Baymax de escultura digital! Tutorial de design de personagem do Nomad Sculpt

1. Digital Sculpting Baymax! : What's up, guys, Welcome to another Exclusive Skillshare class with me. Drug-free day. Today we're gonna be doing another fan art creation. This is a Disney character from Big Hero six called Betamax. Now I think he's a really cool character. I really fun time creating him, and I think you will too. So just like with all of my 3D sculpture, I'm going to start from the very beginning, from setting up the projects to blocking out shapes, modeling, sculpting, details, lighting, post-process. We're going to cover all of that, but we're gonna go through it one step at a time. So what you're seeing now is an actual time-lapse of the class. Everything that you're seeing here, you will learn. And it's a great way to learn how to think and process what you're seeing, whether it's something in real life or a 2D image or character, how to translate that into 3D. So thank you all for joining me. I hope you enjoyed the time-lapse. I hope you're excited to get started. I hope you're excited to learn because I'm excited to teach. So let's move on to the next video class project. 2. Class Project: All right guys, welcome. We have made it to the class project. So this one obviously is easy, I guess all my class projects are easy. We're just going to make Betamax. He's a really cool character. Again, I've actually never watched Big Hero six, but I know the character, I recognize the character and I just think he's really cool. I think I might do EVA as well from Wiley. I love that character and I have seen that movie. So for this class project, we're just going to make Betamax, as you can see with my thumbnails for the classes, sometimes I go off the rails. I made him gold and dark and made his eyes glow and made them different textures and things like that. So there's a lot of fun stuff you can do once you finished the class. Feel free to post those, or you can just follow and just do the regular Betamax and be done with it. Some of the really fun stuff is once you have the model done, you can add a background. You can change the lighting up, you can change the textures, you can change the colors. So obviously, follow along with the tutorial, get what you can out of that, but then don't hesitate to just have fun with it. You can bring in other characters. You can change the fingers around, you can swap the arms. There's a lot you can do to really make this project your, so I'm not going to go on and on about it because I think you understand, I think you understand the assignment and I'm looking forward to seeing what you guys make and how you guys do with BMX. Let's move on to the next video. Getting Started. Actually, I don't think I don't think I named it getting started. I think I just kinda just get started. It is getting started. So here's a quick note. I will use a round edge tool or rounded edge brush in the videos, and I want to show you how to make it. So we just have a regular box here and I'll show you what it does. So if I use the rounded edge brush, I can just drag from the middle. And you'll see that rounds off everything. So if I do this multiple times, just rounds the edges. So it's a very useful tool and I'll show you how to make it. So we bring the box back to zero. You take your smooth tool. So you click on the smooth tool clone and just say You name it edge or smooth edge. So smooth edge, it's going to show up down here. That'll be your new tool. You can move it wherever you'd like. So here, I don't change anything. Here. We go to the next one. And then we have these options. So instead of dot, I won't lock radius. I leave everything else the way it is. Let me go to Alpha. This is just the default. That's fine. Fall off. Preset, change this to flat. So change that to flat filter. I don't really change anything here. And then pressure. You want to make sure that you uncheck, Use global settings. So uncheck that, change both of these to preset and then make them both flat. Okay, so now we go back to the tool, tap, Save. And then you essentially have the round edge tool. So you can just pull from the middle. And voila. 3. Canvas Setup / Blocking Out: Alright, super excited to get started with this character from Big Hero six. So let's move over to Nomad scoped and we can import our image that we're going to scope from. So this is just an old project I'm using. There's a few things that you can do to set everything up. First, I like to go to the camera and make sure I'm in orthographic. So that's the first thing. You might have your grid here. I don't really use the grid. So you can turn it off if you like or you can keep it on. Also, I like to sculpt in mat cap here, and I just use this default one, PSG clay. I use that to sculpt with just because I think it's easier. And you probably have a sphere if you started a new project and you have a sphere that's already there, just delete it and make a new sphere. So if you have a sphere that's already there, it's probably going to say like 93 K or something like it's gonna be really high. The number is gonna be more than this. So just go to here, the scene. Just delete it and they just make a new sphere. And we can name this one head, because that'll be the head. And we can go ahead and validate, validate that. So that's pretty much how we're going to start the scene. Let's bring in our image. So we go here, reference image, goofy. And we have to import you import from wherever you saved them. From the projects and resources you download these files and he's images and wherever you saved. So I'm going to use this one. And I'll just tap on this blank area so we can get back to this Window and then Transform any zone. I'm pretty good spot actually. I think that's pretty good. So once you have that, just tap on the screen and then you go back to sculpting mode. And one more thing, I'm going to change this. I don't really want the blue. I think I'm gonna change it to a little bit of a lighter, warm, warm gray. That's just a preference. I like to I like to sculpt on kind of a warm gray, recalibrate, recalibrate my phone so that this is clear. Okay, So we have our head here. So we're just going to block the character out first and make sure that you hit front just so we have the exact front of our sculpt. I'm going to tap the tools here and hit a little. I want to use Gizmo. So we'll just use the gizmo to just squash his head. And I'm not going to worry about like the back looking at the backside, I'm just going to make it look how I perceive it here. So it doesn't have to be perfectly like him. It'll be pretty close. But first let's just squash his head like this. So maybe something like that. We can see that his head is a little more rounded on the sides rather than this. So I want to use Move. And pretty big, we put move up to like to 80 or so the radius. And it might be easier for us to use symmetry so that we don't have to do this on the top, the bottom, and the back. So let's tap the symmetry. Tool M is tap the green and the blue. So now, just so I can show you these lines, you don't have to do this, but I would like to see the symmetry lines. So you can see now we have the green line and the blue line. And essentially anything that you do will happen on all the other ones. So that should make our job a little bit easier. So now we'll use move. And we just want to make it a little more round on the side. So I'm going to tap front and make sure I'm in the exact front. And I'm just kinda sort of pull this, push this up a little bit, just get those sides nice and rounded. I think that's pretty good. I think that's perfect. So I'm going to turn those other symmetries off and leave the red one on because that's like the default. And I feel that his head would be a little bit squashed this way. So I just turn it so I'm looking at the left, the left side, tap the gizmo, and then we can just squish it like this. Maybe it's a little flatter too. Let's take a look at the front. I think that looks pretty good. And of course we can adjust it. You can adjust it more or less as you like, but I think it looks pretty good. One thing that I'm seeing is there's other little details on the head, but you have to remember that right now we're in orthographic. So in perspective, it might look a little bit different. So there might be some adjusting that you do at the end of the sculpt once you switch to perspective. But I think for now, this is pretty good. Okay, So now we'll do the basic body shape. Hopefully you can hear the ice cream truck in the background. So I'm just going to scale this back a little bit. And we're going to pretty much do the same thing that we did for the head to make this first part. And I think we'll use two spheres. Make his body shape. So we'll add another sphere and bring it down and we can validate it. So right now I just want to get the general size of it. And it's compared to his head. I think something like that. I think that would be pretty good. I'm gonna do the same thing that we did before just to sort of get it more rounded on the sides. So they use symmetry. Green. Oh, actually we might, we might not need to do green because we don't need the bottom. I think we can just do blue. We just need the blue. So I'm going to tap front again. I'll go here to move. We want to make sure that we turn symmetry on my move tool a little bit bigger. And then I just want to pull this up, sort of rotate just to make sure that everything is working. As I'd like. I think that's pretty good. I need to move it up a little bit. Maybe I'll make it as tad bit bigger as well. His head is pretty small. I think something like that is pretty good. So I'll tap front and for now I think this is pretty good. Of course we can adjust it if we have to. You can also stretch and pull it too. And just adjust it until you think it looks it looks good. I'm going to pull it up a little bit more. Okay. I think that looks pretty good. The only the most difficult thing is just getting the size right? So like his his shoulders, they actually come out quite a bit. I'm actually going to widen it out a little bit and then I'm going to stretch it a little bit. I think something like that. Instead is very small. So the hardest part is just gonna be getting the proportions right. But at least we can adjust these spheres if we need to. So lets actually copy this sphere clone. Let's name this body one. For B1 has just name your body one. So we don't get confused. Then we'll clone and make this party to. Okay, so now let's bring this down and wine it out. Maybe we need to do this a little bit. I think that's pretty good. And it's sort of flattened on the bottom a little bit. It looks like I'm going to take move and just kinda sculpt it into what I'm seeing here. So I'm seeing a straighter drop-off. And I'll make my move tool a bit lower because it seems like sort of flattens out a little bit like so. So there's a little bit of flatness here. And this is pretty flat around the side and then it curves in a little bit. So I think that's pretty good. I think I'm going to try to match the back, so I'm going to tap left. And I'm just going to try to pull this down some as well. So it looks good from the front and from the side. It looks good. 4. Legs: Okay, So now what do his legs? But in order to to his legs, to sort of have a basis of how big went into it. Let's make a little platform as well. We'll just use a plain for that. So are we will use a box instead of a plane. So we'll take a box contempt gizmo, bring it down, flatten it. And we'll just use a box like this. You can go ahead and validated. Now let's do his legs. So we'll use spheres and we use a mirror for that. Just rename this to floor LR. And then we'll add a sphere, mirror it, bring it down and then stretch it. And I'm also noticing his body is a little bigger than what I have, are a little longer maybe. So at times I will just continue to adjust the character a little tub year to something a little more like this. So I have to bring the legs down a bit. Let's bring the floor down a bit. Okay. So the shape is a little off. It looks like it's a little wider at the top and shorter at the bottom. There also tilted a little this way. So as long as this where it there in their lives during their mirror, then you can tilt them. So it's a little more like this. We're going to concentrate on one leg. But it looks like we need to do a similar thing to the leg. Because if we bring it up, It's still not really. We stretch it out more. It looks okay. But it's still not exactly where I want it. I think that looks pretty decent. So let's validate it. And then let's just suggest this 0. And I think that they would also be there a little bit behind his belly. So we might have to we might have to move them back and we might have to bring his belly out more because it looks like eat he does have a belly that falls a little bit below us thighs. Saw me use the move tool on the belly. And I don't know if I necessarily want the back to get to much bigger, maybe a little bit. Make this bigger. I'm going to turn off the blue. So we go to Symmetry and turn off the blue. And this way we can just bring the front a little bit bigger. Just make that nice and round. I think that looks pretty good. I might actually stretch this toolbox will re mesh the two, the two parts together. And then we'll smooth it. But maybe help bring. Let's see. It looks like this piece is a little bit lower. So I'm going to lower this down. Excuse my voice. Always, it always wants to act up when I'm trying to make a class. And I'm going to turn the symmetry off on the top one as well. I'm just going to bring this out a little bit because you notice that there's a faint line that's pretty low. So I'm gonna bring this down a little bit. And I'm going to widen this a little bit in the belly area like that. I think that looks that looks better. Maybe I'll just adjust adjust this so it's a little more round. A little tricky. Okay. I think that's okay for now. And the leg is actually a decent women have to do. We might not have to do much with the legs. The only thing that I'm seeing is there might be a little wider at the top. So let's see how that looks. I started straighten them out a little bit. I'll do the same thing to the back. Just sort of make them a little wider. I think that looks decent. Yeah, that's actually not too bad. And maybe I'll take the body and just stretch it out a little more here. Backside. And it's actually not bad. So it might take some adjusting, but, um, you know, just get them as close to this as you want. You can also do it a little more stylistically. I think that's rounded a little more on the bottom. I do see that much. So I'm gonna take, um, let's go back to our symmetry. And let's just see. We'll take the z, the blue. And that way we can do the same thing. We'll go back to move, turn symmetry on, and just try to make these little more around the bottom. That's pretty good. Actually. Be nicer. This could be like a model that could stand up, but I think that might be a move. The weight is going to really work out. I do sort of think about that, trying to balance the characters when I make them nowadays. Okay, that looks pretty good. Belly does hang pretty low. It's one thing that I always do with my sculpture. I, I continue to adjust them as much as I need to. Always just keep adjusting as much as you need to. Think that the legs are a little bit punchier. They're a little bit smaller at the base. Pull them down a little bit, but they're a little bit punchier. So that looks good. That feels good. So I'm pretty, pretty happy with this thing. It looks pretty good. Okay. I don't mind the crow or whatever that is back there. That decides to be loud. Right now. I'm just I'm just making everything round. So I think that's his appeal. Everything is like sort of round and pudgy. And it looks good. So the body my legs are a little bit bigger than his legs. It looks like. So I'm going to take the body both of the body parts and just make them a little bigger. Move them up a little bit. And I'll take the head and move that up a little bit. And it looks like the head might be a little bit forward on his body. I might look at some some other pictures of him. Let's see. Let me save this. Okay. So let's hit it a little bit forward. Make sense. So his head is a little bit forward on his body. And we can take off some of this kind of hump in the back. So let's make sure that we only have the body will use move symmetries on good. And then we can just sort of melt this down a little bit. Something like that. I mean, it looks good. Just a smidge. I'm going to take his hand and pull it. Ever so slightly like that. Okay. It looks good. It looks good. So next we'll move on to the arms. 5. Arm Blocking: So let's make his arms now. And for this we'll use the tube tool. We use the tube tool path. And we don't want snap. Okay. So it looks like they come off their rounded they're a little thin. The first section. And it's a little pause here, down here. And then it has a flat palm. And these little round fingers will use fears for those. So I think it might be easier to do both sets of arms as mirrors. And then we can adjust one to have this, to have his hand up. I'll tap front. So I'm going to start from about here. Pencil on screen. Drag once, and it looks like I'm going to drag it pretty much down to the middle of his body. Pencil off and then I'll bring the pencil down here. And his fingers go to where his thighs are. A little bit high on the thighs. So I'll maybe end it right there. I think that looks pretty good. So I will just tap the screen. And now we have the blocked out arms very thin for him. So we can make it a little rounder. So that's a good start. Now I'm going to tap radius twice. So this one will make a little bit wider. And we can see that his arm, it does get a little wider in the middle. So I'm going to add another node there and make that a little bit wider. Maybe I'll make this a little bit smaller. You can move these nodes up and down. So I think down is a little bit closer to what the shape is. So we have something like that. And I'm going to add another node here because I want to bend this into the body like that. So when I turn on the side, I just want to make sure that the arm is going straight in like that. This looks pretty good. Now I just wanted to sort of match what I see and also do what I think looks best. So the things I look at our leg. So he had a little bit of shoulder space here. That looks pretty good. The arm comes off and it's actually quite thin up here. So what that tells me is I'm gonna bring this note up a little bit and then we're bringing it closer to the body like that. And I think that we might spread. I don't think I can do it now Let's see. If I take the gizmo and then I go pivot, rosette. Pivot. That puts the gizmo in the middle of the arm. And let's see if I can stretch it at this point. Would ensure that I could do, but I guess I can. Maybe it looks pretty good. I think that looks nice. So let's take a look at the other reference sketch. Oops. Internet. Okay, So his arms, this is pretty wide here and pretty thin at the top. Okay. So let's go back to if you press tube, you'll get the nodes again. So his arm is pretty wide. And move this down a little bit. And then I'll go to gizmo and I'll just make the whole thing a little bit wider. I think it's more like this. But the top, Let's go back to, to the top is quite thin. I'm going to make sure the top is nice and thin. And looks pretty good. I'm gonna go back to gizmo and i'm, I'm going to squeeze it now this way because it doesn't come away from his body that much. So I'm going to squeeze it this way. It looks pretty good. I'll go back to tube and just make any sort of last adjustments. I might want to make. But ultimately, I think this is pretty good. I might have made it a little bit too flat. Hopefully, because really what I'm looking at the drawing, it doesn't really look. It looks pretty good. It looks like that's his actual the actual shape. So I'm pretty happy with that. I'm going to tap mirror. So now we have both. But I can see that his arms are a little bit too much in the front. So I think I just want to use Gizmo to bring them back a little bit. And again, I'm always trying to make little tiny adjustments. I'm noticing that this is very round here, it's a very round curve. So I'm just trying to match that here. And then ultimately I'll look at the size of the arms, which I think looks pretty good. So even though I have this mirrored, I think I want to take the mirror off and not mirror it. So I'm not going to validate this, I'm not going to mirror it. So we have the 12b1 tube. So this is the arm. And I still want to keep it in to form. So I'm going to clone this arm. And this one will be left arm, arm l. Okay, so I just want to flip this one on the other side, but I can't use symmetry because we haven't validated. So we're gonna do a little cheat. So we'll make sure that we have snap on and it's 90 degrees. Remember we're on arm l. I'm going to tap a line. We're in the gizmo now. We tapped Gizmo. So you should see this here. And I tapped a line, see a line will change it. So it's just perpendicular to the whole project and not the actual arm itself. If we have a line and snap, then what you can do is you can just snap it twice and then move it over. And now let's hit front. And you just have to use your best judgment. You just want to match it up so it looks fairly similar. But it's okay because we're going to move this arm up anyway in a little bit more. So now we have both arms. And even though they're the same, they're a little bit different. The only thing that had the other thing that I was thinking is doing the hands, but I feel like the hands are in a slightly different position. So I think we'll have to do them separately. So now for this arm will go back to tube and we can bend this arm up. So of course that'll be the elbow area. We've been this arm up. Let's take a look at the front view. Kinda get a look at where everything is. So this can be a little bit tricky. But just remember that we're seeing the whole arm, but these are the bones that everything else is going to follow. So you see this a little bit of negative space between his arm and his little belly. Which you don't really have to add too much, but I tend to get into those little details like that. When I'm raise his arm up a little bit more. So something like this. But his arm is so if we're looking straight, it looks like this area is very much like a circle. Really want to match that. So I want to move these over trying to get that nice circle that actually looks pretty good. You know, don't have that space here. I think it's still looks pretty good. The fingers would be here. So it's actually a nice distance as compared to this. The only thing that I'm seeing is I might have to bring this up a little bit more and see what that looks like. This up a little bit more to go. So then the thumb would be here in these fingers would be up here. I think that looks pretty good. All the shapes look good. I don't want to have this bent this way, so I'm just going to adjust this a little bit. It feels a bit more natural. It looks good. I need a lot of self validation. If you could tell. 6. Arm Workout: Once you have the arms in a position that you like and they look good from both sides generally. We can go ahead and validate them. So I'm going to validate, looks really good. Validate this one as well. And another fun thing. We can always come back and do. You can do arms later. But if you ever wanted to, if you were thinking about changing the changing the arms, you could always just say that as like you could save as you could keep going on a new one, then you have the arms. So if you wanted to play around with the shapes, with the legs, things like that, you can always adjust that later on. Okay. So we have the legs or the arms, those look good. So we do need to smooth these arms out quite a bit. So I'm going to box will re-emerge or voxel rematch them. Think we'll just do it like 200. I had a little shortcut here. I think you can one of these can add the shortcut down there. Boxer image. So I might use that. It's the same as going here. And voxel in 3D mesh. So it's the same thing. So box we mesh. I don't know what I just Fox already meshed. But it might not have been the arm. So make sure you're on the arm. Axillary mesh at 200. There we go. And sometimes this happens and it's a bit annoying. So let's go back. Let's go into here, won't tirades sub-divide, maybe twice. And then you can do your voxel. We measured 200. Okay? Now we can smooth it out. I'm going to turn symmetry on. Actually, we don't really need symmetry. So let's just smooth out this arm. Do have a little bit of an issue here. But it might be okay. Smooth out the whole arm and then just see how it looks. Okay, So we do have a little bit of an anomaly here. If this happens, I'm thinking I'm just going to use clay. So I'll just use clay. And I'm just going to fill that in like this and I'm actually going to make a line across it like that. The inside pupae don't have to worry about too much. But I think that looks pretty good. So now I'm gonna box or we measured again same number. And I'm going to smooth. And it starts to look too lumpy. You can always box where we mesh a little bit lower, like maybe 140 or so. And then smooth. You should be able to smooth out a lot of these lumps in the arm. And I do want his arm to continue to be nice and round. So I'm going to take move. I'm just going to adjust certain things so that it's nice and round and smooth. I want all the angles to be nice and round. So e.g. I'll take this and just rounded up. And even this this part of the arm, make the move tool a little bit bigger. The reason why I make the move tool a bit bigger is because it, it keeps everything being smooth. So we're not moving a small section, we're kind of moving everything. Okay. So that looks nice and round. I'm just going to smooth everything out. So that looks good. So we'll do the same with this arm will voxel remeshing 200. But we probably need to do the sub-divide first. So we'll go here, multiphase sub-divide. I think we did it twice. And then we'll just voxel 3D mesh around 200. And then we can just smooth. It doesn't really need, this one doesn't really need that much smoothing. So we'll just smooth out where your hands are. And we're going to eventually voxel merge the fingers onto the hands as well. So it'll be a little bit, a little bit different. So now we'll flatten out this poem part C on this, this poem part would be about here. So it'd be a little bit more flat. So I'll just take, we'll try and move first. We'll just take move. Sure that we're on the arm and just pull it. So we'll just pull this top out. Like this. We can push the bottom in a little bit so that it looks a little bit more flat like his his palm is facing us. So and I'll just try to make it even. I think that looks pretty good. I'll just do a little smoother. It's just a habit of mine. I always smooth after I do pretty much anything, I'll just smooth. That looks nice. And I think now we can go ahead and add some fingers. Will actually, before we do that, let's round out. This arm you see is still very round. So let's take this arm and let's flatten this part here so you can see my flattened options. So if we go to this little thing here, we have stroke. Nothing really here. It's on dot alpha, just square. This is all pretty much default. Fall off is like this preset. At this one. I haven't changed anything. Filter. These are just default. I don't really think we need anything. The pressure is important. I have used global settings. And when the pressure, it looks like this, that just means like it's the regular pressure of the pencil. And it should look, should look like this. So I just wanted to go through my settings real quick just so you can see what's going on. No tricks. Okay? So we're going to flatten and I don't have symmetry on because the arms aren't symmetrical. So I'm just flatten you can't solo as well. I'm just flattening this side out. As you can see, it's nice and round under here for his palm. I'll just smooth this. Smooth it out. Okay? And I might need to smooth it out a little bit more. Because this is actually the palm here. So smooth it out a little bit more. Just so it comes out and it's nice and round like this. And then Smith it again, if you start to have any issues or it's not smoothing nicely, you can VOC salary mesh a little bit lower. Just bring it down a little bit lower. And then Ramesh in that should, that should make the smooth tool a little bit more effective. And just rounding everything out. How can I look at it? It's actually I'm going to take this and I'm going to move it. Make this a little bit bigger. I'm going to move this a little bit more inwards. I'm going to take flattened again and just flatten this out a little bit more. And you probably don't have to do this amount of detail, but I just I don't know I don't know what it is. I like to be very, very critical of every little thing. I think it's worth it to do the work now. Put in the extra work now. Wow, you can. And why you can still easily adjust all these things. So we'll make this nice and round and smooth. I think that looks good. So now we can officially had some fingers. 7. Finger Puffs : Fingers are gonna be pretty simple. They look like they're just spheres. There might be a little flattened on one side, but I like doing fingers this way. So let's make sure we have everything labeled correctly. Body floor, arms. Oh, these are the legs. So let's just name the mirror. And we might we might adjust the legs a little bit. It looks like when leg is in front of the other, we might do that. We might not. But that's just a little detail. Okay, So let's add sphere, I'm going to say real quick, so I haven't saved in a while. So we added a sphere, will bring it up in the general position, shrink it down. And we'll do the thumb first. So we'll do the thumb first. And let's go ahead and stretch it out this way. And let's do the same thing that we did before. So we need to validate it. And then we need to do, we need to use all of these planes. We use the Move tool and we'll just use, will turn symmetry on. We just need to round it out a little bit. It's actually perfect. It's pretty good. So that's a good start for the thumb. Now we can just, let's name this thumb. It's actually clone it. And then this f one. So let's hide F1. We have the thumb here. Let's go ahead and use the gizmo and really place it where it needs to be. With. Turn it off, turn snap off. If you want, you can you don't have to have it on the line I haven't underlined. Looks like it doesn't make a difference. But I'll leave it on a line. But if you wanna do it exactly like I am, then you can leave it on a line. I'm going to turn off a line. Because now that I've tilted it, then you can see why it's useful to not have a line on. And that's how quickly when I say changes. Okay, so that looks pretty good. I'm comes out a little bit far. So this is the front view. That looks decent. I'm going to open it up a little bit this way. Move it down to smudge. Actually open this way and move it up a little bit. Something like that looks pretty good. I'm gonna make it a little bit smaller. Maybe down a smidge, stretch it a little bit. So maybe something like that is good. And it looks like his time his looks like his fingers are a little bit smaller though. So let's just make it a little bit smaller. Maybe a little bit wider. Move it up. So something like this. Okay, so now let's take f1 and we can use the gizmo. I'm actually going to snap it. And then just do it quickly like that. Turn snap off and move it in the general position, and then just slowly adjust. So I'm going to make sure that this is sort of on the tip, like this surface of this poem. Stretch it a little bit, make it a little bit smaller. There around the same size as the thumb. So I'm constantly looking at things like that. How to gauge the size of these fingers. And this one is tilted the slightest bit. This way. The middle one is very straight. The other one is a slightest bit n. So they're always going to be sort of pointed inwards, if that makes sense. Let's take a look at the front. That looks good. Tad smaller. And I want to do that little tilt that I mentioned the slightest bit. So now we'll just clone, will move this over. We'll stretch it the slightest bit. That looks good. Down a little bit more. So that's nice. Then we can clone it again. This will be the little pinky, so this goes down a little bit more. And it's tilted as the slightest bit this way. Now you can see some issues that I'm having with these is they're they're all a little big. They're very big. So I'm going to take the fingers and shrink them over. Shrink them a little bit more. I'll shrink the thumb a little bit more. Like so. It looks a little bit better. You can also take the arm and you can use, let's say move. And they can sort of adjust a little bit to the fingers. Not too much, but just a little bit. And they're very flat here. The fingers are very flat, so I want to give them a little bit of life. So I'll kinda tilt them a little bit. This one's pretty far back. That looks good. That looks good. So you can always make them a little bit smaller again, if you want. I might make mine a little bit smaller. Then I might I might change my mind to be honest, he's the easiest way is just to, why do I keep touching a different spot? The easiest way is just to experiment until you're happy with what you have. Okay, I think that looks good. So I'm going to look at front and just take a look at some of the intricacies. It looks okay. I wanted to I don't want it to look like he's saying stop. That's the only thing that I'm having an issue with right now is he kinda looks like he's saying stop. So maybe if these are off centered, that might help. I'll even twist them a little bit. Flattened this up, smudge. I'm going to open it up and just twist it a little bit. I don't really know if that helped. Use fingers are quite cute though. Okay. I think I'm happy with that. Okay, so now we have these fingers, they look pretty good and it might actually be easier. So if we take these fingers, we can join them. Let's see what happens when we smooth the bottom because I'm noticing that there's, there is a little bit of space. Let's, let's take these off and turn symmetry off the fingers. And I'm just smoothing out the bottom so that's a little more space in-between the bottom, only the bottom parts of the fingers. That makes sense. So not really up here, but I wanted to be space on the bottom part of the fingers. Sort of open them up a little bit. I think that looks good. I think we can work with that. Now. Be really nice if we can use these fingers. If on the other hand. I think we'll try to use symmetry and bring those over to the other, the other arm that'll save us from sculpting all these again. 8. Flip FAIL: Let's flip the hand. So let's take the fingers and the thumb and just join them. That way. It'll make moving them a little bit easier. So let's clonus, and let's call this one our fingers. Let's call this one l fingers. So we'll take L fingers. We could assymetry. And I'm going to turn these off. So we just have the red plane. Then when I go down here. So what we're gonna do is we're going to, we're going to try to mirror this from left to right. So in order to do that, we need to make sure that we're only using the x because we want the line going straight up and down. But we don't want local because the local would just be the hand. We want world. The world is just the center line. And the whole project where you have the red, we don't want these. We have the red, the world. And we should be able to just move it left to right. And of course, there's always some weird thing that pops up left to right. Failed to apply symmetry. Do you want to enforce symmetry by mirroring the mesh? Yes. Okay. So now you should have the hand on that side. Okay. So it looks like so our fingers somehow it it kind of, um, I don't know what it did. But you see is that even though even though I've hidden the original fingers, this one still has the other ones, the other fingers incorporated. So I'm just going to take trim and we're just gonna get rid of whatever that is. But why do I still see them? Just fully trained. Interesting to see. It's not like it's money or anything. See if I can. So it's almost like getting in some sort of near an app. And I'm actually quite perplexed. 9. Finger Puffs 2: Let's figure out this mystery together. So we have L fingers and it's still both fingers. Very, very odd. So let's see if we can separate and find the fingers at fault. So it looks like it's these fingers. So if we delete them, then we're good. I don't know why it does that, but at least you got it figured out somewhat. Now, the fingers it gizmo. Bring him down to the general area. It looks like we need to go like this, like this, and then go like this. So let's take a look. Now you can see where it's a little off. I think I'm gonna go ahead and separate the fingers because it looks like I need to work on them one by one. Let's start with the thumb. So let's try to move this thumb to where it should be. And here's where the gizmo can be a bit confusing. I'm pretty decent app working with it and kind of figuring out how to make things move, where I need them to move. But give yourself some time. It is tricky. Sometimes you just have to do a lot of movements until you get what you want. Okay. I think that looks pretty good. We get into the handle a little bit. So something like that looks good. So now we have these little sausage fingers. I think what I wanna do is bake this. So I'm gonna go here and won't let me bake it. That's interesting. Let's see if I take it out of this. It will allow me to bacon. Here we go. I've taken it out and now I'm going to bake it. And then do pivot. We set pivot. So that makes the gizmo perfectly straight again. I'm going to take these other two and actually delete them. So we have, let's find the thumb. So we're just go here. Let's find the thumb. Will rename it thumb. Let's bring it out. Okay, So this will be F1, the thumb. And then we can just get rid of these because I think it's easier to place this one and then clone it again. This arm feels a little wide. Does feel a little wide. Maybe I'll take move through to shrink it a little bit. Okay. I'll smooth it out a little bit. I might adjust it some more later. Sometimes I like to flatten out parts of it to get them nice and round. Then smooth. Okay. So now obviously the fingers are just kind of hanging off the front. Little bigger. Bring it in. That's pretty good. You want to give them a little curve, a little touch of a curve. You can just take move and you can push, pull as well. And that just gives them a little curve. Now I'll move it back. You have something like that, which I think looks great. Let's see if I can bake the thumb as well. Pivot. Pivot. You can want to tilt it a little bit. Like so. Looks good. Maybe I'll move this over a little bit and then just clone. Looks good. I'll clone again. Move it, move this one up a little bit, tilted a little bit. I want to make sure that these are following the actual hand or the arm. Make this one a little bit smaller. I may, I'll tilt it the other way. Let's take a look at the front. And that actually looks pretty good. But they're a little too curved. I think they're a little too curved. So I'm going to use smooth on this arm. And I'm just going to try to make the whole thing a little bit smaller. Just with the smooth tool. I'm going to box remember it a little bit lower. So I'm just going to try to make this whole arm a little bit smaller, but it'll still maintain everything is still pretty much keep the shape. Next. I'm going to use move. And I think I just want to flatten up, just pull it a little bit and then adjust these fingers. So they're a little straighter. Going to pull this little sign up on the arm just a little bit. Then I'll just move this back a little bit more and maybe even tilted in a little bit. Something like that. Looks pretty good. That looks great. So now that we have this here, I'm going to take flatten and I'm just going to even though we can still see everything, I'm just going to flatten a little bit on the arm. Just going to flatten a little bit more. Smooth it out. I think that looks good. I'll just move the arm a little bit out to accommodate the thumb. Okay. I'm pretty happy with that. This is a really tiny detail that I'm noticing. The insides of the fingers are all a bit flat or a bit more, less round, I should say. So. Let's see if we can just take the fingers. Let's join these fingers. Once you're happy with them, you can join. You can join these fingers here and thumb. So I'm going to join all of them and this will be L fingers. Then we'll select both of those and hit Solo. So now we can see both just the fingers. So I'm going to tap on those. Use flattened. And he can go back and forth. Oh, you can't see it. So it's always going to be the inside of the fingers that you want to flatten. So this is the thumb. This is like the inside of the thumb is you're just the insides of the fingers. And I'm just flattening out a little bit flattened, a little bit bigger. I do this with most of my character is actually k, So now they're a little bit flatter. So now I can just smooth. It's very subtle, but I like subtle things like that. And I will bring that back. I think that looks good. I'll do the same thing here. We don't really need to do the solo anymore. Beyond flattening. And that Smith will just flatten this out. Poem side. We don't need symmetry. So let's turn symmetry off. And now that I had it on and check and make sure that nothing else was affected by that. Sometimes you got to be careful with symmetry. So symmetry is off. I can flatten. It looks good. Looks like it might have a little bend the opposite way. Same thing with the little pinky. Little round pinky. It looked good. So then we'll just give them a nice little smooth look good. So once you're happy with your palms and your fingers, then you can just walk so remiss them together. And we'll, we'll smooth them out. We'll do that in the next video. 10. Finger Tips & Face Details: So now we'll voxel three mesh, the fingers and the arms together and the body, the two bodies sections. So let's take this arm and the our fingers or whatever the corresponding fingers are. Let me see real quick. Now we'll take both of those and we'll rematch them together. And around 200. I'm gonna go ahead and turn off the lines. So now these are meshed together. You made it to separate some of the fingers if they're if they're connected. I tried to leave some space in the middle. But if they're connected, then you might have to. If you have an issue where they're connecting together, just go to the fingers. You see how I have mine are all joined together. You can just select, like let's say it's these two fingers. What you can do is you can, you can use the mask and you can select mask along with the Lasso. And then you can just move the others away a little bit if you need to. Or you can just take the move and you can just adjust a little bit. Something like that. If you need to. Do the same thing, just Fox worry mesh 200. And that looks good. And then we'll just take smooth and just smooth everything down. So it's nice and smooth and pretty. I'm not going to press too hard as I smooth because they don't want to lose any of the shape or lose too much of the fingers. Okay, this looks great. Very happy with that. You know how I like to use inflate. I really love to use inflate. And this crease would be a nice place to add. Inflation. Usually do that and then I decrease. Let me bring the crease down a little bit to here. And just move this out of it. Just so it gives that little bend. I love stuff like that. So this is a little trick or tip, whatever you want to call it. A little bit of a shadow here. So I'm just going to try to smooth this out to we'll do the same thing to the other one. So we have arm, fingers and we'll box. We miss them together at 200. Okay. It looks good. And we'll just smooth this out. You can see there they're a little bit together here. Tiny bit. You know what? I am going to separate them a little bit. So let's see if I can move it. Just that one. There we go. I don't even have to use the mask. You know, I also want to make this one a little bit. I think I want to give it a little bend. Just make it a little thicker. And I'll use select just because I think I want to bend it a little bit more this way. Okay. Let's try that again. So we have the arm and the fingers. Ok, sorry, mesh. To take the mask off. Smooth everything. They took their still touching a tad bit. Let's see if I can use drag really small and just sort of get rid of that in there. That's actually not that it's not too bad. It's not terrible. I'm trying to smooth it out as much as I can. And then I'll try to just make some space by drag. Let's try crease. Nice and smooth. It looks okay. But of course you can separate it a little bit more if if it if it's too close, if you don't think it looks good, but I think it looks fine. So now let's take the top part of the body and a bottom part and this voxel Ramesh that together. Again, 200. We'll refresh that, and then we'll smooth everything out. So it's nice and smooth. Looks good. I want to make sure that this is nice and seamless separation here. I think that looks good. And I don t think that we need to voxel Ramesh these parts together. Think we can just leave them. Okay, good, Let's save. So now let's figure out how to do is these little parts. I think what would be good is if we just do a cylinder and a line going across and we just put that on the front. I'm actually not sure if this is like if it goes in on the character or what. But I think a cylinder and a line going across work or two cylinders, I should say. So let's try that first. So we'll add cylinder. So we'll add a cylinder. Gizmo, bring it forward. And let's do snap with 90 degrees. That way we can just make sure that it's pointing directly forward. Will shrink it up. And we can mirror it. Separate the two. And it's actually a pretty good size. Maybe there are ten bit smaller. So maybe around there. Let's bring them into the head. Obviously, we'll have to adjust these a bit. But ultimately I think they're pretty good size. Okay, so now that we have that, let's make the straight bar. And to do that, I think will use, Let's see. Let's use a cylinder. Will bring that to the front. Let's make sure it's not inside of our other. Let's bring it out of our mirror because we don't need two of them. Snap is still on, so we'll do that and just tilt it back. Actually, we need to tilt it this way. We'll bring it up. And then we'll just shrink it just so it's a nice straight line going across. It's pretty thin. Something like this. A little bit. So it'll be it goes across maybe a little bit less than the middle. So it's not directly in the middle. It looks like it's a tad bit lower. So let's go back to these now. And I think we can go ahead and validate them. The only other thing is that I do want to look and make sure to see if this is a dome, if it's an impression or if it's just a cylinder. So let's save, and I'll just look really quick to see. It looks like it's an impression. Let me save this image. Another close-up image. So it does look like it's an impression. Okay, Good to know. Okay, let's save this one as well. So I'll say I'll just save the ones I use. That way you can have the ones that I use. Okay, so and that's actually fine. So you know what we'll use, this will make the shape that we want. And then we'll do a Boolean operation. That's where we use this shape to cut out what we need from this. So we'll make this shape. And then we'll cut out the little will cut out sections from the head. So then we can actually make it so it's like an indentation in there. It's probably really confusing, but I'll walk you through everything. Okay, So what's really important now is if we're looking at the front, I want to make sure that these are the right the right spot on the head. I think of the right spot. What I mean by that is just I want to make sure that this shouldn't be down further a little bit. Let's take these and maybe it will tilt them a little more forward. Yeah, I think that's perfect. Alright. So now we just have to form fit these cylinders to the head. I'm gonna go ahead and validate them. Let's box will rematch them as well. 200. So voxel rematch them. I'm going to take smooth symmetry. I'm just going to smooth these towns. Okay? 11. Face Details 2: Okay, so now let's adjust these. So we'll use symmetry. We're on the cylinders, we use the gizmo. We don't want symmetry. Now let's adjust them so that they're on the very surface of the sphere. So that's actually pretty good. Okay? They look pretty, they look pretty good. The only thing that they might need is a little bit of a bend. So I'll take move. And let's see if I can just pull it up in the middle and then move it back a little bit. Okay. I think that looks good. Looks a little uneven. I'll just slightest bit and just make it even. That looks good. Now this, Let's see. Let's go ahead and validate it. And let's actually stretch it a little bit this way. And let's push it back. Like so. And now we need to, I want to put a bend in this as well. So let's use move. Let's use symmetry. So now we're just on this bar. And I'm just going to, maybe I might have the wrong symmetry. Let's see what the right symmetry is. Let me turn on the line again. We have the blue. Blue is top and the bottom. I don't see the red. Whereas the red, the red is front and back. So we need the blue. We also need left and right is that green screen. Okay? And the reason why sometimes this changes is because since we moved it, remember we moved with snap, we sort of move it around. That's what we'll change the symmetries. But this should work. Essentially if you turn your line on. If you get lost, if you turn a line on down here, you want them want to move everything evenly. So we want the top and the bottom. And then we want a line in the middle so we can move to the left and the right. So they might be different colors, but you want a line in the middle and a line down the center like that. We don't want a line on the top and the bottom. We don't want that. Okay, so now let's try this again. Symmetry is on. And we'll move this out. We want to move it out nice and evenly as we can. It looks pretty good. That looks good. And then we'll take our gizmo and we'll move it back. Like this. That looks pretty good. Looks very good. You know what, I'll say that it looks very good. And you can, even if you feel like you haven't made it thin enough, you can always squeeze it a little bit, things like that. Okay. I think that looks great. So the only other thing that I'm wondering is if it's wide enough, it looks like it is wide enough. Or they might be too big though. I feel a little big, but that's okay. If it's a little big. We can grab all of this and then we can just shrink it. You do have to move it out again. Like so. And then just do any adjusting that you might want to do. Like maybe the eyes are a little bit too big. You can do some little adjusting. Sometimes I wish. Ran out of space, my phone. Okay, so now let's do a Boolean operation. So first we're going to take these eyes and validate will just naming these dyes cylinder. We can take both of these and just join them together. And let's clone and hide one. So now we have this and the head. So I'm gonna save case. I mess up where there was a crash. So let's extract the shape from the head. So we have our backup one. Take the head and the eyes. Why the eyes? If you find that you can't easily hide the I. Then go down here to Advanced and uncheck focus on herbs, focused on item or sink visibility. Uncheck them both. Mine looks like this. You want to voxel? We merge them together. So we go to voxel. I'm going to rematch them pretty high. So let's try like 400. See what we get. Nice. That looks good. So I'm gonna take rounded edge or you can just smooth it with the smooth tool. If you have the rounded edge tool, you can just do that. If you don't. That's okay too. You don't, you can just take smooth symmetry and just softly smooth out everything. Hopefully it doesn't get too loud outside. K. It looks pretty good. Make sure this is all nice and smooth. Now let's add back the hidden one. Let's move it back some still on the head and makes sure that you're on. Move it back until it fits right in it. So it looks pretty good. I do kinda wish who's a little more snug. But I think that's actually pretty good. We might be able to use move. 12. Finer Face Details: Okay, so now we have the original back in the place and this might actually be fine. But I want to make it a little bit more perfect. So we'll take eyes and let's see if we can separate all of these groups. So we have the eyes, we have these two, or the eye. So let's take that and join them. And let's move it out. Here. These two we can, we can take this out to delete the blue. So this is just the line. So we'll just call it the mouth. Well, we have the eyes so we can actually adjust them so that there'll be perfect. And you know, what will be easier is if we take trim rectangle, this makes sure that we're back in orthographic actually. So we take trim with the rectangle and just get rid of 10. It's still not letting me do that. So let's separate. And let's just get rid of one. Can bring this high out. Okay, so now we only have one eye. And I'm actually going to, I was thinking about pinching that. Pinches actually a great tool. This is weight extra, Plato really need to be doing this. I don't think that we'll see it, but now that I saw it, we can file that under tips that a little more straight. So now that this I is separate, we can really make it work to our advantage. So let's see. So the first thing we wanna do is drop it down. So it's underneath like this. Now let's make it bigger. So that's, that's perfect. We can adjust it a little bit so it's just underneath the surface. I think that's exactly what we need. We raised it and now it's perfect. So let's take this and let's do the same thing. Let's move it back. Let's make it y, Let's make it bigger than it looks good. And let's actually bring the eyes out to match it. Here we go. It looks pretty good. We can actually trim. Let's take the lasso. Let's just trim this up. Let's make sure that we're on. The mouth. Will just trim this, give it a little trim. I think that works. Can even flatten it up some maybe pull it out. Let's take movie and let's, let's give it a little bit of a bend, just like we did originally. So we'll just pull it out a little bit. And then we'll push it back in. That way it meets up with the eyes a little bit better. So I think that's perfect. I think that's good. So now let's take this i and add mirror. That will mirror it to the other side is should be perfect. It looks like it's a little off actually. So it looks like it's a little off. That's okay. Let's take both of these are new eyes, will validate them. And let's do instead of joint children, Let's do keep instances. Yes. So now we have both of these. You can tap the eye, we want to adjust. Then we can just adjust it until it works perfectly for this side. All I mean by we're perfectly is we just want it nice and smooth and right under the surface. I think that looks good. There's no gaps. I think it looks perfect. Now we'll take the eyes, all of the i's joined the mouth. We can join all of that together. Let's make sure we label it. Eyes, mouth, or just size is good. So we'll just keep it the way it was. Okay. Yeah, I didn't know how I was gonna do that, but that's a little bit more accurate to what he is because it's an indentation. It'd be easier if it was just like buttons on top. But this makes it a little more difficult, but I think it looks great. Okay, and now this has 504, so we can go ahead and decimate it. So let's choose this option here. Decimate. So let's decimate it twice, three times till looks perfect, so that's good. This little piece here is 234. So we can do the same thing, go here. We can decimate it a few times. Still looks perfectly fine. That will drastically cut down on our, on our, the size of the project. Here's another little trick that I like to do, because I kinda want the fingers to be a little bit more together. And you can't really do that when you box where we mesh because that'll sort of start reaching for each other. So you can take Select Mask, make sure you're on the arm. And actually I'm going to mask the middle finger. Then I'll take Move. And I'll just adjust these so that they're a little bit closer. Now I'll clear the mask and then I'll just smooth out. There's little bit of imperfections there. I'll just smooth that out a little bit. So that's a cool way to sort of bring the fingers a little bit closer together. Okay, So here's this little button. So that should be fairly easy enough to make. I think we can just use you can do a cylinder and then we'll flatten out the outside rim. And then I think we can make this with the crease tool. Then if not, we'll just figure something else. Okay, so the first thing we wanna do is sort of get the general position of it. So let's add a cylinder. And I'm going to use snap so we can snap it forward. I'm going to bake it. Not that it really makes a difference. Let's validated bake, pivot, rosette pivot. Now this is just normal. I'm going to flatten it up a little bit. So we have something like this. I'm going to box so Ramesh it. I'd like to 50. Then we'll just smooth everything out. I use symmetry. You can actually turn on all the symmetries unless you have rounded edge. So we'll turn on all the symmetries and just smooth. It. Looks great. I wonder if I can use Select Mask. Let's turn on the symmetry lot. Let's turn on the blue again. So now we have a middle spot. If we use Select Mask and we use the ellipse. Okay, so we need to make the ellipse a perfect circle. See if I can remember how to do that. So I think it's up here. Oh, here we go. Okay, so right now my ellipse, I can have it so it can do any shape. But we really need it to be just a circle. So we'll tap here. We'll go down to shape ellipse, circle. Then we'll do centered tap front. We'll start right in the center. We moved some mask somehow. So let's go back to select mask, which check the settings again. Okay, there's, that should be what we need. Here we go. So we do this till about there. Looks good. Then let's actually do this. So let's tap left, trim, trim, select Mask again. And we'll use the rectangle. And my Apple Pencil died. But luckily I have a backup. Avocado colored Apple pencil away. Is this hasZero as well? Wow, they're both dead. Okay, I guess we're gonna take a quick break, get a snack, get some water, and we'll be back at this in 1 s. 13. Chest Emblem Details: Alright, so we're back, we're all charged up. This is actually a little tricky, but this is a really cool way to do this, to handle this problem. It's round, it's got like a flat surface here. And then it has this line right in the middle. So let's do that. Okay, So we have our cylinder, it's 177 K. And we're going to make sure we tap front and we're going to use select mask. The mask is there. Good. So the mask is there. So I did all that. So now we'll go back, left. And we're going to use select mask with a rectangle. Again. We want to mask all the way up to just about the very end like that. So we want to have something like this. So now we can take the flatten and it won't, it won't bother this part. Let's take away the blue symmetry. Okay, I'll tap front again. So now we can use the flattened tool and we can just flatten this. Really excited about this actually. So now we have that nice and flat. We can go ahead and get rid of the mask and look at that. How cool is that? So now we will take the smooth tool. We can just kinda smooth it out. And that's exactly what we were going for. Okay, so next thing we can do is we're actually going to, we're going to sort of build that line through. We can't use creases, creases just to, you know, it's not it's okay but it doesn't look as clean as it should. So I turn it to its left side, will take select mask with the rectangle. And first let's just mask off a little bit lower. Let's mask off to probably about there. We're going to mask all of that off the whole back. So we're good there. Okay, so next, we want to take the rectangle and we just want to make that straight line that kinda goes in the middle. Maybe we'll do it a little lower than the middle. So the whole thing sort of in the middle? Yeah, maybe around here, a little tablet lower. So maybe something like this. We want to make a really thin line. So we'll make something like this. See that we have that thin line there. That's what we need. Now we want to match this, but we want to make it up so we can make that top line. So we'll take the rectangle and we tap unmask. We kinda do the same thing. We want to match that with. Maybe something like this. So we actually don't need all of this. So the line comes in, then it goes up. This might actually be too little bit too high. I'm gonna make it a little bit lower. Maybe around here. We don't need this much. So let's take, let's tap Matt, unmask again. And now we're just going to we're going to mask off the middle part. So maybe around here, see it does both because we have symmetry. Now, what we have to do is, what do we have to do next? Oh, that's right. We want to keep everything the same and we wanna kinda cut this. It's a little bit of a diagonal line we want here. So let's go like this. We'll make it a little bit longer. Actually, it doesn't really need we don't really need to go to the other side because it's going to mirror. So we just want it to be further out than the top line. Perfect, Just like that. Now for the tricky part, the rectangle is great because it makes sure that your lines are straight. So I'm going to set my canvas up so that I can make a straight line. So maybe something like this. Let's see if this works. I'm doing everything the same. I want to hit unmask because we want to make a clear line. We don't want the mask anymore. So let's see if this works. It's pretty good. It's a little messy, but it'll still work. And it went on the other side too, because we're still mirrored. Everything is a mirror. I think that's great. So now that we have this, we can just hit gizmo. Then we can move that in like that will ensure doesn't come out of the back. Although it doesn't really matter if it does because we're not going to see the back anyway. I think that's great. Now we'll take our mask and clear it. And voila. So let's remeshing it. Let me save this remeshing it. Let's try to 50. And it looks good. And we'll use rounded edge. If you don't have rounded edge, you can just smooth rounded. It is just kinda makes it a little bit faster like that. I think that's great. And that's exactly what we needed. And now that we've done that, let's go ahead and decimate this. So we'll go here and we'll use decimate here. And we'll just estimate this because we don't need it to be that high. 3,000. I'll take that for now. I might decimate it more later, but that's okay for now. So now we can just move this into place and make it the proper size. Okay. So it's pretty much on his chest. This type area, it's a little bit smaller, maybe smaller. So we'll bring that into his chest. I don't want it to look good on the video, so I'm going to bring it out again. I'm going to slide it back in. There we go. It looks so good. I was actually really fun to make this little thing and to use the mask when you can kind of get used to using the mask to get what you need. It's like things like this. Start getting really fun because you, then you start to realize that like, okay, there's really clever way to make whatever it is you need to make. There's always a clever way to make it. It's just figuring that out. That's tricky sometimes. I think that's good. I wonder what it looks like if I was to put him that's actually pretty close. That's pretty close. So it does look like it's rotated a little bit. I'm gonna take it off of a line. That way it aligns with this. So when I rotate it, it doesn't move it as wobble or anything. So I'll just turn it a little bit and maybe a tad bit smaller. I'll pull it out. Tiny bit. There we go. Nice. We can actually, we can probably do the same thing with these little these little parts to, but I can't tell if they're just. 14. Body Details: Okay. So he has a little crease that goes around his whole body and then he has these little like I don't even know what you would call them, but they're sort of like little patches. They look like they're slightly different material. Essentially here there's like a little seam. So there's a seam there. It'd be nice if I could see a close-up of the seam on the body. This is a scene there as well. Okay. So there's a seam there as well. For the details on his body he has these sort of patches are different. Patches of color that have like creases around them are seams around them. So there's one that goes right across the body here. So I think I want to use the crease tool. I'll just show you my creased tool settings. Here's my, here's the pinch force. I don't usually actually raise it up. Maybe I'll raise it up to eight, see if I see a difference. Like a good strong pinch, pinch force, excuse me. So here is these options. We have the filter fall off alpha stroke, so these are all good. But with the filter, I want to hit front-facing vertex only for the crease. For pressure. Let's try unchecking global settings, preset. And then changing both of these two, this line, this straight line. So let's hide the arms. The arm here, and I think this is the other arm. I'm going to rename it arm, l. L arm. So let's just hide these and then we'll go back to the body. And I think I want to mask off where this round part is. It's probably about here. I'm going to tap left select mask. And let's just make sure that we have front-facing. So we won't front-facing vertex only. Because if we don't have that, it'll do this. They'll start doing that. And what that is is that's making one circle and then it's going through to the back and vice versa. So we're using select mask, the ellipse. And we'll just do something like this. That's actually pretty good. If I make it about a smallest him to a little big. Maybe I'll go a little bit smaller and a little bit just wider. So that looks pretty good. Now we'll go back to the front of the body and we'll use the crease tool. And actually don't think that we needed to turn front-facing vertex because I think if we make a crease, it's not going to go through to the back. So I think we're good there. So it just has a straight line. So you might have to do this a few times. We just want to make our crease and it's a little bit lower. See how the sea, where this bend is. It's a little bit lower than that. So we would just want to make it a little bit lower. I'm just trying to make a nice clean line. It's a little tricky. Trying to make it meet in the middle. Something like that. That looks pretty good. That looks pretty good. Let's bring back the arms. The mask here that actually looks okay. It looks okay. Let's try the lazy rope stabilizer. So we'll go into here the stroke settings, and let's do the lazy Rope Stabilizer. Let's try this. Okay, that's actually not bad. I would say that that's probably the best one that I've done. Looks good. I'm happy with it. So I'm not gonna go too much more crazy. Let's just do the back so we can continue with this rascal. Okay, I'm pretty happy with that. I think it looks pretty good. Okay, So now for this section, there's a few things. They have to do. A few things that I'm thinking, but we might leave the mask on. And then. When we start to color, when we turn him white, we can invert the mask. So you can do select an inverse and then we can color it that color. We might even, we might even do clay or something. We might even raise it a little bit and then color it. So it looks like there's like another another texture on him. So that might be good to wait on. So we obviously still have this part of the body. The legs. The legs are quite small. We might be able to do this when we color it too. There might be better because we can use dynamic topology. So I think that we can bring the arms back. I think the risks we should do when he's colored. We make him completely white. Because I'm pretty happy with them so far. I think that's the last thing is just these these last details. So let's check the size. So he's orange and 30 K. I think we'll leave it for now. We'll leave everything as it is for now. Nothing is too huge where the arms are a bit huge, but we might need them for the details. So right now let's make him a matte white. So we'll go here actually, we'll need to change it to let PBR first. So we'll go here. The shading window will change it from mat cap to lit PBR. Let me say real quick. And we will change the color to white. The roughness up a little bit to like 6.5 or so. Zero point 6.5. Paint. Whoops, I forgot to select everything. In the legs. Pain, all interesting. Pain or pain off. Oh, you know, what's happening is I have the mask on. So I need to take the mask and invert it. Now I can do pain all I was wondering why the mask wasn't being painted. So there we go. That that was why. I think this looks really good. So it can really good for now. So now that we've painted it, I think before we do these details, we should do I want to light him or do the details first? We should probably do the detail to continue to do more details. I think maybe we'll add one light for now. Maybe we'll lighten up the environment. So let's tap this little icon and see if we can just make it brighter with the environment. That way we can see everything. So that's good. So let's tap on the body where it's so low. So now we just have the body and our mask. Let's invert the mask. So now this is the only part that will be affected. Let's go here to the Layers option, Add Layer. And this will be, let's just call it a patch. Patches k. So that will be the side, this side, little patch here. So we'll make this similar color. It looks like it's just sort of like an off-white. So I'll change this a little bit and just make it a little bit off white. So maybe something like that. It's a little warm. I don't know about the roughness yet. Maybe I'll just suggested a tad bit. So it looks like it's like a letter or something. So I'm just gonna bring the roughness down a little bit. And then we can actually just hit can hit pain. All that actually looks pretty good. The only thing is it's a little dark. So it needs to be a little bit grayer. And a little bit later. Let's see, without the mask, that's almost perfect. And remember that's one and that's on a higher layer as well. So we can solo the body. And now we have this nice mask here. 15. More Patches: Alright, so he has patches on his arm. So there's a circle here. I can see if there's another crease. There's a circle there. And then on the bottom, I think that's pretty much all we can see. So he does have it looks like he does have a crease on his arm, but this looks legit and can't really see it line here, but there might be a crease here. So that's looking good. We might do some extra details of that later. Let's bring back, Let's un-solo him and get to these arms. We might be able to do this with the select Mask Tool again. So we're on this arm. Let's see if we can. Let's add a new layer patches. Then let's use Select Mask and ellipse. I think I want to do, I think I want to change the options to circle, centered. But maybe not, maybe not circled but centered. Better. But I wanted to turn it. Here we go. That's kinda what I wanted. But just not. I think that looks pretty good. So now we'll do the same thing will just invert the mask. Invert. And we still have the same color so that we can just color it. Then clear the mask, will do the same thing on this side. Select mask ellipse. So that would be probably around here. We want to make sure it looks circular though. It looks a bit better. But you can see how it's sort of messed up there. But that's okay. I'm just going to use mask. And I'm just going to fix that up a little bit like this and then I'll take unmask, just erase some of that away. I think that's possible. So go back to our select mask, Invert. And we almost forgot to add patches, will add a new layer patches. And then now we'll call it that. And we go back up here and clear the mask. It's looking good. So let's take these and just color them. Matte black. So there's no light. Nice and matte black. Second, pretty good. Now for the legacies, we don't need symmetries, so there's a circle on the sides it looks like. So let's up the resolution of the legs. So I'm going to box where we miss them, like 400. And I should have see all these little squares. That's multi-racial. First syllable here, multirate, sub-divide. Then let's try that again. Okay, that looks a lot better and do a quick save. Now, let's see how this select mask lips works. I think it's something like this. Much, much better. Perfect. It's on both sides. Let's solo. Even though we just have one leg, that's perfectly fine. Because you see he has this on the bottom. So let's make a circle on the bottom. Almost perfect. Actually, there's an easier way to do it. We'll hit front. And then we'll take a rectangle. I'm going to just adjust it so it's straight up and down. Let's just do this. So we'll do that. And I must still have front-facing vertices only. Where is that? It's here. Filter will turn off. Front-facing vertices, will set this backup. So then I can use the rectangle and just get, get that going. Perfect. Tap solo again. And now we have that. Although you can see that this is kind of funny shape, Let's tap front again. Let's see if we can just get it. Street. There we go. That's better. I just use a rectangle with unmask. Just did a little bit. Oops, wrong way. Let's adjust it. Here we go. We might, it might have been smarter to actually use symmetry. Just do something like that. On the symmetry didn't work. Interesting. Symmetries back there. That's odd. Odd. So we'll turn symmetry off and we'll make a line here. We'll make one there. And we'll make one on this side as well. So something like that. I think looks pretty good. There's a little bit of a tiny they're not actually like straight. They're more like a little bit slanted. So if you want to add that little detail and you can do that. So something like that. I think that looks good. Okay, so now let's take the mask, invert the new layer, make sure you do a new layer. Punches. You can go to the Paint. It looks like we lost the color. So let's go to the Paint tool. This little circle here. Eyedropper will get the color back. Now we can tap on it and just to paint all. And we're good to go. So go back to our mask. Clear it. I wish I can make that color a little bit darker now. Now that I've done all that. And I wish that I could wish that I can make it a little darker. But that's okay. I'm okay with it. Okay. So what else do we actually have to do? So the only other thing is there is, does look like there's some sort of crease in the arm. So if you want to take the arm and add detail, maybe you wanna do it on the base. You can just see how this works. Kinetic crease going all the way over like this. I don't actually think you need you need it to go all the way to the other side. To be honest with you. I think that's fine. You really don't need it on the other side here. And just bring it across. I'm not on the right arm. Let's go to base. Okay. That's actually pretty good. I'm happy with that. Okay. So I think I'm pretty good with this. I don't really see any more details that we might have missed. But I'm sure there's something I can think of. So let me let's, let's pause here. Let me give it a quick save. You should give a quick Save as well. 16. Seams Good: So I did think of another little extra detail that you can do. You really don't need to do this, but I'm using crease and I'm using the color of these patches. So now I'm on the leg and I'm going to add a new layer. Just go seem. So this is the new layer. I lowered the intensity of the crease a little bit. You can see the numbers very low. I think five is the lowest for the radius for the crease tool. I'm going to go around these lines and remember that I'm using the, where is it? If we go to this little option and stroke, I increased the lazy Rope Stabilizer to 50. And that's why we have this little stretchy thing. And that kind of helps you stay on path. So what you do is you start at the end and then you just try to use the front end, like where your stylus is touching the screen. You try to match as close as you can. The line, the lazy Rope Stabilizer was stabilized the line. So it will give you something like that. Okay. So I do want to try to add a little bit of a crease to this and even maybe to this here. So I'm on the arm. We're going to use crease with sub. Then we want to make sure that this doesn't have a line through it, because we want to use the white pink. And we can do this on. Let's add a new layer and just name it seem. So let's try to do that on this layer. So I have this, obviously, the radius is very low, or raise the intensity a little bit. Let's see. I'll raise the intensity all the way. Let's see if we can just make a seam. I still have the lazy Rope Stabilizer. I'm going to continue this all the way to there. That actually looks pretty nice. So let's continue around the other side. It is a little bit tricky to follow the past. Sometimes your hand gets in the way. So feel free to take a couple of goes at it. You don't get it on the first one. I think that looks great. So let's go to this arm, 56 k. So let's see how this looks first. Let's, may I need them to do a new layer? Name it seem same thing we use crease with sub. We don't need symmetry. Let's see how it looks. It looks here. It looks like it might work. Now I'm going to try to just trace this outer line patches. It looks good. I don't even think we need to raise the resolution of it. Looks decent. Okay. Decent. Try to go over this a little bit. Get rid of the beige paint. So that looks good. Now let's try to do it with the body. The body is very, the eggs will add a new layer, call it seem. And then we'll just do the same thing. Let's solo the body. Oh, I must have symmetry on. Because I can see that it's symmetry. It's okay. I don t think I want some mature on again because I don't want it to go back over what I already did. That looks pretty good. It's pretty decent. Seem so un-solo. It maybe we'll just take it away a little bit. It's a little aggressive. So I'm going to lower it down. There we go. That's better. Crease. Just tracing this leg. Kinney. Okay. Yeah, I like the outer crease a little bit better. And again, I can always just kinda lower this a little bit, so it's not so egregious. So I think that's good for the details, for body details. I think next we'll just do some lighting. Really happy with them. 17. Lighting: Alright, so let's do some lighting on our little guy here, I guess, big guy here. So let's do some lighting. Now. Be a good time if you want to bring in fresh backdrop. So let's just do a quick save. If you want to bring in fresh backdrop, just go to this folder window, add to the scene. And then wherever you saved fresh backdrop minus here, somewhere. There we go. Open that up. And I'm going to bring this two down to his feet. And actually, I'm going to make it longer, taller, a little wider. Go now we got a little bit, a little bit of depth. I'm gonna change this to perspective. Now I'm going to get a nice view of him. So maybe something like this. Put them right in the center. Okay, so that's a decent view. So we'll go to this little camera icon. You can figure out what you want your focal point to be. I think that's fine. But once you're happy with it, you can just add the view here. I just like to name this one. And then maybe we'll do like this can be two. Then maybe the profile can be three. Something like that. So at least now we have some views we can work with. Okay, so first view, let's go ahead and first turn the environment down to round two. And we can turn it off. And we can bring in our first light, love rayon and the first light, I think it always looks really nice. It doesn't matter where this light is, but we're just going to move it near, like how it's pointing on him. It's pointing from this direction. And that's this is a pretty good start. So we can probably just leave this here. And we'll give him really simple lighting. So we'll leave it there. It still looks gray. So I'm going to turn it up a little bit. Maybe 1.5 or so. So we'll do that. Then we need to add a fill light on this side. Make sure that this is reflective of what's on my screen. So this is great. I'm going to this light. I'm going to call the key light, the main light. So that's the key. And this is a sun. Sometimes I change it to spotlight, but for now we'll leave it as the sun satellite. And we'll change this one to fill. We might move this to the background, but we might not. So that's this light. And we will move it over here, pointed back at him. So essentially with this light, what we're doing is getting rid of those really dark shadows. So something like this. Here's without it. Here's with it. It's too bright though. So we want to lower the intensity. See how it's black now, we don't want it completely black. So that's why this is a phyllite. It's just filling in so it's dark because you want it to be darker than the key light, but not black. So now we just have one Sunlight going this way, when sunlight going this way. And we want to make these soft too. So first, let's start at dislike. We'll tap on it, tap here. These are the same options that are here. These are all the same options. Like if I was to go into this. So these are all, turn them off. So these are our lights, but this is a little shortcut menu. So you can tap on the light, go here. Softness. So I'll make it nice and soft. You can see that it turned that shadow soft. And we'll go to the fill light and do the same thing. Make that nice and soft. So now we're gonna do an edge light. So we'll have a light from behind him. So this is fine. Now this is a dark shadow. So we have light, we have dark. And then we're going to make another light edge from behind. So we'll go here. Add this will be edge. I love doing lighting. How that is not just changed name. Edge. There we go. So we're gonna make this a spotlight. I'll zoom out so you can kinda see everything. I'm going to, I'm going to tilt it this way. Use these arrows to move it behind him. It's pretty much what we want, but we want to see it from our view. So we'll go to one. You can start to see that lovely white line. It's beautiful. If you can have it on the floor if you want, but usually I don't have it too much on the floor, but it actually looks decent. It actually doesn't look too bad on the floor. This is what we want. We want, they're really beautiful, nice white pop that really layers him, that makes him stand out. I love it. And we could change this to soft too. Let's see what it looks like. We can always change it later. So now the last slide that I use, and actually at this point in time, we can probably bring back the environment which is here. But we'll do that in a second. Let's zoom out. We have our three lights. Let's add another light. And we're going to call this top-down. And of course that's going, that's gonna be a spotlight and that's gonna go right on top of his head, pointing down. My go-to lighting setup. For most of everything that I sculpt. Want to make sure that it's over his head and pointing straight down. Now the beam. Here we go. So we want something like this. And we are going to adjust these for sure. Right now we can turn the intensity down a little bit. It's very hard and I'm gonna change this to a nice cool lights. So we'll go to this bluish color, will bring it to blue. Something like that, nice and cool. I'm going to save my progress. Okay, So now let's turn the environment back on. That's going to bring in a lot of light on these really dark spots. We go here, we turn the environment back on. We can turn it down. I want it on but down. So I put it at 0.626. And now to get an accurate view, let's turn on post-process. And that gives us a much more accurate look at our character. Let's go to one. And it looks pretty good. Looks very good. So another thing that I'd like to do with all my characters is changed them to subsurface. So now that we're in post-processing, there's a few things here which global illumination, which is going to brighten a lot of stuff up and make the light really bounce. And that might actually look really good for this character. There's ambient occlusion. So you can probably turn this up some. But you see you get these little white physis. But that's okay. I think that looks pretty good for now. Ambient occlusion. He doesn't need that much of it. So maybe I'll leave it there and I'll turn the curve up. Something like this. So it looks like without that, it actually looks better without it. So I'm just gonna leave it off. It's still not bright enough. I can turn the environment up a little bit. I'll turn it up maybe to like two. And you can see this light is a little hot on his head. So that's the top-down light. So I'll just turn this down. Maybe I'll go a little bit of a deeper blue as well. It looks gray. And let's figure out a color for this backdrop. So we tap on the backdrop and let's pick a nice color for it. For now, we'll just do this color. The pink is good. Look. This is a little bright on the floor. And we might want to incorporate this color, usually the whatever the background is, I tried to incorporate that color into some of the lights. Let's check the fill light. It's not really doing much. So since it's not really doing that much, it might be nice to use this for the background. So you take that light, turn it into a spotlight. And then let's pointed towards the background. So we'll bring it back here. And we'll take this little orange dot and maybe open up the open up the angle. Can turn it down a little bit and maybe we can we'll make it warm. Let's see how this looks. We go back to one. It's really nice, just gives us a nice color back there. And since we have this light, we can change this light, the edge light too. So we'll continue lights in the next video. 18. Finishing Touches: So this edge light might be nice. That's edge. If we just made it a little more warm. I think that's nice. Then you can sort of experiment. You may not want it touching the floor. He may be touching the floor a little bit less. It looks good. And the light from the blue. And this is a little bit of kinda me overthinking things. The light from the blue cuts off his shadow a little bit. So I just want to play around with that. I'm just kinda do it while I while I'm recording. I do pay attention to the shadows a lot. Just want to see if there's maybe something I can do. I definitely want it on his head. Maybe I'll tilt it back a little bit. See how it looks. It looks okay, but this shadow is a bit strange now. So let's just go back to how it was. So it actually did have that. Interesting. So I think the lighting looks pretty good. I'm pretty happy with it. I could honestly, I could do lighting for so long. I just really, really enjoyed make it a little more blue. I think the blue looks nice. We have everything is warm, warm lights, the background is a bit warm. So the blue light really kinda I think looks good, looks great here. So let's take his body. Its head, its arms, and the legs. I don't know what the cylinder is all I think that's the little emblem there. Let's make that subsurface so we'll we'll tap here and go subsurface. And then we'll take the depth down. Usually I'll bring it down to like one. But I actually don't mind it being a little higher. I'm going to be a little too much. But it looks great. It looks, really looks nice. I wonder if I leave it up and just do the transparency. That's an easier way to do it. I think it looks fantastic. I really, really like it. I think it came out well. I'm just gonna go around and just see if there's any little last touches I can do. Like maybe with top-down, adding a little bit more pop to it. It's a little bright on his head, but I still think it looks good. Here's a little hot on the head. If I bring it up a little bit, bring it up, it brings it a little bit further away, which also will alleviate some of that. So we'll go back to one, which I think looks really nice. Now let's just go back to the post-process and just double-check all of these things that we were looking at. I'm going to move them over a little bit. I'm just going to double-check these little things like global illumination. That actually looks really nice. Brightens them up nicely. It can tone it down just a little bit. There's a big difference, but I think it looks nice. Ambient occlusion. Obviously, you can see how big of an impact that has on it. Human might not need to be so strong. And it'd be really nice if this, if I can make the shadows blue, that would be really cool. Curvature. We'll bring this down and bring strength up a little bit. Because we still want to get those. We still want to make sure that we have that the right separation. I think that looks pretty good. I don't want it that strong. As you can see, it just takes a lot of trial and error to get it the way you want it. Which one do you like better? I wish I could I wish I could get it right in the middle. Because I like both. Maybe if I do this in turn the environment down a little bit, that might help. Here we go. I think that's, I think that's nice. And also will, might benefit this is if I open this up a little bit more, tilted a little bit more to the back. I think that's really nice. I'm going to turn the environment up a little bit. I have this thing where a lot of times my scenes wind up being like very dark. So I'm trying to not do that. I'm trying to make sure that my scenes are brighter than they usually are. I just tap on the key light. So here's the key light. And let's see if we can bring the intensity up. Let's just see what this does. It makes it very hot, way too hot. Okay, cool. I think I'm good with this character. I think it looks really nice. So now if you want to export, Let's go ahead and view. Course delight is still there. Right? Let's turn the render resolution all the way up. I still can't make up my mind. I think this will look better. I'm honest. So maybe I'll export both. Start with this one. So get it exactly how you want it, go through, make your little adjustments. There's any adjustments that you wanted to try depth of field, see if that really does anything. I don't think it does, but let me just double-check. It kinda does. But not with not with the background though. Doesn't really do much with the background. So I'm not going to worry about depth of field. Instead. Everything else is good too. I want vignette. I think I'm not going to do vignette. I might add it later in Photoshop. Save progress. Now let's go down and export. I don't want to transparent. Actually, I can leave a transparent because I'm gonna be it's gonna be everything in the scene. So it's actually okay. If I didn't have this backdrop, it would just be him. But since I have the backdrop that's included, so hopefully that makes sense. I'm gonna do for k and export. And I have mine all the way up into thousands. So it's going to take a long time. And I'll just show you what I mean by that. If you go here in post-process, I have all of these and I have the max frame sampling up at one thousandths. So you can go ahead and read this. It will show you what makes why I have it up so high. I think if I had it at 500, it will probably look the same. But since I can do 1,000, I'm gonna do 1,000. But it's probably nonsense. So for k export PNG and okay. And I'll see you in a minute with the final renders. 19. Extra Credit Background: So I want to include this extra video because I love using these backgrounds for my scopes. I just think they add a lot to it. You can see I changed the light up to match the background. So I'm just going to show you how I make this, how I go about thinking of adding backdrops and things like that. So here's the plane. So this is where I was. When I finished the class. I just use a different view. And I'll include my background that I used and I made that with AI. I know a lot of people demonize AI, but you have to use these tools that are available to artists, especially artists like us that a digital artist use the tools that you can in ways that benefit you and help your art and just make your art look better. Use the tools. There's always gonna be people that demonize you and don't like something for whatever reasons. But just keep your head down and do what you do. Use the tools that you need to use to make your art the best. It can be. Like the floor, I like this color, so I'm going to use it as a plane. So first, use your eyedropper and get the color of the background. Next, let's go here and let's go to fresh backdrop just so we kinda know where we are. And add a plane. A plane that's the plane up there. And you can go to this little box here that shows up. And you can bring the plane topology, you can bring that down actually to like four. That way it's only 36 vertices, very, very small, negligible. So we make it bigger. You can kinda see the shadow coming close to the backdrop. Let me get a little bigger, even. Make it bigger, and just bring it down. I'm not even going to worry about the perspective. I'm just going to use it to just go right above our current floor. So something like that. Now we can get rid of first backdrop. So we get rid of that. Let's tap on the top of my new floor. Now we can tap on our little circle here and paint all. Now it's the same color of the floor, is just him color? I've included the background, but obviously you can see I make a lot of backgrounds. I make a ton of backgrounds with AI. So just import from wherever you downloaded it, photos and then just import it, tap on it and then tap Add. Mine is right here. And then I just have one this negative space in this window and I go to transform. You see all this stuff is like blacked out. That's because this is where you can move the photo. I'm going to bring it to the middle and then just expand it to be something like this. And then I'll just tap the screen again and we're close, but the lighting has to match up. And this is one thing that I really love using backgrounds for it is it gives you a chance to practice your lighting. Because the character needs to be cohesive and fit with the lighting of the scene. It's the only thing that makes sense to some degree. So we'll tap on the floor. And then I'm going to use this green ring to rotate it because you can kinda see that it's a square. So I'm just going to rotate it. You see, it kinda becomes just kinda looks better. It looks more natural. So I'll rotate it like that. I think that's pretty good. Maybe I'll stretch it out a little bit more. But honestly, I think that's fine. So we're close. See this yellow here was obviously the sunsets on this side. There's maybe some pink on this side. There's a little bit of blue here, but there's also some pink. But this matches up with this light that we put over here. So I'm gonna go into the lights and that's edge. The edge light is already over here. Now remember we saved, are we saved our scenes? So you have to make sure that you go to the camera and add a new view. We'll name this one for. It's really important to do, because if you wind up moving it and then you try to go back to three, it's going to default back to or to whatever it was. It's going to default back to how you saved it. See that, so it changes the background so you want to make sure you save your view. So now we can move this around as we wish. We want to put this light over here shining on him this way. So I'm going to tap on this light. Edge light will put it down here, flip it around until it's on him. Maybe we'll put it low and angle it up a little bit because the light is actually quite low. So we'll do something like this that looks pretty good. So I'm just gonna move it a little bit closer. And actually it looks very good. I'm very unhappy with that. But you can move it around to see how much you want on the model. I think that looks nice. You can also, if you want to make it a little more strong or even a little more red to match a little bit better. You can do that as well. You might want to. You can play with the intensity of it to make sure see what it looks like if it's soft. Shadows, a little bit soft, so that's nice. So you can adjust, you can play around and see. Maybe you don't want that, but I think I like it soft better. And also you can adjust. Like let's say you wanted it to be really bright. You can adjust this arm. The reason why you can see through it and it's so red is the depth. So you can go back here. Remember we made it subsurface. And you can adjust the depth or you can adjust the translucency. See if I bring this down a little bit. It's a little more natural. And that's the same as if I was to bring the depth up this way, I think. Oh no, that makes it a little more weird. Maybe not. I'm going to bring this down. Oh, actually, yeah, that's the opposite way. When you bring it down lower it makes it less dense. Brain part. I'm going to just the translucency here. Just so you can see through the fingers, maybe a little bit more. But not much. I think that's good. So the other thing that I would do is remember we had the key light on him. But I think that it's a little bright Here. I want to concentrate on this lightness. And maybe I'll bring this to this side and give him some more ambient light over there. We don't have to move this light because it's a sun. But we can still adjust it. I think it would look better if we add some light coming from the other direction. Well, that leg looks not the right texture. Oh, you know what, that's the that's the patches going to say. So I think something like this is kinda nice. Soft, maybe even coming a little more downward. So I think something like this, it's kinda nice, but I wanna make it, I think a little bit more pink. Let's add some pink to it. I'm going go up here. I'm gonna go up. I'm just going to see how these look. I think that looks nice. I kinda just as a little bit of a little bit of color. We don't want to add too much. Let's see what it looks like with post-process as well, because that's going to change everything a tad bit. I think it still looks nice with that, with that pink there. Another thing I noticed is we lost that blue, that blue line. That's okay, we can just go to Transform. Oh, actually this makes sure that it's, before I do that, let's make sure that I didn't just change the view. I probably just changed my view. There we go. Yeah. That looks nice. This is a little too see-through, so I'm going to adjust that by bringing the depth down a little bit more and the translucency down a little bit more. Okay. Okay. I think that looks all right. It looks better. Then maybe we'll just maybe we want the top-down and be a little stronger. Maybe. Or even we can even adjust the blue. Maybe we want a little bit more blue. So you can adjust those lights as well. But now you have some pinks and blues and I think it looks really, really nice. Maybe it's worth it to bring this slide up a little bit to get it off of the fingers so much. And it's, it feels a little dark. So we can try depth of field. But if I do that, I'm going to bring the far, the near blur down in the far blur down a little because I don't think I want it crisp. Maybe we'll just blurt the tiniest bit. You can check out global nation. Can see if you want that, if you like that, I still think it looks better without although it's still a little bit too dark. So I'm going to use my environment to line it up a little bit. Just lighten up the exposure. Myself. Slide maybe a little too bright. So I'm just kinda lowered smudge. And that's pretty much how I make backdrops like this. 20. Thank You!: All right guys. Welcome back. Good to see you guys again. I hope that you had a great time sculpting. I hope that you learned a lot and I hope that your backs turned out well, I can't wait to see him. And I also hope you liked the little bubble, the little the little text bubble. So that was like another little. I get so caught up in these classes. I want them to be really cool and fun and whatever. I'm such a nerd. But anyway, I hope you guys enjoyed it. Please review and posterior class projects to projects and resources. So just go to Projects and Resources and you can upload your images. Feel free to upload the image that you just finished that you just did. If you want to change him around and change the colors. I love to see that too, so please post those as well. I'm always excited to see what you guys do. But anyway, yeah, I really had fun sculpting him and I love hanging out here. I love sculpting and I love the community. I love teaching. And I love seeing you guys in class and loved seeing your projects. Of course, you know all my social media as drug-free Dave, across the board. Definitely check out my YouTube. I post a lot of nomad sculpt tutorials and things that I just whipped together and things I spent a lot of time on. They're just not as structured as these classes. So they're a little bit different. I might just sometimes I just want to sit down and sculpt. Then I'll just record it. So lots of nomads golf stuff, not lots of nomads, sculpt stuff. They're trying to say that lots of nomad scope stuff there. Take what you want, take what you will. Take everything that I teach you, all the tips and tricks, tricks, all of the wisdom that I try to impart, use all the tools, use everything that I do to make your stuff better. That's the name of the game. I'm not worried about people taking my ideas are taking whatever. I'm an open book, I want to share it so you guys get better. That's what I love. I love how grateful people are as well. Because it's a lot of work that goes into all this stuff, but it's also a lot of fun. And I want you guys to experience having fun with 3D the way that I do. If you have a character or something in mind that you think I might want to sculpt, just leave that in the review as well. Again, likes analytics. I don't think you can like hear reviews and stars and projects and stuff really helps me and helps my Skillshare network continue to grow. So then I can just invest more time in this and more time and you guys long-winded. Alright. Once again, I really appreciate you guys. Thank you so much for joining me. Keep drawing, keep sculpting. And I'll see you all in the next video. And here's a sneak peak of one of my engagement photos. I don't know why. I just feel like I just want to share it with you guys. I like to tell a little personal things because it's just me. Like I feel like you guys are like, I don't know, seeing the next one. And I guess I should show you this. So obviously during class and I wanted to make a new text bubble. So I made this little guy. So yeah, I made this little guy. And he's very super simple, just made out of cylinders. And I just softened up these little half cylinders and aligned. But this was another project. And it's why sometimes my classes take forever. Because in the middle of it, I decide I want to make something like this. But I think it was really cute and I might just use it in a lot of other videos. Because when I just wanted to show you this as well. And you can see just really simple. So it's a fun class.