Introduction to 3D with Nomad Sculpt (Updated for 2023) | Dave Reed | Skillshare

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Introduction to 3D with Nomad Sculpt (Updated for 2023)

teacher avatar Dave Reed, 2D & 3D Illustrator - Brooklyn, NY

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Intro to 3D with Nomad Sculpt (1.76+)


    • 2.

      Class Project


    • 3.

      New Project, MatCaps, Primitives, & Gizmo


    • 4.

      Primitives & Repeaters


    • 5.

      Repeaters & Voxel Merging


    • 6.

      Dyntopo, Cloning, Instances & Decimation


    • 7.

      Background Options, Camera Views, & LitPBR


    • 8.

      Roughness, Glossiness, & Backdrop


    • 9.

      Creating a Custom Smooth Tool


    • 10.

      Lighting: Key Light & Edge light (Rim Light)


    • 11.

      Environment, Post Process, & More Lights


    • 12.

      Glow Effect & Point Light


    • 13.

      3D Mesh Materials


    • 14.

      Sculpting Tools 1


    • 15.

      Sculpting Tools 2


    • 16.

      Fresh Mesh


    • 17.

      Sculpting Tools 3


    • 18.

      Sculpting Tools 4


    • 19.

      Sculpting Tools 5: Tube Tool


    • 20.

      Sculpting Tools in Action


    • 21.

      Eyes & Scene Efficiency


    • 22.

      Coloring & Details


    • 23.

      Coloring & Details 2


    • 24.

      Last Looks & Exporting


    • 25.

      Thank You!


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About This Class

Welcome to the start of your 3D journey! It's never been easier and more accessible for anyone to start learning and creating amazing 3D art with Nomad Sculpt. All you need is an iPad, iPad Pro or Android Tablet! Some artists are even creating incredible work with their iPhones. In this course you'll start from the very beginning all the way to making a final render. I walk you through everything slowly, step by step, so anyone can follow along. This is also a great course for those familiar with 3D, but looking to learn the basics of Nomad Sculpt. 3D doesn't have to be scary anymore. I'll see you in class!

What you need:

Nomad Sculpt (3D Modeling Application)

iPad, iPad Pro, or Android Tablet (Or iPhone)

Snacks for snacking (optional)

Meet Your Teacher

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Dave Reed

2D & 3D Illustrator - Brooklyn, NY

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Level: Beginner

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1. Intro to 3D with Nomad Sculpt (1.76+): What's up guys drug-free Dave, here and welcome to Introduction to 3D with nomad sculptor. Hope you're excited. I actually got accepted to my art school back in 1999 as a 3D major. But I don't know if it was the teachers or applications, but it just never clicked. I just never understood 3D cut to 20 years later, I discover nomads, God, I never thought that I'd be able to do 3D or get into that world. But now that I am completely obsessed with nomad scoped and completely obsessed with 3D. I'm happy to bring this class to you. This is a more recent class because nomad goes through a lot of updates. You don't have to have any experience with nomad scope for this class. I know how it feels to be completely lost into here and see 3D work. And think that this is, I'll never be able to do things like that to feel that there's some sort of gatekeeping. Like you watch a video and people are talking about terms and you literally, it feels like they're talking in a different language. I completely understand that because I was there not so long ago. It is accessible and you can do it 100%. You can do it. And I'm just here to help. There's so many different applications for 3D art. You can prototype jewelry, you can make jewelry, get it printed by those machines. There's 3D printers. You can get your hair 3D object printed. You can print out your 3D characters, pretty much anything you want in 3D now you can print out, I'm really excited that you're here, and I hope that you're as excited as I am to make these classes and bring you these classes and teach you everything that I know. And let me tell you, I'm learning new stuff every day. Once I can figure it out in my head, I love to make tutorials and just show people how to do it because I was completely lost when I started. So now you don't have to be. So we're going to learn how to start a project. How to add shapes, which are called primitives. How to block them out to make our character, we're going to learn how to use all the tools. I'm going to walk you through all of the menus. And of course there's a lot, so you're not going to remember everything. But we'll sort of work in a way that you'll have to continue to do certain things and then you'll get used to them and you'll get used to where they are and why you need them. We're not gonna do anything really crazy or really advanced. We're going to walk through everything step-by-step slowly. So you shouldn't have an issue following along. If you do, just pause, you can always go back and just follow and see exactly what I'm doing. It's really amazing what we can do on just tablets nowadays and things that you can create a nomad sculpt, the sky is the limit and it keeps getting better. So I can't say that 3D is easy or that it's not difficult, because it's not easy. And it's very difficult. But you can do it. And then once you can do it, you can get better at it. So with that said, let's move on to the next video class project. 2. Class Project: So welcome to the class project. As you know. I'm not really into giving homework. You just have to create some cool 3D stuff. And that's essentially what we're gonna do in this class. We're just going to create cool 3D stuff. My main goal for this is to just show you how to start everything, starting a project, adding shapes, putting the shapes together, using the tools that make them look how you want them to look, lighting it, post-process, that's your scene. So obviously that's the bare bones of it. Now it'll take a while before you can master it. Because it's a lot it's a lot to wrap, to wrap your mind around. But I guarantee that you can do it and just have fun with it. And of course I'm always here. You can write comments in the discussion tab. That's what it is. You can write comments in the discussion tab. I'm happy to answer any questions. And nomad might update tomorrow if they do, and there's changes, just write them in the discussions because I'll have to figure those out and I'm more than happy to work it out and get you an answer. I think you're all set to get started. Again, this class project, take everything that I teach you and just make some cool, interesting, weird 3D things, 3D objects. Once you start having fun with it and understanding enough to have fun with it, then you're on the right track. Alright, no stress. This is gonna be fun. I'm passionate about doing 3D. And I'm also passionate about trying to explain things in a way that anyone can understand. So let's move on to the next video, getting started. So you can get started on your 3D journey. 3. New Project, MatCaps, Primitives, & Gizmo: What's up, guys? Welcome to getting started. I know when you open nomad, it can be a little confusing. But I'm going to try to make this as easy and fun as possible. So right now we're using 1.76. Hopefully the next updates shouldn't change too much, but I just thought it was time for a new update with nomads scope. So you should see something like this when you open. And we'll just go over a lot of this things on the screen. So hopefully things will just start making sense to you. As I go along. I'll try not to get too much into the sizes of things. Because to me that was the first thing that made 3D sculpting very confusing was low poly, high poly. And sort of getting ahead of myself and then watching a lot of videos where things were very advanced when I just wanted to make cool looking things. So just keep that in mind. I really like to sculpt, to have fun and make 3D art. So if I do point out some things size-wise, it's just so our sculpt doesn't get out of hand because it is important, but not really right now while you're trying to get to learn everything, there's gonna be a sphere at the start. This is this little sphere here. This will tell you like where you are in space. Obviously, if you can tap front and this is the very front of our sphere. This is also called a mesh or a 3D mesh. And as we manipulate it, it'll always be the 3D mesh. Right now it's a sphere. There's lots of different names for things. So that's another thing that can be very confusing when it comes to 3D. But it's a 3D mesh. It's a 3D sphere. This is our 3D object and this whole thing is our 3D project or our 3D world. So the first thing that I do when I sculpt as I change from lit PBR. Lit PBR is just the fact that this is white. This is the sphere is a color. And there's a certain lighting from the environment. And I find it a little harder to sculpt that way because white is just very difficult to see when you're sculpting. So the first thing I'm gonna do is go here to this little sun icon and see it has lit PBR. And I always just change it to mat cap for a long time. I thought it was my cat, but I always change it to Matt cat. So you can click on these little thing if you want to read more about it. But this is what I use. You can tap here and you have a bunch of different makeups. Matt caps. So there are lots of different colors and they sort of make your 3D mesh look a certain way. But I use this one to sculpt with. And also I don't really like the grid. So if you want to get rid of the grid, see if I can choose the right one. Is it this one? Yes. So you go to this little cog and you can check and uncheck Grid here. You'll notice that in the next one over there is these shortcuts add shortcuts, add lock selection. And maybe voxel. Remember, you can add that as well. So these are the shortcuts so that I don't always have to come in here. I want to turn the grid off. I can just do it from here. And things like that. I don't really like the grid. So now we have the grid turned off. And remember if you get turned around, just use this little guy up here. That's the top. You can just go back to the front. And as I move it around, if I want it to stay this in this orientation. Sometimes I just tilted a little bit and then hit front because it's in the front and you tap it, it's going to flip to the back. So like if you want it to move it or something like that, not flip to the back. Just tilted a little bit and then just hit front and it'll front itself. So this first icon here, this little nomads coped icon. This, you really want to have to use much. There's a turntable and you can play around with that after you have a mesh, we can't really see this turning, but it's actually turning. It's actually spinning. So that's kinda cool. Not too much here. This is more just information. But I wanted to go in order. This is our information about our scene, about our mesh. Obviously, this is our sphere. And 98.3 k is a lot. Usually when you're doing any sort of sculpt, I tend to not want to go higher than 5 million even in constructing it. Now that I've been doing 3D for a long time, I usually can sculpt what I need to sculpt and have it be maybe 2 million Macs. But this is something you'll learn as you go along. A simple way that we can reduce this size is, let's just go to this window here, the scene. And let's delete this sphere. By tapping the delete button. And now we can just add a new sphere. So you just hit the Add and then you hit sphere. So now we have a new sphere and you see the number is 6,000. And that's something that I always do when I start off. I don't know why that opening sphere is just so large, but I was just replaced it with a regular sphere. Okay, so let's go back to this project icon. This is everything that you would expect. We have saved, Save As e.g. I'll save this as Skillshare beginner 2023. So now our project is saved. Of course you have open ad to seeing new advanced import add the scene. So if there's something you download it for, I'll probably have a few little things that I've made. If you want to add them to the scene, then just tap Add To seen minor in assets, but there'll be wherever you save them. And let's say you want the, the backdrop. So I call it a fresh backdrop. You just select it and then open it. And it'll open like so. Let's go back to the front. So now we can see our sphere and we have the backdrop. The backdrops only 385. Let's hide the backdrop. So just tap on it. And then go to our scene again in the little i, and then just hides the backdrop. Now let's tap on the sphere and then bring it back to the center. Okay, so back in this folder, autosave, I turned mine off. You should probably leave yours on, but I find it annoying. So I have mine turned off. Export. We have I think it's GL, TF, OBJ, STL, and nomad. When I'm saving things in nomad, I usually just use nomad. If you have about ten things and you just want to save particular things, then you do this checkbox. And this just means that like right now I only have one object, so it's just going to save that one object. Otherwise, if you don't have it and you save it as nomad and you export, there's just going to export everything. Okay, render. All render means is to make the image to create a final image. So render just means like if you ever look at a, an image of a 3D object or a 3D scene, That's a render. So you can do it with the transparent background. That means obviously no background. It'll just be black hair, it'll just be transparent. Show interface. This is your interface. So that means it'll show all of this information. Render ratio. Obviously, I keep mine up high. Just so it's the highest it can be. And of course you have all the sizes down here, and these are just your export size and it exports in PNG. You see once you hit it, if it's really big, like if you do for k, this little pop-up will happen and that's fine. Just make sure that you save it first. Anytime you're going to export, save it, then go back and then you can do this. So if it does crash, at least you already saved it. You'll be able to open it up and either make some changes or figure out something so it doesn't crash when you export it. So I think that's everything in this project window. Everything is pretty self-explanatory. The next one is our scene. Scene is obviously where our meshes are. Obviously you see our sphere. You see it here, and it's yellow. And that just means that it's not validated. So essentially what that means is it's not exactly part of our scene yet. There are some things you can do. So as much as I would like to just stay on this scene. Everything is connected. So I do have to jump around a little bit. So e.g. if I go to fresh backdrop, you see this changes. If I go back to sphere, you see this changes. And this is because it's not validated. Which means that there's just some other options that we can do before we make it a concrete part of the scene. So when you go here, you have parameters, subdivisions, so you can play around with that. And this is just subdividing it so that it's way low poly, low poly, obviously, super small size. And this is made up of polygons and they're just less of them. So when there's less of them, then it starts to look like that. So you have all these options which you can just, you know, leave them for now. But I just wanted to show you a little bit of these extra options here. We have our sphere and there are a few things that we can do. If you go all the way to the top right. This is, these are our tools. And there's not many of them. The only tool that we're seeing right now is the gizmo. And the gizmo, I can just move it around and control it. So if we tap on gizmo hoops to be tapped one Gizmo up here. The gizmo is just essentially it's just a controller. I'm going to make it a little bit thicker so you can see it clearly. This is the controller. You can move it up and down with the green arrow, left and right with the red arrow. Then if you tilt it, see there's forward and back. You also have this orange this orange ring. Let me make it smaller so you can see the orange ring. So this orange ring is just size, bigger and smaller. Then you have these little things too, which can be kind of annoying, but I usually use these spheres that stretches, it, stretches it, things like that. So you have a lot of, a lot of options with the gizmo even before you validate, but you can validate. And you'll just have more options and more tools that we'll get, we'll get to later. Alright, So I just wanted to be irregular sphere again. So I'll just put it back to a regular sphere, a double tap to undo. And then I'll just validate. 4. Primitives & Repeaters: Okay, so the gizmo is really, really important. That's something that we're going to use a lot because everything we do, we're going to be moving moving it around. But if you'll notice that if I tap front, there's a red line going across this fear and it's not straight. So that just means that while I was moving this around or doing something with it, I changed the symmetry of the sphere. So I don't want to get too deep into symmetry because it's very confusing. But there's always going to be two types of symmetry. There's going to be the world's symmetry, which is the whole project, which is everything. Then there's a local symmetry, which is the sphere. So no matter where I move the sphere, this red line is the local symmetry. Going down. See even if I tilt it, that red line is the local symmetry. And what I think is really important is keeping the world symmetry and keeping the local symmetry. So there are ways that I can get this back to be straight, because right now if I press front, it's not. You can go here to the gizmo and you can hit Move origin and reset. Now if I tap front, oops, I accidentally hit Undo. So now I'm on the back. Let's look at the front. So now when I tap front, this is straight down. So that's one way. The other way is just to delete the sphere in the scene and add a new sphere and then validated. And I know that's a bit confusing. But for a lot of the things that you can make and probably what will make in this tutorial. We want everything to be symmetrical. We want to be able to use the symmetry of our sphere and of the project. So it's just a lot easier if we can use the symmetry. And if everything is lined up and straight. Back to the Scene menu, we have our fresh backdrop which is hidden. We have our sphere. And this is where you add different shapes. Always keep in mind that when you're doing 3D modeling, when you want to model something, even if you look around your desk, Everything is made up of shapes. Some things might have rounder edges. Some things might be cylindrical or boxy. But everything is essentially made of shapes. So let's shrink this. Let's go to our scene. And let's add, let's say we wanted to add like a little table or a pedestal. The best thing for that would be a box. Now we add the box. And anytime you add a primitive, we go to the ID here you see these are called primitives. It just means primitive shape. So that's how that is a shape. Just a primitive. That's just the raw shape that you can later make things. Again, they have to validate thing here we can go ahead and validate it. And now you see the box here. We have our gizmo. So if we wanted to make this like a pedestal or like a table, then we just have to adjust it so that it works how we want it to work. So let's shrink it to get shrink it down. Then we use the orange ring and make it bigger. And then we can shrink it down again. Something like that. Let's zoom out a little bit. And let's bring it down some. So we have something like this. That can be our, you know, our little floor for our sphere even though it's going through. But we might make something with this later, but that's fine. Of course we can go to add and we have different shapes. So let's add a cylinder. Now we have a cylinder here, and there's other options that you can do. Obviously, we haven't validated yet. And this is one of the things that you want to do before you validate like so let's say we have a cylinder, but we want to make like a, Let's say this is a ice cream cone. Like this is a snow cone or something upside down. And we term want to turn this into a cone. Of course, we could just add a cone, but just as in a, just as an example of what we can do before we validate. So for our cylinder, you see we have gizmo here. Now it's a little tricky and you'll probably forget this. But you can tap gizmo and now there's more options. So just remember, when you add a shape and the gizmos there and you don't see this, then you can tap it, see how it goes. It's a little tricky because it's, it's harder, it's easy to forget that that's there. So if I tap the gizmo now we have all these nodes here. See we have two green ones and one orange one and outer thighs, just like playing around with these to see what they do. See this stretches it. Just stretches this side. This one makes it wider. Now you see radius here and you see Edit. Obviously. Edit just brings back those nodes. You can't really do much with it unless you tap Edit. Radius. Radius will always give you different node options. So there's a few other tools that use nodes. Anytime you see nodes, the radius will affect how those nodes, those nodes work. So if we tap on radius, now you see there's two orange ones. Now we can make a cone where we can make a bucket or a lamp shade really easily. So if I bring this together, like so, you know, that, that will be like the snow cone. But obviously the easiest thing would be to use a cone. But I want to show you how to use this cylinder. Another thing with cylinder, you can do whole and then you can make a hole in the middle. You see that there's the orange and then there's the blue. And the bluish is the width of the whole. So there's lots of things you can do with the cylinder. And also for each shape. Before you. Before you validate, you can tap mirror. So let's go back to our gizmo. So now that we have mirror checked, this happens in the scene. See there's a mirror here and the cylinder is underneath the mirror. So basically what that means is if you tap on the cylinder and then you tap on the red arrow, now you have to, in anything you do will just be mirrored. So if we wanted to make like cat ears or something like that, you can use your Gizmo and just move things over like that. If you tap it, it goes away. Okay, so let's validate that. Let's say this is what we want, we validate. So now we have a red mirror and a red cylinder. This mirror is called a repeater. Repeater just means that it just repeats whatever is connected to it underneath in a certain way. So that's a repeater. So this mirror is just a repeater. And there's other repeaters. So I'll show you some of the other ones. I'll just so let's say e.g. let's add a torus. Torus is just like a ring. You have to be careful sometimes when you add, it will go into the repeater. So just long press and then just drag it out. And if you want to rename these, just tap on the three dots name, let's call it ring. So let's bring the tourists, the tourists up. Let's say we want to make it a little bit thicker. So remember you can tap gizmo and now you have these options here that you can experiment with. Okay, so let's say it was kinda doughnut shaped, but we want to use another repeater so you can always go back into your scene. Add. These are your repeaters. So we have array. An array is like if you wanted to make a donut wall, you could, you would use array. Again. Don't get confused with the gizmo of the gizmo is there. You can tap it and you have all these options. And here's a little cheat for things like array. If you look at your Gizmo, green is up and down, red is left and right. Blue is back-and-forth. So remember that. So when you're using the array, we have a red count, a green count, and a blue count. So you just slide on the number. You see. They all pop up like that. Size is just the distance in between them. That's all that is. So let's say we want to move everything over. Just go back to your gizmo, move it over and tap gizmo again. For the green count. C. If we go, they go up. For the blue. They go over like that. And let's say we want to separate these and we just have to expand the size in-between them. Okay, So if we do add and we do curve, again, we have the nodes C, we stretch the nodes out. We want to add two more here to kind of make a curve and we want to make these fill that curve. You could just change the count. Just like that. We don't want it closed. Again. We have radius here. So that just means it affects the node. So if we tap that once, one side can be bigger, one side can be smaller. We tap it again. Three is anyone you can adjust any one of these to make it bigger or smaller. It's creepy. It looks like a caterpillar. So let's curve and then you can just kinda keep going with it to make different things that you might want to make. Remember, I don't know how my donut cut like that. But if I want to put it back to the regular size or irregular orientation for front, I'm just going to go reset. And then I'll go back to my gizmo and then raise it up. 5. Repeaters & Voxel Merging: I want to go ahead and validate it in our ring is validated. So you can play around with these other ones radial. Notice that nothing is happening here. And this is very confusing about radio. So when you add Radial, you can't be on the radial line, you have to be on the ring. So that's very important with radial. Radial is this. If you wanted to make a circle using these, you'll notice that we're on radio, but nothing is there. So you do have to go back to the radio to get to the options. But the options are hidden right now because of the gizmo. So tap Gizmo. So radio y is four. So if we put it to ten, you see these little circle nodes there. And the reason why those are there is because it's repeating. But they're not moved out. So they're all within the same doughnut. If you go back to gizmo and then you go back to ring, then you can see the separate ones. So that's radial. So just remember when you're doing Radial, you might have to go back and forth to get two different options. If you want to move it, then you have to go to the ring and move it like that. But if you want the options, you have to go to radial and then you can adjust it. Okay. I'm just going to drag the ring out, delete the radial and reset this, move it back up. And the last repeater is mirror. That's the same thing that we've already played with. Let's go to our gizmo. We go to the ring, move it over. And now it's just mirrored. If I didn't say before these rings, just obviously they just turn it in space. They turn it on its own axis, bring it out of the ring, and delete the mirror. Okay? Anytime you want to affect a certain mesh, you just tap it. And I think a good exercise would be too. Let's make a sphere and make two ears and nose. Let's get rid of all this other stuff. So we'll go to our scene. And for the rain, we can just delete this mirror. You can tap on the eyes to make sure it's the right thing we can delete. Now if we want to make two years, you would add a sphere. You can move it up, shrink it. Tap mirror. Can move it out like this. You can stretch it. And maybe you want them to be coming out. Instead of like pointing straight up, you can use that blue ring and just tilt it a little bit. Then you can move it down. And let's move it to the back. Maybe we want them facing back a little bit so you can just bend it like that. And easy way if you want to make a nose, you can tap on this sphere we already have, and then you can hit Clone. So you hit Clone. Now we have another one. It's the same as before, but you can just manipulate it and move it around, shrink it, something like that. And this is how these look in here. Obviously the ears or a mirror. And then we have the extra sphere that we made for the nose. And it's always good to label everything. That way you don't get confused. Once you if we like the ears and we want to leave him there, you can select both of these Validate, Join children. Joined children just means that it will make, this will be one piece when we join them. Ears. So remember before when I was telling you that I want everything to be in the middle and in the center because of symmetry. So here's a little trick that I like to do. Let's tap on the sphere. You see this red line, yours might not have that, but this is how you put it, this is how you add it. So go to symmetry, this little option here. And then just scroll down to show line. So now once you have show line, anything you tap on, you'll see the symmetry line. So if I'm on this sphere and let's just say we're gonna get to the tools and a little bit. But let's just say we want to use drag. You see there's two dots. That's because symmetry is on. Turn it off. There's only one dot, which means one side. But if I want everything to be symmetrical, tap symmetry, which is the same thing as turning it on here. See how this changes. But if I want both sides and symmetry is on napkins in both sides. So if I wanted to adjust this a little bit, Let's say I wanted to use Move, make the tool a little bit bigger. You could do that. And it will be equal on both sides. I'm going to tap on the ears. You don't see it because we're still working with the center of the world. The world center. So I can use the tool and it'll happen on both. That'll be very helpful when you're making things because there's two eyes, two ears, two arms, two legs. So symmetry is very important. And that's why it's good to keep everything in the center and not move everything from left to right. Okay, so just to kinda go back over what we just did. This is our scene. This is all our shapes. In all the things that we've added here. These are our repeaters if we need. But right now, just focus on the shapes. Just experiment with those. If you want to make things easier, want to use primitives, you want to use these shapes. That's where those are. And I just stop. I mean, those those heels on the floor above above my apartment or so loud. Okay. So back to the scene. Let's see. I think that's pretty much it. That's pretty much it. Obviously very important. This is where you add your shapes. So let's say we wanted to, we like this, but we want to join them together. Let's say we want to join them together so we can move everything at once. You can select everything. And then you can use your Gizmo. You can do it that way and you can move everything at once. Let's take the box away. And you can move it like that. So that's one way to move everything. You can also, you can select whatever you want to be together and you can join them. Now, there's join and voxel, and they're very different. Join sort of means like to group them together, except you can always separate them. So I've just joined all these shapes and it says ears. But if I want to, I can press the three little dots and I can separate it. And now you see this blue thing here. But now we have everything is separate again. So that's join. So let's go back. So now we have these three shapes again. But if we want to add them all together and then solidify them and make it really smooth and make it like one head. You take all of them, select all of them. You can do a voxel merge. Voxel merge and box will re mesh are essentially the same. But since we have multiple things that we're merging together, It's a voxel merge. So just tap voxel. Then this window will pop up. And voxel merging is just how you solidify different meshes into one solid mesh and they can't be separated. And this resolution number will, this is essentially how it will build it. It might add polygons, so it might make it really dense. If we put this number really high, you'll see if you go higher, it starts to get to the red. That's very, very high. That's a high number, high density. You don't usually need to go up into the red. So let's say we want to just do it at like 200. 200 will solidify them. It'll keep all of the meshes soft. I like to call them like clay is mama name CLI have a holistically it keeps it fairly soft. So 200 is usually a safe bet. So we move that to 200. We don't really have to worry about these right now. And then we do voxel merge. So now it's a mashed. It just says ears. Let's rename that to head. So now if we look at it, you can see that everything is connected. It's no longer separate. But we want it smooth. We want it to look like a nice smooth, like one piece. We don't want these like, you know, these things here. So in order to do that, then we just need to use the smooth tool. Once you have this smooth tool, you want to make sure you have symmetry on. Because remember all of these are still symmetrical. We see this line down the middle. So you want to smooth it evenly. You don't want to have to smooth one side and then some of the other side. So make sure that symmetry is on. Can bring the size up. This is intensity and this is your size. My intensity usually stays up to around like 75. And then you just move away. Zoom in so you can kinda see how nice it starts to look. And also notice that it doesn't move the clay quite a bit. If you wanted it to move the clay more like if you want it to be simplified more than you would voxel remeshing it at a lower number. Because I'm Clay would be much softer. The lower the number is. Okay. So now you see that it's one piece. 6. Dyntopo, Cloning, Instances & Decimation: Like I was saying, if I really want to minimize this more than all voxel Ramesh. So I'll go back here, back to voxel and ramesh. I'll bring it down to like 75. Then 3D mesh. And you might see me do this down here. So this is the voxel shortcut where you just swipe up and then you change the resolution. Then you can just hit voxels. So it's the same thing. I might just do it from down here more often because I'm used to that now. So now we've lowered it to 75 resolution and you see how much more it moves. Because the clay is much more soft and you see how you even lose a lot of the shape. So just remember that's because it's a very, very low number. I just undo, undid those low numbers when it comes to doing details. So let's just take like crease, e.g. the crease tool doesn't look that good. And that's because again it's at a low number. So you see how that looks. So I'll undo it. Voxel Ramesh at like 400. So now I have auxiliary meshed at 400. You see all these little things. I'll just smooth those out really quick. So I have auxiliary diminished at 400, which makes our mesh much denser. And when things were denser, you can see details better. If I go back to crease. See the crease is a lot cleaner. So just remember, high density, high res. You can do detail, whether it'd be painting or anything. That's where you do your high detail. But if you drop it down to 75, you see that details gone. But that might be good. Say you didn't say you made this but you didn't like it. Now you can just smooth it out. And then you can bring it back up to a median. Let's say just like 200. Not too hard, not too soft, right in the middle. Okay, so back to our Scene menu. We kinda went over this clone. Creates a clone. Let's go to where it gizmo, move it over. So we've made a clone of this. Now this is exactly the same as this, but they're separate. They're just cloned. So if I take drag and I drag here, nothing happens to this one. This is on its own. So this is the, this is the clone. So let's delete that. We'll tap back on this and notice the very last one is instance. If your instance, it almost looks the same as clone. You can move it over just like clone. But it's instance. So just remember if something is instance, then this is a, this is a cloned instance of this. So now there are instances of one another. So if I take drag and I drag this, it happens to that instance. Now it's essentially just a clone. So that's the only difference between clone, clone an instance. I don't use instance too much, but there could be times where it's useful. Usually I'll just either clone or if I really want to make two of them, you can probably just mirror it. Okay, so let's move into the next window, which is like multirate as sub-divide. There's voxel, didn't Topo and Deci UV. So a lot of these things are very confusing, but I'll just go over them fairly quickly just in just to show you. But it's okay. You don't really have to remember a lot of this right now, but I want to be thorough. So let's tap on the head, go to our scene and just hide it. Let's tap on the ground just so that goes, goes away. All right, so let's add a sphere. A sphere. Now we have a regular sphere, 6,146. Let's validate it. So first, we have multirate is multi-rate, essentially. The multi-resolution. I don't use it that much. I think this is the best way to kinda show you. So let's say I just want to do details on this. So I have my sphere, but I wanna do details. And I'm like, oh, that doesn't look, that isn't the good. I want more details. If you voxel Ramesh high, that's how you get detail. So you think, okay, so let's voxel. Let's rematch high because I want details. Let's go crazy. 500 3D mesh. So now you have all of these that you have to smooth out. The reason why that these are here is because we voxel remeshing it, added a bunch of polygons. And I don't know, that's just the way that it calculates out and it's kind of annoying. But you can sub-divide it. And then you can voxel remission high. And there's much less like you could have subdivided again. But there's much less of them because it's starting out with more polygons. Why don't you explain this to me like I'm five. Essentially, what subdividing is. Let's see if I can show you on the wireframe. Let's use a box. So let's see if I can explain this a little more clearly. Let's turn on the wireframe. We have a new box. If you want to turn on the wireframe, I think you can go to this icon. You can turn it on here. Or you can just put the, where is it Here? The display settings. So let's say I, this is our box I go into. It's not validated, so it's still a primitive. And I bring the, let's see, is it this one? Yeah, I bring the box topology down to super low poly C. Now there's only like 123. There's only nine squares that make up our box. So this is super low poly. It looks kinda weird. But if I validate it and go here and subdivided, see it. Divided all of these, divided all our squares up. So that's what subdividing does. But again, I don't really use it too much. But that's so you can see what it does. So voxel, we sort of went over. We can use Do the resolution higher or lower. Here's your information of the mesh that you're on. It'll show the information here. This is the information for the scene. You don't want this to be in the millions. So dynamic topology. When you turn it on, all that does is even though this might not be a high res mesh, it will if you use a tool. So if I use crease, it will as I go along, it will make the area where the tool is high risk, but only that area. So I can go like this. See, and it looks really high res, even though the box technically isn't. So as I go, It's adding polygons, adding polygons to just this area to make this clear. So that's dynamic topology. I always go in and turn it off. Otherwise, it stays on and accidentally use it. So I always just turn it off. So let's delete this. Let's go into our scene and delete this box. Let's bring back the head. This head is 132 k. So that's a lot. And there is a way to lower the polygon count and still kinda make things look good. But we have to do is they have to be smooth. So this is pretty smooth. Smooth everything out. But if you want to, if we want to lower this, like say we wanted to use the array. So we'd have like 40 of them. We don't want them all to be 132 k. So if you want to lower the size than just go back to that menu, go to decimate UV window. So decimation is what we want. Here's my options, are, here's my settings. So he decimated and it'll bring this size down. So I go decimate. Now at 66. Still looks pretty good. Sometimes they get lost. We'd go back to decimate again. 33 still looks pretty good. And so on and so forth. You see it starts to sort of starts to look weird if you go too far. So I'll just go back to maybe something like this where it's a lot smaller, still looks fairly good. But that would be a way to lower sizes of things. Even this is better than, you know, over 100,000 polygons for this little shape. But just remember that you want to do that after it's said and done. You don't want to really do it now because then if you decide, oh, I want to do this, it really doesn't work because it's really low poly. So that's really something that you would do towards the end. Or if you, once you really get used to using it, really get used to what you want and you know what you want. That's when you'd use decimate. 7. Background Options, Camera Views, & LitPBR: Okay, So I'm not gonna do the auto UVs. That's pretty complicated. I wouldn't, I wouldn't worry about most of this stuff. Everything except just like voxels, the only thing that you really have to practice with, because if you want to be putting things together, these are the things you'll learn in time. So next, we have the materials. And this is something that I usually do later on when I get to the materials later because you can't really do them when we're in Metcalf mat cap. So remember we changed it from let PBR. So we'll come back to that in a second. We'll come back to the materials in a second. So shading, obviously we have lit PBR make cap. I don't use these. Needs are met caps. So that's that window. In a minute, we'll go back to PBR. May have post-process. So this is once you've finished everything, post-process just makes everything is like the finishing touches. This is what your render will look like. So that's post-process. There's a lot of options there, and we'll touch on these later. But for now, let's turn it off because it will drain your battery as well. It really does a lot of processing on what you've done in your project. So here we have background. You can do an environment or you can do a color. Here's where you would change the color of the background. Or you can use a reference image. So let's say we wanted to use this image. You can just import any image you want really. So let's say go to photos, will import. Let's say we import this. We can't really see it probably because we have this here. So there it is. This is also good if you want to use a reference. Just remember that it's in this little picture window and the reference image. But you can transform. And once you tap transform, just use your fingers and you can move it how you want. Let's say we want that as a background. You can do that. Tap it once and then you're back to this. And then if you want it to go away, obviously there's overlay. There's opacity, things like that. So you can adjust all those things as needed. If you just want to go back, just uncheck reference image. And if you want to make your reference image blurry, if you bring your reference image back, that's something that you do in post-process. So e.g. you'd, you'd go on post-process and you would do depth of field. There's options like this. You can change the blurriness of it. And you want to tap, if you tap your mesh, that's what will be in focus and the background will be blurry. But we'll get into that later. So let's turn off reference image and turn off post-process. Okay, so slope this last option here is they're a little camera icon. We have orthographic and perspective. If I tap perspective, you can see that just changes a lot. And you can adjust the you can adjust it as though it's like a different, like this kinda looks like a GoPro. So that gives you a lot of options. But if you get something you really like, you can do add view. This is, I usually rename it like one. I usually just do it numerical. So then if you like that view, you can always like change it. If you want to go back to it. You can just press it. And just remember if you're in orthographic but you have a view save and you go to it, it switches it to whether it was perspective or orthographic. So let's put this back down to ten. And let's say that this is just a nice review. Can add another one, name it too. Then we have both of these. So I'm going to delete this and just use this one. Okay, so let's go back to here. We wanted to talk about the PBR and stuff like that and the coloring. So let's go back to lit PBR. Okay. Alright, so let PBR now everything is white, background is gray. This is what I would set it to when I'm ready to like color, whatever it is I have. And since this is just for art, see how it's not as, not as smooth as I normally like. So I'm just going to make it smoother. So I'm gonna go to voxel. And I'm going to put the resolution to like 300. Then voxel 3D mesh it. And unfortunately, you know, it's all crazy like that. But I'll just smooth it out. You can actually make some different shapes if you've played around or if you added some different shapes to this, that's perfectly fine. Because you can even make just simple shapes look really pretty. That's like the coolest thing about 3D is once you start making just cool shapes and you really get a handle on smoothing and things like that. You can make some really beautiful stuff very easily. Let's add something else just for fun. Let's add another sphere. Mirror. See here's my mirror here. And then with the gizmo, lets say we want to add. So let's stretch it and feel free to just have fun with it. So we stretch it out and it's validated. And let's use a tool that's used the Move tool. And let's push this down. And let's say maybe we'll move it to the back and twist it back. And you can do yours anyway, just kinda like, you know, just experiment adding some shapes. You know, you can clone it. And then you have to, you can make one a little wider, maybe like tilted down a little bit, stretch it out. So maybe something like that. So let's, so we have our mirrors, this is what we just put in. Let's select all of these. Will tap the mirror last. So this option comes up, well validated join children. So now we have the box, the head, and let's voxel. Remember, we want to smooth out about, smooth these parts out and connect them. So we go here. We mesh 2 ", pretty good. But let's go 300. Let's live dangerously. Okay. I'm just gonna save real quick. And then I'll use smooth and I'll just smooth all this out. Remember symmetries on, so I'm not, so I don't have to worry about the other side because everything I'm doing here I know is going to be happening on the other side. Let's use another tool. So let's tap front. Now we can see this bottom. And notice how we're, we're kind of seeing like the top surface. Let's go back to orthographic. So this is why I sculpt and orthographic because I don't have that problem. So let's use trim. And when we're using trim, your trim might be somewhere else. By the way, when you using trim, I like to use the rectangle. So there's lots of different options with the trim. If you want to cut things, the triangle and the line usually work really well, especially for cuts like this. So I'm going to choose rectangle. Then I'll just make a rectangle like this. And I cut the bottom of that. Anytime I usually use the trim tool, I usually just voxel re Michigan. And then I kinda just smooth, although I can't really see it. I'm just going to smooth out the bottom a little bit before we cut. Because I want that, oops, I want the bottom part to be smooth. So that's why I'm smoothing out this bottom part. Okay, so I'm gonna bring this back down and tap front and bring it back down. I just wanted to make, make it a little more interesting. The shape that we're working with now. 8. Roughness, Glossiness, & Backdrop: So once you've played around and added shapes and added cones and boxes, whatever you wanna do, this is really a chance to have fun. So one thing that I like to do is change the highlight, the change the roughness and the subtleness of these colors. I don't like everything to look the same, sort of like plasticky, plasticky and glossy. I don't really like that. I like to start with a base of everything being met and then adding the Gloss if I want to, I usually add gloss to like eyes. So really quick, Let's just add some eyes. Will add some spheres. Sphere. We'll use our gizmo. And this doesn't have to be like eyes. If you made some other shape that doesn't have them, just had some spheres in so we can very be the surface. I'll tap mirror. And let's just add some eyes here like this. So we'll validate them. Let's call that I. So we'll go back to the scene. And we kinda like these so we can validate the whole thing. Join children. Now we can just name it two eyes. And let's use another tool. So let's say we really liked the eyes. Let's use layer sub symmetry on. And let's make the radius about 50. If we like this, make sure we're tapped on the head. And then you can just use layer and you can make a sort of hi socket area. I usually do it close on the bottom and then a little bit higher on the top. So something like that. When you using layer, you can't go like that and then try to go again because it'll go deeper. So you just want to keep, keep it and do the whole thing. So now that you've made that, you can make it a little bit deeper if you want or not. Let's just use smooth and let's just smooth this. So that's a really simple way to just make like an eye socket area. So now let's change the head so the head is white. Now, let's go to this little circle here. You tap that. And we have our painting options. So let's move it to white. And let's move the roughness to like 0.5, 50 or so. So once you once you move that to 550 to paint all. So that paints the whole head. And now you see the difference between the eyes and this. So let's tap on the eyes. Will go here. Let's turn the roughness all the way down. Paint all. We can even make us even more reflective. If we go up to these options, the materials, you might forget this, but I think it's fine. I do this usually when I'm making eyes, I go up to the materials and I put the reflectance up. So that makes it even more reflective. Okay, so now we have the eyes and the head. And notice how different these two look, the surfaces look. That makes a big difference when you're sculpting content view to just kinda see it without those things on it. Let's make we have a floor, but let's make a proper backdrop since we already have this floor area. So let's just tap on the floor. We use our gizmo, will stretch it out. Let's stretch it out this way too. Let's clone it. And then we'll take the arrow and move the cone out. And let's say we want to meet, do it at 90 degrees. You can always kind of guess and rotate it like that. But another way to simply make those turns and those, those changes is you go here to snap. So once you tap snap, you'll see it says 90. You can tap on it and change to whatever you want. Right now. 90 is perfect because I wanted to do at 90 degrees. So anytime snap is on, when you snap it down like this, It's going to move 90 degrees. There's also snap for the directional. So that's if you want to. Let's see if we just do one. I don't really use this too much, but I can see how it can be very helpful. And that just moves it in increments. Instead of if you turn it off, instead of just being able to move it freely, it just moves it in set increments. So let's just put this on the back of our floor. We'll raise it up. Then we kinda just have a backdrop like that. There's no point in having these separate I don't think if you're not sure if you want to join them or box will merge them. You can actually make one of them. The children. I know that sounds weird. But you go into the scene. So we have box, box1. Now it's important to name these. So let's say this is the back wall. This is the floor. So let's put the floor underneath the back wall. But notice how I've connected them. So now they're both together. So I can move them around as one. But they're not joined in a voxel re meshed. So just remember, you can do that with any of these. Like e.g. if I was to make the head and make separate horns or ears and I didn't want to join them yet. You can just put them underneath and do the whole Children thing and that way they're connected. But you can still make your decision later if you, when you want to join them or Vauxhall rematch them. So let's switch everything. I guess at some point in time I switched it back to orthographic. Let's switch back to perspective. Let's expand our floor. So I'm going to tap on the floor and use the gizmo will take both of these, which is expand it this way. I feel like this, our head is kinda low. So let's say I want to lift the whole thing up and just put a pedestal underneath. So let's do, let's go back to our scene and let's add a cylinder. So I'll just stretch it out like this. So let's take the head, the eyes. Let's move it up and just put it right on top of our cylinder. Okay, so that's a little bit better, at least we have some sort of make it a little fatter. If I want, if you want to work smarter. Again, you can remember that you can place the bottom right at the edge. And then you can tap gizmo. And you have these options here where you can just move the top and the bottom. Sometimes I get lazy and I just do this stretching. But that is the easier and smarter way to do it. I'll go back to gizmo. And once you like it, we can just validate it view. So now we have something like this. I like this view here. So here's a good opportunity to add a, another view that we can always go back to since we've changed it. So you can go here. Add view. Let's make this one, since we don't have a one. Because now that will look like that and it's not good. So we have that one. You can also replace them. I say we didn't like to. You could go to whatever you want. Let's say we want to change the view to side view. Something like this. You can always go into it and then for two instead of pressing it, press this, and it will update it. So now we have both of our views. 9. Creating a Custom Smooth Tool: So now is a good time to add other things to your scene if you want to. E.g. you can have a table instead of a cylinder. You can make it a box. You can clone the head and the eyes. You can just make a brand new one and you can put them around. So here's a good time to just experiment with just making shapes and things like that. So e.g. let's say I want to add a box, go to my gizmo, stretch it out. Let's say I move this towards the back wall and then I shrink it. Here's an easy way to make. Now there's like a little floorboard. I don't know, but you can do all sorts of little details. If you really want to make a lot of these things, it's really important to make sure to keep these numbers down. Because you can make a whole room, like obviously my other videos, I make whole rooms and things like that. So you can make them. But that's when you have to be really careful with the poly count, which is the scene vertices. Because if you start adding a bunch of things, um, it can get out of control really quickly and it just slows down the system. And it's good to be efficient now that will take time to learn how to do all the things and learn how to get what you want. At the lowest size. There are ways to do it. One way was to decimate, smooth it out and decimate. There's another tool that will help you when you want to make things like this are just things like boxes. So let's add a box. Let's go ahead and validate this one that I am going to validate the one that I just made. But let's make a box, because this one is going to be our test box. Let's mirror it. And let's bring it out like this. Let's make it a little bigger. Alright, so let's validate this box. So let's say you want this box, but you don't want the edges to be sharp. You could go to Symmetry and see how we have the red symmetry. You could select the green and the blue. And then turn mixture of symmetry is on. And you can serve as smooth and it'll smooth all the sides. And this is what I did at first when I wanted to make things like a rounded square. So here's how I do this shape. Now, I'm just going to turn these backoff. If you have a box or if you have any shape and you want to uniformly smooth out the whole thing, you can make. What I have here is a girl rounded edge tool. Take your smooth tool, tap it, and then hit Clone when name is smooth edge. So now we have edge here. So this is the same as the regular smooth because we haven't changed the options yet. So to change the options first, you have these things up here. If you tap here, then there's these which I don't really use. I have mine off. I also wanted to show you what my exact settings are. So if you go over to the little pencil here, there's lots of options that will affect your tools. So this first one, stroke edge, I have that off for stroke. Put lock radius. So dot is usually like normal. The normal tools are dot loc radius just means that instead of just doing it at a certain point, like instead of smoothing at certain points, you would drag out from the middle. And it'll, it'll do it uniformly. That's why we locked radius. You don't really need to understand it now, but I just feel like I need to tell you lock radius. And that's it for this window. Alpha. So alpha should look something like this. You don't really need to change anything here. Fall off. So this is your fall off. We want to change this to flat because we want it to be uniform even at the edges. So you don't really need to understand it, but right now we'll just tap it and then go to flat. So you want your fall off, you want the preset to be flat. That's all you have to do here. So that's fall off. Filter. This is mine. I don't I never do anything with that. Pressure. Very important. So we have the pressure radius and pressure intensity. We want to change both of these two flat up before we do that, turn off global settings. So essentially global settings are just general settings for every shape. So if we left that and we changed, this, would change it for all of the other tools. Really annoying. Make sure you have that off. Let's just go to preset. Preset. We want this flat. So with tap it flat, Tap it flat. Boom, that's it. Okay, so let's tap this again to bring our little tools up. So now we have our brush or new tool. Tap it, save. Yes. So now you have the rounded edge. So what this does is instead of using the smooth, it just moves everything out. So you have to whatever the shape is starting in the middle and drag out. He saw that, right? I'll go I'll go a little bit closer and I'll do it again. I'll just start in the middle and drag out and it smooths everything. So I'm going to show you what it's doing. I'm going to turn on the wireframe. I'm wireframe was very confusing to me when I started. So I'm gonna do the same thing. Make it a little bit smaller. So see how it changes the edges. It rounds them out, but it still looks like a square. So I'll turn the wireframe off for now. So essentially, you can keep doing this. And it will make it smoother and smoother and smoother. And go back to the beginning. Now if you want a really, really smooth and really round and sort of to round, then of course, remember voxel remeshing low. Remember voxel remeshing low. All the tools are going to be very, they're really going to be strong in the mesh is gonna be very weak. So if we do it now, let's make it even lower. Like 50 box where you mesh. So if we do it now, it'll just get softer really quickly. So you can make a nice rounded square. So the reason why I am telling you this and the reason why this is important is because let's say we want to add a bunch of these squares. So right now there are 6,536. It's not that bad. But you always want to make it smaller if you can. Remember I said you want to round out the edges and then you can decimate. Now you can do it better with a round edge tool. Trust me. So we have our square, but we want to make a dish looking as sharp as possible. So let's voxel greenish at like 300. So voxel remiss that at 300, very sharp, I'm just going to save, so I don't lose everything. But now we can still use that rounded edge. So let's just drag a couple of times with the rounded edge brush. Okay, so now it still looks sharp, but the edges are rounded a little bit. So now we can decimate it's 563 K. So we go here. Here. So now we can decimate it more. So we'll do 123-45-6789. I'm just watching to see when it gets warped or looks weird. 1011. So when we look at sort of got a little bit of discoloration, it looks a bit weird, but it still looks fine. This is now it's 276. So that's very, very small. So it's very useful when you want to make furniture and things like that. That's how I do it. If I want to do it even this, the cylinder is pretty small so I don't have to worry about it. This floorboard that I made as 13,000. So I might just take that and voxel Ramesh it. Let's maybe I'll do 300 again. And then just take the edge brush and do the same thing. I'll just zoom out. So I have more room. I'll just kinda drag it along few times and then go back up here and then just decimate. So now it's for 63. So that's a lot better. Just a lot smaller. Okay. We can do the same thing with the walls. You don't really need, even need to use the rounded edge. Let's say we see if we do it once. It kinda makes it weird. So that's why I do the voxel Ramesh. Because it'll sort of solidify voxel remeshing wall kind of solidify the shape a little bit, a little bit better. So let's say we voxel remeasure like to 25. Same with the bottom. So now I can do the rounded edge. I'll do the same with the bottom. Give it a nice rounded edge treatment, and then go back to decimate and then just decimate them down. 395 is good, so I'll just do this until around the same. Okay, so now it's 292. So now we've, we've lowered the size massively. In this. One last thing that I want to show you is the reason why I'm doing that. This is the reason why I'm doing that. So I'm just going to go ahead. I'm just going to add a box. Bring it up. You don't have to add this box. I just want to show you. So now we have a box and it's 656536. So if I validate it and I just decimate it, see the difference right now it's 3,000. If you decimate it, it doesn't look good. Remember, the other boxes are like 300. So now this is at 200 and it looks terrible. So that's the only reason why we had to go through the whole thing of making the brush or making the Edge tool and voxel remeshing. This is why. This is the difference. This one is to 76. This one is 206, where it looks terrible. So I'll delete that one. And you can do this with everything. We can do this with this head because right now it's 224. The only reason I'm not is because we want to do some coloring and I want to show you these other tools. So we want to keep this high res for now. 10. Lighting: Key Light & Edge light (Rim Light): Okay, so lighting is extremely complicated as with everything else with 3D, but it doesn't have to be. So we have our scene. We haven't done anything with lights yet. And I want to show you some of these materials. But we need to have we need to have our scene let using some lighting so you can see them clearly closer to what it would look like in the final render, in the final image. So let's go back to our view. Here's our view. Looks pretty good. I think I'm just going to adjust it a little bit. Since we have those boxes, which is to just add a touch, usually use this line on the bottom of the iPad. So that looks good. So I'm just going to adjust this by tapping and updating the view. So the easiest, there's one thing that I see that I did when I started. And I see a lot of people do is they just they make things and they share things and they don't do anything with the lighting. And it really affects how it looks. Even if you have a Cool, a cool sculpture or cool mesh, cool 3D project, the lighting is very important. And there's a few things that you can do just right off the bat to make it look really cool. So here's the first one. So lighting here is in this panel. We have the environment. And this is my own environment. This is the one that I've included because this is the one that I use all the time. And here are the lights. There's no lights yet. So first let me turn off the environment and it will just be completely black because now there's no lights. All of these lights are from the environment. You can actually like, you can adjust them. We'll probably adjust this down to like one. But for now we're just going to turn it completely off so that our scene is completely black. And that's the best way to light. So once you do add light, it just adds one light. It adds the sun, which is like a world. Light is coming from this direction. Even that makes the scene look cool. It makes the scene look like a 3D scene. You do four fingers and it clears everything. So even this, which is just super basic, makes the scene look much nicer. And all I did was turn the environment off and add one light. Here, our lights. Let's start with this one. And the way that I do it, you can only add four lights, nomad. So I use a key light. A key light is just your main source of light, and that's what this is right now. So this is my key light. The key light is always going to light up everything. It's off to the corner. What I do is I position my scene how I want it. And then I add this light because it automatically always adds from this direction. And I like it. So you can tap on this, this is the light for this sun. For this late, doesn't matter where you move it. The only thing that matters is if you rotate it. That's the only thing that matters for this light. I'm going to tap Undo. There's other light options here. So if you want to get to your light options, you can press here. You can press here. These are the same things pretty much as this shortcut bar up here. This is to show it. This is the type of light. So this is the Sun, this is the spotlight. This is a point light. It's very bright. Let's go back to the Sun. This is the temperature of the light. This is the intensity. So I'm gonna put the intensity to like 1.41, 0.5 or so. This is the shadow. So of course you want shadows. But what I like to do is make the shadows soft. You have a gizmo and we'll press these three little dots and we'll get onto softness. I like my shadows to be soft. Now notice how the shadows are more shaded now. I just think that looks better. And again, the same options are down here. If you open this icon and you press this little light, these are the same options. So I'm gonna change this one to a spotlight. Because a spotlight will tend to give it a more It's not going to light up so much. I just want to light up our subject. So I'll tap spot. And it's very dark. So we'll tap on the light. And each light has like different options. The spotlight is my favorite. So if I tap the three dots, we have intensity, softness, cone angle, and then we have the shadow and all that stuff. Cone angle is very important for the spotlight. That just means how big the light is opening or closing. So right now, as you can see, the light is a little too close, like we really can't even see what we're doing. So the first thing that I would do is open the cone angle. So you can do that here. As I do it, you notice that this orange node is moving. That means that I can be here and I can also do the same thing. But it's too bright and it's too close. So just zoom out a little bit. Kind of move it up like this. Now, now that we move it further away, maybe we can close it up a little bit. Okay. I think that looks good, but it's still too bright. So let's bring down the intensity. Here we go. So it's kinda bright, but it's not, nothing is blown out. I would say that this is good. So the only thing you want to change now is how do you want this falloff to look to? You wanted a little more in front? Like this, like this. Do you want a more narrow so you can adjust all of these things, but I think just the general, something like this will be good. So this is just one light with a soft shadow. So that's all, that's all this is. So let's go back to our lights. So I like to rename the lights and you can do them in numerical order, but I'd like to do key. So this is our key light, this is our main light. So if we go to our view, what will make this scene better? First of all, it's pretty dark and especially the shadow side is very dark. So the next thing that I would do is either add a fill light to fill in some light on this side, or maybe add an edge light in the back. Rim light. So a rim light will just give us a nice bright outline light on this side. So to do that, all you have to do is add another spotlight around here, pointing back, pointing at our head. So let's do that. So again, we go here. We go, Add. Now this is of course as r is the sun. So that's very bright. So we'll go to spotlight. And right now it's pointing to that back wall. So we can move it over here. Let's spin it around. This using the gizmo does take some getting used to, but that'll just take time. I still find the gizmo a bit annoying sometimes. Okay, So let's go back to our view. So now you see a nice, oops. Let's go back to our light here. While I'm here, I'll just rename it to edge because it's like a nice rim light. It's right on the edge. So you can use the little gizmo to move it around until you find exactly what you like. Maybe you want more of an edge light. Oops. Just be careful. I keep touching those little nodes. I do find those annoying. They're cut, they kind of get in the way sometimes. But personally, I think I want my edge light. Yeah, maybe something like this. I think I like that. So I think this looks nice for a nice edge light. So now we have our key and our analyte. 11. Environment, Post Process, & More Lights: I did not press Record. Okay. So we have our two lights, but we also have the environment. And the environment is going to lighten up everything because right now it's really dark and moody. The environment does a lot too. It's like an ambient light. And also whatever the environment is, the reflections will be reflected in any services that are glossy. If it's a glossy floor, the glossy I, that's when your environment really comes into play and it can really have a cool effect on your, on your scene. So we'll go back into here, will go down To environment. So if you tap on environment, you see it's much lighter now. Right now I have the exposure and we'll put it at like 0.875 or so. Maybe we'll do a little bit higher. So 0.0, 0.9. So as you see with the environment, see that round. I can make it bigger. That's the smart thing to do. So the environment really affects everything. It also makes these really nice round pops. So there's lots of environments. This is just the one that I use myself. This is the one that I made. I'm gonna make a little bit brighter, maybe to like just one. So this is one that I made. This is the one that's included in the class. And you probably have something like might be like this one, maybe this one. So these are all different environments. You can see they all have different effects and they all affect the scene differently. You can add any image as an environment. And it will, the reflection will just be whatever the image is. That's kinda what will be reflected any bright parts in the image. Those would be kind of like light sources. So if we tap on the environment, all these completely changed the look. So they're really fun to play with. But I, although these are cool, I wanted a specific look. So that's why I made these these very specific ones because I wanted to have a specific look. And this one just happens to be the one that I use more often than not. So obviously, if you want to bring this image in, just download it from the class, from the projects and resources. So it'll be in the resources. So just import it from your photos, just AirDrop it or save it on your iPad. And then just find the image In your photos and then you can just tap it. So I wanted to do this image, tap it and then tap Add. And it will show up down here. These are all ones that I've made myself. All these different ones. So that's how you add the environment. And the reason why I have it. The reason why I brought it down to one is because I still like these shadows and things like that. And this is another confusing thing I think when people are starting to work in 3D and work in Nomad, is that you'll do your lighting and it's sometimes it's hard to get things to be white. And I've gotten this question a lot before people say, Oh, you're seeing is white or whatever you are making his white. How do I get it to be white? And that's because it's things like environment, like someone might have something like this and they're like they can't get it. Uniformly bright. Things like the environment help. But so we have our two lights. We have our environment. But there's also post-process. So this is good. We can edit on this, we can make changes. It's pretty responsive. But when we're going to do a render, the application takes everything into account and it makes the best looking render, the best looking image from what we have so far. So that's post-process. I love I wanted to get to it now, but it only makes sense because it's sort of ties into the environment. So if I turn on post-process, so things start to look a little bit different. The first thing that you see is obviously there's depth of field. When I tap on different things, some things go out of focus by tap on this. So that's step the field. And that can look really cool. You know, depending on what you're trying to do. That's depth of field. I'm just going to turn it off for now so just to keep everything clear. So if you'd like the moody, look like say you want the shadows to be a little bit more, a little bit darker, but you'd like the reflection. And this is what I liked. I liked the reflection from the environment, but sometimes it makes it a little bright. So that's where all of these come into play. Ambient Occlusion. So just remember to play around with ambient occlusion. You can make raise the strength up and see how the shadows get a bit darker. So I usually adjust these to bring the curvature down. So I might do something like this. This is usually around where I have it. I don't usually have it up too high because then it starts looking a bit unnatural. But I usually have them around here. Like this. Like maybe we'll put them both in. 0.5 to make it easier or 0.4? Well, I guess they don't they don't they don't react how I want them to, but that's okay. We'll put this a little bit higher. So when you're doing post-process, there's a lot that you can do. There's a lot of these things. And I would just say that play around with them, mess around with them. That's the easiest way to learn how everything works. Because everything is so contingent on where you put your lights and what you're making, and the look that you want. So it can be very different. But post-process is very important to do that before you export it, like when you finished. The reason why I wanted to show you post-process now, because we went back to environment. Or is it C? If you turn it off, it's really dark. It's still looks pretty cool. But you can turn the environment on. And then maybe you want to make it like a little bit darker. You can handle it this way. You can turn this down. So there's lots of options. And it's good to turn on post-process to have a better idea of what it's gonna look like on the final render. Because when you don't have it on, It looks pretty different. So that's kind of advanced, but it's just good to know because when you're going to make art and you're going to export, it's good to go into post-process and just kinda see what everything does. So if we turn it back on, I usually turn all this stuff up. I'm not going to keep this up now. I lose you only turn this up. What I'm about to export it, I'll turn it down now because it'll make everything run really slow. This one, global illumination. It kinda just like it makes the bounce lights, the bounce light very bright. So our room is completely white now. So there's a lots of lights kinda bouncing off everything. And from what I see, that's, that's what, that that's what that sort of effects. I'll put it up a little bit. Okay, we went over ambient occlusion. This kind of affects the shadows. Turn it up a little bit more. That looks nice. Then we have depth of field. Blum. Blum will affect like e.g. I. Have a really bright light here. So bloom will sort of effect that you can turn it up and it will sort of glycerin little bit more. So that's bloom. But play around with these. I usually keep my settings here. For the, for the most part, I don't usually adjust this too much. Tone mapping. This is sort of like just a way of editing the colors and the exposure and things like that. So let's just undo that. So it goes back to where it was. Contrast saturation. Sudo looks like if I turn it off, It's not that much difference, a little bit darker when I keep it on. This color grading, curvature, chromatic aberration. And all of these really affect the colors. So there's different ways to affect the colors. Take colors out. So this is all about editing your scene. Curvature, kinda give it, you can do some cool effects with curvature. That I don't usually use. Chromatic Aberration. We'll just make it look like it's unlike a TV or something kind of gives a cool effect, adds a little bit of light color to the edges. It's going to cool. It makes look like a TV screen. Then we have vignette. A vignette around the edge. Kinda, kinda gives it that darker sort of photographic field. I tend to keep it off because when I send these to my computer and I make thumbnails or something, sometimes I need to adjust it. So I like to add the vignette on the computer rather than here. Then you have things like grain sharpness, pixel art. So there's lots of interesting things that you can do that are kinda cool. So that's pretty much post-process. Okay, So we do have a few more lights, so let's just add another light. I like to add a light from above. I like to add a cool light pointing down. So let's add light. Let's make it a spotlight. Now let's move it up. I want to move it right over, right over the head. Pointed down. You can see it's very bright right now. So easily position it right over the top. I'll put it up a little bit more. And then I'll change the cone angle so it's focused pretty much. Right there. You can see it's very bright. This is too blown out. So when you see something like this, you want to lower the intensity of that light. So we'll just lower the intensity. That looks pretty good. And let's change the temperature to something cool. Okay, I think that looks pretty good because there's warms and cools. I like to have everything usually fairly warm. And then I like to add a cool light, maybe one cool light. So we have this sort of overall warmness. But then we have this cool light. And It's kind of hard to see and it's a little nuanced. But when it's warm, it's always a little more orangey and yellow and warm. But adding this cool light will give that orange and that blue. And that always looks, that always looks cool. So if you watch movies or TV shows, if you'll notice that when they're recording things, they're always be the room might be warm or they might be cool. And then in the background that'd be like a very warm orange light, a spot of light or the view window with a different color light coming in. And I like that kind of stuff. That kind of stuff is very cool. It adds a lot of dimension and it just makes it look really, really nice. 12. Glow Effect & Point Light: Okay, so now that we're working with post-process on, just remember, if your system, because I know some of you are using, you may not be using iPad Pros or you may be using phones or tablets that aren't super powerful. So just remember, you can adjust if you go into the post-process and you would just do render resolution, you should be able to still use it. If you turn this down, I'm going to keep mine around one right now. If not, just turn it off, you'll just have to go back into post-process to see how everything is going to look every now and again or when we make changes. But I think it would be fun to add another light. We've used the spotlight, I showed you what the Sun looks like, but there's three different kinds of lights. There's also a point light. So point light is a little tricky. I don't use it that much, but I think that it'd be fun to add like a little dome light here. Maybe it's glowing. That's one of the fun things I like to do a nomad is make things glow. And they don't actually emit light. This is sort of a trick because you can only add four lights so I can make any object, we can make any object appear that it's glowing, but it just won't really omit a lot of light. Unfortunately, maybe one day we'll be able to add more lights. So let's do this. I think it'll be pretty fun. This will be a fun example of using a different light and seeing how, how we can manipulate the light and manipulate the mesh to make it look like it's glowing. So let's add a sphere. I'm just gonna go up to the top so nothing gets lost. So we'll add sphere. Okay, so here's our sphere. We can go ahead and validate it now. So we'll move it over with the gizmo and we'll move it up so it's kind of on this pedestal. So this will be our, you know, this will be like our glue, our glow. And let's make it, let's have a glow, sort of greenish. But you can make it, you can really make it glow any color. Maybe we'll do it like sort of like a pinkish glow. So we'll try this first and we can always change it later. So right now it's a pinkish glow. It doesn't really matter if it's glossy or matte right now. So hip pain all, and now that's pink. So here's our sphere. Let's rename it pink globe. So that's our paint globe. So now let's clone it. So we tap on the three dots clone. So now we have pink globe one. Let's change the name to blink, blink, blink, glow, add. So now we have globe and globe add. So for globe add, we're going to change our first material. So as you see, here's our scene with pink globe, PIN club, pink globe ad. That's very difficult to say for some reason. Now we go to this little sphere here. So this is our materials. So everything that we have on the sea now is opaque. That's just kind of normal, normal solid material. But we want to change globe add to additive. And there's little question mark. So if you want to read more about them, you can. So we're gonna go to additive. So you probably can't see it changes it a little bit, see how it's a little bit lighter. So we go back in here. We're on additive and we want to do always unlit. Let me just do it again so you can see it. So here's the additive, so here's opaque. Made it additive. Always unlit. You see how bright it is. And we can adjust the opacity. But once you, if you get too high is just gonna be white. So we don't, we don't want it to be that high. So something like that is fine. Okay, so now it's pink and you can actually see a little bit of it shining over here, which is nice. Okay, so now they're both pink and they're both where we want it to be. It doesn't really look like it's glowing now. But we have our post-process and it doesn't really look like it's glowing. And that's mostly because the scene is, is fairly bright. And we don't have, and we can use another light to enhance this. So what I mean by that is, firstly, the lights are bright in the scene. So this is our key light, that's our brightest light. Actually, what is this light? I think this lady is supposed to be off. Let's turn this off. So what had happened is I was practicing this before and I left a light on I left that that light on. So you're seeing will probably look more like this since you're not have dumped them like me and left the light on. So you're seeing should look a little bit more like this. But it's still really not bright enough. Like it feels like if this is really glowing, then it should be brighter than this. So just remember the key light. If I toggle that off, all of these lights is going to make that brighter. You know what I mean? So if you have less lights, are the lights are dimmer. Things that are glowing will appear brighter. So turn all these back on. Let's add another light kind of above this. So we'll use a point light. So we'll add a light here. And let's just rename this pink or less, just renaming Globe glow. So Globe glow is our last light, but we don't want it to be sun, we don't want it to be spot. We want it to be a point light. Very, very bright. So let's turn the intensity down. And let's try to match this pink color. I'll make it a little bit darker. Okay, so now it's pretty much matched this pink color. So let's move it over here. And the reason I don't, the reason I don't use point lights that much is because they tend not to respect the shadows, like the correct shadows. So if I make it really bright here, you can see that there's a complete, this side shouldn't be this light because this is in front of it. So that's the only problem with point light, but I'm going to show you how to manipulate it because we want this glow and we wanted to look realistic. Let's turn the intensity back down a little bit. Maybe to like 3.75 or so or for somewhere around there. Okay, so the first thing that I would do is bring this slide up because we're mainly going to be looking at it from here. And if I have this light back, if I move the light back too much, you can sort of see like the shadow. I kinda like it a little more in the front. So it really looks like this is giving off light. So that's the first thing. The second thing is there is a way to get it to respect the shadows by going here and turning on screen space. I don't really know the science of screen space versus shadow map. I'm not really that technical about it, but I know that it does respect the shadows more so you can see it more on this side. But you don't see it that much down here. You don't see that much in front of this or on this side. And that's a little bit more proper UDC, some shadows around here, which is unfortunate. But nomad is still trying to really find his feet and it's just getting better and better. So hopefully the lights will improve in time. So the next thing is, you see that it's this like that white spot on top. I don't want that to be too white. So I'm going to raise this up a little bit so that it looks more natural hair. And also with this light, you can see that the light is shining here as well. So you can fix that if you lower the cone angle or if you angle it more to just be on our subject. So that will sort of get the light off of these. So the next thing that affects light, and they can really change things is the surface of everything. We've already done additive. But there's also, remember there's also, if we go to the paint, There's also roughness and gloss. So let's do the background. So go to paint will go to wait. And we'll just make it rough. Refer. That will be less light shine on the background. E.g. here, this is very shiny. It looks like a shiny floor, which is fine. But if you don't want that, then set this to tap on it, go to white and you just change the roughness. If we were to make a glossy, then you can really see all of the lights and everything in the reflection. And it's the same thing for these two. Like I'll take this cylinder will go to white and just make it a little bit more rough. In that way, it's less glossy. 13. 3D Mesh Materials: Okay, so to continue with the materials, remember we made that one globe, the additive. So there's lots of cool things that you can do with that. And just to experiment. So let's take the head e.g. if we change this to blending, you can adjust and it's like almost like see-through. So that's blending. And there's obviously there's options and stuff here. There's refraction which turns it into like a, like a glass, like right now it's like a frosted glass. Let's see if I can get rid of that. And I'm just going to turn Global Illumination off. That way. We don't have that like haloing effect right now is frosted. So remember this is refraction. Refraction is sort of like glass, like it makes it look like, like thick glass. So there's reflectance, there's index of refraction and there's pink glossy. So if you want this to be not like frosted glass, you can do Paint Glossy. The thickness. Obviously, if you, when you look in here, you see the thickness of the sort of refraction. It makes it look how thick and reflective the glasses. I guess it's not honest. I don't mean reflective, but you know what I mean? It just makes the glass look really thick. So you can adjust all of that. You can adjust the index of refraction. You can make it like this. See now it's, it's more see-through and it's more, it's not as distorted, but it looks a little bit less like glass. It almost looks like a balloon. Now. We'll turn the index of refraction up a little bit. Reflectance, like I was showing you before. This makes everything that's reflecting more clear. So that's refraction. I'm just gonna bring this back down. Subsurface. Subsurface is really cool. You can see that it's still glossy, so I'm going to change this color to white and rough again to where it was. Maybe like 0.5. Refraction is one of the coolest things that no man has brought to us. I was really looking forward to this. And let's turn off. I'm going to turn off the key light, the top-down light. C. Now you can see, well, let's turn off the pink light as well. So this is subsurface. So this is exactly like subsurface scattering is like if I take this flashlight and I shine it through my fingers. So that's subsurface scattering. So this is light underneath the surface of my skin and it's bouncing around there. And that's why it has that reddish glow. That's subsurface scatter. And it's really cool that we have that in these because it just makes everything look more realistic. Our skin, you know, when you see people's ears in the sunlight behind the ears, you can sort of see through them. All that stuff we can now do in a minute. So if you want to really enhance that, want to have a light from behind some light source on your mesh. Obviously, the thicker the meshes, the hardest going to be to see-through. But these thinner parts are very bright. But this edge light is coming from behind. If I raise that intensity, then you can see through it a lot more. So that's subsurface scatter. It's really cool and I'm probably going to leave this as subsurface because that's usually what I like. Anything anytime I'm making something, I usually make it subsurface. If it's some sort of a nice, it looks somewhat organic. Alright, so let's turn on the rest of these lights again. So that is subsurface. And then there's a few other ones. Let's go back to our mesh here. Additive. Obviously it kinda makes it sort of this photo airy, light look dithering. Obviously you can adjust that as well. I'll use dithering or blending. If I'm making like ear fluffy, like little, I'll use some spheres to make like little hairs in the ears or something that'll puffy, round things then I'll use dithering. So it's, so it's not just to kinda, just kinda change it up. So that's dithering. And maybe like clouds to, you can make like really light clouds that you can see through with dithering. So I'll put it back to sub-surface because that's where I want to keep it. There is one thing with subsurface that I forgot to mention. The default is like their red color. It looks exactly like when I shine a light through my fingers. But if you go to the surface and you're on subsurface, you can change the color here. So you can adjust the color of that, anything that you want. Okay. So I'll just put it back to the normal normal ish color, something like that. I think that was pretty much it. I use it. I leave all these on auto most of the time. So I think that's pretty much it for the materials. Everything else is opaque. And it might be fine if you want to change some of these to other. See, we changed them. So this is subsurface. Maybe this is fraction or something like that. Oh, I forgot that they're actually they're still mirrored. There's these boxers still mirrored. I was wondering why I did subsurface for one and it came out the other one. As you can see, unfortunately, what little trick that we did, it doesn't show in here. But I don't want to get too ahead of myself. Let's turn these back to subsurface. You can also change the depth as well. So by depth, if I take these or if I take this sphere and I changed the depth, I bring it down, it makes it more dense so you are seeing less of the subsurface. If I raise it up really high and you're seeing more, it almost makes it really, really see-through. Okay? It looks good. 14. Sculpting Tools 1: Okay. So we have our scene is pretty much lit, slip pretty well. So that's a little more complicated. Some more of the fun stuff is just playing with the tools and figuring out the tools. So let's kinda dig into that. I'm gonna go ahead and go back up here and turn off post-process. That way everything will just be a little bit smoother. So I'm gonna zoom in on our head here. And you know what, you know what a good idea is. Let's take the head and the eyes. I'm going to bring the eyes. I'm going to drag it up towards the head. We have the head, the eyes. Let's take both of these and clone it. So we have had one and eyes one and I'm going to drag it so they're there, so that they're connected. I'm going to highlight both of them were on the gizmo and I'm just going to move this to this pedestal. So now we have this, move, this one down there. So now we have this head and these eyes. So we can sort of play with and manipulate this one. So I'm just going to enlarge it and then I'm just gonna save this view. I'm gonna do add view and then rename it to three. So let's start with the clay tool. So the clay tool is what I use. I guess I'm gonna do some details. Or if I want, let's say like cheeks, I might use the clay tool. So this adds clay. It's exactly what it sounds like. So intensity can be around 50, doesn't have to be that big. I want to make sure that I have symmetry on because this is symmetrical. I want everything I do here to show up here. So just always check for this symmetry. With clay. I can just add clay like this. It might even, might even be worth it to go back to two mat cap. So if I go here and I go back to Mac cap, this is why I sculpt with this. I just think it's easier to see. So this is adding clay. And remember this is a pretty high risk, like it's 224 K The head. So all the tools should be fairly clean and clear. So anything you do with the clay, you want to just afterwards go and smooth it out. And sometimes I'll have to add clay smooth at Clay's smooth until you have what you like. So that's clay. Brush is what I use. If I'm gonna, I'm gonna do texture, which is a little complicated. But I'll usually use the brush. And then I'll go down here and tap this little white square with a line through it. And I have a bunch of textures. But that's like a whole another can of worms. So let's say if I was to add a texture, so if you import an image, a texture image, your images here, you're using brush. I would bring the intensity down, the brush size up. You can see it's sort of just adds that texture. And you can also, if you have like an image, the only thing that you'd have to change for the image is right now we're on dot and remember it. Remember I talked about dot. Dot kind of makes things react like a paintbrush. So if I do this, we really can't, can't see it because it's sort of acting like a paintbrush. But if we were to drag it like a blanket. If you remember what that was, that was over here in this option. The stroke and lock radius. So once you lock radius, then you can kinda see it's not the clearest. But then you can see a little bit more what that is. That's usually what I use brush for this. I'm just going to set this back to regular. And I think you can also just add, but I never use brush to really add clay like that. I would just use clay. So that's Brush. Drag is very useful. I use that a lot. So if I wanted to make some changes to this, so there's drag and move. Drag tends to. So if I put, if I put drag, it tends to drag out exactly where you want to drag it. Whereas move. Moves, moves, everything. See how move moves everything, even the stuff that's sort of close to it. So move kind of moves a bigger radius than drag. So if I wanted to, if I was like, oh, I feel like I want these ears to be a little bit closer together. Remember, I'm still in symmetry. I would kind of go like this a little bit with move. I wouldn't do it with drag. Because with drag, it'll just see that's, that's the only difference. I would use move if I want everything to be sort of a nice smooth or move. But if I really wanted to just alter it, then it will take drag, you know, make some weird shapes like that. So let's do, let's just alter this with move a little bit and drag. Okay, so I use drag and I sort of altered this, but you notice this kind of starts to break apart. And the reason why it's break apart is breaking apart is because we're stretching the polygons. So when that happens, you're going to have to remember it. So remeshing it is going to recalculate all the polygons and they won't be stretched, stretched anymore, but we'll probably just have to smooth it back out. So let's just save me, save my progress. And then we'll just go back to voxel Ramesh. Let's just say we measured it like 300. So we remixed it. And now you see that it's not broken anymore, but we do need to smooth it out. So just remember that if the clay starts to break up, then you need to remember it and probably smooth it out. Okay? Okay, so that is obviously the smooth tool. It pretty self-explanatory, smooths out everything. We already have our smooth edge if we need. So that's just smooth. Just moves everything out and makes everything look nice and pretty and clean. Mask. A mask will just protect part of your mesh. So let's say if I want to, oops, if I want to mask the mask all of this. I'm asked that part of the antlers, the back too. So if I mask all of that and then I take the gizmo and I pull this away, see how that, that stays in place. That can be useful. Like if you want to do something like let's say you take the mask. There's different options here too. There's different mask options. You make the brush really small and you want to make like a heart. And to use some of these other options. So let's say we want to, we want to extract this heart out a little bit. You can do invert. So now what we painted is now free. Everything else is protected. So that's invert. And then we take our gizmo. And let's see, we see the cell. We want to pull this completely out. And I hate to jump into something else. But as you can see, this is pointing this way. This is pointing this way. Every having a problem with the gizmo and you're like, Oh, I just want to move it in one direction. But it's hard to do instead of like going like this, to kinda get it where you want it. You can adjust the pivot point. So you can adjust the gizmo and then move it out exactly how you want it. So that's what this is here, this pivot. You just tap it. And then you can adjust this. So let's say we want to go straight outwards. Then you tap it again. Now you can pull it straight outwards. And then when you're done, go back to your mask. Go back to your mask settings and hit Clear. And if I was doing something like this and I wanted to keep it nice and crisp, I might not smooth it because I'll lose a lot of it. So what I might do, in fact, let me just save you real quick. What I might do here is voxel remission really high. If I really want to keep those details like maybe like 450. So voxel remeshing really high. And that'll solidify it. So then I'll take my smooth and I'll smooth it out. I'll still try to be gentle. But then I might take pinch, which is another tool. I don't kinda jumping around. I'll take pinch and go around the edges. And that will pinch the edges together and give you a nice clean edge. Really like using pinch in that way. Okay, So select mask is sort of the same thing, except you can use these tools here. You can use lasso to just like lasso whatever you want. Or you can use like rectangle two. Easily just rectangle off something. And then you can then you have your, you can move it as you wish. Select mask. I usually use that it seems to, It's just really clean. And I tend to use that more than the, than the regular mask. Okay. So I think we'll do paint next. I think I'll jump to a new video for pain. 15. Sculpting Tools 2: Okay. Paint. And as you can see, mine have kinda moved. So here's might be in a different order. But to paint you can't be in mat cap, which we are now. So we'll go here and we'll go back to lit PBR. And then you see our shapes. So if we want to paint this red, we want to make sure that we tap on it. Will go here, will adjust the color that we want. We can adjust obviously again, the roughness or the gloss. Let's kinda pretty glossy. And then we'll do paint. So that is paint all. And again, that's here. You can adjust the mental illness that makes it will just look metal. It looks like a Christmas ornament. There are built-in color. So if I tap here and then I tap on this globe, there are ones that are just kinda hear naturally. I think I might have made these. But e.g. if you want like gold, you can do pain. All. My advice for gold is usually it's unless the lights are really bright and it looks very dark. So what I do is I go back to the color and I usually raise the roughness up. And that kinda lightens it so that it actually looks really nice with this pink glow on it. Although I don't know why, only when I zoom in you can see it. Let's make the eyes black. Will turn the middle of this down. And let's turn the roughness down so that they're nice and glossy. Okay. So that's, that's pretty much paint. But that was only paying all. Of course. Paint works like a paintbrush. So if I take a different color, so let's say I do like a tap on the head again. So if I take like this glossy blue, maybe I want to make it a little more rough. And you can adjust these. You can just paint like normal. So let's do something like a purple, maybe a little bit lighter, maybe a little bit glossier. And let's paint like the tips of the, I guess antlers kinda looks like antlers. So that's how you would paint. Here's a pro tip. Up here. There are layers. So let's say you really like that, but you're not sure if you may want to change this gold. You would go up here to the layers, add a layer, and maybe rename it ends. I suppose. So we rename it ends. And now we go back to our Russell on our paint. And we want to paint this now. So now we've painted the menu will paint this little heart too. So now we've painted the ends, but you have a lot more control. You can change that. And you can go to base and you can adjust the whole thing if you wanted to. And that will still be there. If you really want this color again, but you've already changed it, or you really want the gold again, then just press on the color. Press this little eyedrop. And now you have your gold, where you have your pink. And you can do this with anything. The background. And the good thing about this is it not only saves the color, but it's also saves the roughness and the metal minus c that all all that information is with the eyedropper. Smudge. Obviously just smudges. But you wanna make sure that you're on the right layer. Is he always on the base? I want to be on the ends because that's what we colored. And smudge, just smudges. But if you're like me, you probably want a smooth gradient. So to get a smooth gradient, you want to use smooth. But you want to lower the intensity. If you use smooth and you lower the intensity all the way down, then it just will smooth out the color. So what I would suggest is taking smooth, cloning it, it'll show up down here. Actually, I can get rid of this brush. So it takes smooth clone it. And maybe smooth, smooth color. So it shows up down here. And all you have to do is lower the intensity. Then go here, tap it, and then tap Save. So now you have a smooth color, which is what I have. With the smooth color. You can go in here and we'll make this a little bit smaller. You can smooth out the color. As you can see. It's not really working this well. And I wonder if you can guess why it's not working so well. The reason it's not working so well is because it's such a high res, like it's so dense. So that's the only reason that it's not working so well. But I'll show you how to make it work well. And of course, this is something you have to get used to when you're modeling and when, At what point in time you color things. So if you want to get this smooth and make it really nice and really blend, and go to voxel and maybe bring it down to like 200. And voxel Ramesh. So now it's at like 200. I'm gonna go ahead and save. So now it's around 200. So let's see how our smooth color works now. Now it blends really, really nice. So just like with everything else. Hi-res, you know, it's hard to really, if it's high res and everything is a bit more rigid and a bit more crisp and clear. It's the same thing with the colors. You can get crisp, crisper lines, more crisp lines. But when you lower it to like 200, then you can, you can sort of blended it much better. So it doesn't really change the look of this too much either. But if I, again, if I wanted to do finer detail, I would voxel remission it. Hi again, which we're probably going to do soon. Okay, So flatten. Just flattens. And I want to show you my flattened tool settings. So these are my flattened tool settings. I think I have anything here. Needs a symmetry or anything. So yeah, so these are pretty much my flattened tool settings. And it works just like you would expect. But it can make some really beautiful effects. It's one of my favorite tools. Flatten this here. Let's see, we go on the other side. We kinda flatten this side to flatten is really cool. It can give you some really cool effects. Even on things like, um, like here I might use flattened. And on things like the nose, say I want to flatten this a little bit on the bottom. I might flatten it and then smooth it out. And doesn't look like it's smooth. But again, that's because of the paint. That's again, that's why I usually model in Metcalf. It's easier to see. All right, so that's flattened. Is there anything else? I want to find? The nose a little bit more. Smooth it out. Okay, So that's flattened. Let's hop over to a new video and we'll just keep going down the line. But before I do that, just in case I'm going to show you, I just want to click on the tools and just show you my settings. So we did Clay. Really, it's just that setting for clay, for brush. Not really much. For drag. My drag tool settings, Move, Move Tool Settings, smooth, mask. I don't think there's anything crazy with mask. Select mask, paint, smudge that there's anything crazy with smudge. Flatten? Yeah. 16. Fresh Mesh: Okay, let's see, Let's get onto the layer right here. But let's start something else. Let's add a box. Will pull the box forward. Maybe we'll stretch it out, flatten it, will flatten it a little bit more. Then we have this little pedestal here. Just as a little refresher. Let's decimate the box a little bit. So the first thing we wanna do is validate. And then we want to, let's make it a rounded edge box. So let's use our rounded edge tool. Make sure they were tapped on the box and then drag from the middle. Let's do that multiple times. Now we have a nice rounded box. So now let's go to here and let's decimate it. So we'll go here to see UV. Right now it's 7,972. What's decimated a few times. Okay, Now it's 500, still looks good. So now we just made a rounded edge, front platform. Let's rename it. So now we have a front platform. I'm just going to lower it a little bit. There we go. So let's put something else on here. Let's make a sphere. And gizmo, Let's move our sphere up here. Let's flatten it a little bit. Let's move it over. Actually, you know what, let's not move it over. Let's just work on it right here. Let's make it bigger too, and let's stretch it. So we'll do something like this right here. So let's validate it. And let's voxel remission high. So we'll voxel rematch. That's the same thing with going here. Voxel, let's voxel remission it at like 350. I'm gonna save first, save my progress. It's voxel Ramesh at 03:50. Okay, now let's use our rounded, our rounded edge. Let's use that on this sphere to get rid of those little squares. I just, sometimes I just keep doing this until it's nice and clear. Okay, so now we have another little sphere. And let's, let's flatten the head. So let's take flatten brush, and let's just flatten this. Whoops. Got to make sure that you turn symmetry on symmetries of bugger. So let's flatten this here. And then let's smooth this out. Okay? So now we can kinda just make a little, a little character. Let's make, let's take another sphere. So let's name this one body. So we'll rename that one body. Let's make another sphere mirror. Now let's tap on the sphere. Gizmo. Let's move as kinda separate it. And let's move it up. And let's shrink it. And let's make this like like little legs. So let's stretch it out. And I really like making little characters like this. You can just kinda follow along. I'm just going to sort of twisted so they're kind of in his in the body. Maybe I'll push them in a little bit more, but I want I want the feet to be a little bit bigger at the ends so we can go ahead and validate these fears. There is still mirror here. So let's use drag or let's use, we can use move or drag. I think I'll use drag. And the sense they're mirrored. That's the only reason I don't have to do symmetry. Because if I touched symmetry, then it's, it's gonna be the symmetry of just one sphere. So that can be kinda tricky sometimes even myself, I have to make sure I know what I'm doing, but we don't need symmetry now because the spheres are mirrored, so they're just mirroring from both sides on both sides. So now we have two little VDS. Let's make two more spheres. So let's add a sphere and see the sphere is now within this mirror. So we use our gizmo will move it up. And I don't think we have to yeah, we don't have to tap mirror here. Remember because we made this fear and it's already in this mirror. So that's why we don't have to press mirror here. If we did, it would just be like a double mirror. So let's move it up and let's shrink it. Let's bring it in a little further. Now let's use, let's validate it. And let's use move will bring them, bring the size of the Move tool down. And let's just kinda make some sort of like arms. So we'll just make some sort of like arms. Maybe we'll kinda do it. So it looks like he's almost resting is all his little hands on his legs. In a sense, something like that. But it's just sometimes I just like to manipulate the manipulate the clay like that. See if I want to just stretch this out. It's kinda hard with, with move, but I'll use drag to dislike. Drag it up into the body a little bit. You can still obviously you can still kinda manipulated as you need. Now it looks like a little character that's sitting. And we're going to use all these for the next tools. I know I'm making another character, but I also think this is a good way to brush up on things that we've already learned. Because this is how I would build a character. Okay, so we have this mirror. So let's go ahead and add another circle in this mirror, or another sphere. So we'll add another sphere. Whoops, I just touched something else. So I have to go back in here and touch my sphere. Will bring it out or bring it up. Can separate the two, shrink it. Okay, so let's make it kinda like this. I really liked making these characters with these kind of big ears kinda coming out the back. So I'm gonna validate, I'll use move. I like to make the move tool really big. And then sort of push on one side, kind of gives it a nicely curved effect. Then I'll just maybe adjust this a little bit. But again, this is another spot where you just can really just have fun with it. Just sort of make random, random characters like I already liked this character a lot. It looks funny. So this character is looking pretty good. So let's just join the, we want to get my tail to, let's give them a little tail. So the important part about the tail, so let's use sphere. I use lots of spheres is we don't want it to be mirrored. So we'll go back to the scene and let's bring this one out of the mirror. So now it's just his own little sphere. We can shrink it. It's also a good way to make like fins. You just shrink them like this. But this is a tail, so I'm going to validate and then I'll use maybe drag. I'll make sure symmetry is on. And I'll just kinda drag the tail out a little bit. Just kinda make it like a cute little tail. Notice how I'm just kinda pushing and pulling on it until it's slopes the way I want it to slope. So I think that's pretty good. So let's join the ears, the body and the tail. The tail, here's the body. And what is the 0 and the ears? Is that what I wanted to do? Okay, So the ears are part of this mirror. So to make it easier, I'm just going to bring these out. And see I have one year now, but I'm just going to press Add and then just do mirror. Now the other one pops up. So I'll take these two Validate Join children. And now I have the ears, the tail, and the body. So I select all of them. Voxel. Let's do it at like 350 again. And let's do it at 400. Let's really live crazy. 400. I'm going to save my progress. And then we'll unbox what we measure at 400. Okay, So now all of these are solidified. And let's go ahead and smooth out. Make sure symmetries on. We'll go ahead and smooth this out. In another way. You can also do rounded edge. But I find that rounded edge sometimes isn't as aggressive as I like. So I'll just take smooth and just put a little more pressure on on it. Okay, good. So now we had this have I can other little character that we can help us to help us with the rest of the tools. So this was excuse me, this was supposed to be the tools video. But the next one is going to be actually be sculpting tools, video number three. But isn't good so far. We're going to have some fun with this character. Promise you. 17. Sculpting Tools 3: Alright, so let's get back to the tools. And another little tidbit. Well, we just did here is blocking out. So we just blocked out this character. And blocking out just means that we're just used primitive shapes to formulate what we want to make. So that's blocking out the character, just making it really simple. Let's move on to the next. The next tool, which is layer. Layer, is something that I'll just show you. So see it kinda adds another layer to our mesh. It's kind of a weird shape. But you can also hit sub. So all of these tools, you can, not all of them, but you'll notice some of them like inflate crease. They all have the sub. So for layer, this is the sub, takes away a layer. Pretty simple. The only thing with layer is you want to like if you want to make something like this, then you just make sure that it's the shape you want. Because if you take the stylus often and you go back, it'll start erasing a new layer. But I like to use layer for sort of like I, what is it called? So I usually will make something like this eye socket. That's what it is. So this is how I usually do like an eye socket. I'll make a shape like that. And then I'll kinda, and then after that I'll smooth it out. And that's usually how I do my eye sockets. And of course you can change the depth if you want. You can actually use clay and sub two. If you want to just give it some more depth like this. And then just remember to just smooth it out. You'll remember because it looks, it looks bad unless you smooth it out. But that's what I do to make eye sockets. And I like using you can also use clay and sub two to do that as well. But it's just a little bit messier. But you know, it's sort of the same thing. Smooth it like so. Okay, so since we're doing layer, I'm just going to actually do it with layer so I can stay faithful to what we're doing now. So this is the front. Everything is lean back so far. That's okay. So let's layer some eye sockets. How do I want? I feel like I want well, actually I think it's okay. So I usually do something flat like that and then do this for the eye. Well, let's do another layer. Okay, and we can use clay and sub and just kinda bring that down a little bit. So now we have some eye sockets. We'll just use Smith and spread them out. Okay. If you want to, if you want to add some more clay here, maybe you think it's too thin. You can just use clay and you can add some to this little middle area. And you might want to smooth it out with the smooth tool that you can get some really nice shapes, you know, some really nice, nice sculpting shapes. Okay, so that's layer. So inflate, inflate. Obviously you just inflates. It's not really, it's sort of inflates the mesh that's already there. So it's a little bit different than clay. Clay kinda adds clay as you go. So it's similar, but inflate just kind of inflates what you have. So it'll be quicker to break down because it's just stretching instead of adding clay. But what I use in fleet for one of my favorite things is like e.g. around the eye socket. I might use in Fleet. And then I'll smooth that out. And I might want to use flattened and then just kinda flatten out this shape. Maybe I'll even flattened part of this eye socket. So obviously we use platinum before and I'm like, why am I why was I own flattened in Fleet excuse me? Inflate. So that's inflate. One of the, one of my favorite things to do with inflate is see this little arm here, this cute little arm. I like to make little like skin folds around them. Then I'll just kinda smooth it out. I always think that looks really, really great. It kinda just gives a little more life to your characters. You can do the same thing with the legs. I don't always do the legs, but since this is a demo, let's do it around the legs too. Because normally if those were his little legs, he know he would have some he would have a skinfold. There are two. I'm gonna do it again. I'm gonna do it like bringing it closer and make it a little smaller. That's better. That's a little bitter. Smooth it out, keep it looking nice and natural. And how he has some little like skin folds. And you can also do like maybe you want to do a little one like over the tail. Me turn on symmetry. Four and, and fleet. So just kinda like fun little details. I like to use the inflate tool. You can also. So let's see, we have the feet here. Let's go ahead and box will rematch the feet a little bit higher. So let's talk through rematch them. I'd like to 50 excuse me. So voxel make rematch them at 02:50 will smooth them out. And we can take inflate. And you can actually make like little toes. Well, actually let's turn symmetry off. We don't need it. Can actually make little toes. Now here's a little toes. You can smooth them, but just be gentle when you smooth. So you don't lose too much shape. Where you don't want to lose too much shape. This one's a little big, so he has little feet. Feet ease. These are just like fun things you can do with with inflate. Flatten the bottoms of these, smooth it out. These are all the little details that I really enjoy doing. And let's, let's flatten out the, this part of the foot two. Let's plan. So smooth that out. We'll turn symmetry on what you think symmetries on it doesn't look like it, but I think it's actually, let's do a little test. Yeah, okay. Symmetry is on. I just couldn't tell by the looks of it. Let's drag this little toe. Just want to drag them sort of inwards towards each other. Okay, so now let's do the same thing with the arms. So let's voxel rematch them at 02:50, like we did the other ones. We can smooth it out. Then let's take an fleet and we'll just make some little, we'll make some, some inflate inflations, but we'll make it so it looks like it's like a thumb like on his leg. And we'll do the same thing down here. Maybe we'll do one here. And now here's a problem because we're running into, we can't see underneath. So let's hide these. So we'll tap on that. Hide it, and we'll tap on this. And we can hide it. Now we can go back and actually do our fleets. So we'll make another one here and maybe like a third one here. Now let's smoothies out. And they just kinda make little cute little fingers for Zillow pudgy arms. So just kinda fun, fun to do. So when we come back, then we'll, we'll, we'll jump to the next tool. I love inflate a usefully inflates so much. 18. Sculpting Tools 4: Okay, crease. Crease is another really cool tool. So let's say we wanted to make some creases in-between these toes. We'll just use crease. Let's see You are these legs in a mirror? So I'm just going to label this legs. And I think these are the arms here. These are the arms. So I'm going to rename these arms just so we know what we're doing. If we want to make a crease in between here, we just grabbed the crease tool. Make a crease like this. However you want the toe to be. We don't have to go all the way around it, but now you have some creases in-between. So that's the crease tool, very useful. There's a lots of things where I use the crease tool is very useful. Sometimes I want to just make, sometimes I might even just wanted to make like a design or something. Increased tool is good for that. Kinda like that. Ammonia will keep her in. I might do a little design on like the arms for the little elbows, a little belly button or something. So that is the crease tool. Obviously you can use sub and it will, it'll raise, make it a little bit bigger. I did it along the edge of this. Then it sort of creases that like this. One. It will keep it, smooth it out. I don't know what kind of character we're gonna get soon, but it's kinda fun to just use all these tools. So let's create some, go back to crease and take it off sub. I don't usually do. I find that I do this sometimes if I'm making hair, I'll use crease with sub because it makes these nice crisp edges trim. So it's telling me to use orthographic. Let's bring back our front platform and we'll tap front. And it's really hard to see street with perspective. So orthographic is always better if you want to do some trimming. So let's turn it to its side. And we use trim, we use rectangle. Let's take a look at my trim tools. Here's my settings. Sometimes I turn these all the way down. If I want to trim his, but I make sure that I'm tapped on his body and I want to trim right underneath where he's sitting. I'll probably trim right here a little bit below. Something like that. Let's hide the platform and just see that just trims his body. But obviously we have these little legs to make sure that I tap left. I'll tap on the legs. And they can also trim those. And I'll just use that same trim line to trim. So of course, there's other tools you can use, the lasso. You can treat them with like a Lasso. Like that. You can trim with the line like that. Or of course, a circle. So those are your trim options? Project? I honestly, I'd never use it. I don't really know what it's for. So yeah, I don't have much to say about project gizmo. We know how to use, That's our controller. Pinch. Pinch is really cool. Let's say we, it's sort of similar to crease with sub, Let's say we want to make this a sharper edge. We can use pinch. And we'll kind of go over it. It'll try to find any sort of like bend. And it'll try to pinch it together. Just like we did with the little heart on top of the little character. I think we pinched, we've pinched the edges of this. So that's pinch delete layer. I don't use mask too. I think I might have just clone this split. Split is another interesting one. It's almost the same as trim except for split. If I was to take the body and go across, it will make two separate meshes. Anytime I use split or if I use trim, I also voxel ramesh two. So I did split these. So I actually should. Box will rematch them. I'll box where we matched them at like to ten. The body to the body. I'll do a little bit higher. I'll probably do it like 400. Let me just save, just in case I'll just falx cerebri mesh. So when you make the cuts sometimes it changes the polygons a bit. So I just like to rematch to reset those. We said how the edges look, keeps the edges nice and clean like this. Like a good clean mesh. Okay, so now the bottom is nice and clean. Let's bring back the front front platform and let's bring back floor. Okay. So leaf leaf is what you would use to make like a bowl or a mug. I think in this case we'll make a bolt. So we usually will tap on Leith, will tap on path. Now you see this line in the middle of the screen. So what you have to do is imagine this line is the center of whatever you're going to make. So if you're gonna make a mug, this line would be the center of the mug. So if I start here, this would be the bottom of the mug. So if I'm making a bowl, actually I'm gonna use curves. It's probably easier with the leaf tool. So I'm using curve. And I just make half of a bowl like this. So this is half of our poll. But you have to make the inner wall of the bowl as well. So you can't just come all the way across. You have to say, okay, the bowl is going to be this thick. And we're gonna come back down to that line. So this will be the wall of our bowl. So when I let go, that that's the bowl. And I must have put it in a mirror. So I'll take it out and just rename it bowl. And then you have all these nodes that you can adjust. So spline just kinda makes everything nice and curvy. So if I tap spline, everything's gonna be nice and curved. So each of these nodes will allow us to let me just solo this. So you can tap solo down here, down at the bottom. So now we can just see the bowl. So this is little pointy, so I'm going to bring that up. But other than that, it looks like it's a pretty good look and bowl. You can bring these nodes together to get rid of them. You can stretch them out. You can tap on them if you want like a sharper edge. So if I tap on both of these, that gives me that kind of a flat look on the top. So now we have a nice, a nice bowl. You can validate it, and then of course you can use the gizmo. Notice the gizmos at the bottom, which is fine, but if you want the gizmo to move towards the middle, again, just go pivot, rosette pivot, and then it moves to the middle of your mesh. But it's actually a nice at the bottom. And I'll show you why. Let me tap solo again. We like our bowl, It's a little big. Let me tap pivot again. If we put the pivot at the bottom of the bowl instead of the middle, make sure that I'm on the ground here. The cool thing about moving the pivot to the bottom is now like if I were to resize it, the bottom stays on the surface. Whereas if the pivots in the middle, it'll kinda go through the surface. But like say now if I wanted to stretch it out at the bottom, we'll just stay where it's supposed to be. So this is just one cool tidbit of the pivot tool. But again, if you wanted to go to the middle, you do pivot. Pivot, it will always reset to the middle of the mesh. But I'm going to undo selected at the bottom. Okay? So maybe we will, maybe I'll put this next to our little, a little rascal here. So I'll move it over. And then I'll move it up a little smaller and move it a little closer to him. See this little clone here, I'll just clone it and it'll just bring it over here. Maybe I want it to be a little bit bigger, maybe a little bit higher. Just like a different kind of ball. Maybe I'll clone it again and move it and then make it small. Maybe we'll make like a little baby bowl next to them. Now there's just a couple of bowls. Why not? Okay, So that is the length tool. Now remember what the late tool really quickly. You just have to play around with it. Like if I'm making like a muffin or making like a muffin, I always think of it as the middle of the muffin. Then I'll come out and goes something like this. Or a mushroom. Looks kinda like they're already validate this. Let me undo. Now. I'll just move it forward. So it isn't really, doesn't quite look like a muffin. So that's when if you don't see the nodes, but you haven't validated, then just press tube and you'll see the nodes. If it's not looking the way that you want it to look. That's plus spline. And that's when you just go and adjust these. You just have to adjust it until it kind of gets homophony. I don't think that's a word, but I kinda like it. Now looks more like a muffin. Now it looks more like a little muffin. So I'm just going to validate this and I'll use my round it and my round edge. I'm just going to soften it up a little bit. Like so. And maybe even decimated. Get the size down a little bit. Something like that. And now we can just move this into somewhere in our scene. We'll just make it small. And we'll just move it somewhere in our scene. Why not? Now there's a little muffin there as well. I'm way over time. 19. Sculpting Tools 5: Tube Tool: Okay, so let's do the tube tool. In order to do the tube tool, I want to show you how I do eyelashes, which is I always do eyelashes for my characters. Let's give him some eyes really quickly. I think this length was our muffin. I'm just going to rename it muffin. But let's give him some eyes. So let's tap on the body just so we kinda know where it is. So this is the body and these are his legs. So I'm going to bring this up near the body. I just want to keep everything kinda close to each other. So we have the body, let's do add sphere. Let's do mirror. And with the gizmo will bring this fear. I must have. There we go. There's our sphere. So we use the gizmo to bring it up where it's supposed to go, shrink it. Then we'll just move it in a place that we want the eyes. I'll shrink it a little bit more. So let's say we just want the eyes kinda like this. Sometimes I'll flatten the eyes to maybe stretch and I'll just push them back so they're a little more flat. Sometimes I just kinda like this, look a little bit better. But either way, Now he has some little eyes. But I like to do actually there's another step I want to do before I used the tube tool. And this is a really fun thing and it kinda goes over what we just learned. So let's take this sphere, Let's validate it. And I'm going to take both of these and validate. So now we have eyes. So let's clone this. So now we have eyes and IL-12, and let's rename this up lids. So this is how we make eyelids. Up lids. Will go to gizmo and see the gizmos in a weird spot. Sometimes that happens. I find it annoying. But let's go, let's tap pivot, rosette, pivot. And now the gizmo was right in the middle. So let's pull the eyelids up a little bit and let's make them a little bit bigger, a little bit and push them back a little bit. So something like this. Just so they're a little bit bigger than the eyes. Now I'm just going to position him just so he's sort of like straight to camera. And I'm just going to use trim and I'm going to trim both of these. So we can actually use line. So we use trim line and we'll just draw a line across. The white part is what gets trimmed. So you wanna make sure that's on the bottom. So now we've trimmed both of these. And let's take voxel and that's Ramesh them. I'd like 200. So now they're looking nice and smooth. Let's take smooth and I must not have had a symmetry. So when I smooth, I didn't have symmetry. So let's tap symmetry. And now it's smoothing on both sides. That's tricky. The smooth gets me. A symmetry gets me sometimes where I've moved along really far and then I realized that I messed up. So just keep in mind to always check your symmetry when you want things to happen on both sides. So let's do the same thing, which is tilt this back, move it up, and then let's just move them closer. If you think this is too much, you can also use this green and you can tilt them. You can tilt it this way too. So there's all different ways you can tilt it until you really get what you're looking for. Sometimes it takes just take some time with the gizmo. I'm going to take move. And I'm going to drag these up a little bit too. And then I'll take flatten. I love using a flattened tool to flatten out these eyelids. Something like that. I might just give them a little smooth over. And also you can take move. You can also take move and you can adjust it a little bit more to just have to be a little bit gentle with it so it doesn't lose its shape AND gate get funny. But if it does, then you can always just flatten it over again. But again, it's all about knowing how to use the tools to get what you get, what you ultimately want. To put a lot of examples and tips in these videos. Okay, so we wanted to do eyebrows and eyelashes. So that's what I always use the 2p4. So let's take the tube. Will do path this one and we'll do snap. Snap means is that it's going to snap to the surface of these. If you don't have snap, sometimes there'll be like inside the mesh. It'll be a little bit harder to manage. Snap will mean it'll stay on the surface. So for the path option for the tube tool, you want to start and put your stylish down. You want to drag up, lift, go to the next point, drag, lift. Go to the next point, drag a little bit, lift, and so on. And I kinda wanted to come out a little bit, so I'm going to tap this. So it's kinda hard. Turn. So something essentially like this. Now of course you can add, if you want to add another node, you can drag that down. And then you can add another node there. Then once you're done, once you're happy with it, you can tap green. And then a tube appears for your for your, where you put the nodes. But you can still have plenty of adjustments that you can make with this. So the first thing I usually do is change. This part is smaller in this part to bigger. And that has to do with the radius. Right now. We just have one radius. Remember we went over the nodes that just makes it bigger and smaller. If we have two radius, we can make this smaller. We can make this bigger. If we have three, then you can adjust any of these. I think this looks pretty good so far. The only thing I wanna do is make this a little bit sharper. And I want to bring it down a little bit more. So I'm just going to adjust these. Maybe I'll add another node here. Maybe not. But you see how it's not really that curvy. So that's when you hit spline. That makes it really nice and curvy. Like a good spline. I'm going to turn off snap. This way. I can vary this edge in the mesh. And that'll kinda make it look like it's a nice edge. So that's pretty much how I use the tube tool. Obviously, you can make tentacles. You can make a ton of a ton of things with the tube tool. It's a very useful tool. I mostly use it for eyelashes and also fingers. Because I do fingers. You can do the different sections. You can sort of move them as you need. And you can even make each node like a little bit bigger for the knuckles, you know, like we can do the three. You can make each one a little bit bigger if you want. But there's a lot of nuance to the tube tool. I love it. So let's tap mirror so that we have the same thing on the other side. And then we can validate when we're happy. And I'll take the smooth tool. I like to smooth out this hand. And then I like to take flatten and I'd like to give it a little bit of a little, a little turn up at the end. I just use drag if I want to make it a little bit bigger or smaller. Just use drag and I'll smooth it again. Yeah, something like that. This is a actually it looks a little bit funny. So I'm gonna go back to the lids and maybe I'll just kinda pull them down a little bit. Maybe smooth it out a little bit. Because I want it to look good with this eyelash here. So I don't really need me, they don't really need it to be flattened. So I'll just do something like that that looks a little bit more natural. And if I want to change something with these lashes, I can also maybe use flatten its turn symmetry off. I can use flattened into sort of adjust this as well if I feel like I need to. So something like that. So that is the tube tool, one of my favorite things I love making little eyelashes on my characters. Sometimes they've been making thicker than that. But very fun and very useful. I would definitely recommend playing with the length and the tube tool because you will need them at some point. Measure I don't really use, but you can measure things out. I'm not exactly sure how. But this is one of the more technical ones. So you probably need to find someone who's a little more technical and knows how to use these tools, which I do not measure tool, I don't really use that much, but you can measure things out. Nudge. I don't really use either stamp. If you're going to use stamp, if you import an image, you can just go right here. And let's say you wanted to import. This shape. Didn't work. Let's move to the body. Make sure you tap on the body and you can import it. But let's turn off symmetry. So it's just one. And see it brings the shape end. But you see that it's looking all weird. So let's lower the intensity and let's raise the size a little bit. That's a little better. So that's the stamp in a nutshell. Okay. View, which just gives you a way to view everything while the little icons go away. I don't use Select, I don't use insert, I don't use Transform. And I think these are just other tools that I've made along the way. But nothing, These aren't default. So I think that's pretty much it. So let's, I think we can just explore and have some fun with some of these tools and just sort of flesh them out a little bit more. Just so we have like a complete little character is looking good. Maybe we'll put some little things in these bowls too. 20. Sculpting Tools in Action: So I'm gonna show you how I use some of these tools to create more of a face for our character. So I like to block out like do I want what kind of knows too, I want to give the character or do I want a snout to them? What the mouth open or closed. So there's lots of different options. So let's use clay and so on. When the body, I'm using clay. And you can see my settings here. And sometimes I just like to make kind of a nice little square snout, like a small snout. So I just kinda make a nice little square. So something like this. Now when you smooth it, it's gonna, it's gonna go down a little bit. So that's why I'm making it stick out a little bit or a lot of it. So I might do something like this and then I'll take smooth and smooth it down. So even though it's a high res mesh, even though this is pretty high res when I'm using the clay, the clay doesn't assume like the clay doesn't become as high as high rash. The clay doesn't become as high raise. So it doesn't have this like the exact same poly count as like this part that was already there. So when you add clay, the clay is automatically a bit softer. So now we have a nice little snout there. So let's use crease. Creases way usually used to make like the mouth. So let's use crease and let's start from under here. I have symmetry on. So if you tap once the data is like close together, that means you're in the middle. You don't want to start from here and go out. So we're just kinda want to start in the middle. Make a crease like that up. And then out will make something like that. We want to try to make this go a little bit deeper. So we'll just kinda go over it again. I sort of, I didn't follow the same path. So you kinda wanna follow the same path. So something like that. That looks pretty good. But now I like to use drag and I sort of like to enhance this. Let me make it a little bit bigger. I like to drag it up even more and really enhance that smile. And even under this, even under the, it'll smooth. I'll just kinda drag it up to really emphasize that smile. So the only thing missing now is he didn't have any sort of like bottom lip. So if I was going to make the mouth open, I would use layer and I would start layering like this. And I will just keep going. If I was gonna make an open mouth, that's how I do it. And then I make like the lip and stuff like that. I want to make do I want to keep it open? We've come this far. We'll leave it closed. So since I'm leaving it closed, I'll take clay and I'll do almost the same thing we did for this, but right underneath. So I'm just going to use clay. And I'll try to stay a little bit underneath the crease. Of course I have symmetry on. So I just want to build this out. So continuing to go over it and go over it until it's built out a little bit, go a little bit underneath. Building this up, something like that. Maybe I didn't bring it out a little bit further. So bringing out a little bit further either. So you can, looks really bad, but that's the beauty of smoothing things out. So now we'll just smooth it. He has such a nice, cute little mouth from that ugly mess that we just made. And that's actually the crease is actually looking pretty good there. But if I wanted to, I could go and just go over the crease again. I don't really need to now, but just to show you. So that's what I do to sort of enhance the crease a little bit more. And if you want to be fancy, you can do in Fleet and you can sort of make like a make a nice little fold under his chin or under, under his little chin. You can do something like that and then smooth it out. Just gives him a little more personality. You can also do it here as well. So you can take inflate, maybe. Inflate his cheeks a little bit and then sort of smooth them out. Smooth that out really good. Okay, so now it just looks, he looks happy. And let's experiment. Let's, let's add some more clay I just wanted, I just kinda wanna see if I made us cheats really big all the way out here. I just kinda want to see how that would look. It's always good to experiment. And that's one of the more fun things that I do when I'm 3D sculpting, I always experiment. You should always, always, always experiment. It looks kinda weird. I moved them up. It looks a little bit better. After remember that I have to keep the cheeks nice and high. Sometimes they can look a little funny. Now he has nice, chubby cheeks. So let's enhance this little crease here because I smoothed out a lot. So when you smooth a lot, you might have to enhance your creases again. Here's another little pro tip. You know, I kinda like using the flattened tool. And it might be a nice opportunity to sort of make this plane here. Let's see, I would avoid, it looks like. And honestly this is mostly just for fun, but these are the kind of things I experiment with. Like I like making planes. And I think that kinda looks nice just to have that sort of, I don't even really know how to explain it. But sometimes I'll look for areas that look like they might look cool if it's flattened. So e.g. I. Might not do it with this with this bottom lip. But I'm always looking for a chance to see like let's say if I was to flatten this out under here and try to create that nice lip. See how that creates this nice little curve. This is another thing that I'm always looking for. I kinda lost it a little bit. So let me make this smaller so I don't really touch that curve. Then remember to get this curve even better. I can do pinch. And then I can just sort of go like this and get that nice little nice little plain flat plane underneath. So it might look better, normal, but I just wanted to show you the kind of things that I look for. I think I might like it better like that. Although I could probably pop out a little bit more. So maybe I'll just take drag. Just kinda pop it out a little bit more. Yeah, that's nice. Okay, so let's use let's use inflate and let's give him some little nostrils maybe with the inflate tool. Let's give him some smaller. Let's do this. This might be a good time for me to rematch this. But I think we might do to get away, get away with it. So let's move this really softly. And let's see if we can use crease the clays a little soft. But there's a way that I would do like a little nose. But I don't really think this character and needs this little nose. So I'm going to go ahead and delete it. But if I wanted to do this a little bit more, if I want to solidify this so I can do details like this. Let me just save. I would voxel Ramesh pretty high again. So voxel, remember it for 100. And now, when I do in fleet, should be a lot cleaner than before. Yes, he announced a lot more subtle. So maybe we'll do something like that. I'll flatten it out a little bit. And then maybe just use crease. Just make like a little baby nostrils. Just a little just to touch. Let's flatten this. Flatten this out a little bit. Then maybe I'll put a nice, actually I kinda like that. Let's pinch that out. Kinda nice. So I'll just pinch that out a little bit. Okay. So I think that's pretty good. The only, the last thing that I want to do really quickly is flattened out an area for the eyes. So I'm going to take my flatten brush on the eyes and just flattened, flattened this front area. And I didn't have symmetry on. So we're gonna do it in the next video because I'm a dumb, dumb. 21. Eyes & Scene Efficiency : Welcome back. And like I said, the symmetry is sometimes it's the bane of my existence. I wish I could leave it on. I need to write that in the forum. That might be a way to just keep it on until I turn it off. That will be preferable. But for the eyes, before I so rudely interrupted. For the eyes, I like to use the flattened tool and I just like to flatten the surface. And then maybe like clone. Let's clone it. Now. Let's clone it. And let's rename this one P1 for pupil. Let's go back to the eye. Let's hide the pupil one for now. Let's go back to the eye. We have our flattened tool, and I'm just going to flatten out the front part of this eye. And I'm not exactly sure when I started doing this, but I kinda like it. I just kinda made doing eyes a little bit more simple. So that's flattened out. Now we'll take P1 will shrink it with the gizmo. Again, I don't know where the gizmo is, so I'm gonna go pivot, we set pivot. And we might need to do symmetry. Let's see, let's shrink it for now. Let's move it out. Shrink. When they start moving like this. That's when you need to hit symmetry. Since they're touching, it's an issue because they do this like stretchy thing when they touch. I mean, it happens. So let's just delete this. And we'll add another sphere, mirror it, shrink it up. We'll separate them. Now we can use this for our eye. We can shrink it like this. Then we just have to tilt it, tilted back a little bit to match the angle of where the eye is. So it's a little tricky. But essentially it's just laying another cylinder on the surface is how to adjust it until it's just makes sure that it's still around. There we go. That's better. We take it off of a line. A line means if you tack, if you tap a line in the gizmo CCl, I go back to front. This will always be pointing up, this will always be right, and this will always be back-and-forth. That's with a line. If you don't use a line, that's when the gizmo is aligned to the local position. So the local position is kind of curved back. So now this is locally pointing up and locally pointing in different directions. So if I tap front, you see that this is not pointing to the front line is has to do with the world. But if you don't have it on a line, then it's just going to be for these particular meshes. And it'll change wherever I go. I go here, it'll change. All of these that will change. Looking good. Let's stretch his eyes out this way. I think I've ever really done that before. Let's move these closer to the middle. You always want to move your eyes closer to the middle. Maybe we'll make it even bigger. Given like really big eyes. Maybe something like that. Move down a little bit. So you can adjust them, just make sure that you always put them towards the middle. You always want to put the eyes towards the middle. You could also go really small too. You don't have to do big eyes. You can do small loop. Oh see, this is a weird thing too, because it's supposed to be. It moves this way and then one will snap back. It's always a weird thing. I don't know why it does that. This is also another option to just make the eyes a little bit smaller. Actually don't know which one I like better. Dilemmas. They're too far apart now, so I have to move them closer together. Okay, that's better. Okay, so now we have our chubby little character. He's looking really good. He's all trimmed up and we've used most of the tools. The only thing left. I think we can add a few things to these bowls if you want. Even if it's just like some spheres. But you can play around with it and just had things to it. You can add different shapes and stuff to the bowls, things like that. But arsine is 1.1, 0.38 million. So that's pretty big. So what I like to do is since we pretty much have these shapes, how we want them. Let's just go through and figure out ways to at least get this under 1 million and that shouldn't be difficult. So when we tap on each, each mesh, you can see the, the number here. So that's 292. Not big. We tap on this, this is 6,146. So that's quite big. These pink lobes. So what we might have to do is let's just go to the pink lobe, the original pink lobe. And let's decimate. It. Will decimate, decimate, decimate. You can see it kinda makes us really weird thing. And that's because the polygons are changing, but the one we cloned, it has not changed. So I'll just take this one, delete it, and then I'll just have to do it again. So I'll clone this one. I'll change the name to add. Then I have to go back up here to this window and do additive and always unlit. So I just had to change it back to we had but now they're both 770. So we've saved a little bit of space. So let's go back to this head. This head is 224 K. That's a lot. But we've already smoothed that out is very smooth. So we can just go ahead and decimated. So we go here, deci, UV, decimate, decimate. Still looks pretty good. Now it starts to get a little weird. So I'm going to go back a step. Maybe. I think this looks still looks fine. So we'll leave that there. So now just go through all of your parts. This one is 109 K. And we did a lot of we did a lot of things to this. So I'm going to use the rounded edge brush, tap on this and just do rounded edge a couple of times. That will help us when we decimate. So now let's go ahead and decimate it. I'm going to take mine, started to lose everything. So now it's down to like 6,000 and it's still looks fine. Let's go ahead and go here and put it back to let PBR. So we can actually see these things. Okay. Look at this little chubby guy. Alright, so oh, another thing I want to do is I want to connect the parts that are gonna be colored together. So the body. And what is this? Let's see, what is this? Oh, so these are the pupils. So let's take this and validate. These are the pupils. So we'll just rename it pupils. These are the upper lids. So we have the body. We have the upper lids. And let's see what is this? Those are the eyelashes. So for now let's just join these two. So these are, this is the body in the upper lids. I'm going to rename it body. And this is just a good way to keep all of your things organized. So these are the eyelashes. So I select them both, Validate, Join children, and then rename it eyelashes. So this mirror is the arms and legs. So we can go ahead and validate these. And let's connect them to the body. So we already have the mirror, which is the arms and legs. And we'll just tap body and will join. So now all of these are together and they'll, they'll all be colored the same. So right now it's very, it's it's like that glossy look which I don't like. So I'm gonna make it white. And I'm going to turn up the roughness. Turn down the middle illness. Okay. That's looks better to me. And I also might want to adjust the just the lights a little bit. Might want to bring this up. Get a little bit of that other character, these other characters now. That looks a little bit better. Now he's a little bit better lit. Okay, so let's change these two glossy. So we'll go here. We'll take down the roughness. Paint will go here. And maybe we don't want it as glossy as the other thing, but we want a glossy. Let's try that. Okay? Muffin doesn't have to be glossy. Okay, so now we're in a good place and I think we can just color most of these things and we can keep it moving. 22. Coloring & Details: Alright, so have some fun coloring these little characters. I feel like I want him to be, I don't think I want a purple. Kinda what I'm green. He feels like he would be green. I want to make sure I'm the same roughness. So let's do pain all. I just want to check the roughness. It was about the same. So there we go. So now he is painted green. Let's tap on the eye lashes. Those I always do a matte black. I don't want any reflections on those. I just want them to be black. Now for the pupils, those are usually black too. But I don't mind that. I like when they're glossy. And even for the, for the eyes, you can do things like paint a yellow. Makes it interesting. I feel like that fits him. K. So there's also really fun things. If you if you really want to take it up a notch, you can give him Tobin's. This is actually really, really simple. Let's just go to his body. And these are all connected. So I'm just going to long press on the pupil and put it with the eyes. And then I'm going to take the eyes and put it with the body. The lashes can also go here. The Bose all connect. So now the bowls are all connected. Maybe I'll even connect the muffin with those. So now we can sort of, it's a little cleaner because we have everything is sorted together. So that's why you would do that. So to make two beans, Let's go to the body, will add a sphere and will mirror. It. Would actually look kinda nice if we get a different color stomach like that. Like that. Maybe we will, maybe I'll do it. So let's spread out the two spheres. And then we'll kinda move it to Tobin position. Once we're happy with it, I'm just going to flatten it. And I'm just going to align it to his foot with the gizmo. Sometimes it's a little tricky. You have to be patient with the gizmo. So maybe I'll do something like that. And once I have that, once I like it, um, you can validate it and then clone it. So hit Clone. I'll bring one up. See I have one on the other side as well. Then you just suggest it and put it right under the toes. It's really simple. Something like that will work. And then you can just clone again. Then rinse and repeat. So the only, the hardest thing is just making sure that your Gizmo is not being the bane of your existence. And sometimes it's tricky. It just give yourself time. I'm like a perfectionist. So now we'll clone it again. Just position this one. I think so. I think that looks pretty good. So now I'll take all of these, validate them, join children. Rename this TO beans. And I'll put it under this because these are all together. Now we can just let's see what color do I want it? Definitely want it rough. Or Matt, I should say. We definitely want to Matt. Maybe something like this. Like that. So now here's TO beans. Okay, so what color do we want? The rest of this room? Feel free to have fun with it, and just kinda make them any color. I'm just gonna go ahead and start coloring this and you can match me, but really just color it, whatever you'd like to do. I want to do the floor. Don't want a glossy floor like that. Maybe I want all of these dark color. It's kinda, kinda, kinda weird, but interesting. That's kinda fun. For this. We'll call it, I don't want this thing. Hello again. I don't want it to be sort of reddish for some reason. Let's color the eyes. The eyes black too. That's okay. Now we have these bowls. Let's make these some different colors. Okay, now here's some different colored balls. This, I'll make brown. So I'll make it yellow, and then I'll take darker brown paint on top of it. Could use a layer, but I'm not too worried about this little muffin. Think you'll be just fine and have symmetry on that would help. We lowered the size so it should blend nicely with our new smooth color, which again is smooth without any intensity. Okay, so we have something like that. When you're making characters like this. Here's another little pro tip. Add a layer. So I add a layer to the body. And I'm going to call it reddish. So take red first, use the eyedropper and get the same color. That way you get the same texture. So go to red. Excuse me. So you go to read and take your paintbrush. Can lower the intensity a little bit. And now I'm just going to paint this red here. A little bit up the nose, cheeks, maybe even a little bit down here. And the body is 1.24 million, which is very, very high. I probably should have decimated at it before I'm doing this coloring, but sometimes I do live dangerously close to the toes, read a little bit. The ears read a little bit. Okay. Looks pretty good. I'm just going to kind of go over this and kinda go over up here a little bit with red. Just make this a little bit darker. Now he looks oddly read, but trust me, it'll look, it'll look good. So the first thing I want to do is decimate. So let's decimate this. And let me save. So let's decimate again. Let's decimate once more. It's still looking pretty good. And it's 155 k, that's still pretty high. So let's decimate again and again. And maybe one more time. Still looks pretty good. So now it's at 19.4. That's a big difference. Are seen as only 157 k right now. So it's a lot better. So let's use that smooth color, which is just the smooth brush with zero intensity. And now we'll just smooth. This should smooth a bit easier. It's not smooth and too bad. Let's see if we can decimate again the kind of changed things. So I'm gonna go back. Okay, so it looks like 19.4 is the best I can do. I probably could have probably could have voxel re meshed and then use my rounded edge. That's probably what I should have done, but I didn't. But let's do a rewind and I'll do that. I'll just see if that helps. So I'm gonna go back and I'm going to use my rounded edge and then decimate again. 23. Coloring & Details 2: So here you are before I added the red color. And what I'm gonna do is, so now I'm happy with this. I don't want to add any more details, although I did want to add that round belly, maybe. I could always add that way if I did want to add that round belly. Let's move this up. Let's just, let's see if that will work. Kinda looks cute. Let's change the color. Let's grab this color and paint. I think I kinda like that. I think it looks kind of cute. So I'll validate it and I'll maybe I'll just smooth around these sides of it. Thanks, symmetry. So I'll just smooth out the sides. A little bit. Nice. So I'll just take this sphere and you know what, I'll just decimate it. So now it's 770. And I'm just going to rename it tummy. And I'll put it in here with the body. Okay, so now back to the, the body which is 1.24 million. That's a lot. So let's use rounded edge on the body. 234. Okay, It's still pretty good. So it did it four times. It still looks pretty good. Let's see if we can decimate it. Down. Should say begin. Let's see if we can get it down pretty low. 19.4. Okay, so it's not really going down too far, but that's okay. So this is another example of why sometimes I warned you about like the size and because it makes a big difference. But ultimately, I don't want you to get lost on like the sizes of things. I'm just so used to try to get the sizes down low. And let me go back to I'm gonna go back to 38. Okay. So I'm going to settle it 38. Once again, I'm gonna put my paint. I'm going to grab the color of this so I get the texture. I'm going to change it to red. Make sure that I add a new layer called reddish. And then I'm going to paint this again. So remember you wanna do the nose, I'm going to turn this up. You wanna do the nose area will be pretty red. Cheek area, especially. I'll make it a little bit bigger. Kinda go around the eyes and around the mouth a little bit. Years. Fingers, toes. Okay, so now it's looking pretty good. So now let's see how our smooth color does. Hopefully it smooths out nicely. Okay, it's not bad is it is blending. Sometimes I will use a smudge tool. Like if I want to smudge it a little further back, we'll use smudge. But ultimately I like, I prefer to just smooth color. Okay, so we get all this nice and smooth out without the ears a little bit. Once that's nice and smooth, you can do this for all your characters. Trust me, this will make your characters look so much better. And then go to your layer, go to reddish, and then lower the opacity so that you can just see it just a little bit. So maybe something like maybe something like this. That way it's just slightly red. That's kinda what we want. Okay. I like it. And I can go on forever, but I'm gonna I'm gonna keep moving. I just want to make sure that I have plenty of examples and tips. So I think I'm pretty happy. I'm pretty happy with this. What size is this? The eyes can be decimated. Will decimate those. Same thing with these eyes. Decimate those. Because I just don't need to be 12.2 k. Decimate. Pupils. Decimate. These are 49, these are these definitely don't need to be that big. Okay. Now our scene is 90. So yeah, I think we've done a pretty good job. The Bowser okay. Might be able to decimate them once or twice. Form is 500 here. So now we're seeing is 83, 83,000, um, which isn't, isn't terrible. There's ways that you can do it more, but that's why this stuff takes forever. Because it's things like that. I could really go on for a long time and really try to work this stuff down a little bit more. I'm going to raise the reddish up a little bit more. Really give him some blush on his cheeks. The bulls bulls got a little messed up from that to see if we can recover them. Okay, this looks, this looks fine. I'll take 90 instead because the bolus to look good. Okay, so now once you're happy what you're seeing, once you have Ruby thing, then of course you want to go to post-process and really take a look and see what it looks like. Kinda want to center my scene. So I'm just going to add a new view. This will be four. I'm in a minute orthographic, so let's change to perspective and arrange it again. And then I'll just go back here and I'll just update for this is what our scene looks like now. It's a little dark. You can see these are very, very dark here. So I might turn up C curve bias. Let's turn back on global illumination. Can make it a little brighter. In the ambient occlusion. I want to turn down a little bit into strengthen want to turn down. That looks better. You could also, you could adjust the environmental little bit. You can make the environment a little bit brighter. Try to make it a little more natural looking. This is very bright. The edge light is very, extremely bright. So let's lower that a little bit. And maybe we'll move this light over. Maybe we'll make it pink. See what that looks like. Because it'll match this light here. So that might actually work it up a little bit. I still feel like the general scene is a little bit dark. So I can probably turn my key light up. Because remember that's the main light for the scene. And we did move it. We didn't move it up quite a bit. So let's just make it a little brighter. Something like that. Let's take a look at our, you know, That looks good. It looks cute. So there's a ton more that you can do. There's a ton more that I can do. But I don't want to. I've already I feel like I've already kept you for so long. But one of my, one of my criticisms for classes is not enough examples, tips and examples. So I tried and I tried not to streamline it too much because I wanted to add examples of how I use things. So hopefully I didn't go overboard and hopefully you actually found it useful versus you wanting me to move on. So again, let me, let me know. But that was one of my most criticisms as I get that people want more examples and tips. I kinda feel like the whole thing is one big example in tip. But I wanted to make sure that I included that in there because wherever you guys asked for, That's what I wanna do. And if you guys want to see more examples of how I use things, I'm happy to do that. But I think, I think that's it. It's always important to very glossy and Matt, more matted. I just think it looks, it looks nicer. See with the bowls or glossy. The eyes are glossy. Those are usually the only things I keep glossy. Even this, I'm gonna kinda want to turn this one down a little bit. Too glossy. I don't really want, want it to be glossy. Okay, So the next video, I'll just show you how I will just go back over post-process to make sure everything is how we want it. And then we'll go ahead and export and I'll show you how to do that. 24. Last Looks & Exporting: Alright, so it looks like we're pretty much going to call it done. I can't think of anything else that I need to go over. Her show you. You really just have to play with it from here. But there is one small quick thing that I forgot to do. At the very end. For this character, I wanted to change his body to sub-surface. Like I said, I'd do that with all anything that's sort of organic. So I'll do that with him with his toe beans and his belly. So I just go up here and change it to subsurface. And you can see you're going to lose a little definition. But then I bring the depth down. I usually do a tour around like one or so, one or 2.1 or 0.2, excuse me. Maybe even a little bit more. So something like that. And then I'll do the same thing with the toe beans and the belly subsurface. And it just makes everything look a little bit more organic. And the belly as well. I think that looks much, much better. Okay. If you decided you wanted to use a reference image in the background instead of like we have this here. But let's say we just see we hit this. And you wanted to reference image. You could just use a reference image like this drawing. You can just tap here and you can import anything that you want from your photos. You can import anything. I have a bunch here. So let's say I wanted to do, you can do something like that. It's kind of funny. Phone want to do something a little more futuristic. So that's how you add a background. Of course, you can change the color here as well. If you just want it to be a color. You can do that. Let's bring back our little back wall. Okay, so we sort of went over this. When I export, when I render, I usually turn this all the way up. So that's the highest render resolution. I turned the max sampling up. So it'll take, you'll kinda combine 406 images to make one final image. Everything is just sort of maxed out. Global illumination. I'm going to turn this up a little bit more. Inclusion. We went over this sort of all these little shadows and things like that are affected by the ambient occlusion. Depth of field. I don't think I want to use because I want everything to be in. I don't want these to be blurry. So I'll just turn that off. Oops. And we sort of touched on everything else. One fun thing that I do is I go through and I turn the lights off and just see what it looks like. Without some of these lights. This is a habit just to see if maybe there's something that might look better. But I think it looks good with all their, all of our lights. Again, it's always fun to go back and play with the mic caps. They look kinda funny when they're colored. But get some wild stuff. So those are your Metcalf. So let's do, let's try this one. Super cartoony course. These raw materials we went over and this is the, we already decimated everything. We don't need to do anything else here. This is our Scene menu. The only thing that I might do is go through and either connect all these or maybe take all these parts that are brown and join them together. That way if I want to change the color, I can change them all at once. Things like that. That might be something that you guys can do and also just like this. So this is that these are these boxes back there. I might just validate them. It's going slow because I have when you have subsurface or not subsurface when you have post-process on. And you know, it kinda makes things go slower. So now we have these boxes. The, of this box, I don't know what this box is. 0, that's the back wall. That's the floorboard thing. So we have the back wall to floor the cylinder. Let's join all of these together. Or at least let's put this in here. We can put this in there as well. This is just me liking to organize the globe. Eyes head. So this, these eyes are connected to this head, so I'll just connect it. Here we have our bowls. Sort of minimize these. Here we have this body, the front platform. So this can probably go in and back wall. Then we have this other head over there. So now everything is together. It's much more clean. We had first backdrop, but we don't really need it. So I'll just delete it. My scene is finishing out at 90.4 K, which isn't too bad. So here's our scene. It's all finished. Let's go ahead and turn back on post-process. You always want to do that before you export. I like to say before I export. Then we'll go down here. And let's say e.g. I. Wanted to send you this character. This is what I would do. I would tap on the character so I know kind of where it is. That's this guy. I'll just tap on this so that it highlights everything. Then I go to the folder and I find export. I'll find nomad. And then I'll tap here. The reason why I'm doing this is because I only want this character. So it says only includes selected six objects. Export. And I'll save it to Files. And I'm just going to rename it little green purge. And I'll save that in. So I say that in characters now I have just this one saved. If I wanted to save everything in a nomad file like def, I wanted to upload it to Skillshare. I would just, I would uncheck this and then I would save. So we want to render it. We wanna do for K, export PNG. This is quite a big file. So now it's exporting. I probably should have elongated the backdrop it looks like, but that's okay. As you can see down here, I'm only on 30 or 45, 406. So it does take a little while to little while to export. I really like is little Tobin's. Sometimes I'll take the eyeball and I will, I'll make a layer on the eyeball and I'll draw, I'll paint like a black curve, right underneath, like right on the top edge of the eye. And then I'll lower the opacity of that layer and it really looks like a shadow. This is another detail that I do. It kinda looks like a shadow from the eyelash. Which is quite nice. This was long. I'm looking forward to editing, editing all of these and uploading all these. I've been wanting to put together a new beginner tutorial for awhile since nomad had some really serious changes. So hopefully the next update won't be too bad. Not too bad, but they won't be as different. Because I think my my other beginner's tutorials now know Matt is like completely different than those. But I still think that they're useful. Because even though some of the things changed, a lot of this is just a way of thinking and a way of knowing what the tools do. And even though things sort of move around and they kinda gets switched, the tools essentially work the same. And there's lot of new tools as well, like the repeaters. So that was a big, big thing. Okay, so here's our scene. The only problem is it's blue on the sides. So I'm going to I'm not going to use this one. I'm gonna go back and I'm going to expand. I want to just do it. Talking way too much. I guess I have to talk right. So let's go to back wall. Let's do floor. We don't need cylinder. We don't need mirror. I think we need no, we don't eat front platform either. Floor back wall, 0 n and that little floorboard. So hopefully I can just stretch these out. I think I can. Oh, no restrictions, everything. Okay. So I'm gonna take out the floor hoping I wouldn't have to do this. Floor back wall. Fortunately, I have to do this the long way. Turn off post-process because that will just make everything slower. Okay. So this is the floorboard. I'm really sorry if that's not the right word term for that. The boxes in the cylinder, I'm going to join floor, floorboard and back wall. All I wanted to do was do that. I'm not going to worry about putting them back together. I'm just gonna go ahead and go back to my view. Turn this on. And now I will save and export. Okay. 25. Thank You!: Welcome back. Thank you so much for hanging with me. I hope that this was useful. I hope you learned a lot. And I hope that I explained everything in a way that you can understand. I love this stuff. I love sculpting, I love teaching. And I hopefully can impart some of that on you. Because getting started is the toughest part about the whole thing. Once you get started and once you kinda know, okay, this is how I bring a sphere into it and this is how I manipulate it. Then you can pretty much start to do whatever you want. It's going to take some time to get to know the tools. And there's a lot of nuance things. Also. I would say for a lot of that stuff, once you start getting further, you can check out my more in-depth classes, but you can also check out my YouTube because I'm constantly updating. I'm constantly doing tutorials there as well. They're just not as structured as here for these classes. I just, I tried to structure them in a more linear fashion. And everything is broken down. With YouTube. It's more just like fun. And I can make videos and I can sculpt. Obviously, there's a nomad sculpt group on Facebook. And I think that offers a lot of resources as well. But that's where I go. If I have questions, there's the nomad Scope Website and also discord, things like that. But if you're not into that, don't worry about it. You can ask me or you can just go to the Facebook group and you can ask your question there, there's, there's tons of people that are willing to help and that's the best part about this community. So don't feel that you can't ask or don't feel that there's any questions that are too stupid. I have stupid questions all the time. Like I literally have like I make such dum, dum decisions. Not decisions, but sometimes there's simple things that I just forget how to do or did I just don't know how to do. But there's so many aspects. You just have to figure it out and then you can move forward. So I got past that a long time ago. You have to you have to get it all out. You have to ask all the questions. And sometimes you just have to figure things out too. Sometimes you play around and you figure new things out. So that's just the way that it goes. But that's, that's part of the thing that I like about art and that I like about 3D. But I also loved that there's a lot of resources online, including me. So don't hesitate to reach out. I'm more than happy to help if I can, and as much as I can. I have plenty of other nomads cope classes. I'm on social media, slash drug-free. Dave. Of course, I'm always posting tutorials and different videos relating to 2D and 3D. Of course, I do live videos, their Instagram, TikTok, both drug-free. Dave, I post a lot of videos. I do a lot of time-lapse videos. You might have seen them. I love doing those. I might make a class on doing them as well. But so you can find me as drug-free Dave, anywhere on the Internet. And please, if you post than just tag me because I love to share my students work. So I'll put it on my story and shout you out and all that good stuff. Also, please remember to review the class and post your final pieces to Projects and Resources, which is upload them to projects and resources. That way everyone else can see it. That's why I can see your stuff. And my class will do better. And I just want to see your artwork. I want to see what you create, even if you create something a week from now, two weeks from now, feel free to post it. I wanna see I wanna I wanna stay updated and see what you're doing. If there's anything that you think that I should change, let me know that as well. But on that note, I think that's it. Maybe you'll continue to do some 3D. If your 3D doubt I get that too. That happens to me sometimes usually around like three or 04:00 A.M. and I had to get some sleep. But thanks so much for being with. Thanks so much for being here. I really appreciate each and every student. I love doing this, and I'm so grateful that you are here and allowing me to teach you what I know. I love it. Alright, keep drawing, keep sculpting. I will see you all in the next one. Be sure to rate and review my class and also upload your designs to the project and resources tab. Create Project.