's just like a lifetime of drawing, male, comic book characters when I was little maybe. They always think like the character has to have big hands, I guess. I don't know. So now I need to just remember where everything is. And then I just need to adjust things a little bit so that they're not touching. Oh, the thumb, the thumb, the thumb, the thumb. Maybe if I just rotate it out. I mean, I will say that this is a difficult this is a difficult part of this process. So you want to get them far enough so that they're not touching. Oh, wait, is that touching here? Oh, it is. I'm going to rotate this. I'm going to have to rotate this up a bit more, I think, or away so that I can rotate this away. And remember I was saying that I should probably rotate them up, which I kind of want to do, but that's still not gonna make it easier, because there's just so much more movement that I have to do to get it back in place. That's the only thing that I'm struggling with. So what is up with this finger? This finger looks wild. This pinky looks I don't know what happened to this pinky. Anyway, so let's just go for it. So I'm going to take everything except for the palm. Of course, actually the palm as well. And like I said, you always want to do a save before you do a big Box remesh like this. So we'll just fox remesh, and let's do like 25260 or so, 270. The reason why I'm going so high is because I really want to hold on to the details. So let mask. If I think about it strategically, I probably should bring this finger up, this finger down, and then this finger down. I think that's the better way. So let's try that. So I'm going to select, of course, I'm on unmask. I'm gonna select the pinky. As much as I can, we hit solo. Probably should have just did it that way to begin with. Let's unmask this bit. Then let's unmask the whole rest of the palm. Yeah, select mask is a lot easier, clearly. We'll invert and we'll move the pivot to the base of the finger. Like, so. Now I should be able to just rotate this. See, there's a little bit of pulling. So I want to move the pivot a little bit over this way. Just what pulls less. I don't mind that as much because the reason I don't mind that is because the skin is gonna fold a bit anyway, just like naturally. So so that's fine. Okay, so I think that's good. Let's go back to wait, do I need to do anything else with that? Take it off solo. Maybe just, like, rotate it a little bit. Okay, I think that looks good. Okay, so we'll take mask, we'll clear. Now we need to go after select mask. Solo. We need to go after this finger. Let's see if there's an easy way to get it. Not really. So let's try just selecting the whole finger so that the whole finger is selected, and maybe it's easier to unselect around it. Of course, I'm going to unmask. Let's see how many times I can do that. Alright, so we got the whole finger. So now let's just see if we can see the base of the finger, then we can begin to, we can begin to unmask everything. So I think that's an easier way to do it. Okay, I'll just use regular mask to get the rest of this, I think. Okay. I think that's fine. Probably doesn't need to be that high up. Okay, I think we got most of it. Let me erase this a little bit. Okay, so now we'll invert, we're going to go to Gizmo. And again, we need to move the pivot point so that we can easily move this finger. I like the green arrow to be pointing the direction of the finger. Or direction of, you know, straight out. The direction of the finger's origin. Does that make sense? It's kind of weird when you have to, like, think about everything you're saying so completely and, like, comprehensively. It's a very interesting and humbling thing. Pivot. Alright, so we'll move this finger down. Let's go ahead and unsolo so we can just see, and let's move it down this way, too. We'll get it nice and tight. Do we need any rotation? Yeah, we'll make it nice and tight, like that. Now we can go to the mask. We can clear. Let me do a save just in case. Now we can do the same thing. Let's hit solo, select mask. Let's try to get this other finger here. Okay, I think with this angle, see, I remember this time. I can select a lot of it. And with this angle, I can completely get the finger. That sounded weird. Alright, so we'll do mask. Let just get the rest of this. Do I need that? Do I want that? I don't know. We'll leave it off for now. Okay, so we'll invert it. Gizmo, pivot, pivots to the back. We want to do a little bit high so that it's not stretching too much at the top. I feel like I should just show you what I mean. If it's at the bottom and I pivot and then I go to turn, you get this. That's what I don't want. So that's why I'm moving the pivot up towards the top. And hopefully it should be towards the back because if the pivot is there, then you have less pulling. You know, I can move it if I need, but you don't get that annoying pull, which really really makes things look bad. Okay, so let's figure out where this finger needs to go. Move it up a little bit. That's actually really good. I think that's good. I don't think I mind too much that it's like I think I do need to. Let me do mask and invert. The only thing that I feel as though I want to do is bend this a little bit more there. So we'll take select mask, unmask, and we'll just unmask a section of it here. So this section of finger. So then when we use the Oops, when we use the gizmo, oh, no, wait a minute, wait a minute. I don't think that worked. Wait, let me figure it out again. I just want to bend the finger. So if I invert, I think I need to invert and then I need to select the rest of the finger. Oops. There you go. That's better. So go back to solo and just make sure, there we go. Okay, so that's better because now I can hit the Gizmo. I can set my pivot. I always set the green going towards out from the origin I want. Straighten it out. Again, I don't want any stretching on the top, so I'm going to put it towards the top. That looks good. So now I set my pivot there, and then I can rotate this down. Maybe pull it out a little bit. So it really looks like the finger is gripping, grasping. And I'm going to move this down a little bit so we don't have that too much stretch there. But I think that's great. So next, the thumb. Let's do, let's just do select mask and select everything, and let's just unmask the thumb. Okay. So we have the thumb. So we'll go Gizmo, pivot, and I got to figure out what I want to do actually. It's going to be down by the base. Okay, so I think I want to do something like that. We'll set the pivot, and then all I want to do here is rotate this maybe even move it slightly if I have to. Whoop. Rotate that so it's resting in the fingers. That's perfect. I might be able to take a little bit off of it. Maybe a little bit down. But I think that feels natural. You know, I want it touching these fingers. I want it pretty tight. Let's see if we can go to mask and invert and just move this finger a little bit. Et me invert again. Oops. I'm just move this thumb. I think we can actually I think we can smooth the thumb and that'll make it a little bit more a little softer. I think that'll work. All right. I like it. I think that looks great. So I'm going to take mask, clear. And now all we have to do is smooth this hand out and hope that it looks good. So let's give it a quick save. 18. Hand Placement & Details: Alright, so let's see what it looks like when we smooth this hand. Everything's connected. Everything's looking good. Let me get rid of this. Yeah. That's a lot of work, but I don't know any other way to do it. I don't know any other way to do it. The only thing I want to do is I also want to add some skin here, but it's tricky because sometimes the if we just do clay, it can be tricky because that kind of thing, it's hard to maybe I should have done it beforehand. Or maybe maybe crease is a little bit better. You know, just to show some skin show some skin. You know what I mean? There's a little bit of oddness here. But honestly, I think I might be able to get this smoothed out or there's a lot of oddness. So that's just one of the issues from that process, unfortunately. So I'm just going to try to smooth the heck out of it and hope that it comes back. Yeah, smooth is great. That worked. It kind of pulled it out from the kind of you know, I made that cavity. And of course, you can't remsh after this, so there's no remeshing. The only thing that would be heartbreaking is if for some reason it didn't match up to this, that'd be the only heartbreaking thing. But I don't see why it wouldn't I didn't really flatten these fingers out. You know what? I'm not too worried about them. Sometimes I just like to add that little plane there. See if we can see if we can get some Some of these areas would be they would get a little bit flat, you know, where the finger bends. It's just tricky because let me use selec mask and just protect the thumb protect this other finger. See that? Clear it. I'll just smooth it a little bit so that we still have that nice break there, which I love. It'd be nice if I could just get some nice lines here with pinch. It's a small detail, but it's like I just kind of I just kind of makes the fingers a little bit more believable, in my opinion, at least. But, yeah, I think that looks pretty good. I'm going to select this finger to try and protect it a little bit. And then I'm just gonna take move and move that pinky up a bit. I want to smooth, but I don't want it to open up really. Because if it starts to open up, then it can look a bit weird. So I might actually just protect this. And then with move, just make sure that that's nice and closed up. Close it up tight. That way you don't give it a chance to kind of look weird and open up. So I might have to just go easy on the smoothing until I'm happy with it. Okay. Nice. Probably should have bent this finger down, but that's right. This finger probably could have gone down a little bit, but that's okay. All right. So let's just bring back everything and just work this out. Oops, I didn't mean to select all that. Just meant to unhide them. Okay. Let's just do a quick save, and then we can figure out how to get this on the right spot. Okay, so let's grab handpiece palm. So this is the hand handmce. Okay, we'll bring it up here, and the mace we will connect to that. So then we can take the hand, the gizmo Oh, is it? Oh, nice. I think the gizmo is actually, let's just solo this. Well, the gizmos close, but we'll move it to where it needs to be. I think something like this would be a good spot for the Gizmo. We'll unsolo. Now we can move the hand with the mace. Now, of course, it's not going to work for this hand. But what I want to do is, I might have to take everything separately and flip it. Let's do World. Let's change all of these to world if they're not. World world. World World. Okay. So I'm going to flip everything to the other side. Okay. Okay. Oh, I think it's going to work. I was so worried. Sometimes it's like you think you know what you're doing, but then you realize that you don't. Okay, so this hand will make it a little smaller. Let's rotate it down a little bit. You can move it back. I think something like this. Right? Let's see how the hands match up. Can make it a little smaller. Oh, actually, I shouldn't have done that. Undo. Make it a little smaller, check the size. Make it a little smaller, check the size. Okay. That seems like it's about the size. Okay, so let's match this up to the Taurus as much as we can. Well, that looks great. That looks great. I don't know why I'm obsessed with doing that Scottish accent. I think it's a layover from when I used to watch Outlander, I think. All right, so this yeah, this looks good. Let's go ahead and validate this Taurus, and then we'll just adjust this a little bit to the hand so that it makes sense. Symmetry off unhelpful. Sometimes symmetry is just the most unhelpful thing, and sometimes it isn't. Okay. Good. Wait, what's going on with this hand? Why does it look so I don't like those I don't like all the shadows here. I want it to be smooth. Unfortunately, I can't really I might be able to do quad remeasure and have it not been together. Let's Let's save and see. I think you can do quad remeasure, and let's see if I do half, I don't think it's gonna mesh together. Did it mesh together? Let's see. I don't think so. Yeah, I don't think it. I don't think it like remeshesPut the parts together, but I'm still able to I'm still able to lower the resolution of the hand. So that's very useful, especially when it comes to, like, smoothing. See, now I can smooth it a lot better. And get rid of those shadows that were making the hand look weird to me. I'm just going to be careful that I'm not overdoing it. But I think that makes a lot more sense for the hand. A lot smoother and a lot cleaner. Alright. So yeah, I think we're doing pretty well. Just got to see if there's any details that I'm missing. What is that? Oh, that's the hair. So that's fine. Hair going into hair. I don't even know if I'm gonna put the hair together. But the hair is pretty high. It doesn't really need to be, so I might do quadri measure and just do half and just see how much detail it still holds. Okay, not too bad. So now I'm just looking at all of these little options and just seeing if there's anything that I want to adjust or change. Like, for example, the neck is 20 K, which is kind of crazy. And it doesn't really match the head. The head is kind of I think the head should flow a little bit better into it. Well, I feel like this is not smoothing. Oh, yeah, it's smoothing. You know, I feel like it should be more like that, but then obviously this is the issue. It looks crazy. Crazy, Danged. Okay, so do I want to vax remash the head? Again, I don't really, really don't let's say. But since we're here, let's see if we were to do the head, the neck, the neck and the head. Let's see if we vox remesh at 3:50. Let's see how much detail we lose. Okay. So we do lose some details in the lips, unfortunately. Now, is that worth it that the head is connected? I think I like the head connected. I really wish I didn't lose those details in the lips, but I think I like that the head's connected. Hm. And it's really only the lips that are giving me problems. Everything else has been pretty cool. I just feel like the lips are very important focal point. So they really should be as clear as possible, you know? And like, unfortunately, right now, they look a little too messy for me. Let's see. So if I go back, see that difference? I might be able to rework them, but is it worth it? Let's try Let's try res and invert. Okay, that looks pretty good. Maybe I'll try that up here as well. And then hopefully Chris without inverse will help me get these lines back. They're not as smooth as I want, but it's actually not too terrible. And again, this little dimple here should be the deepest part. So sometimes I'll even just use drag to bring that little dimple. Because the lip is coming over that, you know, that's just like the anatomy of the lip. So making that deep will make it feel, you know, way more natural. Okay. And the only other detail that I want to do, I'm just going to pause. I'll just record it afterwards. I think I want to add for these lower lashes, I think I want ones that are thicker. I think. So I'm just going to do them and then see what I think. Let me turn snap off. Okay. And let me do should I do pivot now or later? Let me bring this into that selection or that crevice. Like so we'll make it a little smaller. The profile. Kind of like that, but now it looks a little too thick, huh? Okay. Okay, so let's go ahead and. Let's see if we can take a little bit of size off, a little bit of resolution off. I think I like them a little a little bigger. I think that works. When pardon me wants to see, maybe I can take drag. This is just for fun. Maybe I can take Oh, no. Is this already in a mirror? It's already in a mirror, so I don't need symmetry. Oh, I love it. It's such a small random detail, but I like it. Not clean at all, either. But I'm okay with it. So let's just validate. It's the importance of just having fun. You can't Oh, no. What happened? Me. Let's bring this up here. We'll delete that. Name this lashes. Okay. She does have a little skull there. I think I wanted to give her, like, a little purse or something. But I think I'll settle for just, like, a little skull piece. So let's do a quick save. Then we'll do a little skull piece. 19. Little Skull Piece: So I don't think it needs to be, like exactly like a skull. I like it should be like kind of cute. Like a little bit, like, different enough to be interesting, but also is like some sort of creature. Like it doesn't have to be like a human skull. You know, like, what kind of skull is this? I kind of like that. Okay, I think that's simple enough. Alright, so let's do it. I think 2.9 is coming out soon. I hope it'll have a button so I can just get rid of everything if I need to. Please, cylinder. We'll do, let's see, let's go to the Gizmo. Snap 90, so I'll just snap it towards us. We'll make it a little bigger just so it's easier to read. We'll make it flat like that. We want to give it some Let's do 26, we'll put the post subdivision to two, just to give it some you know, I'm going to make this a little bit wider. Then I'm going to take you know what? Before I do that? Let me not be dumb. Let me take this and bring it up. This is going to be skull, head. Let's clonee it, hide that. Okay, so now we can stretch this one, validate it, trim. Let's just trim, like I said, probably around there, I think is good. We'll box remsh. I always box remsh after I trim to clean that up. Okay, that's good. Now we'll take this skull head. Let's go ahead and clone it and hide one. And these are going to be the skull teeth. Okay, so we'll move them down. I want to shrink them, but I don't want to actually lose the thickness. That's okay. Um, Did that work? Oh, it did work. So it makes it smaller, but you don't lose the thickness. So I feel as though they're about that big. We can mirror. So this can be a little bit bigger. Okay, we'll put them here, maybe a little bit bigger. I probably should make them bigger using this. Okay, so I think that's pretty good. So what we want to do is take symmetry. Oh, you know what I can't do them. I'm going to validate. So we need symmetry local. Let's do show line. Okay, so we can see that line there, which we don't want. So we don't want X, Y is good. Why is what we want. Shrink it thinner and then make the changes. Otherwise, then it gets messed up in the middle because the mirror is not quite hitting the middle. Make this a bit bigger. Okay, something like that, I did way too much. That's okay. It's an easy fix. Okay. I think that looks pretty good. Now, this, I need to do the same thing. So let me make this smaller. We want left and right, for sure. We also want Let's make sure it's local and let's make sure it's show line. We also want front and back. So the only difference was, I don't really know how I would make that round like that. I guess I can make the whole thing more round with smooth. Just vax will remesh it. Once it starts losing itself. Make it bigger. Okay, that's a little bit better. Let's move this down. There we go. This looking decent. Okay. So let's take let's take these and thicken them back up. Let's take this and thicken it back up. Oh, so this part goes down quite far. That's right. So we'll just take move and move this part down. I feel like I want to stretch this a little bit. And these, I feel like I want to stretch, too. Okay, I kind of like it. It's kind of cool. So let's take this other skull that we made or this other cylinder and we'll shrink. We'll just do mirror and we'll do some eyes. So we'll put those there. We'll put those there, and then we'll clone and hide. I always clone and hide. Let's take these and validate. Let's take this part and validate that, as well. So we have the skull head, we have that mirror, and we have these things. So I'm going to select those, hide those. And then I want to do oh o's see if I can just vax remish them together. Like 200. I mean, same thing as a boolean, but you know, box will use this to make it smooth. Oh, look at that. I think the eyes might be a little too close together. Oh, they're not too bad. And then we did I save the skull again or the spheres? I did. Good, good, good. Let me clone this. I'm just going to validate the cylinder, not the mirror, but the cylinder. So now we have another one. I should have just kept it in the middle, but I'm going to tap this and then tap move origin, so it goes back to the middle. It's either move origin or reset. So I think both of them actually move to the center. Okay, so we want to do the nose, we want to do a heart type thing. What we'll do is we'll mirror it, move it out a little bit, validate. It doesn't matter, really. We'll make sure symmetry is on. We'll do local. We want front and back, and we don't want left and right. We just want the front part and the back part, so we're using the green. So doing that we can just pull this. Let's turn symmetry off. Pull that together. I guess you didn't gamble on or you didn't expect to learn how to make a heart. But anyway. Okay, so I think something like that is good. I'm gonna take this, validate vax do I need to voxel remix this together? Probably not, but I'm gonna do it anyway. And then I'll use my flask and just give it a quick smooth. Woops. Let's do pivot auto pivot and then just stretch it out. Now that you have a stretched out, you can add the boolean. So it would be this with this, hide that. If you have trouble hiding that, just go to Advance to make sure you uncheck these Because sometimes if they're checked, then it'll give you a hard time. Boolean, boolean. Nice. I don't know if we actually need these anymore. I like it. Yeah, let's Foxel remesh it at like 250. Let's use our flask and just smooth it a little bit since we added that nose. So we'll just smooth that a little bit. And I'm going to take quad remeasure, turn off symmetry and just maybe bring it down to ten K. It's a really small detail, so it doesn't really need to be huge. Even that I think is too big for this. But the details are gone. If I was really going for it, I would do the whole bake thing, but that's another video. Okay, so skull emblem. Bring everything back. It'd be cool if you made a bunch of other emblems, as well. Pivot auto pivot. That way we can just move this thing as we need to. Let me get rid of these. Take it off snap. Okay. So let's go ahead and tilt this Okay, so that looks pretty good. I probably should have cloned this, but yeah, let me just clone it and hide it so I have a backup. This one I'll actually do move origin. So then it should be up here somewhere. Where is that one? We just do a line. Is it up here? Reset. There you go. So I'll hide that one as a backup. I might use it for something else later. So now back to this one. So it's on the skirt, and it actually looks good. But if you really want to go the extra level, which, of course, I'm always looking for something extra to do. What am I looking for? Oh, yeah, symmetry. Let's do local. And then let's take Move tool, make it really big, and then push the back to give it more of a curve was taken off of a line that matches the skirt. Okay. And you know what? Maybe we'll push it in a little bit deeper. Oh, yeah, it looks like the skirts not showing through, so that's perfect. That clearing the throat didn't count. Yeah, there we go. I think it's a cute little detail. Alright. Okay, let's save. 20. Lighting & Extra Details: Alright, great job so far. If you made it here. This has been a long ride. But so far, I'm really happy with how she's looking. So let's make sure that we take this skull emblem and we nestle it to the skirt. Okay, there we go. So, again, that way, if we want to move the skirt, we can. Let's go ahead and tap the little sun icon and switch from McCAp to it PBR. If you have an older iPad Pro or if it's struggling, then you don't have to turn on post process, but I like to turn post process on at this point and put the resolution up. I have an iPad Pro two, so it just depends on your system. I'll use the DFD, and that's basically just this. For now, I'll change this to a warmer color for the shadows. I always think that looks better. Okay. And also in the little Sun, let's just turn the environment off. So what we're going to do now is add lights. So in this little Sun icon, just add a light here. And oh, you know what I forgot to do. I usually do this before. But let's select everything. We can keep the light for now. We don't have to select it. We just want to change the color of the model. We'll tap this little cube here and then we'll paint. I like to use something like this. Do I want to use a lighter one or the darker one? I'll use the lighter one. So paint all. That gives you a more accurate you know, kind of balanced color. Actually, maybe I should use gray. I don't think I've ever used, I got to select everything again. Can't win. To try not to mention how much I want. I'll select all again. Maybe we'll do a warm gray. I don't usually do it that color. I'm just going to get rid of this box. Don't really need that box anymore. Okay, so let's go back to our light. We can name this one key and go to the little options and tap camera. That's when we do the turn table so the light stays in place. If it's fixed, then when the thing turns, the camera the light is going to turn. I don't like that. Intensity we'll do around 2.5 usually. And that looks pretty good. Maybe a hair brighter. But I think that looks pretty good. That's the first light. We'll copy that or clone that, and this one will be the edge. Just like I always do, let's hit a line and let's move the edge one over here and then rotate it so we can find that nice beautiful edge. Yeah, that's looking great. Let's set this to about five and make it a little brighter. Let's go ahead to the key, and let's just move that respectively, where the light will be coming from. So we'll just move it there. So edge. Actually, let's take, yeah, let's clone Edge. We'll name this R two, like I always do. We'll move it over here. This can probably be 0.2 0.5 again. And then we'll just rotate it so that we're getting a little bit more light on her. So it's not quite an edge, although it could be an edge. Now that I'm thinking about it, usually I put a little more light. That's nice. So it's going a little bit up from the bottom. That feels nice. Maybe we'll throw some cool blue on there. Okay. And then for the last light, let's add one. Let's call it D two. And let's switch this to spotlight. So let's move it up over So maybe somewhere up here. There we go. Let's take it off of a line. Spotlight is better if you're not using a line. We'll make it a little bigger, we'll raise the intensity a little bit. That looks kind of cool. Yeah, I like that. Looks good. So now is the time where you could probably fart around with this and just make sure that it looks a little nicer. Okay, I'm going to go ahead and go to the little sun and turn the environment back on, and I'm just going to reset this. So the default is 2.6. Of course, this is my eyelre environment. So you can just import that here with the environments if you haven't and if you want to use it. Of course, that's included in the downloads or the resources. Do I want to go a little bit brighter? I've been trying to get my sculpts much brighter because normally they're always very dark. So I've been really working on getting them to be brighter. Okay. So now that I have that, I'm just going to check my lights and make sure everything is, how bright I want it to be. Do everything looks pretty good. Kind of like a little bit brighter on the key. I think that looks great. Also, now that I've finished sculpting her is when I'll play around with perspective. You know, maybe something like this. Because you can see the perspective in the drawing, her feet aren't flat. It's kind of more like this. Like, it's more See, as I go like that, you're starting to see more of the top of the foot like that. So Orthographic. I don't know if that's zero or whatever, but this is a good time where you can kind of play around with that. Okay, I really love this framing, so I'm going to go to this little camera, add view, and just name it one. Okay, we'll save. All right. I'm going to turn the reference off and record a quick turn table. So I'll just do a screenshot and then record this turn table because I think that looks pretty cool. Okay, let's go back to our position and then just save. Okay, so we pretty much finished her up. I'm going to do a few fixes and a few things that I should have done. But really, it's all just detail, so feel free to hang out and check out some of the things that I'm going to do. But I'm not gonna try to follow any more of a plan because everything now is pretty much done. You know how to color, so you can color it whatever you want to. But there's still some things that I want to fix. So I'm going to start fixing those now. And then I'll throw some paint on her just so you can, you know, maybe get some ideas. Okay, so heel looks good. That looks better. Done. That looks okay. All these arms. Okay. So arm. Okay, so these need to be let me just do a quick save. I can't remember if I saved it. Vox remash these like 200. And then smooth, let me turn off post process. Whenever I'm working, there's no reason to have post process on when you're actually working on it. It doesn't make any sense. Okay, so now this is officially one. I actually really like those lines. They look like they look like creases. Speaking of creases, let's see if I can get another crease here. I think I need to change crease so that it's broader where the top is. Let me see if I can do that with any sort of quickness. Fall off. So right now we're using Pow five. So what if we use, like, Oh, this is also P five. In out. Let's try to remember this. I'm using Let's try in out. Oh, I didn't really work. It's the same. It's not useful at all. Why are they all the same? Anyway, maybe we'll try clay. Maybe we'll try clay and crease together. Just to get a nice little crease, you know? Like, I like that. I dig it. Of course, let's do clay around the Let's flatten this a little bit. That's flattening, I was like, wonder why is that flattening so huge? It's just so low, this. Okay, we'll smooth this. And maybe we can try some clay. Es just to give the fabric a little, you know, just like a little something, so it looks a little bit more realistic, you know, 'cause this doesn't really look too realistic. But once you add some, like, see, that straight line is just, like, too straight. Doesn't really look realistic. But it's easy 'cause you can just add some things like this. You can add some the old crease and clay that I like to do, just to give it some movement. I still don't know if I should re mesh these together. I kind of don't want to, but I might eventually. I guess that still looks fine. I'm just trying to match up to both sides because it doesn't look silly. The only time it looks silly is if it doesn't match on both sides. If it looks too different, then it can look a bit silly. Smooth this out a little bit. Okay. See, with that, it looks a little bit more together. So I don't really mind that at all. Let's take some clay. How big is this? 40 K. Let's take some clay and just add some Why is the clay acting all weird like that? That's so odd. It could be because I do solo. Yeah, I think it's because it's pulling on the inside. That's why that happens. So I think you can fix it by just going to filter front facing vertex only. I think you can then add and it won't do anything to the opposite side. Okay. Okay, so that's in where is it? The little where? Where is it? So that's in this option and filter front facing vertices. We'll do some crease action. And then we'll just do some light smoothing. Just to give it some movement. Even on these arms, again, it's like you can put some here. I don't like that. I don't like that. I can see through this. But I'm not sure the best way to fight that. Where does this go? Let's do Xray. Mm. That's not really gonna help me 'cause this is supposed to be the jacket. It's supposed to be the coat. So I'm not actually sure how I want to. I could try to do clay. And then just try to build it up. Then hope it doesn't go through to the front. Let me just check. I think that could work. Let's check the other side. The other side is good because the sleeve is closer. I should have do this sleeve closer on the other one. Let's do some more on here. Let's just do clay underneath. As though obviously the collar is sitting. Should I voxel remash this? Is acting It's not really acting like it's high resolution, but that's okay. Let me stop freaking out. I know there are some people they're going to want pleats. I would probably just use clay and sub Never on the right, let me turn symmetry off. So clay and sub, maybe a little smaller. Smaller? So that would be like an easy way to do it. Even if they're really light. Okay, so yeah, I just made some really light strokes down around and out. I'm gonna keep them. I think it looks kind of cool. So I like it. This part is ticking out a little bit too much. So I'll just move this in. It's really just the top. Check the other spots. It looks pretty good. I can probably bring the top in on the back as well. Okay. Let me clear this mask. I just did some editing on the chin kind of just using move and sort of moving the face a little bit. Let me clear the mask. I think I have to re smooth the neck area. But that's fine. Well, and I want to re smooth any of these spots that I see. Maybe I should solo this. Look for any more spots. Anytime you move things, like if you use a mask, then sometimes it'll leave that trail. Okay. All right. I think that oh, we probably should give her some earrings and such, huh? Maybe we'll do well, we can do an easy kind of cartilage piercing or, like, upper whatever it's called. I probably should look at some inspiration. Just make sure that it's nice and thin so it doesn't look too weird. Okay. And I think they just rest on your ear, right? I don't really know. I mean, she has really big ears, so I guess the earring would have to be really big. Okay. Let's take a look. It looked kind of silly 'cause her ears are so big that it looks kind of silly unless the earring is kind of big, too. I think I want to do some cones. Let's add a cone. And the ears are in the same spot, so I believe we can just mirror. Let's stretch them. And let's, I'll just keep it like this. Let's just validate, and then let's just use this to smooth them out a little bit. And these also are gonna be really small, so it's kind of silly that they're such high resolution. Those are cool. They're kind of long now let me make them a little shorter, I think. Yeah, I love that. I think that's cool. Let's give her a ring. Alright, let's go ahead and just validate these and call these earring barbs. Earring hoop. Okay, we can how big is that earring hoop? We can validate it and drop it down later if we want. Let's use a let's use a cylinder for the ring. Do I still have pulls process on? Of 21. Greyscale & Mouth Take II: Okay. I'm gonna go ahead and adjust the ring to her finger because why not? I don't think I'm gonna use whole. I could, but sometimes that gets a little messy. Okay, so that's pretty good. We'll just go ahead and validate that. We'll call that ring and ring. She'll probably name these like face. So eventually, if I bring them over to bring her over to blender, everything will be in order. So let's do a quick black and white, kind of, like, grayscale version. So the dress, we can go with, like, a dark color. Maybe we'll raise the roughness up a bit so that it's not so shiny. It wouldn't really be shiny. Okay, so that's as black as it goes. Must be the environment must be pretty bright. Let's paint that and then check the environment. Oh, also, let's turn on post process again. So maybe this is the same color. Maybe the jacket's a lighter a lighter gray and the sleeves. I don't know. Actually, I should have, I should have let's grab this color and just do the little choker thing. I should have established what color her skin is, to be honest. But I guess that can be that would be up here. So let's do all of her skin. Of course, you can just join those parts together if you want. I feel like the jacket should just be black. I honestly feel like it should just be the same color. Maybe even a little, like, shinier. Be a little more leathery for the jacket. And we'll make this the same color. For now. I can't wait to see what colors you guys do for these things. It's gonna be so fun. We'll make the heels the same color. Her hair. I feel like her hair has to be pretty much black, too, right? Oops. What's her eyebrow. I guess her eyebrows are probably going to be the same color anyway. Make sure I didn't miss any. These can be black and you want no shine. Bottoms two. Oh, I want those to be black? I think I want them black with some roughness or I mean with some glossiness. This can be in silver, I think. Just give me the same color. Got to figure out a better color for the silver. It just looks a little too I feel like it's just hard to master that silver. Okay. This is kind of like a Rando Well, it's right her eyes. Okay, make them white, but not super, super white. That can be about there. This can be maybe similar but more middlness All these can be the same. Then I'll take this color. This is really supposed to be a wood color. Maybe I'll make that a little bit darker. That's fun. Um, this is a little excess, but you know what? I might just try re meshing the head. Part of me just wants to start over with the mouth, honestly. I mean, I probably shouldn't, but honestly, that's what That's what I kind of want to do. No mouth, then I can just start over. I mean, it's an option. It's a real it's a real option. Let's add. A cone. Let's just let's make another mouth here. Oops. Close subdivision at two. Put the division X down to get it a little bit more round just so I can visualize it. I think that looks pretty good. I'm going to validate that. Let's try it with a cylinder. I haven't done lips like this in a while, so I'm a little rusty. I can't remember a lot of the little tricks I used to do. I like that. So let's take both of these. I want to see if we can position oops. Wait, that's weird. Oh, you know what? It's because it's a cone. I forgot it's this big shape, so that's why it's picking that as the center. Um, so low. So I wonder if we were to move it to the side. Oh, that's weird. Did not expect that. So it's just an optical illusion, making it look like it's being real strange and odd. Kind of like it, but maybe a little less tilted. Just a little less off center overall. And then maybe make the mouth do the heavy lifting. Let's say we were going to go with this this lip. You know what? I'm going to say this as test. So let's have you x remesh this at like 200. Okay. Let's give it a nice little smooth. Take the head. Let's find this first. Let's bring all this up to where the head is. This one, too, we'll bring it up here. That and the head. Let's fox remsh them at 3:50. I'm going to smooth the top. Poor nose is getting hit with all this smooth I just flatten this a little bit since it's starting to get a little weird on me. Now, if we want her to look like she's smiling. Then we want something like that. It's really important that obviously this dibot is pretty deep. I'm going to go ahead and try to flatten all the way. And this part, which is just a cylinder. Let's see if we can just turn symmetry off and bury that into the smile. I think I might have to bury it a bit deeper. I think. Okay, it's not bad, but we're just the only thing we're losing is if I do a crease, like we're losing this part of the mouth or the lip. Maybe we don't need that much of it, though. Maybe it's better that it's not so pronounced. Let's try it without that being pronounced. Maybe maybe she doesn't need it. Maybe she just doesn't need it. Let's try a pinch. Maybe we should do the nose again, too, while we're here. Because I feel like the nose has just been subject to so much smoothing that it's almost non existent. Let's Fox will remsh this lip? So just flattening off the side, and then let's try pinching. I think that looks so much better, right? Is it just me? I think that looks so much better. So I know this is going to be an issue. So I'm going to take this lip and move it down here. I don't like this, so I'm going to try to smooth. You know what? Maybe I'll select mask. A lot of these did that work? Oh, I'm on the wrong piece. Symmetry. I want to look more smooth going into the lip, you know. I think that was really bugging me. Okay, so we'll clear that. Ip still looks good. There's a little divot here that kind of has kind of been bugging me. See that little shadow there? Don't at that. Might be able to take clay and actually give this a little humph. That's better, right? I mean, I think it's way better. The only thing next is the nose. 22. Face & Leg Glow up: The only thing next is the nose. I guess we'll do the cone for now. Okay, so with the line, I might try to stretch the nose out, it smaller. Let's give it a little resolution, although I can't see it. Let's soften it a bit. I'm going to bring this to two and bring the division X down. I'll be nice if I can see it. I'll bring that down. Validate it. Let's give it a nice little bend. That looked fine. Let me turn symmetry. It's got to be some sort of nod to the face, the rest of the mouth, I should say. Even if it's like this is turned a little bit, and the whole thing is just a little bit of a turn, maybe. Because it's all really connected, you know? It's always connected. Give her some little nostrils, maybe not nostriltos. I think that works. Okay, so if we think it works, then let's take the cone the cylinder, and the head. Let's voxel remash it. What if we go way high. Well, it's kind of interesting. Pinch is looking like it clears up the seam. So let's see how far we can take it. I'm trying to be real careful with my smoothing here. Even though it cost me a lot, you know, the heads like 1 million now. It's kind of nice that it still retained a lot of the detail that was very important to me. Even smoothing this is like, it's not too terrible, to be honest. And it's way easier to rebuild. For example, now I can use drag and I can just pull in on those exact spots. What happened there? I feel like my screen got darker. Maybe I'm just going crazy. Then here, it's still pretty deep, but I can probably just drag that in a little bit more. Smooth all that. Super cute. I like it. Let's add a new layer, lipstick. And let's see what we can do here. We'll bring it to black. It's actually real sharp. Her mouth is actually Uber sharp. Now that I'm looking at it, I don't really like it. But it could also be because of the dynamic topology, too. I wonder if pinch I wonder if I can go in and with an Alpha, change the fall off. I wonder if this will work better now. What if I do that? With a pinch. Oh, no, that's not helpful. Even like a circle or something around, that's not helpful either. I guess I give up. The crease looks nice, but it's just too sharp. You see it from the side, it just looks too bad. Smooth is not smoothing that well, but that's okay. Let's see if now if we go to paint and dynamic topology, let's see what we can do here. Okay, I'm gonna erase, but I'm gonna take dynamic topology off because since we already went covered this area, it should not need it. The erase will be super clean. Okay, so let's take it off of eras. Are we on paint? Let's just paint the inside now. You know what? I wonder if I can just use select mask. Okay, that's much better. Now what I want to do is I want to use crease. I want to enable stroke painting, put the roughness all the way up. And now I just want to make a crease. In the middle that's going to take care of all that pesky light that's like bouncing around in there. Making it look silly? Oh, no. It was looking so good, but then it started pulling. All right. I think that looks good. Now we just need some regular black. To make sure we got all of this. Because some of it looks like a lighter gray and I don't know why. Okay. So I mean, I kind of like that. Maybe I'll just paint some of this. Okay, let's try something else. God. I really I really go for it when I'm locked in. Oh, I feel so much better. So going beyond that ridge helped a lot. Oh, what's it doing though? Yeah. Okay. I think I'm cool with that. I'm actually gonna take Ooh. So for the base, maybe let me try to just smooth this a little bit more. I don't like those shadows. So much shadows there. Yeah. Okay, so what I was thinking was take leg a clone it, trim maybe like I want her boots all the way down there? Trim the whole thing. That's better, right? I mean, it's got to be better. It's better than the pain. Let's grab this color again. And honestly, let's just do the same exact thing. So I want to try to get this leg straight. We'll use trim clone leg B. It's probably around there, and then just trim the whole leg. Did the whole leg trim? Oh, it did. Then I'm going to paint it. And the easiest thing to do, actually, let's box or re mesh it before I forget. And the easiest thing to do be to go to the original leg. And just smooth it. Actually. But I'm going to take move and get it out of there. A cylinder. What are we doing? Get out of here. Let's make it the same color as these. Oh, it'd be kind of cool if there was maybe some spikes. Oh, maybe we'll take this cylinder, clone it. So I'm just thinking of doing let's see if I can do group vertex, validate symmetry local, then pull. I can pull that apart. Perfect. Put this back to auto, turn symmetry off. Fox will remesh this maybe 150 or so, smooth it, and then push on it from the bottom. Let's go back to symmetry. Symmetry looks good. Let's push it up from the bottom. We kind of get what we had going on there. Pivot auto pivot. Oops. Oh, I feel like I like that. I just want to make sure it's in the right spot. Looks pretty good from the top view. Let's clonee it. I love that. But you know what it needs? Oh, this is going to be perfect. I think you're gonna like this. I think you're gonna like this. It's exactly what it needs. Most can validate, smooth it. It's kind of cool. It's like a weird little detail, but I think it's really cool. I like it. I want to paint. I want to paint this. I would love to be able to see a preview. Yeah, maybe I'll leave it the color. It's fine. Okay, so let me validate that. Where's this cylinder at? That cylinder that cone. Alright, let's just bring these out. So this cone, I'm just gonna make this really small. Cylinder, I'll make that really small, as well. Well, for now, we'll just connect them. Maybe I can't connect them. Why is it not letting There we go. Alright, so let's just clone and then move it to the other side. Great. I think those look great. I think we wanted to give her a little black underwear, right? Keep her decent. Let me save this. You can always put cylinders around her legs. It's a little tricky, but now you just have to pull it, manipulate it so that it comes out. It turns symmetry off. Doctor it a little bit, and you move it in where it's ticking out too far. Let me just half it because it's really doesn't really need to be high resolution. Now we'll clone and then just move it over here and then fit it to this leg. It should be fairly easy. Pretty good. 23. Final Paint & Details: And these legs, I'm just gonna join them together, I think. I could probably quad remesh them and do half Oh, the symmetry. Didn't really lose much. But leg what's this? Like, A, B, let's just join them together. Legs. Okay, this boot, let's do quadri measure. Okay. So this one let's just do the same thing, half. Half Okay, so let's just join them together. Boots. So, bring that down to ten K which is still too high. We'll keep it there. This one's bring it down to ten K. Have Souls. I didn't even notice I spelled that wrong. Okay, let's bump this down. What is this? 29 K. You crazy? These like tiny details Cylinder one. Where's the other one? These two will just join. Boot Pad bar strap, strap, makes sense. Bootstrap, boots, soles, still way too high for the soles. Cylinder, cylinder. These two, let's just join together. Quad remeasure, let's just half them. Legs, skirt. What does that quadspere? Okay. Arm down, arm up. I don't want to lose much detail, but that's just so big for an arm. Let's see if we can do half. Let's see if we can do half again. We lost a little detail there, so I'm just going to stick with that. I'm up, I'm down. Let's just join them together. M cuff. That we can definitely make smaller. Just join those. I save. Now I want to find I got to find what some of these things are 'cause I just don't know. Oh, that's those. That's that piece. Okay. Boot. Spike join those? Oh, no. Let's join those two. Join that. Spike. This is actually the base, so I'm going to screwing them at a base. Body top is 114 K that's ridiculous. Necklace. Just do half. What is that the jacket? Oh, that's the jacket. Jacket back. So we might lose a little detail if I do half. Oh, we didn't lose too much. Collar. I think that's the whole collar, right? Let's do half. No, that's not too bad. Jacket back, collar. Ring on the hand. Half. Hearing whoop, half. Hearing Barb, Barbs is both of them good. Okay, that's the hair. Okay, so this is now arms. Underpants. Okay. Good. That can actually be half. We're not even seeing. Maze spikes, 20 K. The hand is pretty definitive. I don't know if I don't know if I can get that down. But you know what? We'll try. Let's do a quick save. What if we did hit half? Let's see what details we'll lose. You would never know. And peace half oh you never know. Skull emblem. We don't really need this in this project. 1.85. I like to see how low I can go sometimes, but honestly, I think I'm just done. I think this is fine. I might be able to get a little bit more on this, but I might lose my detail. I really like those details. Yeah, I lose those details. So I'm going to rock with it. Yeah, I think she came out really, really cool. So much fun with this sculpt. Let's make sure that everything is set, how I like it. Everything looks good. All the lighting looks good. Like to double check all the lighting. She does look cool when it's a little bit dark, not gonna lie. The edge should be maybe a little bit warm, maybe a little bit rich. Mm, I don't know. Maybe just keep it white. I don't know. I'm torn. Let's check our other lights. Even want this bright one there? I don't know if it needs it. I kind of like it without it. I'm being honest. Oh, we lost a little bit when we when I have these things. That's okay. I'll just bring them out a little bit more. Get that shape back. Lower red stuff always looks bad against other lower rid stuff. Okay. Let's save. Okay, let's hide this. Let's get her positioned. Save this as two cord. I'm gonna reposition her. No. Alright, thanks so much for joining me on this journey. This was a long class. I hope that I wasn't too confusing. I hope that I didn't go too crazy. It's hard because that's how I create R. I have to experiment. I have to figure out what not only looks the best, but what fits what I'm trying to do, what I'm trying to make. So make sure to check me out on YouTube, youtube.com slash DRG FreDave If you're on TikTok, I'm on there, too. Instagram, of course, at DRUG FreDave. Please post this to the class projects. I can't wait to see what you make. Also rate and review. I hope to get a lot of ratings and reviewing. You just let me know what you thought. Let me know what you want to see next. You can just say hello. Also, be sure to check out the other artists' work in the project gallery. I just think it's really fun to kind of have a community. I hope that more people will get involved. And sometimes I actually go over the project reviews on my YouTube, so make sure you subscribe on YouTube because sometimes I just have fun going through and checking out everyone's art and just talking about it and just kind of making but I think that's it. I have a ton more three D classes here with Nomad sculpt. I also have some blender classes for beginners. Make sure you check out that blender course. I'm going to bring this girl into blender because I do all my renders in blender now because it's just it's like night and day. So, you know, whenever you're ready for that, it's there. Again, please be sure to rate and review, even if it's quick. Keep drawing. Keep sculpting. I'll see you all in the next video.