Cowabunga! 3D Sculpt a Teenage Mutant Ninja Turtle with Nomad Sculpt

1. Cowabunga! Advanced 3D Sculpting with Drugfreedave Nomad Sculpt: In a world beneath the streets a legend among legends that is reborn. Right. C. What's up, guys? Welcome to my advanced three D sculpting class with Nomad sculpt. I'm Drug Freda, the three D artists and content creator living in Brooklyn, New York. And this project is near and dear to my heart. You have to create art and sculpt things that you love, that you're passionate about, that you're nstalgic about. And this one is all of that for me. We're going to sculpt Raphael, the bad boy of the teenage Man Turtles. They were the first characters that really made me fall in love with drawing. Art and creating. They just had a huge impact on me when I was a kid. So being able to pay tribute and recreate them in three D and sculpt them in three D so much fun on so many levels. I'll be sculpting on my iPad Pro 2022, but Nomad sculpt also works on Android tablets. I love creating ce characters, creepy characters, simple characters, and also complex characters like this one. I also love creating sculpts for resin three D printing. This advanced class will cover all of the tedious details that go into making a complex character like a Ninja tur. This is what you'll learn in class. Basic head to toe blocking, stylized anatomy, and using hierarchy for posing Vauxhal remeshing and quad remeshing and or decimation to help keep our sculpt as efficient as possible without sacrificing quality. We'll add tons of detail, skin texture, accessories, coloring, lighting, turntable, and of course, final rendering. You'll want to be familiar with no mesco for this one. And just fair warning, it is a long class. So make sure you have plenty of snacks, full battery, maybe watch the original 1990 movie just to get you in the movie. As always, keep drawing, keep sculpting, and I look forward to seeing you on skill share. 2. Class Project: Alright, welcome to the class project. So there's just a few things I want to mention. Obviously, the class project is Raphael, but you don't have to make Raphael. You can make a different turtle. Essentially, it's just the weapons and the color of the headband. If you want to change things, if you want to add things, if you want to experiment. That's how you learn. I am off for experimenting. And, you know, just trying to make it yours as much as you want. Also, that being said, there are a lot of things that won't match one to one. So there's some things that I'll be doing that they're not going to match yours exactly. So, for example, he has like wraps around his feet and hands and things like that. I'm going to show you how to do a few of those wraps, and then I'm just going to let you go ahead and make as many as you want on the feet. On his wrists, on his fingers, whatever you might want. It's like I'm talking, and there's just like a horn. So, yeah, there are some spots that are sped up, but I will show you what I'm doing, and then you can take it from there and do it as much of it as you want or as little of it as you want. There are a few things that I've included. So there's an eye glare backdrop or environment, eye glare environment. So that's the environment that I always use. That's included. I'll include my nomad files, and I'll include the reference image, which is I just download from online. If there's any other few things, just make sure you download everything to your iPad or table so that when we're ready for it, you can get it. Also, the texture for the skin, as well, I'm going to include. So make sure to download those from downloads and resources. One thing that I'm not sure that I mentioned in the next video, but just in case, I always sculpted in orthographic, not perspective. And I also change from lit PBR to MTCp. So that's why it's like that sort of reddish brownish color. So that's just a MTCp. Feel free to switch to a MDCap if that works for you, if not, then, you know, just do whatever you've been doing that makes you comfortable. Okay, so I think that's about it. Again, characters like this, like organic characters, like they're so detailed and so specific. I'm gonna speak my thought process. But if you have a different idea, and if you want to experiment, please do that. Don't feel like you have to follow me to the T because at some points, it might not be possible or it might not be as efficient. You might just have to take your own road for this or that. Other than that, it should be pretty straightforward. It's a long class. So Buck Ln, let's get right to it. The head. We're going to start with the head. 3. Planning Ahead: Okay, let's get started. So you don't need the grid for this one. Well, we'll line them up with the floor and stuff later on. This will be the head. This is going to be the easiest way to make an gratertal head I promise. Okay, let's clone this. This will be head, we'll just rename it head. One, we'll just leave it a sphere for now. Let's take head Gizmo. We'll move it up. Then we'll take the bottom one, make it bigger, and then flatten it. Let's look at the side view now. We'll move it up a little bit, maybe just stretch it a little bit like this, move it up a little bit more. I think that looks pretty good. Now let's take the bottom part of this head, and we'll just use trim and we'll trim it. If we look at x ray, you can see the whole bottom part of the sphere, we'll use trim and a rectangle, and we can just trim it. Now we'll take this part. Let's use split. Split is the same as trim, except with split, it keeps both parts. Now we're going to split the top part of the head. We'll just make a rectangle here. Maybe something like this. It's pretty good. We'll turn x ray off, so we have something like this. Let's take this first one and let's Vox remesh it, maybe around 150 or so. See how it's a little bit jagged. If I slo it, you can see it's a little bit jagged. We'll do Voxle, and we'll remesh around 150. We'll do the same thing I'll. We'll do the same thing with this. So around 150 is good. We'll take smooth. I guess we don't really need to smooth the top out. I'm just going to smooth this part out. That's the top of the middle piece, which is obviously going to be our Mask. Symmetry is on during everything, everything is symmetrical for now. Let's take this piece, Gizmo, will shrink it, maybe make it a tall and put it down. St, let's make it a little bit bigger here. That looks pretty good. Take in shape. Obviously, you can see the nose is quite big. If we do x ray, you can see the sphere. Let's move. Let's make it a little bit bigger just so that it makes more smooth movements. We're just going to going to push this down a bit. That's pretty good. We'll turn that x ray off. There we go, coming together. You can adjust this a little bit if you want to get rid of those jagged edges a little bit. And you can adjust the shape a bit as you need. Good. Now let's add to the ie mask. Let's label this i mask. Otherwise, we'll forget. Let's three dots. I mask. Have the top part of the head. Let's go ahead and label this head top. You have the head top, sandwiched is the eye mask, and then we have the sphere, which is the head jaw. We'll do a little quick save. So now let's add the pieces of the i mask. Let's use inflate. Make it a little bit bigger. So make sure you're on the i mask. Now you can just make some curves like this and this will be the Well, you it'll make sense. Once you do it, it completely makes sense. I think that actually looks pretty good. Now underneath that, we're going to use layer. Layer is a great tool. You can see I already have it on Sb. If you don't have it on Sub, it adds. If you have it on Sub, it takes away. I'll make it a little bit bigger. Now we're going to make the eye sockets where the eyes are going to be inside. We want to just do the contour that we just made, and maybe a straight on the bottom. When you're doing layer, you just want to make sure that you scribble everything out before you lift off the screen because once you lift off, and then you try to do it again, it's going to go it's going to do another layer. I think three layers is probably good. It's probably deep enough for ye sockets. Now that we have that, let's make it a little stronger and Vox remish this. Also, I'm always using a shortcut down here, but. It's the same as if I go here, Voxel. If I do this, you can see it's the same. Maybe we'll do around one, 60 or so. And then we'll take smooth and just smooth out our little eye sockets. Looks good. Another thing I like to do is if I want him to be a little more angry, you can take move, make it a little bit smaller, and this is where you can add some expression. The straighter this line is, the more intense or angry it'll look. For example, if I take it and I make this nice and straight like that, you can see that he looks more intense. Of course, if you do that, you might have to pull the bottom part of this up a little bit or push this down. Maybe we can just bring it down a little bit. And then move the sides up. Something like that. You might have to adjust the shapes a bit. If you look on the top to, this looks silly. There you go, it looks better. There's a few things that I do just stylistically. One of them is flatten. I like to flatten pieces like this. I'm going to take the flatten tool and just flatten. I actually flattened a little more than I would have wanted, but it still looks good so I'm going to leave it. Now for the mouth, we'll keep that really simple. Let's go ahead and use mask, and first, let me show you how to do a really simple mouth. If you don't want to do the mouth open, you can just take crease, make sure that you're on this part of the face. You can take it off symmetry, although you can keep it on symmetry if you want to just do something really simple. But what I would do for this is I would make the corners a little deeper. Maybe smooth it. And then maybe do a crease again. But you want to make the corners a little bit deeper because that's just how cheeks work. Also, his nose looks a little flat, so you can always pull the middle as well. Just make your move tool a little bit bigger and you can pull it. Let's say you wanted to have the mouth open. I'm going to go ahead and pull this out a little bit. Better. So if you want to make the mouth open. Let's use mask. Let's do the classic classic ninja turtle look. If you do it this way, you want to make sure that you have enough of the nose here. You want to keep everything clean. I'm going to take erase. I'm just going to erase a little bit more of the top. We make sure we have that big nose here. I'm going to trim a little bit off the sides to and maybe a little bit off the bottom, like so. Obviously, you can do the mouth open any way that you want, but let's try this for now. Now we'll go to we're on mask. Let's go ahead and invert, so that just inverts the mask. Then when you use Gizmo, you can move just this part in. We'll move that in. Maybe make it a little bit thinner that way. This isn't so thin, the edges of the mouth. I'm just going like this and shrinking it inside. You can do the same thing like this. But I think that's pretty good. It seems deep enough. We'll go back to mask and then clear. Now that we've done that, again, what I like to do is Vox will re Vox remesh it around 175, that seems to be my go to. Now that that's remeshed, we'll just use smooth and just smooth out our mouth. Looks pretty good. Another stylistic thing I like to do is use flatten. I'm going to flatten right underneath the inside of the mouth. I'm going to start here. Flatten that out. Maybe add a little smooth, just to get rid of any of those wrinkles. Make sure the inside of the mouth is smoothed out nicely. You can also do the bottom part. Just gives it a nice finished look, but I think that looks pretty good. Let's say you want to make you want to put this ale closer to the top. If you use move, one problem that you might have have is it'll move the bottom and the top. That's really easy. Just use select mask with a rectangle and you can just mask off the top. Now you can use and you can adjust this bottom part to go up a little higher if you want. So it has that more classic look. I also want to make sure things are around, so I'm just going to pull this out a little bit just so it's a little more round. And flowy. We'll smooth this up ale bit in case I made some little wrinkles. We'll take mask, clear it. Anytime you do that, you just want to make sure that you're smoothing any creases that it might make like this. Inside the mouth, it just makes some little creases. Just make sure you smooth those out. Nice. Also, you can add some teeth. Turtles don't really have teeth, but teenage manage turtles do have teeth. But this is obviously very stylized. You can do what you'd like. Essentially, I'm just adding a sphere. I'm going to name it teeth. Put it on top so I don't lose it. Essentially, we're just adding a sphere and then we're shrinking it the same way I usually do in my teeth, and then you just bring it in. Hit mirror. Now you have two. You want to make sure that you're maintaining that semicircle with the line of teeth. That actually looks pretty good. I don't know how big you want his teeth to be. But you can actually validate these. Now it's in a mirror. Let's go ahead and name the mirror teeth as well. We go back to the teeth. Now you can just clone and make your other teeth. You can make them perfectly round if you want, or you can you can be as stylistic as you want with them. Just make sure you maintain that nice curve. You can clone again. You can take drag. If you really want to give them some little canines, make it really interesting. There's tons of different ways that you can make the teeth. If you want to make the bottom ones, all you have to do is let's say we start with these. You can just clone. Name them something different. I'll do L one. And then just use your gizmo and then just bring them down. Now there's some teeth down here. Obviously, they're not going to be perfect. I'm going to make them quite small, and I'll sit them right below the other ones. It doesn't have to be technically correct. It has to look right. Even something like that, I think looks good. Obviously, we'll have to trim the bottoms, but you can clone, and then you can bring your other teeth over and you can also make sure you maintain that semicircle. And so on and so forth. You can continue to make the teeth, however you want, make them big, small. You know me. I love making teeth. So I no matter what the character is, I'm always adding some fun teeth to it just because you can. I'm going to t here and, and we can use Las. Notice I'm turning it on an angle so that when I trim these, it's just going to trim the bottom part. Okay, let's add some spheres for eyes. So add sphere. Go ahead and mirror it. Pretty simple, we can stretch it and then just rotate it. They're buggy. They're bug eyed, so you can flatten them to by just flattening the sphere. I'm going to validate and then just to fill the space. A Looks pretty good. Let's add some other. Let's add some more spheres for the pupils. These are the s. I call these whites. That's how I keep track of them. And you know, let's add another sphere. And we can use the Gizmo. I'm going to flatten this a little bit more, get smaller. I'm going to validate these and use move and put a bend in it. I'm just going to use move and push one side. Actually, if we want to be a little bit more precise, press symmetry, show line. You don't see it now because your on on world and not local. Local would be this pupil. Let's switch to local. Let's add z and y. We Let's take away z. We just need x and y. Now you see the green line red line. Essentially, when I push on the back, it's just going to be an equal push all around, essentially, if that makes sense. I'm going to put it to world and just put it back to where it was just so I don't get confused later. I'm going to hit the gizmo and then we'll move this to the eyes. Looks like they can be a little bit er. I'm going to try to rotate it so that it goes right on the surface. This can be a bit tricky. Another thing I do is I'll go to the eye and just smooth. Then I'll just smooth the eye because sometimes it's just too annoying. I'll smooth the eye that way. This can be nice and spherical. Make it a little smaller again. There we go. It's not bad. I don't know why it looks so Here we go. Just want them to be a bit more around. Another trick. If you're making eyes, if you make the pupils, you want them close together. So it's like it's a bit tricky. You don't want to put them in the middle. You don't want to put them in the middle like this because then it looks like a doll just doesn't look like it's looking at anything. You want to put them towards the middle until they look like they're looking right at you. Protip right there. I'm so a bit more on these. So the eyes can be a bit. It takes a little tricky to get it perfect, but just get it so it looks right. I like this. There's a little bit of eye white there. I might get rid of it later, but I think it looks good. Last but not least, let's add a little n to the back. We'll keep this super simple. This at sphere. Shrink it. We'll flatten it a little bit. I'll make it around the same size. So that looks pretty good. So I'm going to go ahead and validate that. And then I'm going to Vox maybe around 130 or so. Then I'll take. I'll turn symmetry and I'm just going to make a crease in it. Something like that. Maybe even another one over here. Se how I'm just bringing it over. I just want to create the effect that it looks like a knot. Just make some lines in it, make it look like it's a no, and then you're good to go. I think that looks good. I'm going to go ahead and box remesh the not again, maybe around 150, and then just smooth it out. And I might take move and just drag it over the edges. It looks a little bit more real. There we go. That's a good. P. There we go. I think the head is good. I think next we'll block in the body and then we'll just keep going. We'll just keep trucking along, good job so far, make sure you save. 4. Body Blocking: Okay, now let's do some blocking. We're just going to add all the different shapes that we're going to use for his body. So we'll make it really simple. Once you think of things in blocking, then everything just becomes so much easier. For the neck, let's just use a cylinder. We'll add a cylinder, and let's just bring it up here so we don't lose it. I'll just rename it neck. We can switch to the gizmo, and we'll move it down. Shrink it till it's about neck size. I think that is pretty good. That's going to be the neck. We'll worry about positioning them. I think a little bit later on. That's the neck. Next will be the body, which I usually use a box for that. We can go ahead and validate this neck. Let's add a box. Let's rename it body. We'll switch to our gizmo, which is hidden. I don't like how this is hidden. I'm not sure why. It's so dark. But anyway, so we'll move this box down. We'll make it a little bit bigger. And let's squeeze it, obviously, so it's not a box. That's too boxy. Okay. So we'll make it pretty thin for now. We can always make it we can always adjust it a little bit later. So take his body is going to be around here. I don't want him to be that thick. I want him to be a little more stylized. I'm going to make the neck a little bit longer. Okay, so that's a pretty good body. Now let's add a sphere, and this is going to be the shoulder, so we'll just move it down and over, and then we'll shrink it. We're not going to worry about mirroring them now. Let's just do one half of the limbs, like arms, legs, and things like that. Then eventually we can just mirror them. Let's rename this shoulder. We can go ahead and validate it. The body as well. Now let's add another cylinder for the upper arm area. That looks pretty good. Now let's add, there's a few different ways to add like the elbow area. For now, let's just start with the forearm and then we can make another sphere for the elbow pad. Let's just take this cylinder and clone it, and we'll name one of them, and we'll name one of them lower. I still spell it wrong. So I'll take arm lower, and obviously, that's going to be the lower arm. I'm going to move it out a little bit like this. Make it a little bit thicker. Let's make this a little bit longer. So Let's add another sphere, and this will be the elbow pad. We use our gizmo, and then we'll just move it to that general position. Maybe we'll just make it a little bit longer, it makes a little bit more sense. Let's add a cylinder and this can be wrist band. Actually, one thing that is just generally good to do is put things together. For example, I'm going to switch this to pad. Elbow. I'll switch this to pad wrist. This way, if we ever need to or when we want to color them all, they're easily identifiable because they'll all have pad in the beginning. So, we'll just leave them for now, so that looks pretty good. Pad wrists, Gizmo, Okay. Let's add a box. This will be for the hand, the palm, I should say. One thing about palms, I think the hands are going to be easier to do alone. I'm just going to put this up here. Let's go ahead and just rename this p. And Let's add some tubes or just one tube. We'll use path. We're using path and snap. I'm going to do that again because I did it a bit fast. We use. I does't matter if we have. It's not really going to snap to anything. You can turn that off. We'll just use path. You have to tap and then hold and make the first and last I want to make a point here. I'd like to make another little point here so I can make the fingers like this. I think that's pretty good. Now we have one of the fingers. When we work on the hands, we'll just be able to clone this one, and that'll make it a lot easier. Let's finish with the rest of the body first, and then we'll come back and work on the hands and fingers. Let's see what just call this finger. I'm going to take this one and I'm going to nestle it under the palm. Okay. Let's add a cylinder, and this will serve as his belt. Although we might change it later on. Let's add cylinder. Let's be sure to bring it out of this group. Let's just label it belt for now. We use our gizmo. We'll make it bigger. And we'll just make it the size of this square for now, even though we're going to change the size of the square. Now let's add a sphere for his pelvic region. It's a bit smaller than the sphere bit more narrow than the body, and we'll just squeeze it like this. Maybe we can move it up a little bit act. This will be pelvic region waist area. Let's add another cylinder. We move it down to the left, we'll make it a bit smaller. A lot of this is going to be based on his arms as well. I still want him to be fairly thin. I don't want to be one of the really thick turtles. That looks pretty good. This will be the to a quick s. Then we'll add a cylinder and this will be the pad knee. We could possibly changes to a sphere later on. There's always that possibility. L et's take this thigh and now we'll just clone it. This will be low leg. Actually it's smarter to this leg and this leg low. Again, what I was saying, it's just easier to keep them keep them straight. Did I do the same thing with this arm upper arm lower, I did. Put them close to each other. Leg low, palm is good. I'm just going to move the palm under there and you can do anything that you need to to keep things more in order. But again, it's not really that big a deal. But one rule of thumb that I like to do, so we have the head, which I think the head is like all of these things. I'm not even going to worry about putting them in order right now. But I know we have the shoulder, which I'll put up there. The neck can go above the shoulder. Then we have the shoulder. We have the body. Let's put the body here. But the shoulder we want the arm up. We have arm up per arm lower, but we have the elbow pad pad elbow in between. And then pad wrists. Body, pelvic leg up, leg low, we'll put pad knee in between. Let's go to leg, which was a copy, and we'll bring that down. Here. We'll make it a bit and we back some. Make his thigh a little bit smaller. We can take this one and clone it, Pad knee, we can clone and make pad ankle. Flow I'm putting a capital. I guess it feels thorough. Now we can take this copy and bring it down and that can be the pad for his ankle. For the foot, let's add a sphere. We'll move the foot do or the sphere down. We'll just leave it here for now. I think we're going to come back and do the hands and the feet separately. He needs a shell. Let's make sure we name this foot foot base. Let's Let's go back to the body. Let's add a sphere gizmo. This will be our shell. We'll make it big. Squash it a bit. You just have to imagine how big it would be. Let's take a look in the front. Probably something like that. That looks pretty good. We'll just leave it here for now. It looks decent from the front. Now he's also going to have his front pads, which there's a few ways to do it. You can either make one shape and then shape those front pads, but I think I might want to do it let's do a sphere. Okay. So for the front plates, I think I like there's a certain style that I like. So I'm going to add a box I think we'll do it the same way we're doing the limbs and things like that. We'll just make one half of it, and then we can just add a mirror. We'll do something like this, a thinner box, make it a little smaller. I'm going to place it in the position that I think I want the first. It's essentially going to be something like this. Let's tap these three dots and let's just make it a little more around. We will turn down the box topology. Let's try ten, and then we'll turn up the post subdivision. We can turn this down a little bit more. Then we have something like this, where it's a little more rounded on the edges. I like this. But just in case I'm going to clone it before I validate it. I'll just hide this and go back to the original box. I do that sometimes just so it saves me time later if I need to change something quickly. Let's validate this one. I think I want to make it curved. There's a few ways to do it. We can use trim and lasso, but that might not look that clean. It looks okay, but I think we can get it a little bit better than that. Let's use the polygon tool. Same as line, we're just going to put both sides or both edges. We'll add one in the middle, we'll add one here, whatever is white is what's going to be cut. Now it's just a matter of making this, making this edge round. So I'm thinking something like this. Let's see how it goes. We tap the green and we should be able to tap Gizmo, and then we have that nice trimmed first part of the shell. Actually, it's a good thing that I copied this box here because now we can bring this down and make this the second one. I'll clone this again, hide it. These look pretty good. I want to smooth this out. But I'm not sure how intense the smooth is going to Let's Vox remesh it. Anytime I'm smoothing something and it's a bit too soft, I just hit it with a Vox, probably around 160 or so. And then I'll try to smooth this. I think that looks good. I want to take all three of these, even the hidden one, and I'll just use the gizmo and I want to make them a little bit bigger. We'll move it down some because it'd be probably around here. Something like this. Instead of having this square here, let's do something a little bit smarter. Let's delete it. Let's add a cylinder. We'll grab our gizmo, we'll move the cylinder down. Let's tap snap. It's at 90. Now we know it's facing us. We just turned it 90 degrees. We can turn snap off. There we go. M it around the same width as the other pieces. Actually doesn't need to be. We can make all of these a little bit thicker. But for now, I think this is good idea. Let's go ahead and make it just like we did the other ones, I think we had it around ten, and then we raise the post subdivision. That looks pretty good. I'm going to go ahead and validate this, and then I'm going to take trim with rectangle. And we'll trim off that half. We'll stretch this. We'll move it up, we'll make the whole thing a bit bigger. We can move it up again. M the whole thing a bit bigger. That looks good. Now I want to trim half of it. We'll take our rectangle. I'm going to turn symmetry off just so we can trim half. There we go. Looks like it needs to be a little less thick so we can match the other pieces. Vox will remish it like I always do, around 150 or so, and then we'll take smooth and we'll smooth it. Now that we've smoothed it, we can just use our gizmo whoops and just make it a bit more even with the others. I think that looks good. Let's just take the sphere and just adjust some of this stuff so that it's behind this part of the shell. I think that looks good. The leg, we can move up a bit and maybe over a little bit. All of these pieces, the other part of the whole leg low foot base. We'll just move that up as well. 5. Hands & Feet : And All. Let's do these hands. We're going to make them very simple. We already added the box, the palm and the finger. Let's tap on the finger and tap on profile. I like when into turtles have those thick square squash fingers. Of course, if you want to make them round, you can make them round, but I like them squash. Let's tap the three dots. We'll do the same thing we always do. We'll turn this down maybe to ten, and we'll pump up the post subdivision. Maybe we'll do three. Let's twist it a little bit. Let's tap twist, and then we'll twist it. It's pretty much lined up with the hand. Pretty much like that. We can use this to make it a little bit bigger, still. Something like this I think looks pretty good. I do want to stretch it. We can just use the gizmo for that. I'm tapping a line so that it's just going to align with the finger. If I had a valid, I think we'd be able to use bake, but we don't have bake because it's not validated, so I'll just use a line and then I'll just stretch. All right. So that's one finger, and it looks pretty good. I don't think there's anything else I really need to do with it. I want to keep it simple because these fingers we're going to eventually if they're wrapped around a weapon or something. So we'll just leave it like this for now. But let's clone it and move one over. So then we have two For this, let's go ahead and make it a little more round. Put the division x down. Maybe we'll make it a little bit. The reason why everything was moving is because I have the fingers nestled in the palm. If you don't want to unstle them, you can go to group and then just go to vertex, and then you can just move, maybe not. Object. Is it object? There you go. Object. That looks pretty good. I'm going to change it back to regular for now, so I don't forget later on. Let's validate this. This is going to be our palm. Let's take clay, and we just want to make the little round part here. So I'd like to just takes. Let's turn symmetry off and just make this part nice and round. You can even see it just start to look more like a hand. There we go, looks good. We can actually take this. Let's clone it. Let's name this one thumb. I'm going to do a quick save as well. Now let's move it to that position. One thing I always do with hands. I always put a little bit of a bend in the palm. I'm just going to do that now. I'm just going to press a little bit on the middle just so there's a little bit of a bend in the palm. It's another stylistic thing, but I think it's more of a just a anatomy thing that I always do. Obviously, the anatomy doesn't have to be perfect. It is a turtle with standing upright and with teeth, but how it goes. Now we still have a line. I'm going to turn this off to see if that's easier to manipulate this piece. Manipulating these pieces sometimes can be quite difficult and annoying. Let's take pivot and I want to rotate this pivot so that that arrow is pointing towards me. The reason why I want to do that is it's just easier to move this around with this pointed towards me. I also want to move it down, Let's hit pivot again and move it down. This is where the thumb would meet the palm. That just makes it a lot easier as well. Now, it's easier for me to figure out where this thumb should be. I think this actually looks pretty good. The only other thing I want to do is take move and just move this part of the hand out towards the thumb. I think that's pretty good. Now let's go to the thumb and let's see if we can Sometimes tapping on that makes the thumb a little bit more look like a thumb. And also, the sizes are a little bit different in thumbs. If you look at your thumb like this pad part, let's see if I can do the silhouette. The pad part is sort of thicker than this area. I like to include that. Little things like that, I like to include in whatever I'm doing, I try to bring it back to the anatomy I know. It's just natural. Let's hit radius again. That way we can adjust each of these points. We can maybe make this one a little smaller. And actually where it goes into the thumb, usually that's a little bit bigger. These two can be fairly small here, but maybe this last one gets a bit bigger, as it expands into, that was weird. We'll leave that there. I think that looks pretty good for an int turtle hand. I think it looks pretty good. I'm going to use the gizmo and Unfortunately, the gizmo, you can see it's reset to where I had it, which is annoying. I think it might just need to come out a little bit more. And let's see if I have my thumb like this, this part is really kind of flat. Right now if we're looking at this, the thumb is turned the way that the finger pads are going. So the thumb see how my fingers are pointing this way, but my thumb is pointing this way. That probably doesn't make sense. Let me demonstrate. The only thing that I'm seeing is his hand would be like this if he was placing it down on something. But even so, I'm going to turn this a bit more Yeah. I think that's a bit better. I think that feels a bit better. I like this. I think it works. I'm not going to validate the fingers and things yet because we're going to have to adjust them. Pivot. I'm going to bring these pivot marks down. I'll take this pivot and move it down. That way we need to just adjust them a bit, use a line. I can make them a thicker. I like it. I think it looks good. Let's do a quick save. Let's make sure everything is. Palm, finger finger, thumb, everything is put together nicely. What is the cylinder? Let's just make sure that everything is labeled. This is the bottom part of the shell. This is the front B, since that's the. This can be the shell front A. This is shell front C, which is the lower piece. Good. Now onto the feet. Okay, now onto feet, which can be a bit tricky, but we're going to use some tricks. No tricks, but let's add a cylinder. We use our chismo and bring it down over to the fi area. Let's it. I think this will work as a foot. What I want to do is first, I'm going to stretch it a bit, move it up. That's actually not too bad. We can stretch it a little bit more and move it up. Looking at the bottom of the foot, This can easily be like we can just mold this into a foot shape. I think that's the easiest thing to do. So the easiest my cats making weird noises out there. Okay, so we'll validate it. That's fine. Let's X is here, and the reason why the x is off center is because this is in world, but if we put it to local, it's going to be in the middle of the local shape. So that's good. But it's not we need right now. We need y for sure. I don't think we need no. We don't really need z. We just need y and local for the symmetry. Let's look at the bottom. When we look at feet, they're like, I'm just going to demonstrate because I guess it's easier. Make sure you have symmetry on. The big toe would be here. Then it usually has a little bit of a slope and usually goes like this. If you can imagine imprint of a foot, it's usually something like this. Pretty simple. Obviously, it's a Ninja Turtle. The feet can be a bit wider, I think, that might be a little bit more fun to make them a little bit more wide. This part is supposed to be the leg connecting to the foot. We can need to do it that way. Some of the cartoons, this cylinder is actually wide at the bottom, and it connects to the foot. So it's really a preference thing. I might make all of these a little bit wider. Of course, like always, there's 1 million ways to do it. It's really just comes down to your style. I'm going to stick to the sphere for now. I'm going to validate it and then just use move. I'm going to turn symmetry off. Actually, let's leave it on. Let's put it to local. We'll do symmetry. Let's just put it to local for now, and we'll just do some general shape changes. We'll just pull up on it. Essentially, we just want to match it up with the back of this not the back, but the whole foot. Say this part, I'm going to drag down. Et squish this in a little bit. At some point in time, I'm going to turn off symmetry so that I can adjust it to the foot. This side looks good. This side should follow this little dip here. Maybe I'll spread it out on the top. It's pretty good. Maybe we'll move this slightly over a bit more. Turn symmetry off. I'm using move now instead of drag. Actually, no, I was on the wrong thing. Let's go back here and use. I'm just trying to match those two up, so it looks more like a foot, and I think that looks pretty good. Later on, we can add we can make it more of a slope. But for now, let's just add the toes. I think I'm going to use this finger. I'll clone it, and I'll move it up. Let's find where the sole is. Let's name this 1 ft sole. I always want to spell it the other way. This will be fo toe. Let's use our gizmo and bring down our newly copied foot toe. Of course, it doesn't have to be this long, so we can just make it short. You can also press this ttle squiggly to get these back. I might want to add another one in there. I think that looks pretty good. Now I just added another so that it's a little flatter, but there is a divot here. That looks weird. Actually, it looks okay. You can decide if you want to make that a bit of a hard angle edge for the toe. Let's place it in, it might be a easier to picture. We'll twist it. Let's go ahead and clone it, and then we'll move it over. Now we have both, and then we can just have an idea of what our foot looks like. It's quite big, which I don't really mind that much. Take both of these toes and move them back. I want to see how it looks without this. That might look better. I think that looks pretty good for an into turtle foot. Again, we can adjust it as we go. We're just going to block it for now. I think we'll come back and once we start box will re Missing everything together. Actually, since we're here, let's go ahead and take this palm, this will be t see, if this is down, like so. That means this is going to be his left hand. I think, right? Yeah, that looks right. So that's going to be, his right, his right. O left. So that looks pretty good. And another little cheat. I was playing around with this, and just this sphere looked better if I stretched it all the way to the front. So I'm just going to show you guys exactly what I did. So we'll just stretch that to the front. It just kind of makes the foot look a little bit better. I don't want to hide anything. This would have to be bigger foot base. Let's bring that back to down here. We'll take all of these. There's a lot of this. There's a lot of problem solving and trying to figure out what looks best, absolutely normal. Always keep checking to make sure what you're doing you actually like. It's very important to keep checking that. I think we'll leave it for now. I think we'll leave it for now. So we have our hands, we have our foot. Later on, obviously, we'll switch everything over to the other side. But for now, we're in a really good spot. Make sure you save, and I think when we come back, we'll do the shell. 6. Turtle Shell: Okay, so let's deal with the front part of the shell. So actually, you can join the shell together. We'll join these three pieces, and when you join, you can still use drag. So we're going to take advantage of that. So let's select these three pieces of the shell. So here's the middle one. We can go ahead and validate that. So we have these three pieces, A, B and C. So those are the front parts of the shell. So let's go ahead and join them. So now we have shell front. And I think it's drag. It's either drag or move. Let's see. Yeah, drag drags everything. So we want to keep. We don't really want to move front and back, so we want to keep the I believe it's going to be z. So let's hit symmetry, Z, local, oh. I don't see it Maybe y. Y. So we want to use y. You can see that nice separation there. And then we'll use drag. I just want to make it a little bit more round, especially here in the middle. Let's make drag a little bit smaller. Let's keep the symmetry on. Let's turn off Z. We only want y and we want local. Now let's just drag that out a little bit. I like that. I just want to pay attention to the different parts to make sure that nothing gets out of whack or some way that doesn't look good. I think that looks good. It's nice and round. I think that's perfect. Now we can just name this shell front. And now I think we can go ahead and add a mirror. So I'm going to add a mirror. Now the problem when this happens when something mirrors on itself, it's because we chose local instead of world. So if you choose local, then it's mirroring in the same space. If you choose world, then it mirrors on the other side. So let's just undo that. Make sure we have that selected. We go to symmetry, world. And now let's do x, get rid of y, because x is always just straight up and down. So it'll flip it over here. Now let's do the same thing, shell front, a mirror, so that's much better. I'm going to make sure I select this one because it's only one shell front. You just want to make sure that we select the one on the left because that just feels easier to edit to me. I think I wanted a little bit like this. Just like a tad bit bent like that feels right to me. You can also move it over or closer, whatever looks good. Also, don't forget that you can still use drag if there's different things you want to experiment with. Maybe you want this to be like that or something. You can do a lot to the shell. Maybe I want a little bit of a Little things like that are cool. They make it a bit more interesting. I'm not sure exactly what I want to do, but, I like that. That feels nice. I want to do the same thing to this one down here. That just feels nice. Maybe we'll add a little bit of a hike here. I like that. Boom, that's that's a great front part of the shell. I might want to make everything ale bit smaller. Let's see. Hopefully it doesn't to move it back into itself. It still looks pretty good. Let's turn it over. Now we have the back of the shelf. We look at the front. It's clearly too big. Let's shrink it. Maybe somewhere around there. I think looks good. It still looks a little bit too wide. Let's move it in a bit closer and just take a look. That's a good size. Yeah, that's a pretty good size, Let's go ahead and let's turn up the post subdivision and then validate it. Same thing as if I was to remesh it or something. I just changed their resolution, so it's higher. Firstly, we're going to have to cut it in half. I'm going to take trim with rectangle and let's just cut it in half right about there. So far so good. It's looking quite turtle shellish. Let me actually turn it the other way. For some consistency. I also want to take split. I want to take split. I use rectangle, and I think I want to just split another piece of the shell. Right about here. Now this, I'm going to go ahead and oxo remesh, probably run. I'll do around 200. This one I'll do about the same. All right. Let's s. This is the inner part of the shell or the bottom part of the shell. I don't know what you want to call it. But I think we're going to it's like the shell and then there's that little outer bit of the shell. Yeah, I don't know the actual terminology. You'll have to bear with me. I'm just smoothing this out. Smooth it out. We can it. We can take this one and just smooth this out as well. I might shrink a little bit. That's okay. I think that looks pretty good. I want to take this and make it a little bigger. Let's push it back. So It's looking quite shellih. Let's just get refreshed on a turtle shell before we start this bit. Let's just look at Okay. We have these simple turtle shells, realistic turtle shells. They're a little bit different on the top. But these are your standard turtle shells. It's one, two, so it's three lines going across. They look like they're all pretty straight, and then we just connect the edges. Let's make sure that we're using crease. What happens if we do 100? Let's stick to 100. It's easy for me to do it if I have turned a little bit, so I'm just going to turn it, but we want to do three lines across. We'll start with one here. On here. Let's try that one again. And one here. It looks pretty good. Now we want to make that diamond shape, so we'll start here, one, two. It looks good so far. Let's do the same thing. O. Two. Now we'll just fan off from here. Fan off from there. There. I really should leave it straight. And there. That's a really nice, simple turtle shell. Remember, one, two, three, connect, and then we can just fan out from there. But I think that's pretty good. Let's practice some lines on this part of the shell. What did I just do? How did I just hide it? Anyway, let's use crease on here, and I think we want to have, it's tricky. Let's go ahead and select both of these and then slo them. It is a bit tricky because Well, that looks okay. Okay. Let's try this out. So we're just doing a crease. The only problem is it doesn't go all the way through with the crease. How do we think that looks? It's actually it's actually not bad. It's honestly not too bad, but I'm not 100% sure on it. I think that feels more traditional. Obviously, make sure you have symmetry on. I think that looks the, but I think I might like the first one we did. There's something about that one that I like. Whenever I run into this issue, here's another thing you can do. We can take both of these. And nomad. Got to be careful, just the selected two export nomad, save to files. This is going to be T and T shell A. Now I've saved this whole shell. I can undo, and then I can go back because I can't make up my mind, and I can do the shell the way we had it before. But do I want to do it in the front? I think I do like that. I never really done a shell like this before. I think I do like it. Now we can do them. I shifted it, so hopefully, they all don't fall on the lines. I don't really like when they fall on the lines. What I mean by fall on the lines is they fall right here. Okay. Now let's do what I was going to do before, we'll join them, and let's just say shell rear. Now we can take drag and if we want to adjust the shell a bit, we can do that. For example, if we want to make this side a b and maybe this side is a like that. I dig that. I do like a straight shell, but I want to use move, and in this, I want to push it. O. Let's see. I want to give it a bit of a bend like this. I'm going to do it with that part and then I'm going to take the actual shell and do the same thing. All I did was push it to give it a little bit of a concave ness like that. Everything looks good. Let's slow it and see how it looks. I think that looks great. It's a big. But that's okay. We can shrink it. Maybe something like that. I think that looks great. It's nice and sandwiched in between. Perfect. He's going to have muscles here as well, so you're not going to see too much of that underneath part, but that doesn't mean that it's not important. So, there's another thing that we have to do as well, which I almost forgot. There's also another part of the shell, which is the connecting part that connects both. This is actually a little wide. I'm going to make it a little bit thinner. For the connective parts, I think I want to use. We can probably just use boxes. Let's use our gizmo and since the arm is over here, we'll just do it on this side. Okay. Let's go squeeze it together, like so. Let's make it a little bit smaller. Let's go ahead and make the edges a little bit rounder, like I always do. We'll put the division x down to two post subdivision up to two as well. We can validate. We can name this shell side. We'll make this one A. We'll clone it, and we'll make this one B. All we did was add two hops, what I just did. Two pieces here. Let's make this a little bit thicker. Let's move it in a bit, Let's twist it a little bit. And we'll use move. Now we can see we need to make it, we need to make it flush and needs to feel like it's round. Let's take and pull this part. We they are pulling apart a bit. That's okay. Actually still looks all right. That actually isn't too bad. We want to pull this side down. Well pull this side up a bit. I'm going to push in and I'm going but actually now, I want to, I want to use, but the x is messed up, isn't it? I guess we won't be using x. Let's use drag. I want to make these size a little bit bigger, but I don't want them to do this. I want them to be more like that. I'm going to have to do a lot of stretching and then a lot of pushing so that it's like this. That side looks pretty good. This side looks pretty good also. To be honest, Let's use move. Let's push this a little bit more underneath that. Now the box is getting in the way, so I'm going to make it thinner. But I think it's good. Let's go ahead and box remesh this together. I'm going to do it around 200 because I just need to smooth it. I need to smooth the whole thing. It needs to be very smooth. It was too lumpy before. I'm sacrificing that crease in the middle. Because it was just didn't look the best. Anyway. Oh, and there's not enough here for the shoulder. I didn't think about that. Let's see if we can just move this down. Let's turn the symmetry off. Let's just move this down and tilt it a little bit. I think right now, I think that looks pretty good. Let's use crease. I think one is good. I think that works. I'm very happy with this. I'm going to add a mirror. Let's make sure we go back. Let's go back to world. Let's go back to x. Now we do shell side, we'll add a mirror, and now it's on the other side as well. I'm going to name the mirror shell side. Good. Now we can add a little bit more detail if we want. Let's try pinch. Pinch might be better. We can pinch these edges, or you can use crease and invert and you can really make that edge pop like that. Maybe that looks a bit n. Let's do them both that way. We'll do one there. We'll do one down here. Looks beautiful, and I'll just smooth a little bit underneath this. Feel free to manipulate that if you need, change it around, but we just want to flush nice and round. It looks like it fits nicely with the rest of the shell. Actually, another thing I'm going to do is take these lines. I'm going to slo this. I want to take all these lines. I'm just going to use the regular crease and just pull them down a little bit more. Solo again. I think this show looks great. Just do as much adjusting as you need, and just get it to a point where you like it. I'm happy with this. I think we can move on to we'll just do little adjustments. He looks more like a character. We have to position the head, position the neck, things like that. But for now, really good job. Let's go ahead and save and we can hop to the next video. 7. Dialing In: All right. So let's clean this guy up and start adding some details and just dialing in our characters. The first thing I want to do is adjust these legs. This one, I'm going to make this leg a little bit shorter. And I want to bring this this whole piece, this whole leg and foot. I want to make it all a bit smaller and then bring it up. Then take off the knee pads because I want this to be smaller. Then I think I want just the foot to be bigger. Maybe we'll move this up. Feels a bit better, and then we can take the ankle and also move it up. I think I want to do that whole foot wrap thing. That's just so cool, so I might want to do that as well. But this looks even better just as is. All right. We need to work on these pads. Okay. For the knee pads, I think I want to use three cylinders. We'll make them a bit softer and we'll put them on the front. Before we validate this, let's just clone it. I'm just going to name this one P K for Pad ke, but these are going to be the smaller ones. I want to move it up, shrink it, so we'll put one right in the middle. Then we can make it a little bit more round using the tools here, so we'll bring this down to 18. Put this to two. That's pretty good, actually. Let's see if we can make it rounder. We move this down to six. But that's a four. I think that looks great. Let's make it a little bit wider. I think it looks fantastic. We have something like this, which I think looks great. Now, this one, Let's validate it. I like everything about it, so we'll clone it, and this can be the one up top, which I'll bring up and then I'll put on an angle. We'll clone pK one, we'll move it down, and then we'll just rotate it. Perfect. Let's take the middle one and move this out and make it wider. There we go. That looks. I think that looks good. Now we have all of these. I'm just going to join them together. The only other thing that I was thinking, let's go ahead and validate this piece and smooth it. It'll be nice if I could smooth it. Let's turn on the local, there we go, that's better. We'll use local in x. Although it still appears that it's not smoothing at the same rate. If we sol it, then we can see that it is. I'm going to smooth this, I'll smooth the top. That looks great. I'll move it out a little bit. Or at we can just stretch it with the Gizmo. That's probably better. We'll stretch it with the Gizmo, and then also, I think we need a nice crease to go right across. It might look ugly now because it isn't a The resolution isn't very high. Actually that looks fine. Let's do the same thing with this. Let's go ahead and do the post subdivision. I think we brought this down to 12. And this to two. Let's do two. I'm going to validate it. I think they usually have two on their wrists, two little plump things. We'll clone this, we'll bring it down. I think that'll be good. So pad wrist. I'm just going to join them for now. I think it might be worth it to move this whole thing to the elbow pad as well. PK two. What if we clone this and bring it up to the elbow? We just use this for our elbow pad. Let's take it off of a line. Okay. Let's move this in. I feel like this is a good spot. But the sphere is quite large. Let's make that a bit small. Let's un nestle them, so they don't move together. Now we'll shrink the sphere. Essentially, we just need to do the same thing that we did with the other. Let's make it a little wider. Same thing we did to the knee but to the elbow. I think that's what we want. Feel so I feel like a little bit bigger to me. I don't want it to be that big. Okay. That's a pretty good start. I'm going to nestle them again because I think we can adjust that as we go along. But I think that's good for now. All right. We have that. We have that. Let's take this one and just give this one the same works. So we'll tap the three dots. We'll put this down to 12. Put this post subdivision to two. Validate, make it bigger. Clone. We'll make that bigger as well. Looks like we'll have to make them both bigger. You know what I should have done though. That was dumb of me. I'm going to go back and I wasn't paying attention to the shapes. Now we've made everything. But the only difference is validated it yet so I can make this bigger here. And that we can clone. And we can kind of just use these to make it make it bigger. Okay. Not that much. But maybe something like that works. Validate, validate. Now these are looking pretty good. I'm going to go ahead and nestle them. Pad knee. I'm going to nestle under here. Leg low. I'm going to put pad ankle underneath leg low. This is the shell. Where's the other part of the shell? Let's move the shell up. I don't even know what this is. This is the shell ops front. I always have to try to keep everything together as much as possible. Otherwise, I just get messed up. Okay. You know what? I actually want to do a little bit more. I'm going to unstle this. I'm going to take the pad elbow, and I think I want to just slim it up a bit. And I want to add a crease. Maybe we can do symmetry in local. Solo it. We'll just do the crease all the way around. Now I want to do the belt. Let's hide all the parts of the. So we'll hide the shoulder, all this stuff, get it out of the way. We can keep the body. Get all that stuff out of the way. This is not going to be the belt. Originally, I would have just made it bigger and then adjusted it. But maybe if we decide to let's hit Snap 90 and do it like this. Eventually, if we want to do the medallion, we can just keep this for the medallion. But I don't know if I want to do that. We'll just rename this medallion. It's do a quick save. And we'll hide this as well. Let's do the belt. I think we want to use the tube. We'll use path, we'll use snap. I'm just going to tap this so it has something to snap to. We'll just start by making one line like this. It's mirrored. Let's take it out of whatever mirror this is, and we can give it its own mirror actually. We'll give it its own mirror, we'll take it out for now, but then when we need it, we'll just nestle it back within the mirror. This is going to obviously wrap all around. Let's add some points. We'll bring this here about the middle part, the middle section. Well the mid section of the back of the shell. When we do mirror, it'll just meet up on the other side. Let's just nestle it in the mirror and you'll see a little bit better what I mean. Okay Let's try to keep this fairly straight. The more points you add, the more it'll stay on the outside of the surfaces. It's always annoying that it goes into the surfaces. Let's try to keep the front straight. Just be careful not to bring these together. Oh, good, they won't go together. That's the back node. Just try to get these as straight as possible. That looks pretty good. I'm going to hit snap. So now we're not worried about it going into the shell, and we might be able to get rid of some of these points. That's essentially what we want. We just want it going around the outside of the shell. That looks great. Let's go ahead and hit profile and let's make it wider. Let's just use our gizmo and we can make it wider. A a funny, but we might be able to fix that with the nodes hopefully. Yeah, it was just because some of the nodes were not lined up. Little tedious, but we do what has to be done. That looks good. I might want want it a little thicker. I like that. Pretty nice. You can see it's still going into the model a bit, but I think that's okay for now. What I want to do is make the belt a little bit thinner. We can try to get some of this doesn't look like the shell is going through the belt. Let's do we do one radius. Let's tattle squiggly. Let's see if we can make it. I might make it smaller, but that's okay. I think something like that is pretty good. Now we just have to make it taller again with the gizmo. So we can maintain that thickness. Well back to the squiggly. I'm just going to try to adjust this Something like that looks a little bit better even here. It might actually be better to do that manually. It looks pretty good. It looks like it's wrapped around him. Let's pull this bit out a bit, maybe this out a bit. That looks good. The bottom is still there's a little bit of space there, but I think we might have to do that manually. I'm going to go ahead and I'm going to raise the post subdivision to one and then validate. Let's do save. Okay. Now, I think we want to do let's try drag and just see if we can drag these parts. For example, this needs to be closer. Let's turn on symmetry so the other side will do the same thing. This needs to be closer while this needs to be pulled away more. Let's just so we can try to get a smoother movement. I think that looks a bit better. That looks pretty good. This looks. This looks nice and tight, so we'll leave that. Now there is a lot of space here, this might be a little tricky. Hopefully we can move the bottom without too much being moved on the top. We just want it nice and snug. Everything looks pretty good, still. See, I don't want this space here. That's what we're just trying to get rid of. We want to make this nice and flush up against the shell. I think I want to Vox remesh these parts together. Let's take these mirrors. We'll Vox remesh. We'll name this belt. I want to remesh the belt abnormally high because I don't want the edges to be crazy. For some reason, when I'm trying to remesh around 200, the edges get really crazy and soft and I don't like it. Let's Vox remesh around hundred. It looks good. Now we can smooth this and we should be able to get it nice and smooth. L make sure you have symmetry on. We'll smooth out our belt, but it's not really taking too much mass away from the belt. It looks pretty good. Feel free to do any other little adjustments you need to do as well. I don't like how much it kind of goes in here. So that kind of bugs me. Feel free to box remesh up and down, higher and lower, depending on what you need. You can always just decimate or you could do quadri Mesh again and should look fine. Especially if you're worried about your machine and you don't want things to be so high res, then you can decimate or x Vom lower, decimate, or do qua. The only thing I see is What is up with this line? Okay. Good. Our belt is pretty much done. Belts are always tough. Good job, make sure you save. I think when we come back, we'll do hierarchy. We'll move the head a little bit because the head is out of place in the neck, and we'll do some hierarchy stuff. 8. The Hierarchy: Here's how the higher key works. We have arm upper. We have shoulder, arm upper, pad elbow, P K. Forearm, arm low. We have the wrist, and then we have the hand. Let's just bring the hand up or the palm. Here's the palm, and we'll bring the palm up underneath the wrist. Here's all the parts of our hierarchy. The shoulder is going to connect to everything below it, everything is going to move once we rotate or move the shoulder. We have the shoulder, we're going to nestle the arm upper. Then for the pad elbow, we can nestle that to upper, and these are both parts of the pads, so we can just nestle those together. Arm low, that's going to be nestled to the pad elbow. And then the wrist, that can be nestled to the arm, and then we have the palm and that can be nestled to the pad wrist. Here's the hierarchy. Let's see how I did. If I take the shoulder, use the gizmo, everything should move. If I take the pad, everything below it should move, almost like an elbow joint, and the wrist, everything below it should move. That just makes it easier to pose. That's the proper hierarchy. We have shoulder the upper arm, the pad, PK, this part of the pad is connected to the pad, even though we could join those or whatever. Then we have the forearm and then the wrist and then the palm. That's that's how the hierarchy is going to work. It'll be the same thing for the leg, the knee, and this piece. But I had to re record this because when I first did it, it was very confusing. We'll do the leg in the next video. Everything should move with it. This looks pretty good. Now we still need to adjust this sphere and just the shoulder alone. Just go to group and just hit object. If you hit object, then you'll just be able to move just that object, like so. Maybe here is a better spot for it, which is good. We'll go here. We can go ahead and validate this piece. We're still an object so we can move it. I think it needs to be around here. Let's take this and move this out some. Everything looks good. This can probably go down, and then both of these, let's see if they're connected. Nope. Let's take that pad elbow and PK. And Let's just twist it a bit. We just want to twist it. So the back of the pad is on the back of the arm. See right now it's on the side of the arm. Let's take pivot and let's adjust the pivot that will allow us to do that. We hit pivot again, now we can just twist and we can just move it into a place where we need it. This part is still quite big. I'm going to shrink that, maybe move it out and shrink it this way for sure. That looks much better. That hierarchy looks great. Let's figure out where the head goes, I don't think any of these are connected. We have head top, We have the eye mask. I'm going to nestle that under head top. We're probably not going to move any of these, but it's just better to know where everything is. I whites, I'm going to also nestle there. I don't know what this sphere is, or this is the head band naught. The head band n can be connected to the eye mask. Teeth can also be connected to this. This mirror is the pupils P one for pupils. We'll connect that also to this. Had jaw, that's the lower part of the head. Now where is the neck? The next up there. You know what? Let's bring all of this up top. That makes more sense. The neck will connect to that. We're still in object, so we can still move all these things around separately. Let's take all of these except for the neck. Hopefully, that's everything. Yeah. For now, let's just figure out a good place for the head. I'm thinking his head is going to be a little bit more forward. Maybe down a bit. It feels a bit better. I don't think it needs to be more forward. I think that looks good. Let's take the neck and move and now we just need to make it a little bit more ish. We'll take the bottom of it and spread it out. I think we want to move it back. I want to put some bend in it, but I'm not sure if we want to do a front bend. Maybe something like that. It might be a little too thick. I always do this. I always take crease and just make a nice Adam's apple. At loose. Let's Vox remesh it around 120 or so. We can smooth it out we want. And then crease, and just make a nice Adam's apple type thing. I can smooth that out too. Looks a little too thick down here. That looks good. It might be a It all might be a little too high. Let's lower it. That looks too short. Okay. Anyway, this looks good. Let's instead of this, I think I might want to use Let's take move, and let's just stretch this out. This is his body like inside the shell. Let's go to symmetry, let's do local, and let's do Z for sure and also x. This way we can evenly spread out the top part of his body. I think that looks good. I'm Let's put it back. So two. Let's turn off z. We can just pull the back part to go into the shell. I like that. Also, maybe drag might be easier. We want to drag up and give him traps. I think that's the correct muscle for there. Now we have something like this. With symmetry, all we did was now we're not doing front and back, just the left and right is symmetrical. This looks good. I want to make sure that the back That looks pretty good. I might need to Let's move it up a little bit. We might need to adjust the shell in the belt to make it a little bigger now, actually. Which is fine. It's not difficult. Let's take smooth whoops and smooth out the front part of this. Maybe the back a little bit. That looks good. Let's put the shoulder. Let's select everything because we're still an object, so I'm just selecting everything and put the shoulder a little bit in a better position. I think that looks a bit better as to where the shoulder would be. I think that looks. I'm going to subdivide the body part, so it's a little more solid. I'll just subdivide it. That way I can smooth it, drag it. So it's not so soft. I think that looks better. If you want, we can add some crease. We'll add some crease action there. Smooth it out. N. Look at that. It's coming. It's coming in nicely. Want to take the neck and just use drag and make the base of it a little thicker. Like that. All right. Let's take this bicep, and let's just bicep it up a bit. We can take inflate and just inflate on the front of it. A little bit. We can take the back with clay, and we can add some triceps. Just a little bit of clay. Unless, of course, you want them to be super muscular, that's fine too. In my studies, I believe that actually we can use drag. This piece would come down a little bit like be the trap and the bicep. That part comes down and we can use that for like the shoulder muscles. Like this. We'll just smooth this out. Now it has a little bit of a shoulder muscle, but it's not too crazy. Also, the bicep muscle goes you can see my anatomies a little bit off. Let's take the shoulder. I always turns into an anatomy on, bro science anatomy lesson. I'm going to turn this back into auto. L et's take this part of the shoulder and hike it up a bit. Then let's take this part of the arm and we'll bring that over as well. That's a little bit better. The shoulder will glide into the pectoral muscle and the Bectoral muscle. It actually goes under your armpit. That works a little bit better. This bicep, I might be able to take move and just pull it out a little bit. And we can take the body part and just smooth that down a little bit. That feels a lot more natural. We can eventually mesh these together once we figure out the pose. But right now, we just want to get a little bit of details on the arms. Let's go back here and we'll do a little crease maybe even on both sides. A little crease will make that bicep look a lot better. I can smooth it out. I just want to imply that it's there. Now we have this. I think I want to make this part a little smaller. I actually want to do that? Maybe we'll leave it. We'll leave it at thicker, but I want to validate it, and now we have to do the muscles for this part of the arm. Let's see. Let's take clay. We want to build up this inner part of the arm here. Okay We build up that little part and then we smooth it. The bicep comes down and there's a v here. Let's make a little bit of oops, tool am I using? Let's use crease and we'll make that little V just to indent that there. Now this part of the arm, there's a muscle that comes down and goes towards the palm. Let's start with the palm, and we'll make that muscle like that. We have a bit of a dip there where the bicep would go in, and then where this thumb is, just make a line that comes up, but have it swirl back. The back part of the arm, with the hand is like. We're going to do this. Let's move the arm the hand into place. Will it move? Yes. Essentially the back part of the hand. There's a muscle here that comes down to the back part of the hand. Then there's all these muscles. Ale bit hard to describe. But hopefully, looking at the back side, it'll make it easier. From the back part of the elbow, there's one line that almost goes out to this little bone here. This little bone, which lines up with the pinky. This line is going towards that bone, which would be about right here. That's that line. This line, this line curves up towards the thumb. Just make a nice sorely line towards the thumb. Then all these areas, we can just add a little bit of clay to them as needed. To make them pop a little bit. Then we'll just take smooth. Actually, let's remesh it. Let's remesh it around 150, just so everything is a little stronger. We don't lose the detail. That looks pretty good. The only thing is this V is sticking out a little bit and I want to do something like that. Let's make drag smaller. I want to bring that in. Maybe we'll do a little crease a little bit further down. And then smooth it. Okay. That feels better. Se there's the V, that's where the palm is, and then you have the subsequent muscles after that. This muscle actually here, the elbow would attach and go straight down. That's what this is. I think we can do the leg hierarchy as well. That'll be a little bit easier. We'll just go here. We have the leg up, which is the thigh. We have the pad knee. We're going to nestle that. Pad knee nestles into leg low, nestles into pad knee. Like so. The lower leg nestles into pad knee ankle, nestles into low leg, foot base, nestles into pad ankle. There we go. Then foot sole can nestle into foot base and the toes can nestle right into foot sole. They can just nestle. They can both nestle into foot sole. Same thing, The toes are nestled into the base. The base is nestled into the little ankle thing, which is all nestled into the bottom part of the leg, which is nestled into the knee, which is nestled into the thigh. Very easy. And we go to the leg and everything should move. The only thing else we need to do is take pivot. We'll move the pivot up to where the hip joint would be, and now it's a little bit better. Then if you wanted to bend the knee, you can bend, that'll make it really cool to pose. Let's also nestle the shell. We have the shell front here. We have the shell rear, which is obviously the back part of the shell. I'm going to put the shell rear. I'm going to take the shell front. And nestle it. I'm going to nestle that mirror under shell rear. And then shell side. I'm just going to nestle that the same under shell rear. Now I can choose the shell. Oh, also the belt. Let's take the belt and also nestle that in here so that if I wanted to make this bigger, I could just tap the shell and then make everything bigger as needed. Next up, I think all we need to do is come up with a pose, so then we can start solidifying some of these shapes. Let's make sure we save, and let's hop to the next video. 9. Turtle Pose: All right, so it's time to figure out a pose. So, let's not just guess. Let's look at some poses. So these are all kind of cool. We might to have to redo some teeth like that. Do some research, figure out what you like, and just have those in your mind for when you do the other turtles. I'm just going to do one. These are kind of cool. They're actually pretty cool. These are actually great. So the most important thing you want to do at this point in time is clone your project. So we're going to go here to the little folder to save as, I have another one here that I've been working back and forth on, so we're going to say yes. Now we have an we have two of the same projects. I can open up this one, and it's the same. That's very important because when you want to do the other turtles, you don't want to have to do a lot of the work again. You don't have to do a lot of the same work again. Now you can go back and we can pose it some other pose. If we completely mess it up, then you have a backup. That's one important thing that you should do. Let's turn the grid back on. And there's a ground now, so we're going to use this red line as you know what I mean. Let's add a cylinder. We'll name this the ground. We'll make it bigger than him. We'll flatten it. That's my ice. It's my ice. Boom. Nice. Let's go ahead and put this down to ten, not 110, ten. Then we'll do the post subdivision. Let's make it a little more. Yeah, something like that works. We'll validate. Again, you can go here and miscellaneous and decimate in order to get this size down, but it doesn't need to be 24.1 k. That's crazy. We'll just put it too. I didn't mean it to symmetry. I'll just re with so it's smaller. I can probably go lower than that, but that's okay. 25. And that's fine. I'll turn the wire frame off. Now we have a floor. Notice that the top edge is right on that red horizon line, so I can turn off the grid. I hate the grid. Let's take everything above the ground, which is the turtle, even the hidden layers or anything like that. Everything, we just want to bring it up. Maybe we'll even make it a little bigger. This was actually a mistake that I made. When I make the turtle bigger, you notice that this arrow is not in the center of him. Then when I make him bigger, later on, I realized that he's not symmetrical, he's not in the middle of the frame. I think it's because I selected everything and it's enlarging from a point that's not in the center. So just note if you can, if you want to make it bigger or smaller, you want the gizmo to be in the center. You want this point to be in the center, not on the side, because later on, that's how your character will get out of whack and things won't be exactly symmetric. Maybe we'll even make it a little bigger. Then now he's on some ground. Let's take all of this, the shoulder. I'm going to rename this. This is his right arm. Rm A. Let's take all of this clone. Now we have the same, everything is the same. Unfortunately, you can't grab all these and flip them, that would make life so much easier. At least I don't think you can. What if I do object? No, you still can't. Group? I'd be so nice if you could just flip it all so easily, but you can't. So we'll go back to auto. So this is the copy. So what we want to do is do symmetry and flip x. Make sure you're in the world. Flip X. Boom. So now you see the other shoulder there. Wait a minute. The shoulder isn't quite. Sometimes it's not. It doesn't mirror exactly. I'm not sure why, but the arms aren't going to be in the same exact position anyway, so it's not that big of a deal. So we can just go ahead and take all the other pieces and do the same thing. They should at least match up with each other. Ops. I'm going to do that because that one was local. I want to make sure I'm on world. Each piece, I want to make sure I'm on world. And then you just go through and switch everything. Mm. Okay. So first issue is these fingers because they're not validated. Let's clone. We're going to bring this out on its own, we'll take the middle one, clone, bring it out on its own, thumb, clone, and then move it out on its own. Let's add a mirror. Now they're on the correct side. And unfortunately, we're just going to have to hide them for now. These we don't need. We'll take these three and we'll add that to the palm. They're here, but they're also going to be here. We just have to remember when we do these fingers that we're going to have some phantom fingers on the other side. But that's okay. The fingers are here and this arm this arm is now good to go. Let's start from the shoulder and let's actually move it out a little bit. I don't know why it should be around here. Would be like a good match for the other side, but who knows why? Some small shift could cause that. But that's all right. You can see the phantom fingers here. You know what come to think of it. I just noticed that my model is off center. I think what happened was when I moved it and I resized it, that's when I probably moved it off of the center line. I'm actually just going to select everything. Except for the ground and try to move it back onto the center line. We'll see. Obviously, we need to put the other leg. But we need to make this leg a little more leggy. Firstly, you make the big muscle here. I'm just going to use clay and we'll make big muscle here. I'll make another muscle here. Make sure this muscle is nice and round. There's also a glute muscle. We might not even have to do too much more than that. It's only 5,000, so I'm going to go ahead and box remiss. Maybe around 150 or so. Actually, let's subdivide it. Get rid of those things. We'll multi subdivide, I might actually be fine. Let's smooth. There we go. Looks like a nice turtle leg. We can use crease if we want to carve these muscles out some. And then obviously smooth them out, so the looks a little bit more natural. I don't like to do too much muscles. I mean, the muscles are pretty big, but I don't like to go too crazy with the leg muscles, things like that. Let's do another crease down the back. We'll this into looking like a muscle. We could add a little bit of clay back here as well, and just smooth that out. Why not? That looks good. For the back of the lower part of the leg, obviously, we want to make a calf muscle. We're going to do this the same way that I do trips. Just a nice little v. Beautiful. I'll take and just make that a bit more I'm going to vox remesh this 150. Smooth it out. Probably should just vox remesh the top two. But that's okay. I not the smartest tool in the shed. But it looks good. Looks like a big, nice, strong turtle calf. I wish I had big calf muscles, but unfortunately, I have the calf muscles of a 13-year-old girl. Who is not a gymnast. Because I think I think my wife had bigger calfs than me at 13 most likely. Okay. So this looks good. All right. So we might need to do some work with connecting the toes with the foot. But it's kind of silly that the foot and the sole aren't connected, so let's just connect those two. So this part and this part, so let's take those. Well Vox will remiss them together around 160 or so. You like the arbitrary numbers that I Vox remiss it. I just do whatever feels good at the time. But usually if it's just like a normal like something I just want softened, then I'll do 140 to 160. If it's like my just basic generic is 175 lately. Little bit higher is 200 and then if I'm getting crazy, then I'll do f hundred or something like that. But usually it doesn't need to go that high at certain points until it's done. Let me see what this looks like. Et me do X ray. I not too bad. Okay. Okay, so now we have the base of the foot as well. Looks good. A looks good in the world. So let's concentrate on flipping the foot now through the leg. Oh, so this. Let's take drag. Out. I also wanted to do the foot wraps too. T will be fun. Let's save this and let's flip this leg. We have these toes. These toes. You know what? I'm just going to I think I'm going to validate the toes. Now let's take all the pieces of the leg, Let's clone. Then let's start from the bottom symmetry and we can make our moves. And it's still in world. I might have undid. Hard to know. It's always something, Boom. Now we have two legs. They are looking great. Now I'm going to save and replace this one because now I'm going to save as the one we just left because I forgot to save first. Now we're back to good and we have the other leg, so I don't have to do that again in the future. Let's go ahead and bend the leg. Let's go back to the thigh. Let's just use a line and rotate it out up a bit. I love. P is so fun. Let's take this one and we'll do much the same thing. It's going to be something like that. You know what? We have the shell, I want to move all of this stuff at once because he's going to have to lean forward. Let's take the arms. All of this in the shell, the body, the shell, the belt, and the medallion, and the pelvic. Let's put it forward. I looks crazy, but I like it. Let's take a look at our reference again. Looks good. I want to take everything now, and I want to base it on the ground. I want to make sure I'm keeping a base on the ground. Now if we look, he's a little bit more bent in the reference, actually not. The leg is a bit more bent. I just like moving stuff around sometimes. So let's take the knee and we'll rotate it a little bit. I looks better. Let's put a line, Let's rotate this out. Let's take the knee. Let's take it off of a line. And we can actually just position this and then find it with the other leg. That might be the smart thing to do. If we look if we look at this, this knee is facing down. Let's just bring in the reference. We'll go here, where do we go actually. The little picture, reference image, import, photos, boom. Then we'll do transform, and we'll put it here for now. Actually, that's probably not a great spot because all my information is up there, so we'll transform, we'll just put it. We'll put it down. Yeah, we'll just put it here for now. Okay, this knee is going to be facing this way, more rotated. Like this. This part of the leg is going to be bent back more. This foot is going to be, I notice the toes aren't connected. The toes should be connected to the foot base so that they move with the foot. The foot should be flat, let's look a crazy. We have that. Let's look at this, and his position is going to be he's going to be more like this. Let's take our camera and let's add this view. We'll di name it one. The's in a decent spot, but the whole torso has to come down. Let's take everything from the torso up, and bring that down. Maybe something like that. Now I'm just going to try and position the legs so they can meet let's switch this to object, so I can not adjusting? We'll select both of these. So we can adjust them, take the thigh and then we can try to marry those two together. Looks like all of this needs to be twisted. Let's change to auto. All of this needs to be twisted. To a there. It's bent. It's rotated out a bit it looks like. All of this is bent a little bit more, as you can see, so we're going to bend this back. It's a fair bit behind this leg as well, so let's move it back. Can I move the toes separately? Let's take the toes the toes need to be flat on the ground. Move them out a little bit. That looks good. I want to get rid of the arms because they're just in the way. We'll take the knee pads, and we'll try to position them so that they make sense. Then we'll take the thigh, and we'll try to position that so that it makes sense. You know what this needs to be. Let's take it off of a line, just needs to be up higher. And we'll rotate it into the knee pan a little bit better. Posing is tricky. Posing is very difficult. This isn't the easiest pose, but just use the reference, use the reference as much as you can. I might need to even make him closer to the ground, I think. I don't feel that he's sitting enough. Also he's falling forward. So I think that's an important thing to do. I'm going to take everything above Again, I'm going to use a line and I'm going to move him back and down. Then I'll take these thighs and I'll have to just adjust them. Same thing with this one. A little trick because you can use a little circle in the middle to just move the whole piece. Sometimes it's helpful. Just the pads, Let's adjust them a little bit. Not bad. We have a little. We obviously have some work to do, but it's not terrible. 10. Pose II : So now it's just a matter of adjusting everything until it's close. Isn't to be perfect right now, but it should be pretty good. All right, let's take the head. Let's go to auto and Aline. The neck is attached, so let's remove the neck. I can actually just remove the neck. It might be easier. We'll look at our view. Then we'll rotate the head. I want to put the head lower, I think. We look at our view. Let's make his head a little bit bigger. Now let's take the neck and We can twist it a bit. Maybe we'll twist it a bit. Let's take it off of a line. We'll twist it a bit this way. Just to point towards the way his head is showing. A lot of times it's really just looking and seeing what's wrong, what need. Sometimes it's the micro things that really make it good. The little micro movements. I'm trying to just really take it in and work on all that stuff. I want to put it straight. I think I want to twist his whole body. Since it's not symmetrical anymore. I think I just want to twist everything so that I don't have to keep going to that view again. We don't need the ground. I'm going to twist the whole thing, how I want the pose to be, which is like this. Eventually it'll be like this. Take the knee pads and twist them a little bit. One thing I notice is I don't see a shell in this image, even if I switched to perspective, I don't see the shell. I'm going to switch back to orthographic. I was just messing around before. But I think the torso is turned a little bit. So I'm going to go to Gizmo, put this back to Auto. I'll take the shell. All the shell stuff, but also the body and I don't want it to be on. Looks like this ist, I was hoping that this would not be the gizmo wouldn't be straight. Let's see if I get rid of the body. I still is, the belt. Anyway, I want to turn all this. That's actually good. So I'm going to angle it down a little bit more. I'm going to look at the side too. That looks good, and I want to turn it a little bit more this way. To be able to see a little bit more of that shell. I think that looks pretty good. Now that I've done that, I want to adjust the head and neck. He can also be writing a skateboard like this, too, or a surfboard. I hope someone does that makes him on a surfboard. I might have to do that as well. Let's do the head is the neck of the necks not attached. It looks like it looks like the neck forward, it may be turned a little bit more. It's a little bit tricky. Let's go to the front to get the head in the right spot. But I'm feeling like that looks pretty good. That looks good. The neck actually looks like it's in a good spot. Maybe just twist it a little more this way. Let's just take move and morph it into the body. But I think that looks pretty good. Let's see which arm do we want to miss with first? Looks like it's going to be this one. Let's unhide all of that arm. We'll take the shoulder. We should be able to move everything from the shoulder. I'm going to turn show line off. So we'll twist it. We'll take this piece. We'll turn it a little bit like this. The wrist, we're going to turn a little bit more looks like the wrist is just turning. The palm should be attached to the wrist that way when I grab the wrist, the palm turns to. That looks pretty good. Now this part of the hand is going to be bent. Let's just take a look at it here. I think there needs to be more of a bend in the elbow. We'll push this back a little bit. I'll take this and go back to objects. So essentially, let's do this one in arm upper. That looks a little bit better. It's a bit hard to keep adjusting all of these things. You have to, it's tricky, but it can be a bit difficult to adjust all of these. But you get used to it, but that's the tough part about it is you have to do so small adjusting and it all makes such a big difference. That looks good. I think the arm needs to be up a bit more. These need to be I don't know how my hierarchy got so far off. All the things that should be connected aren't anymore. There's no really easy way to do these adjustments. You just have to get it right. You just have to figure out where the right place is for them and what looks good. It's a lot of going back and forth and adjusting. Obviously, you see that I'm doing a lot of adjusting. You know what? This needs to come out a bit more. I'm going to take the body inside there and stretch it a little bit more. I'm going to take the shoulder and also stretch it this way a little bit more. Let's take it off symmetry. That looks pretty good. Now we can get to these hands, which is what I've been waiting for. This thumb, we'll use our gizmo. Gizmo is not making it easy. Let's take the pivot, and let's adjust the gizmo, so it's easy to manipulate the finger. That's a little bit better. I can rotate it this way. Let's go on to the other arm only because I don't have the weapons made, so we'll make the other arm and then we'll make the weapons. Let's go to this arm. We have the phantom fingers over there. Don't worry about those. This arm is out. It's rotated a bit. Something like this. But it's actually not rotated out. I'm going to adjust this pivot. So I can rotate it in. That looks pretty good. I want to take the bicep and rotate it a bit more. Then I want to take the fore arm, hopefully, my hierky. No. I got to fix my hierarchy. The pads and things should be er. This palm sh be pad. Now we can go back to this arm. And we should be able to rotate it, but I want to rotate it. I need to change the pivot. The pivot should be where the elbow is. We'll tap pivot. We want to bring the pivot up to where the elbow is. I would be around there. Let's go back to the front. And we shod be to wrong. We should be able to rotate this let's move it out some. We need to rotate it more. We'll take the palm, rotate that. Then we just need to add the weapon. That's not bad. This needs a lot of work though. Actually, this might be a little bit more helpful if we adjust elbow pad, because we know the elbow pad has to go over the elbow. Let's just make it easy for us and hide this arm. I know this is It's so tricky. But hopefully I've gone through all these little parts slow enough that you can figure out what my aim is. Let's take these two. Actually, let's start with the bicep area. The pivots are always all rotated a little bit this way, a little bit this way. Okay, that's pretty good, actually. That's pretty good. Now let's adjust these two. H. Let's change the pivot. I could stretch it a little bit, actually I might be easier to just. Even on all of these, use move and we can make it work. Elbow of the arm and move it in there. Not bad. Let's take the leg and we need to move this leg. I'm going to adjust the pivot so I can move it straight down. And I want to take move and we need to drag it into the body a little bit better. It's so fun posing these guys. Let's take this leg. Let's just take move and we'll just make sure that it's nice and Need in. I don't want to sacrifice the shape. Everything looks really good. Let's take drag. They need like butts. I'm definitely going to give them a little tail. I think I need to make a line here. Here. Is that the same or did I do that wrong? Oh, I think the line would be here. I think it would come off this muscle and go like that. Let's smooth it and make sure that it makes sense. This looks good, but it's a little flat. The back of this leg feels a little flat here. I'm going to take clay and I'm going to add some muscle here. That looks better. This, but it just looks silly, so I'm going to add more clay here going up to the butt. Let me get rid of the ground again. We'll just add more of that muscle underneath the leg. I think that should look fine. The only thing if I had my one wish, let's see if it's like this is to move this piece out. A group is good actually for this. Let me figure out where I actually want it. I think something like that feels a bit better to me. I think I'll just take move, slide this underneath. I take this and slide it down a pinch. Nice. That looks good. I want to open them up a little bit. Let's do a line. I want his toes to be very grippy on the ground. I think I'm going to have to put a disclaimer on this that you can skip it. Let's take this part of the foot and actually pull it. I think that looks pretty good. Pretty happy with that. I'm gonna give it to save Whoops 27 minutes. That's okay. 11. The Tail & the Sai: All right, so you know I got to give my guy a little tail. Can't just have his little butt just out. I could give him some cheeks, but that might be too much. So let's go ahead and add. Here's the body. Let's go ahead and add a sphere. We move it up, and let's look at the t's first hide the ground. The ground is the pain in my existence, apparently. Let's look at the front. So we're still on this sphere, we move it back. And Let's move it right to his butt area. We'll wedge it in there. We'll validate it, and let's take maybe drag might work. Let's put it on local. Let's put the symmetry on. Actually, Yeah. Yeah, that's fine. I think. It's a big. But just some little like just a cute little tail. Why not? He's a turtle after all. You can have a cute little tail. Maybe that's still too big. Maybe that's a bit better. It's a bit more flat. We'll decrease int and maybe we can add You can also use flatten and maybe flatten the sides. We'll smooth it out a bit. I think that's pretty good. I'm going to adjust the pivot so I can move it a little easier. I think it might be still a bit pro. Also, I feel as it needs to be, and this part needs to curl up. Something like that. But we zoom out, and it looks too small. So I don't really know I don't really know where to go with this tail. I like it. But I don't know where to go with it. Obviously, you can choose whether or not you want to put a tail. I'm definitely keeping the tail. Even if it looks funny, I'm just a tail guy. That was weird to say. He's got his little tail. That's good. It just rounds out his little backside. I think that's perfect. Let's make the size. Let me do a quick save. For the size, I want to hide everything. Ch. I want to hide everything. Maybe we'll keep a hand. Maybe we'll keep a hand there just so we can use that to make sure the size is good. Let's add cylinder for the base. We have the front. We'll move it up a little bit. Okay. That will be the base. Let's take it out of here. We have the cylinder. I didn't mean to do that. Let's clone it. Let's name one handle. This will be the handle cap. This will just be a bigger piece on the bottom. That looks good. It doesn't look like there's any cap on the top, it just turns right into the side. So Tube could work. There's a few di Let me just think. For the top part of the pi, maybe we can clone this. We can clone the handle and make this blade middle. We'll move this up. If we tap on these caps, we can make this end smaller, which is exactly what we need. We'll make it a little taller. I think It looks like the blade is about half and then su. That's about half and then some, so it's about there. We'll go ahead and tap our three dots. We'll make this round at the end. Let's bring this down. Bring our subdivision, post subdivision up until it's round. Five seems like it's good, and post subdivision we'll put at three for now. I think that makes it sufficiently round. Now, I think we want to use Tube. Tube is a bit annoying because it's hard to get things straight, but I might have a trick. Let's add a plane. Let's use the gizmo, can't even see it. We'll make it bigger. Snap 90, we'll snap it this way. I should go right through that top half. Now we should be able to take path and snap. We should be able to snap it to this. Let's just hit front, and we need to make the design of the sig, which I think is like, first, let's just do this since I forgot you have to do it this way now. We'll make one here and one here. That looks good. Now this looks very small. Let's make the blade first. We made the blade. Now you can see that it's in the middle, which is exactly what we wanted. It should stay in the middle. Let's make it smaller. Let's do radius and make this end smaller. Now it's a matter of just trying to match it up to this. It looks like that actually looks pretty good. That looks pretty good. I feel like this should be a little bit bigger. I can use the Gizmo make it bigger. Let's take this and do our three thing. We'll put this topology to six and then post subdivision. A I think five is the money spot, and we can actually mirror this, then we have it on both sides. Now we can just look and make sure that our design is making sense. Let's do the little squigglies. Let's make this a little bigger here. That looks pretty good. Although there's something that I'm feeling is off with it. I might have been that. I think that looks pretty close. Yeah, I think that looks pretty good. I want to make these a little bigger. Okay. I like it. I think that's a good psi. I'm happy with it. This cap in the artwork looks a little bit bigger, so I'm inclined to make this a little bigger. I can't help it with the details. I really can't help it. I go crazy. Okay, let's get rid of this. We don't need this plane. So looks good. I think we can actually valid thee. They're a little bit off. They're just a little bit off. Come on, help me out. Let's take it off of snap. And try to straighten them out. There we go. I think we can validate those. I think we can take these, the two little pieces. There we go, validate those blade middle. Let's go ahead and subdivide. Let's take the mirror and subdivide. Let's do a quick save. Now we'll go back and take the blade in the middle and Vox will remesh them together. 75 is good. I might be more than we need. Hopefully, we can smooth this into a nice smooth one piece pi. I think that looks amazing. We'll take this pi and the cap we can validate. This part, I think we can validate. Handle blade middle. I'm just going to nestle all of these, so that we can grab them, and make them the correct size for the hand. They're actually quite big as well. Another smart thing would be to save them to save the individual si. I'm going to save it real quick. No, selected, export, save the files, Save. Okay. Let's clone this hide this one. I want to bring everything back. Okay. Let's go back to the side. So I'll make it a little smaller. I think that looks like a good size. Now I'm going to be more concerned, take it off snap. I'm more concerned on this is going to be and where it's going to be pointing rather than trying to put it in the hand. Let's take a look. That's pretty good. But we might want it near his head. But not super close to his head. Right? I think that's a good spot for it. Now the question is, that is a good spot for it, but maybe I'll bend it down and put it up higher. That looks good, too. Okay, the hand is there. Now let's take the other one. F. Actually, let's delete this one. Let's take this one and clone it because we change the size of them. We'll take all of these and clone it. Then we can figure out where the bottom one is. Oh, I looks so small. Are they really the same size? I guess they are. That looks pretty good, though. Okay, I'm still part of me thinks that this arm still needs to be back more. Let's move this back. Let make it a little bit. Maybe I'll make this one a b as we. I think his head needs to be a bit, right? I really can't tell. It's hard to gauge, but I think that looks good. Oh, there's a medallion here. There's a medallion here, too. Cool. Might as well place it. I don't know if I'm going to keep it, but we'll place it for now. Just do a quick save. 12. Dynamic Digits: Alright, so now it's time to solidify these hands around the weapons. Let's take the hand. Let's go to Gizmo and make sure we're on group here. The hand should be probably around here. It seems like. Which means we need to take the pi, and we can move it up to the hand that shouldn't change it too much. That still looks great. That's a great spot for the pi. I think we just have the hand go around that. Let's twist it a little bit. So the thumb is going to wrap around this side of it. This is going all get a bit tricky because you have all this other stuff floating around, but we'll work it out. Actually, that hands in a good spot. Let's work on this other hand so we can solidify it and we can get rid of these phantom fingers because they really annoy me. I can't move one without moving the other. Let's figure this out first. This hand is in the great spot. Let's slide this si back a little bit, and maybe over a little bit. And that should be good enough. Let's take the wrist. We'll just rotate it so he can easily grab the side. It looks like right about there. We'll have to move the side take the handle and move it, right about there. I think is perfect. Let's take a look at our view. Maybe we want to it looks pretty good that close to his head. What do we think? It looks pretty good, that close to his head. I'm going to adjust it a little bit so it's not as close to his head. I think that works. I could probably even move the whole arm up a little bit. And we'll point the side up a little bit. That feels a bit better. It's a little bit further away from his forehead. So it doesn't look like he's going to hurt himself. Let's bring the palm. We can take these fingers, we can use the squigglies. And we're going to have to wrap these around. So let's just bring this here, twist it. So that's kind of the end position. Something like this, maybe not as long. This is just going to take a lot of trial and error and getting it right. It's not the easiest thing to do when you're working with fingers. They can just be a tricky. Just take time and you'll get it. Let's been this one down. It would actually be cool. I kind of like the idea that one of his fingers is grasping it and the other one. I guess they both have to be. I kind of like that. It feels pretty good. So I want to take this and the side. And I want to move them down a little bit. Now, this thumb. Let's take the gizmo and I just want to first just try to rotate it to get it in the position I want, more or less. I rotate it, so now I can just rotate it in. Actually, let's just use the squiggly. Let's get rid of this floor, which is getting in my way again, the bin in my existence. He's got to really be looking like he's holding it. Has to be believable. These are the hardest parts about things like this for me is because I pride myself on on having it so that he looks like he's actually holding it. And sometimes that can have me sculpting for a very long time. I like that bend in the thumb, too. I always add that into my thumbs. Let's take a look on the other side and see how it was looking. I'm not bad. I don't mind that. It looks like he has enough real estate. Do I want to twist? Kind of like the twist. That looks pretty good, actually. I'd like to twist this th. Let's see if I can twist each one. Actually, I just want to twist that thumb a bit more. I think that actually looks pretty good. I want to take the palm, which is already validated, and I want to make this round piece that should help also to to make it look like his hand is actually making contact with the pi. Something like that. I'm going to do some round over here just to fill in that hand. I think that looks great. Now I want to take this and also smooth. Let's see if it smooths actually. It doesn't really smooth, that's fine. We'll take move and now we just need to move this hand. Hand is actually quite big. Compared to the wristband. I'm going to go ahead and validate this thumb. I like it. I think it's good. The rest of the hand, I'm going to box a remesh low, like maybe 115. And see if that'll help me be able to smooth it out. I can smooth it a bit more and flatten. Essentially, I'm just doing anything I can to get it back into a manageable shape. Oops. I've been a little too aggressive there. The reason why box re mess it down is so I can smooth it, smooth it, smooth it so that it looks nice and smooth. All of these edges. I don't want to have such sharp edges. I'm just using flatten to flatten them all out. Thumb. I'm going to use drag and we'll just drag it some there. We'll take clay and sub. Clay and sub is great for pieces like this if I just want to get rid of them. It's a great tool for that. Okay. The only thing is I might want to now that I've done all that, I might want to pull this down a little bit and pull this finger. Got these like little details. I do apologize for all of my little tiny details. Okay, good, good, good, good. I love it. All right. We just need to start validating the. Otherwise, I'll just keep going on forever. Let's start with the we'll take this where are the fingers? This is the whole hand. Oh no, there. The thumb, let's get rid of all these. The palm, I want to oxal remesh. Let's do a quick save. The thumb and the palm, I want to ox remesh together around 150 or so. Great. We'll just validate the whole thing. And then we'll take the palm and the thumb, we'll take both of those and box will remissed them together at 160. Oop. That didn't look great. Let's do it at 2:50. Better. But this hand is still not connected. I thought we connected them. 250. Now everything is connected that I wanted to be, so this hand is connected. Now it's just a matter of smoothing. Nice and smooth. It looks like one hand. I'm. Everything is looking great. We can take flatten and we can flatten out the underside of these fingers. I usually have the top be nice and square, but the bottom, I like to be smooth and round. Everything is getting in my way. We go back here, we'll flatten out the bottom of this finger. We'll smooth it very gently. I think we need to box remise this again. We'll do 300 this time. Let's see if it's still super soft. It is st soft, but that's okay. Let's do the th. Right. Perfect. Looks good. If you want for now, if you want to be fancy, you can take crease and invert. And you can do a little thumbnail. Oh, man, not getting any detail on that. Let's subdivide it. We get a little more detail. But not that much. Let's smooth out the inside of that palm. So it's 133 k. Let's bring it down to a normal. Size. We'll leave it there for now. Still looks good. Si looks good and looks like he could be holding it. I think That looks a little bit more of a tight grip. All right. So now with the bottom one, 13. Hand Holding: Now for the bottom one, it's the exact same thing except he's holding it more just by the handle. So let's turn this a bit more. Move the roundness of his. Let's see if we can smooth this out. I'm not too worried about how this is going to look because once we box or remeshed it together, it's going to look quite different anyway. Let's use the squigglies and Okay, that's a bit better. Little twist might not hurt. Although I think it would be more like this. Atom is the hardest part. Do I want the thumb? Let's adjust these phalanges. Let's move the pivot down here so I can just easily rotate them. Okay, Let's go to the squig lees. How does it looks weird. I think the thumb, You know what I think is weird. I think the thumb would be on top of the other fingers. If I was holding a ah, the thumb would be on top. We need to move this thumb out and get these fingers situ snugly ad this. That actually looks good. These are the only times that I really use the black because they look really good with fingers. Instead of doing this again, I think I'm just going to delete this and clone this one and then move it over. I want them to be This is a tiny detail, but I want the fingers to be going in a little bit. The tiniest bit. Just the tiniest bit. Now they're obviously holding different parts. This finger should be a bit of a different spot as well. I think that looks good. It could also be slightly smaller since it would technically be his pinky. It doesn't have to be, but that's something that I always do. Let's take flatten and just get rid of some of these hard edges. It's more like a hand. Also, we need to add with clay, hoops. Let's take it off sub. That same round bit, that's just going to add some mass. It's a little bit hard to see. But let's do x ray. If we do ray, we can see what we're doing. We want to add a bit of that mass there. And then we can we can smooth it, but we can smooth it when we put them all together. Okay, so now, so the thumb would be on top. Let's see how it looks. Okay, I think it looks pretty good. I think the thumb looks pretty good. It's not over the fingers, but I think it sufficiently looks like it's grasping it. You might have to move this around a little bit to whoops. Let's make sure this is on auto. Just to make it perfectly fit in his hand where he's holding. But I think that's good. A lot of adjusting with fingers, take advantage of the tube tool and using the black the black little nose, and the white nodes. But I think that's pretty good. You just want these nice boxy fingers. The tricky part is just merging this all together. I'm going to validate the thumb. These aren't validated. I think I'm want to take this and move it up and try to do the thumb and the palm again together. Let's Vox remesh that Let's try 215. Good. Let's do a quick save. Let's smooth out the thumb and let's Vox remi a little bit lower. Let's make it a bit easier to smooth. We can actually smooth all this as well. I think that looks good. We don't have to worry too much about that yet. Now it gets a little tricky because the fingers they're touching. It can get a little tricky. There's a few ways we can work this out. The first one is to take move and actually move the thumb away. You have to be pretty careful. You just want to move the thumb away. Like so. We'll take these fingers. Let's validate. Both of them, they look good. And actually just maybe with move. We'll just move them away from each other, and maybe this a little bit away from the thumb. Hopefully, they don't merge together. That's what we don't want. We just don't want them to merge together. Let's see. We'll take both these fingers and the palm. Vox we'll do around 215 or maybe we'll do a 250. I want to add some clay a little bit of clay here as well. Now let's just smooth all this out. It all looks pretty good. We can take select mask with the Lasso. Let's say we take this finger, and then we and we move this back over to where it was. We move that back over to where it was. Let's do select mask again. Let's clear it. Then let's select both of these fingers. We'll select all of that. We probably don't need this though. Let's erase that underneath. Now, we'll take move and we'll move this thumb back to where it was. You just go to be a bit gentle. Try to keep the shape and size the way it was. Good. Now you have the finger pressed pressed up against the thumb, which is what we want. We'll clear. That will leave people wondering how you Vox remeshed these things together, touching, but they're not connected. That's one of my favorite things to do. Because sometimes you just need things to be touching, but they can't you can't Vox will remiss them. Because if you vox o remiss them, then they just get like, you know, good. The only thing I want to do now is ten. Let's. I want to flatten the fingers the bottom parts. T. We're going to smooth this out. We might need to do select mask on some of these other fingers as well. Just mask off anything you don't want to be affected. Let's flatten. Flatten this finger out. A little smoothie pooh. Let's clear this mask. I think that's good. I think it looks great. Move this hand out as much as we can. I think I want to have a little more contact. So I'm just going to use move, and I'm just going to force it. So nothing but the move tool. Do I even want a gap there? Maybe I don't. No gap. There's a big knuckle here. You can also add clay to. Let me flatten out the whole thing. Okay. Let's use some clay. I'm just trying to fix this up so it looks better than it does. We'll smooth that out. Let's use pinch and let's reclaim some of these edges. Let's take crease. We'll add some of that there. I actually looks like. Finger. Smooth that out a bit. Yeah, that looks good. Looks good. A lot of work, but that's what it takes. Let's smooth this a little bit. I should have flattened all of this out a bit more before I box. But I was just so excited to do the other thing that I didn't. So that's okay. Okay, good. So I think this is the k, that's that. So the only thing I want to do with this this piece. Do I want to think I'm just going to box so we miss them together. Either that or I'll just move them separately, which is a little more annoying, but that's actually okay. I actually don't need symmetry on. Okay. That looks good. Now, this part, this one has been kind of killing me. Just looks so odd. I think I just want I just want to add a cylinder. If we add a cylinder, I think that'll be a lot more clean, a lot cleaner. It's kind of annoying to have to you and put it in, but I think it'll be a lot. We can just go ahead and bring this down. And then just move it. Yeah, I think that looks a lot better. Let's take this and make sure that a in there. This part seems a bit weird, so I'll open that up a bit. Maybe just smooth it. I just want every nook and cranny to look the best that it can look honestly. That's my thing. I want it to be as infallible as I can get it. That's why I apologize for some of these being so long, but hopefully in seeing some of the things I'm doing and knowing why I'm doing them, that makes it worth it. I like that. Let's just crease in a little bit more of these lines. We'll do one there. D one here. I think this is good for the arm. I think I'm happy with it enough to Vox remesh the arm and the shoulder together. Let's do a quick save. Let's Vox remesh them together. We'll do it around 250. We don't want to lose any details. Looks great. I probably should have ox missed the body too. I didn't think about that. Put the traps up a make them a little bigger, perhaps. Do a nice little crease here. There's no way I can't see it. I just want a little space for the trap. Let's bust in our crease. I don't know what happened to our triceps. But we'll put one down there. We'll put a little crease here because remember I said I might not have said, I might have edited out. The chest muscle goes under the armpit. So that would make sense there. Let's just do these two. Let's just box remesh these two at 2:50. Then let's just smooth this out. It's nice when I can start box and solidifying things. Let's bring back the ground. And trim the foot. Let's use rectangle. Make sure we're on the foot. You can use x ray if that helps. Let's just trim this foot underneath. I guess we can trim this one as well. A little bit below the floor line for an x ray off. I think we can trim these fingers too. We'll finish up with the feet and then we'll just finish oxal things together. Let's save. 14. Footwork: All right, so I want to jump into the feet and the legs, but there's something that's just been bugging me. So I'm going to assume that I want to eventually print this character or someone will. So if I look at it from the front, it looks good. If I look at it from the left, it looks good. But there's just something that feels slightly like he would be falling forward. So I want to try to fix that. And this is another thing that I'm always looking at. A lot of people ask me about my prints and how do they stand? And essentially, I just have to think about the center of gravity. So his feet are here, so the center of gravity is probably right here, and he looks a little front heavy, like he would be falling. So we're just going to try something. That might seem a bit outlandish, but maybe not. But just another thing that is great to think about when you're sculpting. Select everything, Gizmo, and I want to want to adjust my pivot, so I'll adjust it. I think that's fine actually. I just want to adjust it so I can lean him straight backwards. Essentially, it's like if I was lining it up with his center mass. Take it off pivot. Maybe we'll look at the side. I just want to tilt him back. It. Let's just see how that feels. I feel like he feels a bit sturdier. He still might be front heavy. But I think that feels a bit sturdier. I think too far back, it might look a little funny. Let's see. Or maybe not. Actually, I think that looks pretty good. So he doesn't feel as off balance now because the shell is back a little bit more. So I think I'm pretty happy with that. Okay, let's just start adjusting these feet. So this foot now looks a bit low, so I'm using Gizmo and I'm using a line. So I can maybe just move it up a s and the toes as well. These toes They should just be together. I'm just going to join those and just rename them toes. We'll bring them up a little bit. I like the way that looks. This foot. For this back part of the foot, I think I'm going to vox will remesh it lower. Maybe we on one or so. I just want to be able to smooth this out. Because it looks a bit crazy. Try to get this underneath the ankle. That feels a bit better. I'll use flatten. I think I just want to flatten out this he a bit. Just so it doesn't look like the bottom of a cylinder. Our heels are usually round. I think that looks pretty good. Toes look good. I'm just going to use drag and I just want ale bit more support. Let's just grab the foot and the toes and so them. I just want to add a bit more support for these toes. So going to use drag. And just drag the foot onto the toes. Maybe even this part or the toes, put them together. While we're here, let's flatten off the bottom. We'll smooth that out a bit. We can uns them. That looks good. I think it's time to ox remash it. I'm going to do a quick save and then let's just Vox both of those together. Let's make sure they're the right meshes. Vox maybe around 200. Let's see how it looks. So then we just smooth. Smooth this little tosies. And it looks great. Okay, let's take a look at the other foot. There is something to be said about. Maybe this foot is turned a bit more. Let's do the same thing. Let's put the toes. Let's join the toes together. Let's select both of them. I think I might want this turned out a bit more. And maybe just move the whole thing. Do I still have them both selected? No. The whole thing over Actually, I'm going to push up on move here. I want to even trim this a little bit. I don't know if this foot would be so flat on the ground. So I think that's what I'm struggling with. Let's move it up a bit. Let's just try move. Let's make it a little bit more Mal and bendy. It is organic, so that's okay. Let's use x ray. So I can see what's underneath the floor here. I'm going to take trim and I'm going to trim off the bottom part of this. Foot and the toes as well. Then I want to take flattened. I'm going to look at x ray again. I just feel like I want to flatten the bottom of this heel. Well, you know what? Let's fox h. Let's fox remesh these together. I think these look good. The only thing that I didn't do was those connective tissues that I think actually looked really good on the other. I'll take this and move it up a bit. Make sure these are together. You can bring this out and flatten his foot a bit. Anytime there's like impact with the ground. Like if you watch your foot, if you're walking, your foot actually flattens out. You've probably seen it with animals. You're stepping your foot flattens out. I don't mind widening his foot like that. Let's take a look at O Let's fox remiss them together. We have these two still a quick save, and we oxo remiss them together around 200. I think that's what I did with the other one. I can't quite remember. Smooth out in the middle there. Heels nice and organic. We'll solo and we'll just flatten out the bottom of these heels or toes. Find out this heal. Okay Okay. I think that looks good. I actually don't mind if this is coming up off the ground a little bit. Not that I don't feel that I feel like that's okay. I feel like it makes sense. These, I just want to tighten to the legs. Looks like this one, I need to move over. We're still an object, so I should be able to just move this one over. Let's take the leg and just see it, squeeze it in there as well. Okay, that looks pretty good. I can even pull this out a little bit. Okay. Nice. I feel good about that. This actually looks good. Except for this bit. Maybe drag. I'm going to smooth it. And that actually doesn't really bother me that much because things are going to be tight and they're going to be squeezed. His muscle, squeezing behind that, makes sense because his leg is bent so much. I don't mind that at all. L et's take a look at the other knee pad that looks good. These side parts of the shell, they look a little tight. See how tight that is. Not really huge fan of how tight that is under his arm. I think I'm going to use move. Maybe even let's just move. And maybe try to bring it down. I don't want to that looks better. I just want to be careful. I don't want to really mess with the crease because it looks like we also need to bring the bottom part up. Maybe not. Maybe that's not a possibility. Let's just tick to This one looks weird. I wonder if I accidentally, I was moving the other one too. I'm going to undo because I don't like when I'm trying to move something and it's still connected to the other side. That's because it's still in this mirror. We'll take that validate shell side, which I should have done to begin with. Now we'll take and move in e. We'll pull this shell down. That looks good. You know what? I might I might just take trim. Let's see how it looks if I take Lasso and just cut it and then just smooth it out. It just feels like that's the better way to handle it. They don't quite match up anymore. But I don't think that you can really tell that much. We'll bring that down. Yeah, I don't think you noticed that. So I kind of pulled this one down a little bit, so I don't think you really noticed the difference. Okay, so that looks good. 15. Detailing: I wanted to set a little details in the neck with crease. I want to bring this up. Make that nice and wide, so it looks like his neck is turned. This one will be a little more squished. But I think that looks legit. We'll smooth it. I think that looks good. Also. There's a part in our shoulder. This part would actually come down and that goes into it. I don't know if the anatomy is exact, but I know it's something like that, which is really what you need. Needs to look believable enough. Mostly because anatomy is insanely difficult to get 100% right, 100% at the time. Especially when you're dealing with creatures, don't actually exist in nature. Appreciate the cat doing her scratch thing while I'm trying to while I'm trying to teach. Love it. Love it. Let's take this and we want to do a similar thing here. Then we can take this trap. We can make sure it's nice and looking nice and muscular. I think that looks good. Let's just take a look, make sure it's not too big. There's a few technical things that I see that I feel like need addressing. One is, if I look from the center, so just going by the center of a shell, the Adam's apple should be going right into the center. I'm just going to e, and I'm going to push this back so I'm on the neck, and I'm just going to pull this so it's like in the center. The next to looks pretty good. But I also feel like I need to pull this part out so you can see it. You got to be careful with Drag too because you don't want to You don't want these lines to get wobbly. But I think that looks good. The only other thing is since it's the Adam's apple, it would really I would widen at the top of the head. It's a bit hard. Let's turn on x ray and just take a look. That's really big actually there. I can probably use move and move this. Maybe that'll make more sense of what I'm talking about. Yeah. As Adam's apple should be a bit more like that. I'm just going to widen the neck a little bit, so it doesn't look like he's strangling himself too much. This bit. I can't pull it up too much more. Otherwise it'll look funny. There's a little depression if you feel between your trap and your clavicle, then this actually goes down. There's a depression there. On both sides. That looks a bit better technically. Because now Adam's apple is going to the center, which looks good, and the two straight clavicles would be like the top of the chest. That makes a bit more sense to me. I like that. I'm going to do a quick save. Here's another technical detail that I noticed. The way that he's holding this, there's something to me that doesn't feel strong. I'm going to move this and let me know if this feels a little bit more comfortable. I've just grabbed the py and his hand. They're all together as an object. And I'm going to adjust the pivot a bit more. Tell me if this feels a little more That's it. That's the end. I just felt like it should be lined up a little bit more. Because all these mechanical bits like see this muscle here, this muscle usually opens up to the wrist. No feels a bit more natural. I think. But anatomy is always the trickiest bit. Also, do I want to put a crease on this? I as well just do it now. While you guys are here with me. Let's subdivide it. Try to get a better crease. That's better. Let's do a quick save. At this point, I'm going to do a quick save on the other one. Let's just save new. Now let's just start Vox remishing things together. We don't need to do certain things. There's no reason to Vox remi like the forearms and the hands, but we need to vox remish these two the body and the neck. Let's take the neck. The body. Let's just move them closer to each other. So I don't lose them, which, of course, I lost the neck. Oh, here's the neck. Okay. What is this? This is the tail. Shell, that's the pelvic region. Forgot about that. We can validate that. The legs. Should we box remesh the legs or should we not? Handle handle. I'm going to take these off of the arm, so we just have the arm because I believe that's the upper part of the arms. I'm going to disconnect. Let's not let me disconnect. Bro. Maybe if it's like this, it'll let me disconnect them all. Here we go. We have arm and arm. We definitely need to axle remesh the arms, the neck, the body, the pelvic region. I think that's it. The other ones are okay separate. There is the head too. That's bold, and you know what? We're just going to do it, I think. But I think it's time to separate a lot of these. Let's take head jaw. Let's just separate all of these. We take the head top and head j. Those are both. Let's just join them together. That's the head and the neck. We'll join them. Let's take the arms, the tail, the body, pelvic. I don't think we need to do the thighs, but I think I want to do the thighs as well. All of these, I'm just going to join for now, and name it body. Then the legs, I'm going to separate like we did. The legs, I'm going to join or the thighs. The body, we're going to join that together. These need to be vox rem. Actually the head, I probably didn't need to vox being honest. But let's and let's just go for it. We oxther like 500. And see what happens. Everything looks good, everything looks remesh. The face looks good. It's half 1 million, which is a lot, but I think I want to add some texture too, so I'm not tripping. I just think it's so beautiful when you can put a model together. Once you, it's just so satisfying because you've done so much work. I probably should have not included the tail. But that's okay. We'll keep it. But I probably could have not included the tail. That's all right. Everything looked great. I'd be so upset if I forgot to lock in the focus. I actually had to record the whole first video because I forgot to lock in the focus multiple times. It's very, very odd. Now if we want, we can take these creases and we can build up some of these if you need. If you want to make them more bold. Oh, yes. It's also head. We'll smooth some of this out. Great. Mostly we can smooth this part out. Nice. Let's do this over here as well. I want to use case, and I want to I always talk about the bicep. T. And this bit going underneath. Now I can just make it a little bit smoother and a little bit more deliberate. I really looks like those muscles are together. Honestly, he would have there'd be some muscles on the pecks, even though they're behind the shell. I don't know if I want to do that. But it actually looks okay. I actually looks okay. Let me add another one here too. And really allude to muscles without having to make this thing crazy. You can feel free to elaborate on a lot of these details depending on how muscular you want your rascals. Teenage rascals. Okay looks good. I'm just seeing so many little details, but I'll go on forever unless unless I stop, so I need to chill. Put some veins on there as well. It's going to look so nice. Case. I a little crease here. This is very much like skin getting pinched, so I might take inflate. And and this is just to give the impression of skin, you know, being pulled and folded. This is a lot of the stuff that I wouldn't normally do. I wouldn't normally record because it feels so redundant, but I feel like I feel like that's the whole point is to show you exactly what I'm doing. Because again, it's like these little miro details. Okay. Okay, so I want to take some of these and it's time to just really join them together. Yeah. So let's just separate all of this. So we have the foot. Let's separate the foot and all these pieces. We have that separated. Let's separate the shell and the belt and everything. Oh, this is a mirror. I need to keep that together. I think I'm happy with this. I'm going to take this and validate shell re body. Let's just name this p. Si lo. You know what? These are all the same. I'm thinking that it's time to take these, join them, take the blades. Both blades, join them, and both handles and join them. Okay. I'm just separating all of these because they have to be separated at some point in time. I think we need to try and lower the resolution of this because it's a bit high. The eyes are okay. The P one, but we can join them together. At. Let's leave them separate. Teeth look good. O, there was something that I wanted to do with the teeth actually. Let's take the teeth, validate them. Join children. I was thinking that I might want to move the teeth up a little bit. So that you could see them a bit more. I whites, can go ahead and join. Had been not mask. Good. Let's save. 16. Headband : All right, Let's figure out how the rest of his head band is going to fall. Let's use tube, path. I guess we'll keep snap for now. I think I wanted to fall down in the front. This is. This is going to be trial and error. I have no idea. I guess the whole thing, I really have no idea what I'm going to be doing, but I think we need to let go of the snap now, turn that off. The most important thing here is just regular gravity. It can rest on his shell, body, whatever, gravity has to be a major player. I look at the front, you can see that it's not, and it's going to be a bit difficult in three D to just have something hang straight down. Because each way you turn it, it's not going to appear straight down. There can be maybe a little wind. There's usually two. I kind of like that. Let's take a look at at the front and see what it looks like. I think it looks better, straighter. It maybe a little shorter. I like that. Move this up smidge. Now it's just if we want the other one to go around here. We don't really want to block the neck too much. I'm thinking maybe it comes around here and goes over the shoulder. That will be baller. I don't know why I just said that. Let's clone this one. Let's just adjust it. Let me get rid of this ground again. I'm thinking. Let's just get rid of all these for now. So, I'm just thinking something like this, maybe. I like that. I think they look good. With both of these, we're going to utilize the profile. With both of these, we're going to utilize the profile. Let's start with this one and we use profile here. You can see that it's square. What we need to do is flatten it, so it would be like a proper head band. First, I'm just going to figure out which side it is. Let's make widen these out. I think that actually works. We made it thinner. Maybe maybe a little bit thicker actually. That looks good. It actually twists pretty good, but we can twist it. We can control how it's twisted. Maybe we'll do Let's try two, so we have one at both ends. Let's try twisting this. No, still a little bit too much, so let's take each individual one and try twisting. We also, of course, have to keep it on the surface. I remember the old days. This was harder to do before we had utilization of these tools. That looks pretty good. So twist this, lift it up a bit. We wanted over that muscle. That's looking good. Let's twist this a bit more. Looks like. That looks great. Let's go back to these original nodes, and I think I want to adjust each one individually because only these two would start getting smaller. R only this one would start getting smaller as it goes into the no. We'll just move it. Maybe we'll even twist it a little bit. As it goes into the not. Let's add another node here. That looks a little bit better. Now we'll do the same with this profile. We know what looks good. We can do the same thing. Maybe one less. Like so. Then we can use twist to twist each of these as we need. Don't forget you can always add nodes if you need. Like if we need a little bit more L's say we add one here, twist it a little bit. It's all right if it cuts through a bit because we can always we can also adjust it. Remember, this has to be straight up and down. I want to make sure that. That looks good. Now, if I did have one wish, I wish I could make them a little bit wider. You know what? I can do that for this one. How much better. I think that looks good. This one actually, I can make a little bit wider as well. I didn't realize that it focuses out. When you get closer to the edges, I didn't realize that. Let's take the end of this one with the radius and let's make this smaller like it's going into the not. And then it probably needs a good twist. Something like that, I think works well. To make sure. I think that looks pretty good. All the other pieces. Let me just think this need to be longer. I'm trying to think if this was straight, if it would be the same length. I think this might need to come down, just a smidge. So twisted. Okay. So I like those. Let's do a quick save. Now we want to strengthen these up so that we can smooth them and maybe do some details on them. Let's tap the three dots and put the subdivision up to two. Then we'll go ahead and validate. We can do the same to this one, three dots, post subdivision two. And then we can validate. What that allows us to do, let's go back to the first one is that we can smooth it out. We just look just ridiculously square. We smooth it out. Now you notice that also it's melted back into the shell, so we can lift it up a bit. So that it's just sitting on the shell. Great. There's a few details I want to do. I'm going to try to not go too crazy, but one of them is using clay. This obviously gets smaller, but it's not like the material diminishes, it's just because it's going into a no. Let's bunch the material up by adding some clay here. We're going to add it to the other side as well. Then we can add a crease down the middle. And then smooth. Nice. There would be some bunching here. You can also add some clay or actually maybe inflate might be better. You can inflate some areas and then smooth. That will also make it look like it's turning, and it's got some creases and things like that. You can add creases, but don't go too crazy with the creases. Sometimes they can look a bit funny. Just make sure you smooth them out. Maybe I'll add some more inflation here. Let's try clay again. And maybe a little just to give it a little bit of life. Another thing I want to do is flatten the corners. I don't want them to be so square. Flatten that out a bit and then give it a nice little smooth. You can also use inflate and sub as well if you want to, for example, add ale depression in the middle. You can do that as well. Smooth it out a little bit. Just to give some things for the light to catch on, so it looks more like fabric. Let's go ahead and do the same thing with this. But it's the exact same process, so I'm going to speed this up a little bit and you can work on yours. Of course, we want to make it look like it's coming out of this knot here. I might actually just rotate it a bit. Then just move this. You want it to look like they both coming from underneath, I think is probably the most visually forging. I'm going to rotate a little bit more. That still looks fine. Maybe I'll just try to open this up, so it looks like there. Let's crease this a little bit more. Let's take this little bit and let's try to open it up. And then we'll just take these and stretch them so they look a little bit more natural. I think that looks good. I would believe that. We'll smooth that off a bit. Smooth the a bit. But I think that's. I don't I need to go too crazy with that, except for maybe this rogue crease. Maybe another crease here. Okay, it looks good. I'm happy. Here's another little detail. I just want to throw in. I'm using fairly small, and I'm just going to drag up in the middle of these. I don't know why I just feels a little bit more natural. 17. Spitting Wraps: So I really like the hand wraps, so I'll show you how to do those, and then I'm going to do a bunch of them on the feet and the wrists. But once I show you how to do one, you'll know how to do it. So I'll probably speed up my process so that you can see what I'm doing. But it's going to be it's going to be a while. And this is totally if you decide to do this. So I'm going to use Let's start with the foot. I'm going to use a cylinder to start with. Use the gizmo, or bring it in the general area. And I literally just kind of place it where I wanted to go. And then I essentially just turn this into we validate it, and I turn this into the p. I just stretch it. Actually smarter thing to do will be to clone this and rotate because it's on the foot, then the most prominent ones are going to be across the body of the foot. I'll put one here. Let's hide the previous one. Then I just make this the. I'll just pull it, maybe use drag, drag it where it needs to be dragged. Again, this is very soft like cloth. You don't have to worry about messing up too much because it doesn't have to be that technical. All it is is a rap. It just has to be a little bit over the surface. That's essentially how I make these sort of wraps. Let me turn symmetry off. Why is symmetry on? You can make it as thin or as thick as you'd like. You can also see it takes a long time to get it, right? I just switch to drag and move depending on how. If I'm moving something big and I want it to be fairly smooth, I'll use drag. I'll use move for larger smoother movements, and then I drag for more acute movements. That looks good. You can also smooth to take away some of that mass. That looks good. You can clone it. And then you can move it down a little bit, shrink it, and then repeat the process. Okay. And then I'll just just repeat the process for this leg, for the hands. The hands, I might do one of those old school like au pads. I might try to do that for the hands. So yeah, I might try to add something like this for the hands. Those are always just kind of old school, kind of cool, so we'll see if I wind up using it. I think the last thing I'd heard is when they found the bodies. And later on, I had gotten a jury summons and wasn't even clicking. When I got there, when I walked into the lobby, and I saw all of the people, there must have been hundreds of people. And it was like, What's going on? This is crazy. And then we got into this court room, and then I remember Scott Peterson stood up and then I was just like, Oh, my. I promised myself one thing that I would do everything I could to assure you that this gentleman got a good trial. I mean, I'm looking at this young man and I'm saying I've got a set about his age. I looked at this guy and I said, No, what. Show me what you have. Convince me. That this young man did what you're accused him of doing. He's a t. He cheated on his wife. We? Yeah, that and dollar won't buy a cup of coffee at Starbucks. It's just that simple it doesn't matter. It's not relevant. What's relevant is, show me what would lead me to conclude he was guilty. If you don't have that, have a nice day. It's been nice talking to you. More than a year after Scott Peterson's arrest, he is finally getting his day in court. Let's get right for our top story. It is here in California this morning. O opening statements begin today in the double murder trial of Scott Peterson. Now, they are expected to be 100 witnesses or more over the next five months or so, a marathon case that has just begun. Every every day. Police weren't telling us anything because they couldn't. That's why I desperately wanted to be in that court room. I found out more information during the trial than even existed. I I could not not be there. I absolutely felt helpless. And that's why I wanted to get on a plane and be there. And I didn't want to go through that experience, but I knew I wanted to be in the part. In opening statements, Mark arago said the case against Peterson was flimsy and circumstantial, adding his client was, Stone Cold, innocent. There was no direct evidence connecting Scott to these smugglers. The government, essentially relied on circumstantial evidence. The prosecutor is not able to prove where the crime occurred, how the crime occurred, and when the crime occurred. Criminalized. It was like a real life soap opera happening in your living room. It was always being compared to OJ Simpson, right? Well, Scott Peterson became the new OJ Simpson. The only difference was that this case was not televised. This was basically left up for journalists to tell the story based on what they observed. And I was there every day for the trial to find the hook for the day, find the headline of the day. Sources tell us during the course of the hearing, prosecutors are likely to call close to 30 witnesses prosecutors laid out their circumstantial case for jurors. To her. Between I can get it. And that's the I wasn't quite this. I. I I just about. Similar. St as follows. Her cycle. 18. Fine Details & Texture: All right. Let's do some fine detail. We have all these pieces of cloth, they're supposed to be wraps. One thing you can do to make them a little more interesting is take crease and you can just make creases in them. Now, they might be to small, and it's going to take a lot of space if you box remesh them together. It is a bit tricky, but you can box rem maybe some of them together or just maybe even single ones. Smooth them out, and then you can add crease. But again, this is going to be like this out. This is going to be something that's going to be very time consuming and it's going to take a while to get right and you might have to fix things. Just keep that in mind when you're doing that and if you want to add these details. But it's something that I'll probably do. I love adding little details like this. I'll probably do that to all of them. But actually, they don't look too bad. It might be a smart thing to try and select all of these. Actually, I don't even know where those are. But I think I want to select all of these. I probably should have done it before and just join them together because otherwise, it's just going to get a little bit too unruly. All of these I'm going to join. Let's see if we're missing any. I'm missing some from the toes. Probably should just take all these cylinders. All these cylinders, I'm going to join together. Now we should have the ones from the hand as well. H and tube. I'll put the tubes together. I'll join the cylinders. These are the head bands. T. At ban A. At ban D. Okay. All of these are together. That way, if you want to, you can take those and maybe even multis Right now it's 58 k, if you subdivide it. It's a. It is a lot, but then you should be able to add those details. If you want. As you see, I'm going to add them. Okay. That's another option for details. You can feel free to do that if you want. The other detail I want to add is on the skin. So we're going to use brush. We're going to make a new brush tool. Take brush, tap on it, and hit clone. This is going to be brush TM and T. It's going to show up down here. Down here, let's go to the options. So we have stroke here. I'm going to go to roll. Alpha. Tap on here. Then if you have the image that I included in this, it'll probably be at the bottom. There's going to be an image. Just bring that in, don't hit invert. Let's check out the scaling. Scaling is fine. That looks good. For fall off, it should look pretty much like this. If you tap, I'm using out Pa three. Sure. That's the one that I'm using, and everything should look like this. Filter, leaving it, pressure, should look something like this. The Alpha is what's going to be the skin tone. If we're using that on, let's say this body, I'm going to put the intensity down to 25, I'll put the size up to 100 and let's just see how it looks. L et's make it bigger and put the intensity down lower to maybe like eight. That's a little bit better. The intensity is at eight, this is at 100 and also notice the size it is on the screen because I'm pretty sure that makes a difference as well. The size that this is on the screen, if I bring it closer, it's a little bit more difficult. What I would do is just do light strokes and just go up and down, and just try to cover all of the skin. That's just a really easy way to do texture. I think it looks great. There's one more thing I wanted to show you. Before you do that, if you have the body, go here and add a layer. You can add a layer and you can call it texture. And do it on that layer that way you can do the texture, but then you can see what it looks like without it as well. As you can see in that example, you have to be really careful. You have to be really careful when you're adding the textures because they can warp. Se they can really warp the shapes. You have to be really careful with the texture to them very light, especially on the face. You want to do very lightly, try not to go around the edges. Just very lightly so that his face has some texture, but that you don't compromise the the integrity of the shapes and things like that. Okay. That's another option that I think I'm going to do as well. I might as well do it. Let's just do it. Let's start with I was contemplating also lowering the resolution of the body because it looks pretty good. But I don't think Quadri measure will quite work on this. It's 527 now. Let's say we did 250 k. We said, yes. Let's just see how it looks. Probably should have saved it. It looks pretty good, actually. Looks pretty good. Let's go back and see. I don't see any difference. I'm going to keep it because it's half. Also, the good thing about that is you can also just go here, and deci. You can also decimate your body and that will cut it down in half as well. Now we have the these legs, I don't think are connected. I'm going to leave them as I'm going to take both of those and join them. Then we have the body which is here, I'm going to take that and join as well. Now the body is altogether, except for the four arms, which I just noticed, arm low, is the other arm. We'll join and then we'll add it to the body if I can find it. There we go. We will join. This is now the body. Now we have the body. All the parts are together, not the feet. Foot base as well. Let's where is the other foot base. So let's just go ahead and Let's join these two foot toe. Then how big is it 144? Let's do 70 k. Still looks good. I probably could have done that with the legs too, but that's all right. Let's add this to the body. We'll join that. I think that's all of his skin. Except for the hands. The hands, the hands are huge. I'm going to definitely cut the hands down. I'm going to save this. I'm going to take quadri measure, but again, you can use decimate. And this hand is 275. Let's bring it down to. Okay. Perfect. Still looks good. This this hand is only 6,000. That's crazy. Let's I'm actually going to and subdivide it. It's a bit. We have the. Let's just put these together. P palm. I can find the body, join. Now the body is altogether, you can see that he's green. Now let's go ahead and add the texture, so we'll use our brush tool. The settings are still the same. We're going to do it on a new layer now because we added all those things together. Now let's go ahead and add our texture. Let's take symmetry off. I'm just trying not to press too hard because then it just won't look good if you press too hard on it. It looks good. Maybe I need to come a little closer. No. Some parts just take the texture a little bit better than others than other parts. I see some issues down here, too. So we'll have to deal with that. O I guess I'll have to deal with that. Okay. Beautiful. We'll put a little bit on the hands as well. And the tail, of course. Texture is a little tricky to figure out, but you can't really get it too perfect. But you can get it pretty good, but I've never been able to get it as perfect as I want it. Depending on what it is. But something like this is kind of organic. I mean, I can't really get any texture for some reason. But some texture is better than no texture. I am worried about the face because that's one thing that I really don't want to. I don't know why the face won't take the texture. That is annoying. What if I erase the intensity? No. I can try to do dynamic topology if I turn that on. I'm not sure how it'll definitely something we don't want. Not quite useful. I don't know what that first thing was. It is a little bit better. Let's turn it off and see what happens. With dynamic topology. It has a little texture. It's not really raising the the size that much. Let's turn it off and see if we can get some free textures down here. And by free, I just mean like not using dynamic topology. Okay, I mean, pretty good. I wish that I could get more texture on the skin up there, but who knows? I'm not sure why it's not giving me too much texture up here. There we go. We'll do one of those. Press harder. It's pretty good. That's good enough. I'm going to turn dynamic topology off so hopefully I can get some free texture here. Fingers. Fingers don't really need that much texture. I think that's pretty good for texture. I don't want to do anything to too crazy because I just don't feel like it needs too. I don't need to go crazy with the texture. Let's turn dynamic topology. Now L has a little bit of texture. 19. Grippy Grips: So another detail I want to show you is veins. So Let's take layer and we'll make the radius really small, maybe around ten. Let's add another layer and call it veins. I think that's how you spell veins. Now you can actually just see how the veins would work. Actually, I think layer might be a little too aggressive. Maybe clay is better. Yeah. This just put some layer, some veins. Always a very always a very cool thing to do. I love adding veins. They just give you that extra little bit of this creature looks real. It might be a little too much. There are certain spots where I can see that I don't have enough texture. I'll just add some more in. I thought on the shoulder too, I could use some more. I might have to turn dynamic topology back on. Only because that shoulder is very prominent, so I wanted to just really point that one out. Let's go back to clay. Let's add some more veins. Okay, that looks good. Can add some on the legs. Man even back here. I have one here on the back of the I I had a big one across the bicep. In my younger days, I used to have used to have one there. I my young days when I had when you can see my veins. We got some veins. Let's add one to the neck. How often do you see the veins? You got to add those little details. I love adding those little details like that. I still don't know if I want to keep this medallion there, but let's validate it. Then just make it so it's a looks like it's a part of it. Maybe we'll shrink it a little bit. Let me make it a little thinner, too. So we have that there. I also like to add some little clips and things to the belt. Here's the belt. Let's add a What do I usually use for this? Let's add a box. We'll move the box up. Of course, we have to line it up with the belt. It is going to be super simple. Do I I can't remember if I use a box or sometimes there's other shapes that unknowingly work better than others randomly. We'll just shrink it. You can see where I'm going with this. We'll shrink it like that. You want to see the back side of it too a bit. I think that's good for now. I'm just going to go ahead and validate it and then take smooth and smooth it out. It looks more like a just like some piece on the belt. That's what we're going for. I want to move it over. I clone it. There's two here. Okay. Cat came in and Okay, so these are going to be we can join them, and then we can use the quad measure or decimate to bring them down. I think it's, they're still pretty small, but let's just make them like even smaller. Okay. Let's name the belt eclipse. K, nice. The shell sides are 91. I'm going to bring this down to 20 k. Again, you can just use decimate. I'm just trying to get rid of some things that definitely don't need to be that big so we can get some of this size down. But I'm probably going to do a little bit more of that later. I should try to think about any more details that we need. But I think the details are good. For now. Next is just going to be coloring lighting and then coloring because he's looking pretty good. I think we can I think we're pretty much on the home stretch. Oh, there's another little detail I wanted to do as well. This is the handle. I wanted to see if I can separate these. We'll take this handle piece, clone it, and we'll just name this y. I actually don't know why. But I wanted to make this more of like a cloth, like the handle is more of a cloth. I'm just making a bunch like that. It's probably better to decimate this. Miscellaneous, de decimate. It doesn't need to be too crazy. Oh, that looks so bad though. L et's undo it and then let's smooth it. Let's smooth the whole thing, and then let's decimate it and see if we can get anything better. Oh, that's much better. Now that we have this, we can clone, we can make a bunch of them different lengths. But essentially, it's just making this more of a cloth. Clo, move. I'm going to make a ton of these. I think can rotate them, so they're a little bit different as well. I don't know why I made them so small? Makes my job so much more difficult times the gizmojs won't play nice. Nice. Now we have all of these. I'm going to join them all together. I don't know if I want to box remiss them, but let's just see what happens if I do. We box rems them together, what does that look like? It's actually not bad. I can probably rem it down to three than. I lose a lot of the detail, unfortunately. But you know what, we'll leave it at 24 for now. We'll take this little cap. Who. Oh, it's not perfect, is it? It's not exactly perfect. Let's make sure that it's lined up. That's not helpful at all. It does make things a little more difficult, but I think we can fix it. Now I have the stem straight up and down, so I'm going to a line doesn't help. I'm going to move the pivot so that they go straight up and down. I think that's straight up and down. Okay. I'll move the pivot, it looks like I need to move it over a little bit. Hopefully, that is enough. I'll smooth this. The only other option would be to take this and put creases all. Oh, maybe that's better. That might be smarter and better. Just put creases all around it. If we solo it. The creases aren't as pretty, but I think that might save me a lot of space and a lot of time. So I'm going to leave this sod. And I'm just going to make a bunch of lines, and I'm just going to bring them around. It's a cheaper method for sure, but I want to see how it'll look because I feel as though if it looks just as good, then it's going to save me some Let's see how that looks, and now we can see which one looks better. Let's hide this for now. That looks fine. That looks good. Now the big question is, do I want to keep this one, which is an extra 24 or do I just want to do the other thing? I have an idea. Let's just leave this. We'll put a few of them on the bottom, and then we'll just call it. We'll just leave it. I do like this. I do think that looks good. I think I'm just going to leave it. But come to think of it, do I even need the one underneath though? Here's one handle. It's hard to know which handles though. Because I can't see them both. Let's hide this. Oh, so this is that. Will I even miss it? I'm going to be missing that handle. So I'm going to take that and delete it. Boom, get rid of it. Boom, gone. I I don't know. I don't know why I'm doing that. Okay. I think we're good for details for now. How did this open back up? This piece sometimes opens up and it's opened up again. I'm noticing. Let's use drag. Can we put no, we can't put it to local. The symmetry is gone. I don't know how that opened back up. I didn't notice it opening back up. But that's okay. I can't worry about it now. That is a bit strange, but I don't know what happened. So. Maybe I can squeeze it together from the back. Looks like I can still drag each piece. No. Move. Oh, move. Let's sit and then just do a little move action and close these up. That's so strange. I don't know how they got so open like that with so much space. Very odd. Anyway, safe. 20. Lighting & Bonus Pouch: I'm also going to put a little pouch on the back of his belt. No good reason to do it. This is just for fun. I'm going to add a box. Actually, you know what, it's probably easier to make the box. Let's do it below. I go to get rid of the grid. I brought the ground back, as you can see. Let's look at the front. We have our little box here. Let's just sol it. It's just going to be a very small box. I'll validate it and smooth it. If you have round edge, you can use that. Round edge is the same. If you've seen in my other tutorials and you probably see it the same as smooth, it just smoothes all around. But if you don't just use smooth and just smooth the whole thing up, and you'll be just fine. Okay. So I'm going to take this box and clone it, and hopefully this moves the clone. I think something like this. Although it might look better if I trim the sides. If I go like this. That might look a little more pchish. Or does that look a little too male? My look a little bit like a male. I don't want him to look it's male. I think that would be silly. Let's see. I think it would look good. If I take split, split and rectangle and I split the top. Then I took the top and the front and I xmied them together. This is all just completely improving. I don't think improv is the right word. That looks good. I don't know what happened to the top. I'm going to trim the top, so that looks a bit better. I'm going to oxo remesh this a little bit lower at 1:20. We're going to get both of these and slo them again. We'll give them a nice smooth. I think that looks good. Now let's go ahead and add I think I want to You know what? We can probably use this box. Let's clone this box. We move it forward, we'll shrink it. Maybe snap 90 degrees, maybe we'll flip it this way. Squeeze it together. Maybe we'll just leave it like that. It needs to be thinner, I think. Do we want two or do we want one? Oh, 22 is nice though, right? Join these two together. We'll take these two. Maybe we'll give them a nice little smooth. We'll decimate these down. These don't need to be anything crazy. We'll put 1,200. We'll remesh them. This we Let's keep it at 1,200. Let's see what happens. Good. This 1,200 as well. Beautiful. Now we'll take all of these. We'll un solo. We'll hunt solo, move it up and we'll move it to the belt ish area. I love making little pouches. You can just do them so simple. Literally, it's just boxes and cut up boxes. But on a belt, they just look cool. It smaller. Now I just want to line it up with the belt. I have to figure out where exactly I want it. I think I want it here. That looks good. It's a little tilted. That looks good. Put it right into the belt, I think. Yeah, I think that I think that makes sense. I don't know how far I want it on the belt. Nice. I love little details like that. Why not? I get so excited about it. I wonder if I can quad remiss this even lower. I can probably all of these lower. Let's take this one. Let's clone it. We'll just turn it into like a piece, so it looks like it's connected to the Actually, you know what I like it. I was weird. I'll just clone and I'll put w over here as well. I'm not really sure what they're for, but that doesn't matter. It doesn't matter what they're for. As long as they look cool. Come on, and find them. Please. Pouch clips, and where's the pouch Pouch M buckles. Pouch top. Save save, save, save. Nice. All right. I think I'm officially happy with this. I'm officially ready to light it. Here's another quick detail that I just was working out with Crease on these pads. These would be pressing into this. I'm just going to use Case, and I'm going to, I already do it? I did. And I'm just going to make a line right underneath. The edge. So it'll look like these are pressing in because I really want to show that there's some pressure there. I'm just using crease to do that. See that how it looks like there's pressure. This I can actually bring down So hard to stop. It's so hard to stop with the details. I love it so much. I love adding details so much. Anyway, I really need to stop. Okay. Okay, first, before we light it, let's make sure that we have our pose the way that we want it. I think I like him turned a little bit more this way and maybe a little bit down. I think I like this pose the mot. I'm going to put it here. I'm going to go to the little camera and add view, and this is going to be two. Looks like we already have a one. This is going to be two. Maybe this is three. Maybe we'll make a four as well. We call it rear. Now we can start lighting. The first thing we want to do is change from Mt cap to lit PBR in this little sun, so we'll go to lit PBR. It's all white. We're going to have to select everything. Not the camera. I'll select everything. We'll go into our color here, and I have a color that I always use. It's like a beige ish color, and we'll just paint all. Perfect. Actually, it looks a little bit. Looks a little bit funny. Make it a little bit darker. Now we have it painted. Let's turn the environment off. Everything should be black, and then we add our first light. We have our first light here. Let's change the intensity to two. Maybe even a little bit brighter. Maybe 2.5 and maybe a little bit brighter even. Let's keep it a 2.5. Let's turn on post process. Now we can get a better estimate of what it looks like. I'm going to save this. We can turn it off. Actually, let's adjust this light with post process, so at least we can see how bright it is. Looks like we wanted to about four. That looks good. I'm going to put it to my preset. My preset is essentially just what you're seeing here, what you're seeing here, so you can pause it if you need. Nothing too crazy. Also, the quality, I'll put it up, but you don't have to put it up yet. I just want to be able to see everything that looks so great. I'm going to leave mine on. I might turn it off later, but you can turn it off to do the lights. I'm going to leave mine on just so it looks good. Let's now go back to the lights. This will be our key, so let's rename it key. And then we can clone it and we can mess. We'll name this one rim. Okay. Where is the rim? I'm going to put on a line so I can just move it straight this way. We can actually turn off the reference image. The first light might be a little bit too bright actually. Let's spin it. Oh, that's why we had both lights on. Now we want this to be the rim. Essentially we just want that really thin pop of light, that looks beautiful. I'm going to change this to Let's go eight. Let's go 15. I just want it really bright. That looks great. I'm going to save this as well, because that's looking fantastic. Okay. Let's go back to the lights. Let's add a new light. We'll call this one R one, let's call it R one. We'll move it over. This one is going to point like the rim, but it's going to point on the opposite direction. We just want some light here. It doesn't have to be a rim. Doesn't have to be like that. It can be a little bit more on him like this. This one I'm going to make cool. I'm going to t here. I'm going to bring it to a more cool color. More bluish. We'll bring that to be a little bit more bluish. That's R one. All right. Let's clone this one. Let's just call it r two. I keep pressing the wrong button to rename it. R two. This one, what do I want to do with this one? Usually, what I do is I have a light. Let's change it from a sun to a spotlight. Ops. And I want to point this one above his head. Pointing down at his head. I want to make this white though, and the intensity can be four. I got to figure out where his head is. I'll take it off of a line. I think a line makes it a little bit harder with the spotlight. We'll put the spotlight around 15. That'll light up his face a little bit better. Let's go back to our view, that looks great. But where did that come from? Let's see. Oh, You know what I need to do? I need to get rid of this, and then I need to where is it? I need to resave too, so I'll press thistle arrow down and then I'll update it. What is causing that really bright? Oh, it's the rim. Why didn't I see it before? I feel like something changed. I'll have to check the tapes. I feel like it was like this. Yeah. I feel like it was like that. Not sure what happened, but that's okay. Let's Let's turn our environment back on. Now, this is my layer environment, which is included. If you tap here, you can tap import and import this image. Otherwise, you have some other images that you can also use. Let's bring the exposure down. We like those wonderful dark shadows. We'll just use it to fill them a little bit. I think that's good. Post processes. Everything looks pretty good. I don't think I need anything to be darker in there. A looks very nice. Bloom is probably going to just like I thought, cause it to be a little bit too blown out, even if I raised the threshold. Sometimes bloom is just a little bit too much for me. Although that looks okay. I can raise the threshold a bit more and see what it looks like without. Then with the globe is nice. Let's take the light. The glow is coming from the rim. Let's take the light and make it a little warmer. We can make it like a sunlight, give it a glow that looks really good. We can change it if we want later. The only other details that I would do is make the body so go into the material and make it subsurface. Now, I want to go here to depth and turn that down. So he's not super super see through because that's just weird if he's super through. Okay. Nice. So that's pretty much the lighting. The next is just coloring. 21. Painted Turtle: Okay, so once you have your post process and stuff on, you can do your coloring. I'm going to go through it quickly. We're pretty much done with him. I'll show you how to export him, but let's just do a quick color. But you can have fun with this and color him anything you want. So go here. Well actually, we don't have to tap that. Let's just figure out what color we actually want him. So definitely you don't want him to like too bright. Oh, I'm thinking something like that is perfect. So I'm going to do paint all in this color. We, here's the color there. 9e9f4 That's the color I'm using. You can use something close if you like. Now, we don't have all these together, which we actually should. But the only thing is, I think I want to go through and try to quad remesh all of these pieces. That's the only thing that's keeping me Let me save this. Let's save as and we'll save as this one. Let's save a We'll say this one. What was I saying? Oh, these, I think I want to quad remesh them. This one is 18 k, and I feel like it can be 25. Puts them together ale bit, but I think that's all right. How big is this? I should have just done them both together. I think. Actually, I should just do them all together. I'm going to go through and join all of the elbow pads, all of these pads. It's going to take me a moment to find them all. But each of these pads, I want to link together. This one, PK one, Pk. There's that cylinder. I'm going to join them together, and then the wrist. Pad wrists. There should be another pad wrist. But the pad wrist is so small, though. These, I think I want to do a quadri meesh on. Maybe at 5,000. Let's see if I can get away with that. I just don't know if I'm going to get away with it, if it's going to ruin it. I think it looks good. Okay. What about these knee pads? How are these knee pads looking? If I take these knee pads and join them, or are these the ankles? Bad ankle, bad ankle, bad knee, bad knee. They're all widely different sizes, though. That's the only problem. P K that's 235 K. That's so huge. This whole thing is 235 k. Let's see if we can get it down to 20 k and see if it looks any different. I mean, it looks a little bit different, but not much. The only thing that I saw was these fixes. I'm going to turn post process off so I can make these little fixes. I think I saw another little mistake. Oh, right here. That's probably because of the texture. But that's all right. We have all these wraps up here as well. Join. Anyway, you get the idea. Essentially, I'm just going to continue to try to quad me thing. I'm going to try to save some space and I'm going to connect all of his colors like the colored bands or what would be colored. These are already connected. I want to connect these because they're all the same color along with his elbow pads, they're all the same color. But, I'm just going to try to get the sizes down. But that's probably going to be super boring to try to watch me figure this out. Since I'm already struggling. Quadri mesh. Ooh, did I already bring these down? Let's I want to connect the back parts, though. That's the only thing. These are pretty small, so I'm going to join those. Let's see what happens if let's take a look at the wire frame and remiss at 20 k. That's why you don't want to have symmetry on. Of course, it's always on by default. That looks great. I'm going to keep it. I'm going to join these. The ankles, they're so small, I'm just going to join them, and I'll join them with pad knee. These are the ankle wraps. What are these? What are these? Knee pads. What do just call it knee pads? These are the ankle wraps. Lead ankle. We'll join. We'll join these with the knee pads. Ankle wraps ground. Had band, A, headband, B. These are huge as well. I might just try to decimate them. Where's the head band? Had band A. Hit band B. Okay, so head band A, these are so big. I feel like is going to I feel like I'm going to lose a lot of that detail. No, I feel like I didn't really lose much. I feel like this can be like ten K. Also not the grid. I want to see the wire frames. This still looks so Let's make it 4,000. This, let's make this ten. Turn off symmetry. Let's see what we lose. I think we do lose a little detail. Okay. We do lose a little detail, so I'm going to change it to 40 k. Okay. I like that. Wait, what happened to the Michael crazy? When did the color actually go away? I'm so confused. Okay, so we're we're back at it. I don't know what happened to the color. That was really weird, but it looks like it seems like it's fine now. The teeth also don't need to be that huge. We'll go real close, we'll look at the wire frame. Even that as we that's the lighting. We'll look at the wire frame of the teeth. We'll do quad meesh. I think these can be let's try 15 k. Turn symmetry off. Turn the wire frame on. They still look great. This thing. This is 237 that's re Donkus. So let's quad remesh this down to 25 k. Let's just see what happens. The only thing about this is different doesn't need to be that big. We can keep it. We can keep it here. That's fine. These are fine. Although that's still a little bit too big for me, so I'm going to just decimate it. Belt is 17 k. It's still not as perfect. I'm going to leave it. Since I'm not really worried about the size, I'm just going to leave it. 22. Last Looks!: Okay. Let's color in the rest of this rascal. Oh, I wanted to these both sides. Both the sides are together. It's actually not bad. Size for those isn't too bad. I'm just going to leave it. Let's color them a metalih color. If I type here, we have some metal colors. Maybe we want to make them a little bit rougher. I find size to be a bit difficult to really get that sweet spot where they look metallic, but not like not crazy. All right. Let's go with this color. This and the side, the shell side. I want to join them? I'm going to join them. And all these pieces. I don't even know what these pieces are, but I'm going to join them. T handle handle. A these the handle, what are these? These are the caps. I think these are the py ends. I think they would be the same color actually. Let's take this and this has to be the nice warm. Let's get rid of the midness. Yeah, I think we want something around there. So that's d79 d39. But I might come back and change these colors. You never know. The shell, we can either sometimes it's like that dark green. Sometimes it's like bro. I think I'm a fan of the brown shell. This light is way too bright, so I'm going to turn it off for now and maybe just raise the environment so I can see a little better. That's not bad. We'll start with this color. Teeth, we're going to make those early white. We can turn the roughness down, and we can use the same with the eye whites. These can be black. Well paint those nice shiny black. Now the belt should be some leatherih color, but preferably not so, not so dark as to match the shell. I don't want it to be glossy. I want to be a little roughness. It's tricky to get the right color. I think that works. I think that works. That's that color for the belt, AC 60 80d. This, I don't know what I'm going to do with, so I'm just going to paint it the same color for now. I'll make it a little darker. I don't know what I'm going to do with that, or even if I am going to do something with it. These are going to be red, they're going to be R red. I'm thinking something around there for now. Might change, but for now, we're going to use this color. C 62, c2c. We'll go ahead and do that. We'll make the the same. Where all these pad risks coming from? Pad risks? Of course, I can't find the other one. This is the same. These are going to be the same. Head band head band. I'll just join those and paint them. These can be the same color as this, maybe a little bit darker for fun. He's got a little pouch, too, doesn't he? I'll make this p cod. Maybe we'll make these lighter. These will make dark. I want to make those the same color as the belt. All right. Let's grab the color of this. Boom. I don't even have all these things. Do we want to paint them red for now? That might look silly. I'm always covering what I want to paint with this thing. Maybe we want to make it like a lighter color to match the all these tubes and stuff I have to put together. F. I don't even know what this stuff is. Okay. I'll tell you what. I'm going to put all of these things together. And I guess I guess I probably should just record it anyway, What is this? This tube I'm just going to join all them. Blade middle. We'll make that color. We'll make this also that color. All these will make this random color. I just want to connect it to this, but I can't tell what it is. It is bad. Oh, well, I'll just call it for now. Pain Paint. It a. Oh, I love it. I think that's everything. I think that's everything. We changed some things, so we'll turn the rim back on. We'll turn the environment. P process. Let's take a look at our view. I looks fantastic. I love it. Let's do a quick turntable if you want to do a turntable. I'll show you exactly how exactly what I do. I go here. Once this screen comes up, if you're using an iPad, at least, you can hit record. Then I go here, turntable. I'll make it bigger. It's a fast turntable. Then you can do your turn this way. Actually, what I'd rather do, let me stop this. Firstly, I think I want to turn bloom off. Let's go to our view again. Some of these lights are too bright, I can tell. I do like that there, though. That actually looks pretty good there as well. It's always good to experiment with your lights. Make sure you have everything is where you want it to be. What was I going to do? Oh, yes, the lights. If you go into the lights and you can put attached to camera, Oh, that's the environment, isn't it? Is there a separate one for the lights? Oh attachment. Oh, I don't think r two I can do. That's okay. Let's turn this down. Let's try it again. Let's turn the speed down a little bit. Turn table speed. Okay. You don't need to be that slow. Come on. All right, looking great. Okay, so now we have that looks great. And if you want to export, let's turn him around. L et's save. When you're ready to export, let's say we want to export him with no background. We'll just go here. Make sure you save first. Let's go down to render. You can do transparent background, screen, and then export. Then you're pretty much all done. The only thing that I would say at this point in time is go through and connect all these things so that let's send this to my computer. Go through and just try to make it as efficient as possible. That's what I always do when I'm finished. I'm going to go through and all of these things I might go through and do the Qatari measure or decimate. All of these pieces. I also want all these pieces to be together. I'm just going to connect all of them. That way, if I want to quickly change the color of all of everything that's red, I can just tap just like the body. Just connect everything, experiment, and go back and do the other turtles. You have the base, so you might as well just go back and do the other turtles. It takes a while, but man, is it worth it when it gets to the point where it's done. What I'm going to do. The only extras that I might do is when I paint this, I'll add another layer, and then I'll just paint things. I'll take this green, and I'll paint it a little darker, and make it a little bit rougher. I'll do that and then I'll go underneath here. Turn post process off. Underneath here, I might paint underneath the head, things like that. Then I'll use smoothie pu, which is smooth with zero intensity, zero intensity, so it won't change it won't change the topology or anything. But this is just another detail that I do. I go through and all the places that are darker or touching something else. Then I just color them. I paint them. Do and then I use smooth and I smooth it, so it looks natural. This is almost like an ambient occlusion. A good example of that is like underneath these where the skin comes in contact with with the pads. These are a spot where I pretty much do all of this where it comes into contact. Maybe even like the muscles and stuff like this and all back here, and then use smoothie poo and just smooth out this color. It's smoothing out great too. Those are the only details I would do. That's to add like a manual ambient occlusion. I might do that with all of these things. I would just paint the edges and stuff a little bit darker. Also go through and add some notches to this as well. You can add a new layer if you want to test it out. Do the same thing, just grab this color, make it darker. And then use something like crease and see how you can make and if it's real ugly, just go in here and use dynamic topology, turn it on, and you should be able to get clean cuts. For example, even in his shell, you want to put like dense and stuff. Always going to look really good. Definitely do that. I want to smudge it a bit less actually. But yeah, that looks great. But maybe I'll make it a little bit smaller. But that's how you do dents and things like that. Have fun with it. Do the other turtles, tag me, can't wait to see what you guys create. Thanks for hanging with me so long. Let's come to the next and final video. 23. T 23 Outro: All right, welcome back. It's been a long time since I've seen you guys. I hope that you had a good time. I hope that you learned a lot creating Raphael, and I hope that you'll continue to make the other Ninja Turtles. Once you have your base, we saved the separate base, so now you can go back and you can adjust them. You can adjust the legs, the arms, you can adjust the colors. Now you have all the tools, the skills, the tricks, to be able to handle other characters and other really complex characters. You know, everything in three D is going to be complex. So it's just knowing how to get from point A to point z and knowing the most efficient ways to get them in between. Of course, my cat has no litter box again. This was super fun to me again. I love the Ninja Turtles. I love creating this sculpt. I created cha turtles a few years ago. I think during COVID. I think I had COVID actually when I first tried to create the turtles, but there were 6 million vertices. I just as you grow, you get better, you learn how to make it more efficient. Although I didn't into turtles before, I knew that if I did it now, I would just do them better, you know? And as nomad gets better, as the remeasures and things get better, everything just gets better, and we all get better, and we all grow as artists. So this isn't the end of it. I'm going to send him over to Blender, so that's going to be on my YouTube. Make sure to go there if you are thinking about exporting to Blender, it's just like it's just a different world. So if you're ready for that next step up, I definitely encourage downloading blender. So make sure to rate and review makes me look good. So as long as you had a good time and you sculpted it and you're happy and you think I did a good job, then please rate and review and let me know what you think. I post videos all the time on YouTube, Make sure to check me out there. Make sure to follow me on Instagram. I'm trying to get to I don't think I'll get to 100 K, but I would love to get to 100 K this year. Um, I never thought I'd be to that point. Oh, also, if you post on Instagram or TikTok or anywhere, tag me, I try to get through as much of those as I can. I try to see as much as I can. I would love to see your work. Posted in projects and resources. I want to see your projects. I can't wait to see your projects. I can't wait to see you do. I can't wait to see your Ninja Turtles. I think that's about it. I've taken so much of your time. Once again, keep drawing, keep sculpting, and I'll see you all in the next video. O.