Learning Male Anatomy with Omni-Man

1. Introduction : Hey, there. This is Ajita and welcome to the sculture course. Before we jump into the hops of it, let me just quickly introduce myself. I'm a three D artist who's been focused on sculpting for the past three, almost four years. I like human heads and the anatomy of humans in general. That sounds kind of weird. You can find me on YouTube at Sujita and let's get on to the course. This course objective is to learn male anatomy through making Omnimn in this figurine fashion. So there will be coloring and clothes, but that will take a secondary place and will be done much later in the process. As for the anatomy, we will start with the head. Probably our most complex part. We'll use the head as guide for the proportions as we move onto the torso. And after we've polished them, we can move onto the arms after the arms, is the legs and then back at the hands, and then some adjustments at the legs. The problem with making each body part individually is that each part is connected and they do influence each other. So we do come back here and there, but this is the broad structure of the course. At the end, we'll join the whole mesh. We will be pulling out the clothes, and then we'll also add some nice coloring. The grace cape coloring. We'll also add him a cape, and this will be your figurine. I highly suggest that you complete the sculpt as you watch the course. You can do this multiple times. And then when you do it on your own, you just get the purifile which you should find in the project description and do it on your own. That will be your result. So I hope you're excited, and let's get started. 2. Starting The Head: Hey there. Welcome to the first episode of this course, where we will be sculpting this cool OmnimanPose, I guess. We'll get right into it. But before we go with the head, I'd like to do an introduction or a quick walk through, as it is the first episode. Now, you have seen the pose. I'm not sure how it will look at the end. I've done some tests, and it looks pretty nice. But I don't know the final course product. This is the references we will be working with. The Omni Man or Omni Men or from the Omni Man comics or sorry, cartoon. Animation, one of those, but they are from there. And then this reference this Bill guy is from the three D scan store, which you can find online or on ArtStation. You can find this file in the resources, and this will be all that we will be using for this course. We might get some extra on the hands as we are going to change the pose a bit. But this is probably all we're going to use. Now, let me just deduce size of this. And this will be our head reference. Now the course will be divided into a few sections, and each section will focus on one of the parts. There will be the head, which is this first section, the torso, arms and legs. Now, these are the big sections, and then each section will have a few videos where we work on each part, starting off with the head. And then at the end of each section, we should refine small details and get them ready when we connect with the rest of the body. Now, we might come back to some some parts, let's say when we're doing the torso, we do the shoulders, and when we move on to the arms, we can better adjust the shoulders to fit the overall skull. So the general structure will be sections of each body part, and then at sort of the end of each, we'll adjust so the parts connect better. Now, as we will begin with the head, I should clarify that you can use any three D sculpting software. Or if you'd like to draw it, then you could also do that. As we will be going through some anatomy tips and anatomy ideas in general. But the idea or the concept in the three D sculpting will be to have a hi poly sculpture which you can go and retopo but we will not be doing that as its ideas more to be a action figure or just a prop, which if you'd like to, you could possibly three D print, but I would suggest that you adjust it. Generally, the idea is that it's an action figure like scope. So what I am using is Blender 4.3. The reference tab is PURF which I would hope you are familiar with, but if you're not, you can just search PUF, and the setup is quite easy. If you are struggling, you can message me or you could search tutorials online, as you only have to install for this tutorial, and you can use it for your projects. But for this tutorial, you just have to install it, open the file that I've provided, and you're pretty much good to go. Now I think we can begin. First of all, I'm just going to do a quick setup. I wanted to have this so you can just see how I start. We'll delete everything. Let me turn the screen cast keys on. Okay, it's working. I can increase the size but is that it? I think that is it. Ask that 30. Now, how I'll be going, I'll tell you how or why I'm doing certain things, but I will not try to sort of go every single move I do as. I think that just gets annoying, but I will tell you why I'm doing something and show it show it to you and tell you while I'm doing it. Also, each video should be about about 30 to 40 minutes, maybe maybe up to an hour, but I want to keep them short and divided so you could easily go through each one of them. So let's just begin. We'll go with a sphere. Okay, turn the X symmetry on and the focal length to 100. This just makes portrait and anatomy focused sculpt more accurate looking, I would say so. Let me just take a sip of my coffee. Okay, we can begin. Now, before we begin, I should say that you should scope this. Your first try, you could scope this while looking at the course, the videos. And then on your second try, you can work on your own with third reference. You could also watch the video as you work on your own. But in the first try, you can just watch the video as I go through. Look at the reference from my video, sorry, and work slowly on your own. But as you sort of get the idea, you can then go on your own, maybe try to do it an extra two times, an extra one time after you've done it with the course. And then the third or fourth thrive should be pretty much your best. It's not that the earlier tries will be bad. It just if you want to get the best of the best, as you get used to the should I say the look and the concept, you will get the best out of your sculpt. So let's begin by shrinking the width. With a big grab. This should be the general with the Omien's head. Now we can pull the jaw or the chin. Well, this is the chin. So in the front at the bottom, is we'll pull it forward, but also down. This is going to be our eyebrow eyebrow line. This will be our chin, so the eyebrow should be over, or rather the chin should be under the eyebrows. So let's pull this back. We can work on this detail later, but we want to go slow about this. Let's widen this chin. Now, as you do when you work on your own, but also now, you should take some time every time you look at the concept. We'll pull this head part front, and this will be our forehead. Now, this back part is a bit too much. So let's round it first and then we'll decrease it. We'll shrink it, I guess. Just go on some small grabs and then round the head sort. Now, this head is way more squarish than a should I say real head, as it is getting that cartoon action figured vibe, I guess. So our head won't be fully squared or fully round. Not around, but it won't be in that round of a human head. It'll be a bit more square at the back. We pull the neck here. And you should get the general shape, which is quite thick, but it should also be quite round at the bottom. Let's pull this so we get that thickness. And at the start, you want to be mainly using the grab brush, even when we get a bit lower at the details. Or when we go to the next level, the grab brush should be your main brush. And then as you get more details in, I'm smoothing this spark to sort of mimic this. We can as you go on more details, we will incorporate more brushes. Okay. I think we can pull the jaw. Let's just get the same shape here. Now, we won't be doing the traps. We'll work on the traps when we do the torso, but we should get the part of the traps that does connect the torso. This is quite round, and this is quite squarish. Compared to a more non animation head, this would be way more round. And this should be quite back as straps are quite thick and neck. Okay? We should maybe pull a jaw out. So let's look at it from here and just pull it back. Okay. Let's widen it. We can put this a bit more in the back. This should be again smooth this or jaw. Okay. And we'll pull this back. Okay, that's not too bad. Let's make this a bit more straight. And then this whole toe part should be quite in line with the jaw. Okay. I can shrink this flint part. And we can pull it like this. Now, we'll still make the head a bit rounder, as this is usually the highest part of the whole head, sort of on top of the ears. We can pull this a bit more back. I can that's too much. But yeah, mainly try to use the grab brush and the smooth brush on a very, very low smooth. I think that chin is pretty good. Let's move a bit. Just because the jaw line, the bottom of the jaw line isn't super separated, and they're just connective things around here. I think we can pull the chin a bit more. The whole head. Let's pull the neck just a bit more down. Let's get this round shape in. Okay. The neck and the jaw should be on a very same level. But due to just this, we can pull this. But we can do it also in the next levels. Let's straighten this out. Okay. Now, this is the forehead. This should go back like this. So we'll just pull it a bit more. Okay. Let's sort of just give the chin lace. You can pull the jaw just a bit back. Make the neck a bit better. I think we can go to the next level of detail. Size seems fine. We could make this a bit more squared from the side. So let's look at this one. Okay. It should still have that roundness, but just getting it's squaring those more realistic looks as we're getting a cartoony. No cartoony. I don't think that's the correct word, but anime isn't the correct word either. Nonetheless, I think we can go, let's just straighten this a bit to the next level of detail. Let's go for the high 800. That's pretty good. Make sure you symmetrize. This is my quick favorite stab, which the normal hot key should be Q. And then you can add settings to it with right clicking on something and assigning a shortcut or sorry, adding to quick favorites. Now, I'm also using a tablet. I don't think I clarified that. And if you do want a scope to the best degree, you should probably be using a tablet as well. Okay, we can move on. Now, every time you do go to a different level of detail, you should smooth out the prior you should just smooth out, I guess. I don't know what. But let's just get some more some better shapes, I guess. Were they fine or prior shapes. Okay, this can go. The bottom doesn't fully matter as we are going to connect it to torso or the trapsish but we can smooth up now, very lightly. And try to sort of follow the planes we've made. If we would call on that. Okay? Here we definitely need a lot of smoothing. Okay. You can pull this a bit in. The smooth smooth this that's pretty good as a starter. It maybe pull this a bit higher. Strndus one and pit back and maybe just Okay. Now, before we start carving things out, let's squish the sort of forehead area. Okay. So our eyes will be around here, the cheek bones here. Okay. Now, this isn't very squarish, but it's quite sharp. A lot of these, like, bigger details we'll definitely work on the later levels of detail when we have more polys, more polygons. Now we can put this just a bit. And around here should be our eyes. So we'll use the clay strips brush and carve just some generalize, some poles. This will be our nose bridge. Now, I might look a bit too big, and I still think it's too big, regardless, but this is bald, so but if it doesn't fit with the hair, we can always adjust it. Now, let's pull back quite a lot. This should be quite straight. This should be straight for now, then we'll adjust based on how it looks later. Let's widen the nose just a bit. And let's pull this top part in. Okay. So this will be our eyebrow line. Now we can work on the forehead. You can see there is quite a dip here, and this is heightened, I guess, but we definitely need to get it in. So pull it a bit like this, and now we can pull the forthead back. Now, the forthead will be quite straight, but it should come like this. It's not too bad. We can definitely just slightly decrease the size of the overall head, and this should be the top part. Okay. Let's pull in a bit more. Small. And this does look weird, but let's pull the nose back. And I think we can shrink it a bit. Now, let's call the eye area and the cheek bone area. Go in this diagonal motion where this is the nose and mouth linea ish, but not super digging, I guess, smooth this out and then connect where the cheek bone will be. So this is the ear that comes like this. This will connect here. We actually have quite a lot of cheek bone detail, even though it's animated. Now let's pull this back and just sort of follow this upline. Let's smooth it out and we can go. Now, we need to carve quite a lot here so we can just go with a grab brush, pull until it's like smoothly transitioning to the front part. Here, too. Now, a lot of people do make just the nose stick out, but a lot of the nose does go in your face ish. It's not exactly in your face, but it's going back, not just out. Like, yes, the nose bone will be something like this. But then most of the skin and other there's a name, but I'm not sure what it's called will only contribute to something like this. Don't do that. I'm just trying to showcase it. But as you can see here, it is in the face. So let's just dig in a bit more. Smooth us out. This should be quite straight. This eye socket area, quite straight. This can go down. We pull this part as it goes up. Again, this will be sort of where the ear starts. But we'll get the ear in after we've done the nose because I generally use the nose as a guide for my ears. Okay. I have to occasionly take sips of coffee. I have quite big jug of a coffee here. Okay. Um, I think, let's pull the lines here, and then we'll work on the nose. But pull this back first a bit. Now, define these lines, it should be mostly straight. And then as they come, they shouldn't really be noticeable, but they should transition into the chin. But not noticeable. Well, smoothness mostly, but since we're since we have lower levels of detail, we should mark in quotations, mark some areas. Mark, like Omi man sun. Okay, let's pull this back. My pen might be weird sometimes, so I'll have to stop when it does that. But it's fine. This will be our mouth, and our mouth will generally be at the middle of where our eyes would be. So here is our mouth area. This isn't the full mouth. Now we can pull the upper chin area or lower mouth area. And we can round this like this, you can see here, we could actually pull it back a bit. Okay, these need to be a bit more straight. You can pull this up and we can tone down the jaw bit. Okay, that's pretty good. Let's pull this just a bit more back. Okay, let's see from here. This could actually stick a bit more. Then I get the same view as this reference here. And the eyeline eyebrow line might be a bit straighter. But this should also sharply transition into it before this. Sometimes this is just moving. I think I'm moving it. It should be mostly straight. This should also be mostly straight. Here, it can pop out a bit. Should be something like this. Okay. We can pull out the nose, but let's just define the mouth first. It does have quite the distance from the mouth to the chin. This chin can go a bit more back. I want to say let's, let's try smlling it. Okay. Mouth should pop out. And now for the nose, we'll diggin first around where the cheek bones sort of go? So we dgain Well, tone down. Not now. Okay. It's smooth then. And now you can just pull the nose out. It barely crosses the ebllon line. So try to mimic that, and it's quite curved. So it'll go in, curve curve and then at the end, it sort of reaches just a straight line. Now, the front isn't super wide, but It's a bit. It's about a third of the eye, maybe. Even if we see it in the reference, it's only about a third of the eye sockets. Now, this should be very not that wider than the actual nose. Then let's define the nostrils. This pull this back. Now, this is a part where it would dig. You know, the lines that people have around their mouth. These lines, I think I can actually. These lines, this sort of this, too, but this is something else. These are sort of start where the nose is digging in inside of the face. So like this, we can pull the nostrils back. And we can just lightly define those lines. Now, the more older your character is, the more defined they'll be. But even if we want to define them, we'll do them in later details. But we are going for a not this age Omniman I guess, just a bit more younger. This should be back. The nostrils sort of transition into the front part, but the front part should be bigger than the nostrils. So we could do something like this. But we'll work on the more detail later. Now, this part could pop out, not pop out, but be lower than this part. And this mouth part as it connects here where the filtrm will be, I'm pretty sure that's where they're called ltamtesO maybe no, maybe not. But this area, the hole here is called the filtrm and it should be pretty straight here. And then when it connects to the other, the side parts of the nose goes backwards. Okay. Let's work on cheek bones a bit, pull them up, pull this up, and then it goes like this. Let's go for years, and then we'll add some more details. But here, the cheek bones go like this, just a bit out, and then as they come in the back, they'll go so this area should be sort of the widest. And then they curve, they wrap around the head. Okay, let's work on the ears. This should be very flat. And what we'll be pulling is not going to be the same size as the ear, but we just want a mask to. Let's just do it. I think it'll be better. But with your mask brush, look at around nose level, not until the bottom nostrils, but around this. So around this and mask it it shouldn't go out of it out of this jaw line. After you've mask not exactly this as when we pull it, should be around the nose size, but this should be like not half the nose, but a bit less than the half. Now, control I to change the mask to invert it. And let's go with the flat brush, actually, and just inflate it, smooth it just on by tapping it and pull it now. Now, due to the low level of detail, we're just going to pull this back quite a lot, not super much, but and out, actually, just so it doesn't weirdly connect you. Even if we do want to connect it, we want to have that under our control, not just how the mesh remeshes. But I think that's decent. All tempt to clear the mask, smooth at one ish. This can go a bit upper. Let's close this area, pull this back. It might be a bit too wide, but what we want is just some pseudo ears, I guess. And then we'll actually work on them. Just try not to make them elf like if your character is not elf like because they kind of stick if you make them pointy. But that's not too bad. We can actually pull this area and smooth this. Okay. Let's pull this out. So it's a bit more straight. And chin is definitely a bit too big. And we should work on the next soon, but let's just get this. I should actually pop a bit more. Small. Now, we're not worrying too much about the top part of our head as the hair is literally gonna take all of it. But maybe decrease the size a bit like this. Definitely not the biggest fan of the chin right now. Think it might be a bit downer and a bit smaller like this. Smoothed here. Now let's work on the neck and pseudo traps or connecting part of the traps. There's some model So from the back, you want to just pull. Try not to take that much from here, but just pull and make a triangle just for now. You can follow sort of the shape here. But again, this is just the part that will connect to the torso. You have a part of the torso? Pull this back. Omnimn is quite built, so the should be quite thick, and then they can kind of transition like this. Let's smooth this out. Now, this should be a bit or dump part should be a bit more detail, but we are probably going to work on that when we do the body as this is very connected to the body. Smooth this out. Try to flatten this, I guess. And the neck sort of at the jaw area pops a lot. His neck his jaw probably pushes it out like this. And this should be quite smooth. This might be a bit flattered. Let's pull like this. Smooth out. Let's work on the neck now call the Adam's apple area. Althus quite smooth, here. Here. Define it a bit. This will be quite empty. And here it should be where the sort of smoothly transitions into the rest of the neck. Define the neck a bit more with a crease pligebsh around here will be the back of the neck. You can pull it two. And like this, you can actually follow these lines and squared full, so it goes a bit under the jaw, and then it goes forward. Okay, I think that's pretty good. You might have to pull this a bit back, so let's do that. We might have to just lengthen the head quite a bit. So let me try with this. I switch to edit mode, and I'm going to do it in the Z axis. Now, do it super slightly because it could be noticeable. I also do this. The chin should pop a bit more but, yeah, I definitely think the head should be a bit lengthier. So pull big brush and then just pull. Okay. This cheek bone could go a bit lower. Again, it connects here at the top of the ears or where the ears connect. This can go a bit higher, so higher. A bit back. This should be actually quite more in the back. Not quite, but the eyes are here, they shouldn't be really over the eyes to define this, this, actually small this a bit. Straight. And then as they go down, they can connect. We can make a wide issue. But the general shape should be straight. It's for the cheek bones cup, and we can smooth this area out. We'll define some jaw muscles later. We can actually define just a bit now. So pull this part of the mouth back this part can just stick out. Then we'll work on the details later. I think we have to pull the neck and this area a bit down. Widen the neck perhaps two. Let's square it here. Okay. I think, actually, it's fine on the length wise. Now, the neck should be quite straight, except that this jaw area we talked about, should smooth out, and let's make the traps pop a bit more. Like this. Mm The ears are definitely too big right now, but again, these are just pseudo ears. They're not the ears. This eye profile is definitely lacking something. Pull this eye area a bit higher. I should still be straight straight here. This should be quite a defined diagonal as it climbs back. We can actually pull this a bit more here, though. Okay? Mm. Add some thickness here. We're definitely going to have to work on this area. S from here. We can do this. I'll just pull a neck a bit wider, straighter here, wide here, straight here. Let's smooth out a bit. If we look at like this, I think this needs a bit more pulling. Let's also pull the nose, actually. Mouth here. You could do this. Okay. I think this is good for this level of detail. And it's getting the general shape there. Let's just do one more thing, pull this a bit higher, slower And I think we can go on the one last thing. It's just right. And I think we'll call it here for this episode just so it doesn't get super long. And we will go on to the next level of detail in the next episode. So see you there, I guess, and I hope you sort of gotten familiar to what we're gonna do. Thank you. 3. Sculpting The Main Shapes Of The Head Part 1: Hey there. Welcome to the second episode of Discourse, where we will continue working on the head. Now, where we left off on the first episode, I noticed that the biggest sort of weak point that we have from the side is that there just isn't that much size. This is very thin. This is very thin. And compared to the front, he is quite more massive massive, massive is the word. So let's just pull before we go to the next level of detail. Let's pull this back. Pull the neck or the back of the neck back. We can pull this quite a load back. And you can probably notice the difference. Make this mostly straight, but let's pull this just a bit more and I think we're there. Now I still kind of want to mark this area. I get the whole smooth here, but I kind of don't like it. But I'll keep it. Let's do it like this. E's define the upper traps, I guess you could call them. It looks much better now. I think we are ready to go to the next slow detail for you now. I'll pull the neck a bit more. I don't also score like the nose. So what we're gonna do is pull this fully down. And this will be our new front of the nose. Okay. I think we should also get the eyebrow look. So we want him to be not mad, but it's definitely, like, a disappointing mad dish. So it's not that he's mad, but okay, I don't know how. There should be a name for that. So the eyebrow should be mostly straight. But with a slight downward here. We'll work on it later, but if you can get some extra detail in now, it's always better. Now, this looks weird, but we're leaving out for the hair. And so we don't mask certain issues with our scope. We'll work on the hair, mustache, eyebrows later. As that might mask some issues with our scope. Okay, let's make this straighter. We can pull this in just a bit. And yeah, let's go to the next level. I like to go at 300 or high 200. Okay, I just widen this and control R. Now we should do quite a lot of smoothing, but let me just take a set first. But again, follow the they're not exactly planes, but you can sort of notice where you want the smoothness, I guess. And you can also still pull, grab things here. So let's begin. Fine this area, smooth it out like this. This will be very empty. So just delete some from there. The back can lose quite a lot of detail, this can go a bit wider. Let's define the upper trap sish, but we will work on this when we make the torso. I don't fully agree with the smoothness. That's in this one, but we'll keep it. Should straighter. You can make them a bit smoother. Smell quite a lot here. 'Cause we don't really want to see this, but we do want to see that this is a different mass. So like this. Now, let's not get in the neck just yet. Let's on the cheeks or jaw, and then cheeks. We can pull this down a bit. Smooth this.This mouth area. You don't want to smooth every everything, but most of the I don't want to call the nessy. You can see that certain details here is just unneeded and that might create some issues. We're not going to smooth the nose at all. Until we begin working on those, can you bit straight out, and then the forehead can just be quite smooth. Okay? Area should be a bit straighter. Then here it can go down. Straight. You might have to just make the whole head a bit longer. Now, this area, even though here it is quite defined, I think we're going to smooth it quite a lot. Let's define the I think this constitutes part of the jaw line. Okay? So let's smooth this out. I guess. I's going be straight. Now with the scrape fill brush, it's scrape No, no, scrape fill. Clay strips. I don't know why I mix that up. We're gonna go from here to mimic this shape, like how the Okay, my mouse is being weird right now, so I'll just wait like a second or two. My tablets y. Now we'll go from here and it's still being weird. I think I can get this done. It's a little he ish. So it gets this shape, then we'll work with grab lash. But smooth this out. You don't want it to be that sticking out. This can be a bit more in. And we're just going to mark it down, but it's not going to look this detail. This up and smooth it down. No well. C pull the atoms up a bit more then down. This goes quite low back. It's not really was doing earlier. But that is pretty good for the smoothing. Let's make traps a bit rounder and maybe a bit lower. You see, this whole area, this bottom area here really is just there to get an idea as we'll work on these parts when we connected to a torso. Okay. I don't know if we do ears now or let's do the ears just a bit later. Or actually, let's do them now as we do want to spend some time there. So jaw should be quite straight with the dest of this part. Now let's smooth. Let's start by smoothing the bottom. And the bottom of the ear should be around the bottom of the nose. So now pull this. The this is the needle. Okay. And we can around it a bit. So just follow the shape of. The ear lobe is quite straight and then it goes up. Then it rounds here. Smooth the edge. Now, a lot of this part of the ear will be supercnected to the head or the skin, but we'll still define it. Now, the ears do go quite in, but since we aren't done with the details yet, we don't want to push it right immediately. It just take some water. So let's also work in the back of the ear. First, with the crease polish brush, we're going to just define these edges where it connects. And then when we smooth it or when we go to the next level detail, it should be fine. Now, as it comes here, the connects quite a lot. Now, he has hair here, but if you touch your ears, this part is pretty much stuck to your head. You know, the crease paws brush this plane, just define it so we know what to delete in the back. So it should be decently thick, and then everything that isn't that part and front part, we can just squeeze down. This isn't super important, but especially since hair is gonna be. But just some nice tricks we can maybe not using that. We'll just squeeze it in. Yeah, that's pretty much what we want from the back. Now we can work on the main part. So here, this curve, you can just dig in. And then this part should also be pretty non existent. So just depart and then the ear hole. It's gonna go quite deep. We just don't want to see it. It goes in, and then it curves back in. Probably don't notice this part, especially from the side, but it does come around here, but we shouldn't see that from the side from the front. And then the main mass of the ear is sort of a stretched C. At least that's what I think of it. So I. It's going go down, and it does pop, especially from the front. This can go just a bit in, but it should be mostly the same shape, I guess. Here, it can go quite in, but here around here, it should be at least on the same level as this, maybe just a bit out. We can pull the ears in like this, though, because we did make them quite wide. Back, this can go higher. This can go lower. Smooth, follow shapes. You'll find these ones. Okay. I do something like this. Now, this part, I don't know what this is called, but this part would just be like a triangle. You shouldn't be able to see it from the front either, but you definitely can. And we'll just add some thickness with the inflated brush, especially here. Pull this back, pull this out, and pull this in like this, this, and we have our low poly ears done. I could be a bit more sharp, a bit more up, more in Yeah, that's hard ears for now. But do make sure you do spend. Make sure you spend some time. Just on the ears. Don't not skip. Mm. The jaw is kind of going down, so we'll just pull it up a bit or we can pull this down. So it's move, it's not sticking out. Smooth it out. You might need to shring the head a bit, but just a bit will But we can work on bones now. So, again, this is straight. This is this diagonal. This can go back. This goes up to the ear. So this is wide. This can go quiet back. Let's just get it right. Then the jaw should be the same level. I'll just do this and then we'll continue with the nose. So this is like this. Again, this is straight. This goes up straight down. And this should curve around what will be the mouth or just curve around the mouth area. Now, I'd like to just define where our eyes will be. We're not making them. We're just giving them some area. So just round this up. We're gonna put them higher smooth it out. Maybe I should have done that with a grab brush, but it works fine. Smooth it down here. And we Honeyman's eyes are quite big, but this might be a bit too big. Now, this area we're gonna pull back. Curves, and then the eyes pop here but Okay. Let's work on the nose, I think. It's fine now. So from the eyebrow line, it goes back. We can tone down the curve a bit. In my prior tests, I really made this flat and I didn't like that, so we're gonna make it stick out. Like, not this flat. So just make it stick out. Don't make it super round, but make it different from, like, the straightness of this and widen it here. Now, this should be the same width pretty much everywhere, but there should be some slight variations here and there. Just a bit. It's actually shrinks. But again, the nostrils are smaller than whatever the front would be like. His nostrils are quite straight. I just make a cave in a bit like this and stick out here. And down here, we can pull them, and then they go back. This part is quite straight, but we can make it a bit rounder and then go up. Okay, let's just dig in. Let's make this part stick out more, or you could just pull it from the side, but we just want it to stick more and then we'll smooth it. This part should be quite smooth as well. It's pretty much no visible. So just do this this we could pull the nose a bit. Downer. No that. But just lightly. This is the first level of the nose, so Not that it doesn't matter, but we can get away with some things. So what's pulled back? What flant don't want this part to be a bit sharp like this. Smooth us out, us down, up out. There we're gonna definitely have to work on the eyes. But also the cheek bones. So this should go a bit more down. Not too much. Should be straighter. This part keeps moving. This, smooth this out. Okay. You see 1 second. 4. Sculpting The Main Shapes Of The Head Part 2: Okay, so after some technical difficulties, I am back and we can continue. But again, make sure that you do save. And if you just want to keep track of your progress and go back if you have to, you can save multiple versions of your scope, just by shift DN and F two or just rename it to something. We'll just save version 1.1. With M, create a new collection and call this backup. Then we can hunt this, and we aren't bothered by it. And anytime you feel like this version is okay and you are kind of, uh, you like this and you are scared you might ruin it later. You just shift the rename it to put it there. I'm not going to do this. And I'm not going to say, I would suggest you don't because it's a generally good practice, but I don't think that you should have it as a back pedal so you aren't taking risks in your scope even if something is ruined, sometimes it's worth it to just try it. So you should do it, but don't do it as a because you're scared, you're gonna ruin it, I guess. It depends on the situation. But let's get back. I think I'm going to shrink this trap area just because it might it won't cause problems, but when we do add the torso, the actual traps that connect here might be weirder. So let's just shrink these make the straighter. Everything in check. We can widen these up. This area around the jaw should be quite wide, or at least jaw. Yeah, we can pull our ears a bit or our jaw back. Now I feel like the nose isn't the greatest. So let's pull it a bit. Let's add a breaking point around here and then smooth it here. We could make it just a bit more. Not too bad. At this, we could start working on the ids. But let's just fix some things before. Okay, maybe not there. I make this straighter. I usually want this to be quite straight very in line. Don't like when it moves. Now, this can go back. This is the area above the cheek bone. Above the upper area of the cheek bone, I guess. Till the ear and this can go quite back. So can the ear? Our head might be a bit too wide, but it's not something we can't fix. Our head on top is also a bit. Even though I won't worry about as far as 90% of it will be taken care by our hair. But we still want to look good. We should also shing the whole head a bit. So just lightly. But it should keep that shape where it's going like. It's not completely round, but it's round here, flat and then very straight here. Now, it does look a bit too big, but I think it's just because of the missing here. Shrink this smooth this out. And we can shrink the head a bit. Smooth In line this. Yeah, a lot of our hair will have to do. I need to think about the emotions that we want to convey with the eyes, I guess. It's not that complicated, but just I think we can make him a bit. I want to have between this first one. Let me. This one and this one, something in between these. So his eyeline should be very much downer, lower, but not like he's mad, so this can come too. Yeah, that's not bad, but we want to go over the eye, so I'm asking that. That will just make it not move. So only this is moving to empty cleave. Okay. I don't think we're in a bad position. We can make the neck a bit thicker. A Okay. You can make the start of the mouth right now, I think. Let just clean this. Again, mouthline area. I don't know what the name is. So it should go around here. Smooth this out. And I think we can make these a bit more. Just going a bit more out. The cheek bones go a bit more up. Okay. I think they're low enough. We definitely need to add a bit more mass around here. I think the flatness isn't necessarily wrong, but it should be a bit more mass massy. There's definitely no I work with. I think we can do it now. So this is where the jaw muscles will be. So just add it like this. You should vary lightly at it because my pen, my pen table is kind of waking. But just do it lightly. This can stick a bit out, but not much. Then just try to follow the same as this one. Let's push this in a bit. Let's go over the clay strips, and we'll just add some more around here. And we really don't want there to be artifacts of it, My mouse is very tweaking right now. Now we will shrink how bit. And I think the chin is a bit too big, as well. So let's also. For now, we're just trying to get the likeness of Oman. But a lot will be missing without this mustache. But if we add the mustache now, that's gonna mask a lot of things we might have gotten wrong. But I definitely don't think it's in a bad position, right. That was fine. I think we can go to the next level of detail, but you always want to make sure you've achieved most at every level of detail and then move on. This should be pretty flat as well. This is straight, so I don't see anything there. Yeah, we can work on the mouth. Even though we don't see anything, the lower mouth is at least noticeable. Now, this should be quite straight, it is. But also this area, the area of the how should I call the filter, where the filter will be should be very in line with the middle of the nose, and then these areas in the back, you can notice if you touch your face that it digs in you. So it's sort of like this, but it doesn't have to be super noticeable. Now, I like to either go with the draw sharp or the crease polish. Let's try the draw sharp. That's what I've done in the past versions. And the lower lip is around here, so the middle of the mouth is. So I think this works. So just go with a line around. If the lines are here, I like to use the middle of where the eyes would be as a guide, so this should be the max. Yeah, it's not bad. Now, let's crook the edge of the lips, just that we give a neutral, maybe a bit angry. Feeling. Now, the upper lips don't really matter unless you want to make a moustache less oima. But generally, you want an M shape here, and then you can still see this part of the upper lip. As it goes down, it transitions into just flat here. Maybe not this much, but when we have more quality, we can work on it. Now, the upper lip, there is some mass missing here. So you should push it, but you can also use clay straps to dig in, but I like to stick with a grab rush for now. So just push inside around this area, and up. So you're going like this and this. Like I think you can see it with the motion of the grabs, let me just turn on the screen cases. So I know they go off. Okay? So you go back and up. Not super much, but it should be noticeable. Now, you also want to just grab these down edges, lower edges, and just pull them a bit back so they go sort of like this. They aren't really noticeable, but still want to have them. Now, as the chin goes out of it, it should pop like this. We can flatten it here. Now with the clay strips, we can just dig down here. Okay. Now, this area should be generally flat until it touches the bottom lip. So with a crease polybrush, just highlight that area, I guess. And this will not really be visible. This should be quite flat. And the lower lip should generally be under or lower than the upper lip. Lower in the horizontal sense, like behind of it, I guess. Like this, let's straighten this area a bit. You can actually make the fill from now. Like this, definitely too much, but we can smooth it when we have better quality. That's not bad. Maybe it's a bit too big. The lower mouth, the lower lip. So let's just grab it. Again, this should be very round here. I very round but round like this, but it won't really be visible. And we should maybe do this when we have more quality. Yeah, I think we'll do that when we have more. But we'll basically add some mass here. Let's go back. I think it's better if we do it when it's a bit higher quality. Mm, I think we are safe to move to the next one. Let's go a bit more back with this. Let's pull this a bit more up. Also, this this so good. Again, I think I don't want the S to be that flat though. But it's not bad. The chin seems in line. You can so I savia out. Let's add these a bit more like this. Let's pull them back a bit. The eyes, let's lower the eyebrow line eyebrow line just a bit more. All the round it just a bit. I think it's fine. We could add the fat pads that sit around here, and I think that's not a bad idea. But do we do it now or later? Let's do them now. So think of this is where the opening, the eyeball is going to be. Why does it move like this. So this will go over the upper eyelid. So this isn't the upper eyelid. This is just some fat pad that is found on top of the upper eyelid. Now, it does take the shape in a lot of times of the upper eyelid, but this is some fat that sits on top now we are going to fix it, but I prefer to have the mass now. But you can just make it very follow this shape that you see here, where it just goes like this. 5. Finishing Details and Adding The Mustache: Welcome to the third episode of Discourse, where we will be continuing our work on the head. I do like the likeness. I think you can see Omnimn. You'll definitely see him when we add the hair and the mustache and things like that. But I don't really like the head here. Again, this will mostly be hair, but I don't think that that's a reason for it to look incorrect or long. Now, usually heads are sharper around here or in the mid. But this is a cartoon head. So before we go to the next level of detail, let's just be a bit nit picky. So flattened here. This part should be wider and it is wider. So I think that's fine. Okay, let's widen this sharp area. So it's like this. I think that's fine. Let's lower this a bit. Well, my mouse is it moving? Okay. Yeah, I think it's fine. Let's go to the next level of detail, R, and let's go to 100 or 0.100. Control R. Okay. Now, a lot of we're basically not basically. We've done most of our work when it comes to the head, but now we're gonna have to clean up, redo the details we did, and add some more to the quality, I guess, or add this quality. That's right in the neck. Okay, let's begin by smoothing. Again, this lower area is mostly gonna be not saying gone, but be worked. Let's pull this back. Again, when you smooth, try to follow the planes that get created when you when you re mesh, that's the word. Let's dig here a bit. Just to show the separation between traps and the neck. This can be quite smooth. All is back smooth. Smooth. We can redo this line. Et's also get this line in. It's mostly our back head drooping over. Is that the word? No. But then some skin overlaps Micate that effect. Okay, my mouse is tweaking. Smoothes middle part. The back. You might have to work around here. Smooth this area. Now, you don't want to get rid of every detail as that sort of adds a nice graininess. But you want to get rid of most of the imperfections. Smok We're not gonna smooth this just yet. We'll get to layer, smooth this one. Small as it comes here. We got so this one. Smooth is quite a lot. As even though it's really highlighted here in most I don't know how to call it. In most people, you won't clearly notice it. Like, we can still notice it like this, so I think that's fine. Let's add a line. Not too much. Let's smooth it. We can give the atoms up a bit more sharpness. Smooth it top and the bottom, but not that much. Okay, smooth this. Let's try a line. So straight down. Yeah, let's go it straight and down, and then smooth it. Okay. I don't fully like this part, but it's not bad, and we'll rework on the lower part later. Then we can move to the actual head, but let's go with the ears. I kind of like starting with the ears every time I change the level of detail. So smooth, even more softly or lightly. This area you can go in. These are as that we don't really care about, you can just smooth out. But just be careful that you do not lose that much or every detail. We can pull this in like this O. This can be like this. Okay? Let's go with the Let's go with the drawshar brush. Give it a bit more shape. And again, I like to think of it as a stretched see this. It's going to be flat and also with a draw sharp, we can sort of define the inner ear, but I don't know what this is called. The thing that sits outside the ear, but it's also the ear. And you should be able to see that it also is a, like, thick layer of skin, not just a bump. This can stick out a bit more. I can pull this a bit more. But this definitely needs to be thicker. And we can also define this part, but smooth it out. It shouldn't be super noticeable. Swell out a bit more, pull in and definitely spend quite some time in the year, depending on how much you want the year to look good, but And the ears definitely add to the lightness. They don't have to be looking like the concept, but they have to look like decent ears. This part of the skin is very connected, but you can just highlight it, I guess. So in this area, again, this area goes right in like this and they shouldn't be really connected. And pull this. Now as for the back, I wouldn't really care, but we still should leave it as a mangled mass. So this should be very flat. We can there's a word. I'll call it Creasy here just so it looks connected, smooth it out. Now this is here area, so it should go like this. I put a bit like this. But generally, in your three D scopes, you should make sure that it looks good in all angles or from all angles. We can make this go a bit more in. Okay. This can go like this. The whole ear could be a bit rounder at the top. Yeah, I think that's fine. Let's work on the head here. We'll make this wide there as it goes back like this, move about. For you to get this out. That's not bad. Let's smooth the stop part. Go in smooth, smooth, smooth. Make sure this is flat and then smooth. Okay. I'm not really caring about this part as it mostly be hair, but this part will be visible and I kind of like to see the the digging, I don't know how to describe it. But you've probably noticed on, like, leaner people, where you can see this. Okay, this is don't do this, but it's, like, very like this. Not like that. But there's a word, but I must. But it's sort of like dug dug out. The skin goes deeper. I don't know how to describe it. But let's continue. I don't work on the eyes right now. I work around the eyes. So this should be a very straight line down and smooth it out around the planes again. Around like this. This can be quite smooth. Let's pull this very slowly. Okay. Smooth around here. I think we can go and smooth. Let's go with the mouth first. With a crease poly brush, highlight or define that area, so just a line where our mouth or lips are sort of connected. And if I don't have enough mass here, I'll go with the flat brush and inflate the lips just a bit. Not too much, but just a bit as the lips are very knoll flat. Now let's define the shape and here. Then from here, it can just go down like this. Let's smoothest upper mouth area. Now, it does stick out in the real life, but it shouldn't be noticeable. Most details shouldn't really be that you should see them, but they shouldn't be, like, screaming at you. I think that works. I remember, too. Okay. Okay. Now we can smooth this. Again, we really won't be seeing the upper lip unless you want to. But my mouse is tweaking right now. But I think it's still important to get those details in. Just because they'll help to get in the other details. This should be quite flat. And this part should probably not be missing. Okay. My muscle is barely taken. Smooth out a bit more. Now let's move for the lower lips. So this should be quite flat as it goes up. At here, it should be round but flat down. I can smooth the inside. I went a bit too fast because my pen pressure is everywhere. So let's inflate it just a bit. We can flatten this a bit, as well, curl it up. This area should really not be noticeable. Now we can work on the thing I said on the last episode where we do sort of mass here and smooth it out. Spring good, swing out some more. You can pull in the mouth a bit, so I think let's do that with the grabush. Let's go before the masking and pull it back. You can pull this a bit. Spring without flat on this part. Smoke, smooth these. Now, I will go with the claisris brush or let's go with the claisters brush and just remove something here and then go and make this. By removing this or making this morn out. I'm using the word sort so much. My fault guys. So I like that. My that's a bit too much. But let's flatten it for now and then we'll see. Maybe we can move the mouth a bit down so that the grab brush just slowly. When you are at this level of detail, you want to do most things very slowly. I think that's fine for now. You can smooth this a bit smooth it here, it's more straight. Okay. The upper lips are now a bit too big, so it's down a bit. We can lower this stadium more. And it doesn't have that no look, but it's a neutral look. Does and we could make them a bit bigger, I think. So again, at the edge here, just widen them up. Okay. I think they need to be bigger generally, but they're fine for now. Let's pull this front area of the upper lip. Like this. Let's again mark the part where they connect. With the inflate brush, I'll inflate both lips at the same time at that age. That's not bad for now. Let's define this area as well. The upper part of the filtrm should be a bit smaller and then here should be wider this. But most of it won't be visible because of the mustache. And the sip coffee And we can work. Let's define these lines, and then let's go for the nose. Or, no, let's do the nose first because we need to figure out these things. Now, this area can be quite smoothed out. We might come with the scrap brush later. But as it goes here, it should be smooth. And it. Yeah, that looks nice. Now, this, I'm gonna pull it down just to make this the plant nose area, and this should be the other plane. Okay? We can make this a bit bigger, but if we smooth it out, it should be fine. Yeah, that's fine. Let's pull this back. I think we can shrink them a bit. Let's move this area first. So this should generally be you could even go, like, not like that. But like this, okay, that's a bit too much, but this area is generally just nothing there. This part could take this in a bit. And even though there should be mass there, it should really not be visible. You could pull this. Oh, my God. Okay, not like that, but even more in. But I do like it when there's a bit more thickness there. Now let's go with a crease polish brush and just define our nostral areas. So just go around the nose like this and then smooth out here. Okay. Now, this part will connect to here, but we don't really want that to be visible. So most of this will be smooth, but we want to keep that in mind to sort of get the shape. So it goes in from here, and this whole part is connected, but this will be quite smooth. It should also be smooth. Okay, let me just give the span some seconds. Okay, let's go for it again. Um, this is quite short, but we won't make it super visible. So with the principals brush, tuck this in. Okay. Now, you don't want to be smoothing it on the line, but around it. Yes. And even though there's a lot of polygons that are making it look weird, when we do have more resolution, that should be fine. This can go a bit over the nose, because you can't really notice it on to the drawings. Now, let's dig the nostrils and let's go with the This is draw brush, the drawbush and follow the lines of the nose. We can do this one in a bit. But I think Omnimen's nostrils are quite narrow. Okay. Now, I generally like to add some massive. So let's go with inflate brush. Inflate it like this. You could make them a bit sharper, and I think that's what I'm gonna do. Let's make them shorter on the side as well. No, it's so bad. So this out here. Okay. Yeah, that's decent. We can shrink this a bit or widen this. Let's do this. I really like the sharpness of this part here, so I think I'm going to try to achieve that. So pull it here here and smooth it like this. Okay. Now we can make this. Let's go with a scrape fill brush. If you really want super, super styli but more stylized scary fish. The scrape brush is pretty useful for that. But you definitely need to hit a line. That's pretty good. Hit the line between using it. You basically need to use it in moderation depending on what you're trying to achieve. Definitely needs more mass. You can smooth this area. Shrink this area, sh this area. I want to say we should make it wider, but I don't think that's Let's tuck the nostrils. That's shame you know it's just a bit. Yeah, it looks fine. We can square it a bit. Also tuck it in. Okay. We might need to work a bit on it later, but for now, it looks fine. Let's pull this up, actually. Let's around here. And we can start working on the eyes. I would prefer if my mouse was just a bit better, but it's fine. Let's start by smoothing the top area. Make sure you really separate the areas here. Well, actually, most of it will be not visible by eyebrows, but it still adds a nice level of detail when the areas are separated. So, like, don't do this. But this plane, and then this upper plane and the below plane, which you don't really care. I guess you could do that if you want. Just add a bit of scraping. I think you always have to be very conservative with your scraping. Now, I'm not really sure what emotion Omniman is conveying here. So let's see. Then we can work on it again. Now, this is about where the eyeball will be visible from, so let's pull it just a bit more. Now with the creased polish brush, highlight this What should I call? Just highlight this line, these lines of the fat pad up until here. Not too much. And around here, you can smooth it out. And now dig in with your crease polise brush around that same area and smooth it out here. This will be our fat pad, fat pad. Is going go. This line should be quite flat or straight. And that is our upper fat pad. Now we can dig in our upper eyelid. So go with a draw shar brush. Or let's dig in the discard first where the eye will be. I'm going with the cisters brush and just follow those lines. Try to just let this be while you dig under it. Don't carve this just yet. Now with a draw shar brush, we'll carve our upper eyelid. If I could zoom in or if you could just see, you can kind of see here where his eye. Let me try to draw it. So this is his fat pad, and then the upper eyelid just goes like this. So this is actually like this the upper eyelid, but the fat pad comes on top of it. Then our lower eyelid So think of it as there's another mass under the eye, and then this fat pad just comes on top of it like this. I think I think that's understandable, maybe here too. So the fat pad really does follow the shape of the upper eyelid, but there still is an upper eyelid under it. So now here we can go very sharp in like a diagonal. So with the draw short brush like this, Okay, let's get the shape. This should be following the shape of the eye, I guess. And we can pull this in. Here, we can make a hole. I'll follow that. So it just goes a bit over. Let's make this go around the eye. Should make your fat pad and eyelid quite thick, especially if you want to actually for anything three related, even rendering, making your eyebrows, clothes thicker is always better. Now, with what we have here, let's pull the lower eyelid. So just follow the straight line here. And let's go from below. There should still be masse and pull till it follows the shape. Okay. Looks fine from the side. Now, this shouldn't be this thick. It can go quiet in. Take from the No, from the length from the Z axis, I guess. I guess, short, but then as it goes in, it should go pretty narrow. Now, generally, I like to keep it very flat, like this one here and this one here, but it's not super flat. It definitely curves along the eye. So like this, this that's our general eye. So we can now see what we're trying to make Omnimn give the vibe of what he's trying to convey with his eyes. This is very smooth and shouldn't be noticeable. Could go a bit in, and I think we can make the eyes just a bit bigger. Let's pull this first. Make sure these imperfections don't come off, though. Okay, let's pull this like this. And then the I can be just a bit bigger. So S, increase, and then send it back a bit. Let's get rid of this. Let the citrabs brush. Okay. She can go up, this can go a bit down. There shouldn't really be anything here. Let's smooth things out. Let's short this area, so it goes like this and then smooth it out. We don't really want it to be visible. This flatten this and smooth this line here. She can go in. I think we can add the fat pads that sit around here, but we might add that when we work on details. Let's add some thickness here. Just a bit. Not too much. And now I think we can change just a bit of the eyebrow line. So mask this whole area and now we can pull the eyebrow line as we've done previously. Let's make him just a bit mad. It's going to be. Let's see. Okay, I don't think that's bad. We can always change this, but as we go, I think. W a pretty good spot with the head for this level of detail? Let's flatten this just a bit. Let's go actually with a claister brush and sort to define this area. So it'll be like this. Snare and smooth out. Now, I think we can add the mustache. But let's see how the lips. Let's go with a crease polish and define these shapes. So this can either be flat or an N and then goes down. Let's go with a clay No, with a scrape brush and flatten this area here. Also here when it connects. We can make this a bit thicker. Like this. Let's see how the mustache looks. So all our head and eyebrows will be very stylized. As, again, this is an action figure like scope. So I'm going to do it with a plane, put it in the Y or detect axis. So it's facing so it's in the same plane as our face. Decrease this to about just so you can see it, I guess, and place it around here. I think I want to do it with a mirror, so subdivide in the middle, delete this one. Don't apply any size or size difference. What what's it called? No, don't apply any of these. I think I didn't touch it. And now, you can follow what mustache you want. But basically, I'm going with this go about nostro, maybe around here, it stays flat. Now, this goes down to about here. This is like this. We can add another line here. It's quite flat. That's quite far. Where did you go? On the Y axis, axis gothis Let's go because I think we're going to a thicknes but it's going to be from the other side. Now let's move like this, not the best. Select all of these. And just get it close to the skin the haze. Not super close, but just desiply close. This her doesn't touch. I think I. That's I solid the flame on the fire. Again, our hair will be quite thick similarly to our other features. It's like this. As well it out, actually. I just prefer working on the sculpting environment. But that's not the smartest idea right now. I think I forgot to turn on the clipping. But we basically just want to show the lower lip. Maybe not sure. I think we can better see the shadow on. We're going to stylize it a bit, but we just want the general trade there. But from it, I think we can kind of see the highs. So I'm going to make him a bit more mad. So pot the eyebrow went down. It was flat. Yeah, that's about it. We can pull this bit down, as well. Okay. Let's make this it like this. Yeah, I think that's not bad. Let's make it just a bit thicker. Okay. I think this will be the shape, and then we will add some details in sculpting mode. But yet, it seems below. How do we make it a bit lower? I don't think so. I think that would be good. Let's turn off the shadow. Let's put the lips just a bit more down. Make them a bit down here, and then smooth it out. Let's make these sharper. Go with a springfield brush, scrape this down area. This down area, smooth. Smooth, smooth. Yeah, I don't think we're in a bad spot. Mm. Okay, yeah, I don't think we're in a bad spot. I'm gonna leave them like this. The last thing we can do is work on the eyebrows as we don't have much time from this episode, left. Let's put this bit down. It's a bit in this down, okay? Now similarly how we did the mustache, we're going to get a plan. Let's not rotate it well these. We only have this edge with vertices. Recrease it. Let's see what it is, make it up. Now, this doesn't have to be as big as the eye, but just around the edge here. Now we can pull it. I don't know what it is. Okay? We can pull it just in front of the eyebrow line. And from what I noticed, we could pull this a bit more back. So this can stick out. Slowly pull. Let's actually mask this so it doesn't change anything. And then slowly pull. You should generally be in line. The problem with just grabbing around this level of detail is that you have to be more careful. Like. Et's go back to the eyebrow. Let's pull this about here and let's just define the shape of our eyebrow while pulling the edges. So one more. Let's actually go by all views. Should be around here. Pull it. Let's do one more. So since he is mad, they go quite low. We can go like this. Now we select all and pull up. Now, this part goes like this. I think a big thing about Oniman is that his eyebrows are quite thick. Like this. I think this behind part is bigger. So like this, but the whole eyebrow is quite big. And I think I do go below the eyebrow line, and maybe a bit like this. Let's mirror it again. Let's add also the solidify and should offset one. Again, these are the general shapes. We'll be sculpting them later or in the next episode, actually, where we'll also do here. Just give it a nice shape where this part is bigger, this part can go in this behind. I think we should still try to keep it squares, though. I'm just trying some things. Yeah, that's not a bad general shape. Let's try this. So pull one of the edges up here. Is bigger and kinder curly. If we can pull a stop of the lag? Put in a bit. This shouldn't be that short. I'm going to make this very flat, the up part. And then the bottom part can be caring. Yeah, I think that's a decent starting shape. Then we will work on it. Don't forget to save. Probably should save more. Let's rename some of these things. So have to my have two I think that's all we have yet. Okay, that is it for the third episode. In the next one, we will be applying these modifiers and giving them a more stylized look and we'll also work on the hair, we'll clean up the mesh a bit, and then that is it for the head for now, and we will move on to the torso. Thank you for watching and see you onto the next one. 6. Adding The Hair And Completing The Head: Hey, there. Welcome to the fourth episode of Discourse, where we will complete the head for now. So after this episode, you can finally take a break from head, and you can continue with a torso. We will come back to work on the head later when we clean up the mesh and we try to connect all the parts together. But for now, you'll be free from it. Let's turn off the shadow, and I think the first thing we should do is apply the modifiers. So on this one, we'll apply the mirror and then the solidifine modifier. Let's turn of this for now. And let's add a let me just try to remember it. A subdivision surface. I don't know. I forgot it. Let's do a simple level one. Shift D this, a cadml level. Let's do this level two. Let's do this level one. I think let's add the bevel, actually. And then we'll do a subdivision surface. One. Let me just get close. Let's start two segments. You can copy these or experiment on your own, but apply these. That's also this. Just because I want these to be a bit sharper. But you can experiment or just copy these. I will apply them both and go into scopting Wherefore now I won't turn on the symmetry. Just because adding imperfections, I guess, does add a nice touch of Alright, it's not realism, but I guess realism. You can call it that. Now, we might need to subdivide it, but not for now. Now, what we're going to do with the mustache, the eyebrow, and the hair is similarly to what you've probably seen on, like, action figures, anime action figures or figurines especially the Goku ones, where the hair is, like, stylized. So that's what we're going to go with our here. So just pull edges. We might for now, I'm going to try not to subdivide just because I think that is going to be better. But just try to pull vertices here and there. Let's try to get this very close. I'll do like this. I think subdividing will make it better, but we'll see for now. Let's pull this down. Let's do this let's do this side a bit higher and a bit more like this. This side slightly lower like this. If we had another one here, yeah, that would be great. Let's do this one higher. But yeah, you're just trying to lightly pull here and there. Sound from here. It's my mother. Just pull a few vertices. My mouse is not doing well. Mm. Yeah, I think that is like. We could flatten, not flatten, straighten these edges a bit. And hold turn shall? Yes, I did. Okay. Now we're going to do the same for the eyebrows, but for now, we'll only apply the solidify modifier. And let's do the same as we did for the mustache without applying the solidify modifier. Let's get rid of this smoothing one. Mm. Two. I want these a bit sharper, though. And control two. Let's do it on two just so we have a bit more vertices. Again, you can experiment or copy these, but I'm going to apply them both and still keep the mirror. If we do want to add a bit more variation, which we should, we'll do it after we get some basic details. So first, I want to pull this a bit more flatten this. Let's try to give it a nice smooth transition here. Then if we could pull this, please, mouse. We'll pull this edge up this down and smooth transition also. We down this like this. This makes a bit shorter. And I think we can do the same thing that we did with mustache. Won't you see. Mm. I think we can make him just a bit bigger. There's a round. Okay. Let's pull this actually. Now, we'll do this from up top. This again, a few vertices here and there. Some higher, some wider. No, this can go in lots. These ones here can go by this my mouse is not doing well right now. But I don't think there should be too much detail on the eyebrows compared to the mustache. So let's keep that apply with Control A, and now we can add some more uniqueness to each other. Make this slightly lower. The slightly shorter. What's the smooth this one. Just little details here and there. Yeah, I think that's pretty good. We can always come back and change these things. I don't know why it looks like that's shade. And before or should we do it after? Let's clean the mesh a bit, and then we will work on the here. Now, again, I don't want to go too deep with the quality, just because when we connect them, we don't want to be two in. So let's do like just 900 around there, 800 legs. Control. Not much should have changed. But again, we don't want too much. Her down this up, especially at the edges. Sharp. Okay. Smooth down the line. Let's mark them with as boolge brush. This smooth here. Now we can define the eyelids a bit better. Move a lot here. Let's sharpen this this skin go down straight. This goes inside here, not inside, but in this line. But it's really not visible. It should fall like this and then not visible. Now with a scrape brush, we'll try and flatten this along the plane. Also this. We'll try to sharpen it with the grabush and also with the creased polish brush, we can flatten it. Take it down here. There should be like if you've noticed, like a small sphere here. I don't know what it is, actually. Let's shrink the eyelid here. Then we can flatten a bit. Here it should be pretty narrow. Let's smooth it very slowly. All out. And let's define them now. Go along those lines. I think we're not going to do the ebags for now. Let's do the thing around here. Dig, and then smooth it on the outside and a bit here, but it should be noticeable like sage. This can go in. Let's smooth it very lightly. Okay. Yeah, we can do some more smoothing, but I think we're pretty good on the face. Let's now that bones are fine, we can make them go a bit more vin like this. Small smooth down the ear here. Smoke here. Pull a bit, pull a bit here, down. Yeah, just see areas that might have a lot of polygons messing around. Clean that up. This, I guess, this pull the neck area a bit it's like this on your mesh. Should be pretty straight here. Let's make the neck just a bit thicker around the jaw. Like this. Let's define these lines just once more. So down down smooth flam inside. Okay, I think we can work on the here. Let's make some square. Pulls up. Yeah, I think we can work on the hair. Let me take a sip of Walter. Then a sip of coffee. Now part here is going to be a sphere. We name this immediately to here. And we'll make both the white part and the black part in one mesh. Now, simply put, you're basically just following the shape of the head here. So not anything we haven't done up until now. So flatten this widen this. We'll go we'll follow the same here. So the low knee ears around here and then flat flat, flat. This is like a diagonal going down. Yeah. This can go up. So around here, and then it cages into here. Okay, let's pull this front. What a beautiful face. Hold this back now fold this. So the hair is quite high up in the forehead. This is like half so above the last quarter. So have around here, maybe. Maybe a bit higher. I think that's fine. This one is a very good one for the side, so there should be no hair inside the ear. It goes above the eye, so maybe on the cheek bone ish goes in you can just pull this in, I guess, but I prefer having more polygons to work with. So I try not to put in too much. Now, this goes definitely a bit more in the back. This can be smaller. Like this. We can, okay? My mouse is not doing well. Let's pull this out and make it a bit squarer. Square. Okay, Sharper here. Let's symmetrize. I don't think we've symmetrized the head that much. So I'll just give it a dry. Even though Yeah. I didn't notice anything. But let's continue. So this is square, wider maybe symmetrized ones. This can go quite in, so make this very not thin, but, like, close to the head. Okay. And now the top part can be a bit thicker. So what's white in it. I'm definitely taller, but we'll work on that. Let's pull the front part. So all the screen will bit down. This can go action a bit back. Like this, this can be like this. Okay? Now, I think we can break the symmetry. Let's see. Yeah, I think we can break the symmetry. I don't really like this. So let's action, tone it down a bit. And it kind of looks like Tragme just because I think Trag has a more round Here. Let's break the symmetry. Well, pull this in. Now, again, the same as the rest of the hair like things we've done. Just pull vertices here and there and try to mimic the references. So this can be a strand of hair. Would be well, I guess, not a strand of hair, but a group of hair strands. Look at it from multiple angles. I can go like this. Now, this is just the base. W on the quality more, but it really does help to get some parts now. Pull this back, pull pull this back. Let's get this bit nicer like this. This can go down like this. Let's do it like this. So I think his head is going like, like this sew up and twist into the side. So just try to get that. There can be certain hairs that just stick out. Adds a nice touch of, like, It is realism, I guess. Or more organic? I don't know. There's definitely some here sticking out here. Let's do this one. Okay. But it does go back, which will work in a bit. But then we're just trying to get whatever we can in this level of detail. That's a go down then. We can get some of the white here, too. Like this. Let's stick this out, pull this out. Pull vertices here and there. Depending on how much you want to pull here, you should. But if you really don't want you don't have to. But you'll probably look in the back as well. So add a few. This can go lower lower. Here you can also make some here here loops that just go down, stick out a bit, go down. I think that's pretty good for the first level. Let's pull this out a bit. Your hair and the clothes that we will be making should be decently thick. Especially if you are planning to th D print it. And while this thickness isn't bad, you could be better with just a bit more thickness. Or around the eyes, even though that's pretty good. Okay. Let's see. I think this might be a bit too short for the plant. Let's pull this back, though. Let's. And let's remesh. Let's go to, like, 500 at least. Or, let's go actually to like 300, 250. No more. Let me just take one more set Coffee? Okay. Sorry. Now, let's not smooth first. Let's just get the shapes again. So this piece here goes like this, this. Just try to follow the references. Get some of your own pieces in there. Okay, let's work on this front one. Should go back. This can go in. It might be a bit too in the middle. That's fine. Just pull what we did on the last level of detail. Try to make it sharper at the end. And sort of puffy at the front. At met. But you just pull a bit more and we can smooth it out. Let's actually define these edges Let's stay in here. Okay. This. Let's pull these in the back. Just to give it a more natural look and then smooth along the planes. They're not really planes, even though I'm calling them, but you can sort of see, like, the shapes being defined, so smooth along them. In the hair, as I've said in the previous episodes, I think, you should leave some imperfections, similarly, as I've said in the head, just because the graininess, the some polygons sticking out, does give it a nicer look. I don't fully like the sparks. Maybe if we smooth it out to the That's grease boy. Do you like this? Pull it in the back a bit. Something like this. Now, from the middle of the top of the tip of the hair group, you can sharpen it like this. Just to give it a better look around here, and then go to where you think the hair would be starting. So like this. I am really just picturing those dragon ball figurines, and it's helping me. So think of that type of hair. So we're down here, down here. Not all hair will start from the same place. And there might be like, multiple lines, I guess. This one is not that good. Okay. I also dig in like this. Mm. Mmm. It's pretty good. Let's make a stand from here. Like this. I can go down at this. Okay. Let's make a piece stick out here. This Okay. Can make this piece out be a bit this small it Mm. Let's pull this out. Should be a bit more squarish. This area. I think we should sort of define where the where the two areas meet. So let's do it. We'll do it by control using the crease polish brush and then control. So I it's opposite. So around here, you can follow the same lines from the references, but I do want to add some of my own. Okay, my mouse is really not doing great. So this again this I would guess that it goes all around the head. So then when it's below, I'll go with a normal crease brush without pressing control. And I'll do this. Now around this area, we can just add a bit more stands. Like this. These will be white pi strands. Okay. L'memb here. Again. I don't fully like this part here. Because it's like this. Come on, mouse. It should be more flat, but it's not bad. Let's edge this piece like this, also. Small. Let's add some more strands. You can also just add them with the crease polish brush, stick them out. But I kind of prefer doing it with the grab brush. Don't try this right now. I'm just gonna I don't know if it's a smart idea, but like this. No, no, this is fine. Let's add some more imperfections here. So like this. It'll be great if my mouse can do this. Now with the clay strips brush, I'll add some mass here. So this hair piece will go under this hairpiece make this a bit puffier. Let me go this. Let's make it a bit more down. This goes up here. Down, Tk go a bit like this. Please, mouse. Let's pull a piece here. Cause I think this part is kind of missing missing detail. Please. Okay. Let me give it like 5 seconds. Does not want to work for some reason. Okay. You can add as much detail or not as you want here. So just a bit more stance here. This can go like this. Let's highlight it this. And let's go to the next level, which will be quite low. Let's go like 700. Okay. Now, a lot of what we're going to do here is smoothing. I can leave details here and there. You can always smooth them out. Make sure no head is sticking or skin. I'm gonna add something here, too. Let's make this a bit sharper. But yeah, follow the planes, and then just go along with the smoothing. Say that I'm back really doesn't matter, but it doesn't mean that you should just leave it with nothing. But maybe not this detailed unless you do the whole thing 'cause now it looks kind of weird, so we'll come back in a minute. Fine Mabus. You could, if you wanted to have made two separate meshes for the black and white here, but I feel like having that action figure like look, I just used the word like way too much. Kind of works better with just one mesh. But yeah, feel free to add your own touch. Okay. Smooth this first like this and then this one. Or I think later during the course, we can sharpen it a bit more. But I think it's pretty good. We could add some more detail as well. So more hairstrands. I never know what palm hairpieces. But we can always change these things. And as a general tip, coming back to your scope really does change the perspective, I guess. Change the perspective, change your opinion. If you are done with a scope, come back the next day or maybe in an hour or two, and you can see what you might have gone wrong or just what you could have improved or call someone else to look at your scope, and they can pinpoint things that you just didn't see. Especially when you're working on one piece for a long time, you will sort of get used to looking at it, so you might miss some things. So just getting up, be it until the next day or for some time. Let's have some more, thank you. Can really help you get ideas on how to improve your skulls. Now if you're practicing, you don't really need it. But you should do it for your practice as well. You get some anatomy lessons. You might see something like, Oh, in this scope, I did the nose like this, but the nose actually looks better like this, now you've learned something new. I'm just getting some more of these I really don't know what to call them earpieces. I'll call them strands. No. I don't know what I press. Maybe Control X. But yeah, maybe on the later episodes, we do some like this. Not exactly like this on the rest of the hair. I think we can do that on the white part. Let's just really sharpen the separation. Just go around. Let's add some more of those hair strands. I think if you go at an angle, you kind of get them if you just know that, but you just push it in, it's kind of weird. You go at like an angle. Can get them in. You could also get pieces like this where there's that wasn't the greatest example. There's like two tips, two sharp corners, exactly corners. But just get some parts to stick out here and there. We could also get this to be a bit more stylized like this. Basically similar how we did this, how we did the eyebrows, how did the mustache. Some parts can stick on top of each other. Sharpen things with a creased polish brush. Some parts can look shorter. We've actually got some stands around here as well. I prefer they were a bit sharper. But yeah, depending on how we see it later, we could add some more detail around here. Or if you'd like to do it now, you're free to do so. But, yeah, this is just adding some imperfections, some hair strands. There's some in the back here. Okay. Let me think some hairstns at the front. It would be better. Hit them there. We try to follow the I don't call it flow. Well, I guess the flow, yeah. You're trying to get the basic flow at the start. And then the smaller pieces should be following that base flow. So what we were doing now. I feel free to experiment around here, or anywhere, honestly. But I think this is a very you can't copy it thing. Yeah, like that. There's certain parts that might be a bit too sharp. But I think that's fine. Let's see if we could do something like that for the eyebrows. So just get don't leave them to be super flat, I guess. Even though I think the cartoony action figure like scopes should be more flat. It's mustache. I don't want to subdivide this more, though. Yeah, I think that's pretty good. If you feel like it, you can subdivide these eyebrows and the mustache and give them a bit more of this look. But for now, we'll keep it like this because I prefer that flatter look, I guess. Not flatter, but more uniform like. We can add some mass, though. So with the flavus, just go around it. That for mustache. It's not gonna add much, but it's gonna make it more toffy. Now, I would say that we should, uh I think the head looks pretty fine, but I was thinking about adding colored it. But no, I don't if we are going to have colored it, I think we should do it when we color the whole body, as that just makes things more uniform. But this is it for the head, at least for now. And in the next episode, we will be starting the torso, but we are going to keep it in the same file, so make sure you save it and keep it clean. As we are going to use the head to get the proportions of the torso and the other parts, but the tors from the torso. Then we can get the proportions of the other parts. But we are done with the head. What we have left is just connecting it, cleaning it up a bit, and possibly coloring at the end. But I think we have done a pretty good job for the head. So I hope you've learned something, and I'll see you into the I'll see you in the next episode. Thank you. 7. Creating The Torso: Hey, there. Welcome to the fifth episode where we will beginning the torso. Now, I want to say that I am tired of working on the ad because I took quite some time to work on it, but you should take a lot of time. I just noted this. Yeah but you should take a decent What am I doing? You should take quite some time to work on every part so you can get the best result. But I'm usually used to just switching in between parts, which I would like to say, make it less boring, but it is mostly because I'm used to it. But not yapping, let's go to the torso. Now, I would I was thinking of making a collection for the head and its parts. But since I would like to always see the head for referencing the torso, I'm going to keep it like this. But if you want to, I would say make a collection with what you have here, call the head, create a new collection and start with the torso. But for the rest of the course and for the whole one, I'm going to just rename them so I don't get confused to what is what, but I also am not complicating it too much with collections, but collections are a very useful tool. Now, for the torso, I'm going to ZoomIo Control A and a sphere. I think the sphere is probably the best. Could you do it with a cylinder? Yes, but I don't think it's good enough. So now I'm going to go to Edit mode, A, to select everything if it's not selected and increase it. So with S, so it's as big as the head. Not the head with the neck, but just the head. So around this. I actually forgot. So just pause here. We're not going to use the onin reference anymore. We are going to use the body reference. So I think it's clicking, right clicking or left clicking, sorry, and just scroll by to the reference. You have this one and the human skin that sounds wrong. You have the gray one and the colored one. I'm gonna stick with the gray one, as I can see details better, but you can use both of them or pick what you want to use, I guess, not both of them. You can use both of them. You can just increase it and use both, but I see better I see the degles better like this. But, um, you can always switch. But as I said, at the start, you should follow my instructions first, and then you can watch the VD while you also watch the reference. But let's increase it. I don't think we need the third reference, even though it's not bad. Not bad, but I think we can do pretty good with just the. And since I don't have a second monitor, I like to conserve my space. Okay. You can find Oh, my God. You can find the reference in the resources. This is my pen tablet doing something wrong, so I'm going to do it my track pad, as I do not have my mouse connected right now. But try to get the whole shape in, and now we can continue with the torso. Now, I usually like to use my real life fingers to measure the head. So I'm currently measuring the head of the reference with my two fingers, and I'm going to see how big is the torso compared to this measurement. I would say it's about two maybe 2.5 heads. So I think we'll do the same for Omniman as at best, he might be a bit taller, but I think the references fit pretty fine with Omnimn. This guy is also quite built. So let's increase this, which is the head right now, as big as the head in the Z axis for 2.5. So this will be generally how big our torso is. Let's go on the Y axis, G, Z, and let's move it just below the neck. So around here. And this should be how big our torso is, including the Elvis, including the I don't know if I can say it name thing. The wrench. Okay, now we'll turn on the x axis symmetry. And since we did the rescaling in Edit mode, we don't have to apply any changes to the scale and things like that. Let me take a sip of coffee. I'm drying some azelin coffee. No, hazelu flavor, but, like, hazel nut coffee. I don't know how they make it. I don't prefer it to black coffee, but it's interesting. I kind of like it. But let's move on. Now, I think I want to clarify things, and I'll just talk when I'm actually doing them. We're going to make the shoulders with the torso, not with the arms, as I do think the shoulders contribute more to the back and the chest compared to the arms. Like, yes, the arms are dependent on the shoulders, but they don't have to be together. It's more of the size and the position of the shoulders, rather on how it looks or how the muscle connects. But the chest and the back are quite literally very connected to the shoulders, all of the shoulders. So let's actually begin. Around these edges, this edge here, we're going to pull it up quite a bit brush, actually, and just pull it up. Widen it. Again, I would like to say don't fully use this part as they're kind of just place shoulders. Let's flatten it. Let's pull this in flint. Not super far. Pull this up. And this is the head. Again, I really like to use the head as reference. So this is how big the head is. And now it looks like draps are about one head to the left and about half here. So this distance should be about a head and a half in both directions. But that really helps you get I need to clear it, get the proportions correct. We can always make these tiny tweaks, but I think it really helps at the start. Now, one thing I really like to use when getting the proportions inside the blender is the brush size. So I'll increase the size to exactly how wide the head is. So around here is one head difference. I'm going to place a finger here, and then around here is two head or a head and a half. So around here is where the shoulder should end. So this line, we're going to make it slightly more narrow as I'm going to pull the shoulders. Pull the shoulders. Is that the right? Yeah, pull the shoulders when I have more quality or when I have the chest and the rest. I don't know what disconnected. Now here we can pull some of the traps. So around here, just cob. The clavicle is pretty straight. Sometimes I do make it more like this, but I like it when it's just very straight like this, flat. And we can pull it just a bit more in front than the neck or where the neck connects. And the general shape of the clavicle should be like a crossbow. So this is flat, and then it arches like this. You can see the cross bowinss I guess. Okay. Let's continue. Let's continue with the back. We're going to widen it up, widen it up. Now, since the hands are going back, since the elbows are going back, the lats. So this area is contracted is. So it's more narrow. It's going back rather than being wide if his arms would be in the front. So like, if his arms were in the front, the lats might go a bit more like, that's too wide, but a bit more like this. But since they are, think of if you have ever been rowing for the lats when you pull your arms back, they go, like, more in, more narrow. Now, his arms here are a bit out, so they aren't like just a flat plane, but they are tucked in. I think that's the best way to describe it. So even though Omnimn has a alien stereoyd build, his lads are quite tucked in. Okay. So around here, they'll be this wide, I would say. And then this can go like this. This is definitely a bit too big, maybe for the torso, but it's not something we're going to change. Now, his upper thraps will come like this. And then around here, it'll dig in. And then around here or maybe a bit down will be behind. What's the appropriate word? Is but will be around here. But I think we can pull this a bit higher. So, poor poll pool, paul. We can always change the proportions, but I like getting a general idea at the start. Pull this back or up, and the general shape of the spine is like an S. But now this depends on the position. As you can see, his chest is way more proud. So this part, don't do this could go like this and then this part like this. But we're just taking it slow from now for now. Pull this a bit more back. We can flatten this a bit. And let's see where the I keep forgetting the name. The What's the the libs, the ribs? The rib cage will be. Oh, my God. So the chest should be about one head tall. So again, the brush is about one head. From the clavicle, the chest should end around here. Or the lowest point, the nipple, that should be fine, should be around here. Now, it could be like here ish. But just a general thing. Their ip cage is super close to the chest, so I'm going to use that one head to determine where the top part of their rib cage start, sort of where the six pep start. So around here will be their dip cage their dip flare maybe. Okay, so pull this out to about chin level. So like this, now you can make this flat, but I prefer to give it just a bit of roundiness. So rib cage, and this will be the six pack and the belly will be around here. This will be the front part of the pelvis, it should be the hips. Let's work on the front torso bit. So this is the hips should be where the these parts are. I forgot the name. I think I'm going to big brush and pull this up a bit. Okay. Now, the toe orso call that dips here, and then it goes up So this will be the side of the bottom of the dorso. We can, as you can see here, it goes up. Then around here, I think you could notice them a bit more like this. So you can kind of notice them at the front. And now the sort of there's a name, I guess, lower back will be like a big triangle just so maybe around here is, and it will be like this. Now, some of it won't be visible, but we want at least this part to be just visible for now. Okay, so let's get to doing that. So a triangle around heels, I guess. And then the butt will start here and do butt stuff. So this is the lower back. S shape will make this upper back area pretty straight, I guess. But still, it should have the that S shape in there. Even if it is quite light, now let's do the chest. Let's pull this front. Now, this was our top lip lib cage thing or part that sticks out. So now we'll dip the chest like it is, pull this a bit up. Let's define the lower chest. Okay. Let's go from the side. We can pull this a bit down, pull the sides of it down. Now, pull this side of it up. This will be our armpit area. Ish. We're just When we're on low polygons, we're just defining some parts that will serve some more important parts. I'm losing my words. Let's flatten the clavicle. And again, the chest for the nipple should be about a head from the clavicle. So yeah, they're down. They don't have to be exactly, but they're down. Now, I think we're gonna pull this middle chest area. Not actually anatom Oh, my God, I can Anatomically Anatomically. This the middle chest doesn't really exist. In your body, there's a upper chest and a lower chest. But this sort of area and we can make this pop. And now we can pull the shoulders. Leave an area here to be the armpit and this up to be the shoulders. So the chest, this low part of the chest, should connect to the rib cage around here, and then the shoulders should also connect to it. Now we're gonna make the shoulders wide, but gonna do that slowly. First, let's put the front shoulder to be a bit more forward. As you can see, it crosses the traps here. Let's put the reeler delts. Oh, my God. Back. Now the general angle is coming back. So you can see the shoulder is going back. So the arms are then connected to it, and we pull the back back. Definitely need to be wider, but we're just trying to get the shapes here. So this part goes forward, spar goes back, sport goes back. Let's give the shoulders width from the back first. So around here around here. And now let's do the front. Let's make them quite wide. Can you make a bit flatter. They're wide. Now here, they do go quite up. Wear the rear. Oh, my God. I can't say the word the rear delt 1 second. Where the rear belt attaches is quite high. It's quite less, but the shoulders are pretty much as long as the chest. A big thing. We can pull the traps. Now we can work a bit more on traps. So again, this don't fully mind this area, but this area, yes. So now it'll connect to here. This would be traps. You can see how the general shape of traps is. So it dips here, it's smoother as it goes up, then like this. Same in the back. We can't really define anything at this level. We could define the middle, I guess. So just go with a crease polish brush and just dig in here so you can see the line. I don't know I'm calling it the line. Let's get the upper traps and the middle traps very close. And that's quite close, I guess. We could define the muscles now, but I don't usually do that, so I don't think we'll do that. Let's make it a bit wider. Lats here. Then we can make this narrow. Now, I think the chest is not the size that's gonna be right now. We just want to get the shape, which is still not done. Well, let's put this more forward. Again, I want this around, and I think we pull the pelvis up put forward, I guess, tear down, go a bit lower. Let's pull the chest lower. Down side. I don't know what they're called. They're not the love handles, I think, called the fat that sits on top of them love handles. That's widen the whole torso bit. So this should go up. This goes in and go a bit higher. Then it goes back. No, I don't really like a chest right now, so let's pull this part in. Let's pull the sport up. Pull also this part up, this part down. And what I mostly don't like is just the size of it. Let's pull this part where it connects the shoulder connects with the chest forward, and let's increase the size of it. Pull the shoulder forward. Let's pull the whole lower torso a bit back. Okay. Let's pull this back a bit more straight ish. And then this a bit more forward. Total the Z axis. Pull this forward. Well, it's a bit like this. Even though I think this is as tall as Omniman would be, I don't fully like the proportions. So let's pull the chest a bit lower let's pull the chest first. Then the shoulders as well. Let's make them a bit wider. Let's do this or no, no, let's put this up, make them wider, but also going back. Et's make this pretty in. Again, that S shaped, though. I think what we're currently struggling with is just the quality of it. Let's wide a bit. And then we'll pull it up a bit. I think we can go to the next level detail. Let you seems a bit more then. Let's do this. Okay. This's going be a bit more narrow. We can pull this up. Even though a lot of it will connect the next when we remsh. But, yeah, I think I should have used a bit more detail around here. But that shouldn't be an issue when we go to the next level. Let's widen the shoulders a bit. Pull back, pull front, and pull back like this. I like the traps. Let's just make them a bit bigger. This should be very straight or flat. Let's actually pull these shoulders because they're kind of pssing me off. Okay. Size seems fine. I do think grab the whole thing and G and Y and pull forward. Now there's the upper drap area. Let's pull it like this. And then from the head as well, pull it like this and pull it push it like this. I think that looks better. I go push this in a bit. But this area, I guess, is way flatter. Like this. If there dels here. Let's narrow those down a bit. We're not in a bad spot. The shoulders could be just a bit wider. Let's widen the traps first. No, actually, I think when we get more detail, we can widen them. Cross bow here, back. Yeah, I think we can go to the next level. Let's so one head around nipple here. Then one head should be the belly button. So belly button should be around here. Where the belly button is, the lower part should pop a bit more out. At least noticeably, but doesn't mean that it's far should let's decrease this just a bit. Could I widen it? No. I think it's fine. Let's work just a bit more on the lower torso. Widen it a bit. I think we can go to the next level. So art, go 500 and control art. Yeah, I think that's a good level. Symmetrize. Let me take a ****. That's my coffee gone. So similarly to how we worked on the head, we are going to smooth along the shapes, but also grab certain parts now as we smooth, just so they are a bit more defined. We'll start with the lower back. This part will not be visible to the But smoothers, well, along planes. Again, this will be connected, but I would save the connection for later. Okay. So along the planes or the longer shapes will be better. Now, most of the lower back is not visible above this line, probably even lower, but we're just slowly smoothing here. We should dig here. Let's dig, no, no, no. Let's pull this first. Then with a grab, we'll dig. So especially at this area should be no, as little claster. Especially at this area, it should be dug out. At least around here. This is definitely more the hold hold down, and then the rest is pretty straight, smooth it. Again, think of it as a posible, then it really disappears around there. This we lean to pull forward. Let's just pull. As you can see here, the shoulder, the traps come forward inside of the I don't know what you would call this. Neck area, trap area. Let's get this sort of shape. We'll definitely need more thickness as we go along. I like to save the most complex part like here for smoothing later, but I think it's best if we do it now. Or let's define the rib cage first as that helps us. So the rib cage, based on the reference scam, go just a bit more forward, maybe a bit more out. And let's smooth it first slowly. And then we'll define the shapes. Okay, so around here, tuck in the chest a bit. Okay. And the armpits are quite tucked in. So let me just tuck this in like this. Then I'll explain a bit. Let me zoom in. So this part will be around where the decade sort is around this, and then like this. Okay, it goes way up. But what I'm trying to emphasize is that part goes in, while this part laps around clear. So while it shouldn't be visible, it should go in. Okay? Now, let's define the rib cage. So the rib cage should start or the rib flare thing should start around here. So with the clay, the crease polige brush, we're going to mark this part, just like a little straight liners. And then as we go down to around where this dug in part is, I don't know what they're called. Let's call them the love handles. I think you do know what mvn seeing. So we want to do the list right now. Let's say this part is the love handles. We want to get this sort of shape, and the love handles will stick out like this. So let's go back. Now again, straight. That seems long enough and then go in and up. We can move this. We just need to get the general shape first. Now, I like to dig in first, but very lightly. So dig in like this. As part it's not visible. Okay, don't do this either right now. But it'll go something like this. Then way higher, but we really don't need that part. This can be a bit wider. And this is not their rib cage, but this is their rib cage, but this is not the bone rib cage. This is how it will look. I'll look like simplified sticking outside the skin and then everything else. So you don't do it either, but there's basically two parts that connect and do like this, but make it flat like this, upside down, U shape, and then goes up like this. Now we can make this stick out a bit. So like this, I really can't see, but just round it up a bit. Maybe from the bottom. Then as it goes in, tucks in. We could pull it up a bit. This will be your lid cage. Now we can make this love handle area. Pretty sure they're called love handles. When there's fat sticking out or sticking on top of it, maybe they're called love handles as well. Now, pull this up. Back and back like this. Well, the love animals will stick out like this. But let me draw in. They should be like why is my thing not Zoomian? They should be like, not cube. A, I forgot the name. E box, I guess. There should be a name, but so maybe it's better reactive This There should be something like this. A box. It's not squared. It's I keep forgetting some eggs. Okay, so to make that square, no square box, gonna pull this in flan her down where the rib cage curdls up. So pull pull until it's quite flat, I would say. The sport should also I think you can see the boxes. And I can go a bit more forward. Okay. Yeah. We can they do kind of stick here, too. But, yeah, we can pull them just a bit more forward. Now I kind of want to remove the mass here, but let's not do that for now. Now, when these things connect to the, I guess, lower pelvis, I like to tuck them in like this. So maintain that shape. Let's go with a crease boise brush. Do this. So sometimes I'll do them like okay, my mouse is tweaking. Just very smooth out going along that. But as you can see here, I don't think I can zoom in. Let's try. It kind of sits on top of this this line here, and then this will be the lower stomach. So the love handle, this line here, and the stomach. I shouldn't mess with the size. That's fine. So yeah, this can be a bit wider, definitely too low, so let's pull it. It's also pulls. Pull it back. We're just trying to get the main shapes in, and then we will smooth them, sculpt on top of them, and so on. So as you can see, this line goes down. And this places goes more in. Please. In that cube shape? Not cube, man. I don't remember the word. Now, let's move this out for now. Just the inside. But that's where the abs will go. But for now, we are just figuring out the simplified chips. I think we should pull this up a bit more. As it goes up, should the lower part should widen. So like this. Okay, we go smooth the separation here, and I think with a big brush, we'll pull this up. Slow. Okay, now we're going to work on a chest, which is, let's do this lower lath area. So connect still here. Then it should go quite triangular. Like this. Let's smooth this out. Crease polish brush, and around here can connect. Right? Yes. So this will be our lats. You should go in this it shouldn't be in line with the lower back, I just kind of connected. But for now, this will be our lats. Now, our upper lip cage should be not as wide as the lats. Smooth the so and they should pop very super slightly because again, he is tucking his elbows in but should still be as wide. Now, I think we can work on the chest as we define most other areas. With the crease polis brush, we're going to define the part where it connects to the lib cage. So this goes pretty and we can actually pull this this goes low. Don't keep the size of the brush very big or very small, like this. Keep it more big, so get better shapes and just go along the lines of what our chest was going to look like. Okay? Now we can pull this back or rather back end up. Till around here. So not exactly the middle, but almost the middle. Okay? Let's smooth this out and pu puff it up. Small, small, smooth. I think the chest is going to be the hardest part. But who knows maybe there'll be something worse. But from all my threes, the chest has been the hardest. So pull this lower chest area down, and this should go quite back. As this part connects to the T of your bicep above your biceps ish. So as the arms A going back like this. The bicep will be like ish, so the chest will connect about here. And the like this. Then we can work on the shoulders as the shoulders. Yes, they are dependent on the arms, but the chest will help their shape. Puff up like this. Let's pull I cannot say rear delt, rear delt. Pol the rear delt, like a rounded shape, smooth out the flan delta with you. But also make it very in line with the chest, especially up here, it's quite forward. Then it goes back and then for the lateral delt, which will be let's say this and this will be the lateral delt. We can make it a bit more not straight as it does curl back. Okay, please mouse. But like this, like this smooth out. Dia del can go a bit more down. This frontal toi it can go in. So like this can pull this chest part like this and the front can go a bit more in than like this. And now we can add the width to the shoulders, mostly from the side delt. Let's define the fronto. So this Okay. Be the front. Let's widen this first. So go like this. This should be its highest point. That's quite a while. Now we can work on our side out. And you see this up here, go back a bit now or side out can go up here, it's pretty flat, but not flat, but just pretty flat up here. Then this part is going diagonally. Let me try to do it in the Y axis. So around where it connects to the chest, please. It can go probably at its widest. Maybe a bit higher. Okay. And then it will curdle back when it connects to the arm. So let me see if I can draw it. So flat here, flat here, and then around here. Now, this is still very basic shapes. And we'll make it more rounder later. We can widen this a bit. Let's give it a big white. Now we can make this go forward. We can smooth this just because this whole thing will be the lateral delt, and we can pull it with the rear delt from here. This can go back. This will be the separation from the front delt. Let's smooth it out. This will definitely have to work on the near delt and make this part, I guess, a bit more narrow. But by following the reference, we can get quite a nice shape. Again, look from multiple angles and just do little adjustments here and there, you will get a nice shape. Now, the front lt does go like this, and this might go a bit more in, but I think that when we add some more mass. Then we can work on the back now. Just give the rear delt a bit more space. So put this down with this more in and smooth this out this Our he dealt should come out a bit more here. So just a bit the traps start around here, just a bit in the traps. Not in the traps, but where the traps start. Now, I think, let's go with a cloister brush. I'm going to try this and we'll define the traps. So this will be the starting point of the traps. And up until here are the upper traps. So in a very let's go with a straight line first. So like this. But now let's just make this a bit more imperfecti. That's not the word. This will be the lower part of our upper traps. Now with a big brush or a bigger brush, we'll make our middle traps. So this shouldn't come that low. This should come to about where the shoulders are, and then we can do this. Smooth out. Let's get more mass on the upper traps. So from around here with the big clay strips brush, just go like this. Smooth it out. Now with the crease polish brush, we'll define this part. So let's narrow these first. They're going to be quite touching as again, he's pulling his arms back. And then like this and this can widen this and then we'll connect it with the rest here when we connect the head. We could just give it some shape, I guess. So follow this line. And as it goes like this. But we'll definitely need to work more on it. Just some starting shapes. Let's add some more thickness here from the back like this. And this part can be a bit tucked in, so just slowly this and it's a quite sharp edge at the front. I think, let's bone just a bit higher. I think that's fine for now. Grab it. Just make them quite touching. Okay. Pretty good. Now let's define some more up the back. Move some mass here. And as you go up here, just very tiny. Smooth as a lot. No the spark though. We kind of want some empty space here. Okay? I think this has been a long episode, though, but we're not done yet, so just buckle up for just a bit more. We're gonna grab the clay strips brush. We're gonna define this line. Try not to grab the traps. So line here, pull this. Line that goes down a bit. And then a not a scoop. Just a curved line, I guess, but this is straight, and this goes like this. This is just a very simple shape for the I forgot the name. I had I just quickly changed it. Not the rhomboids. Rhombois are the muscles. Okay, maybe I'll get it. But now let's put these things. Just a bit. They shouldn't cross the traps. We'll change that, but they should kind op out. We are going to add muscles, but not on this episode, do you? So just to find the UDLs here. You can make this stick out a bit, stick more out here. Still trying to figure out the name. Thi should curve up. So straight line. Curve here, and then curve that goes up here. I'll work on that more on the next episode. But let's sharpen this edge here. Okay. Let's define the I know the name. Come on. Let's define the lower her back until I figured out the name. It's not the posted chain. Oh, come on. I Okay, we'll call it the thing that sits on top of the lower back for now because I had it, but it's gone. So from this partis not this, but just outside of the edge, make some big pillars and go to around here. So first, just do a line, and then here we can smooth it out, and then here, increase the size of your clay strips brush and just make it bigger as it goes there. Smooth it out. Let's widen the lat see a bit. To comment here, and it shouldn't be exactly with the lower back, but we'll probably smooth it and change. We can make these a bit more wider. Okay. We're definitely going to make the back a bit bigger probably muscle muscle wise. But this is our beginning shapes, and it's pretty good. The front part is definitely much bigger than the back part. But we will work on. Let's smooth this out. Let's make just a little hole here. Smooth it out also. And I think we are good for this torso starting episode. We're going to have to work a bit more, a bit more, quite a bit more on the chest. We will add the muscles, add a bit more size to the back. Change the shoulders a bit, even though the general shape is there. We might make them a bit wider. We'll make the abs. We will definitely fix the traps a bit more, work on the rear delts a bit more. But that is pretty good for the first episode. I'd like to get the clavicles a bit better, but I think this is a good part to take a break as we will be going into more details into the next one. See you there? 8. Finishing Details and Cleaning Up Mesh: Hi there. Welcome to the sixth episode of this course where we will continue the torso and hopefully finish. Now what I noticed is that my Purefle doesn't move OBS, which is with what I'm recording, but I am occasionally moving the reference. When you can see the cursor moving, I am physically moving my window, but I guess it doesn't update on OBS, but nothing to worry about. It's just curiosity, I guess. Now to go back to the torso, we will try to finish or complete most of it. But due to the arms and the legs, we're not going to call it finished finished compared to the head because a lot of things like the shoulders, the hips, the abs here could be very improved when we add the arms and the legs as they will help us get the shape more correct. Now, I was walking back from a lecture, and I remember the names for this and this. These are the erectors. They could be a bit thicker, and these are the scaplas I think. But it doesn't really matter. To continue, I think we can work on the back. Also, I was thinking that the head, don't do this, what I'm about to do. Let me also turn on screencasts to rotate the head a bit like this. Again, don't do this. So he's sort of standing like this, and then we can paint his eyes, give him just a more interesting pose. But these are things that we can work when we join every part together. Now enough yapping, or I guess, a bit more yapping. We can make this a bit more straight, and I'm not going to follow exactly the shapes here. What we're going to try to get is a stylized triangle shape around here. So something like this on both sides and a ellipse ellipsoid shape here. So some like this, but they will be more joined together on set them. But if the back was more relaxed, then this I guess, triangle part would be way less visible. It wouldn't really stick out. But in this case, we're going to make it stick out due to the back contracting, I guess. You can kind of notice it here, but the triangle thing isn't as pronounced. And I like to get that more popping out just to give it a nicer stylized look. So let's begin. We're still going to go up a level, and where the rear delts connect around here should be mostly sharp. We'll make one line like this, one line down, and one line that connects them. I'm going to make this a bit more straight or a bit more sharp. But it's basically a it's not a triangle. It's a triangle with bevelled corners, I guess. So something like this more, we can push this down, smooth it here. And now for the ellipsoid, ellipse, a stretched sphere, I guess, where it's not exactly a sphere, but I think that's the simplest shape to describe it. So one point here, one point here, and then it goes like this. So this should be much bigger than what we have here. Round it up. This can go down down this and then smooth it. Again, even though they will or this upper part will pop up, it shouldn't be as prominent as this down part. And some of the traps might go over it. But these should be on a side basis, be on the same level as the traps. As of, I guess, the width from the side. That's the best description. Now, this should follow the general port. Then it should connect just a bit not under the rear delt, but sort of the rear delt still comes on top of it, I guess. And then the tricep will connect under here. Now, Light under here, we'll start developing the lat inside. So this should be the thickest part. And as it comes down here, it should shrink. So we can shrink it like this wide and this should be mostly smooth. But it should kind of pop out. Let's make this more elliptic. We're just going to give some basic shapes. We can pop the rear delts more out just so it's in the same width level as the medial delt, the lateral delt. Okay? We can definitely make the lots thicker. So pull this, pull this down. And this should be straight and then carved back. Let's make the erectors bigger. So this could be hole and then just go from the side with the claysribsh. Not too bad. This triangle part really isn't that big, though. So religious more then. And we're not in a bad spot for the back. Now, the chest, we can separate it now. So Let's go down here and just a very sharp with the creased polish brush, I guess. Let's go for a sharp splitting until here. We can pull the spar down. Okay. And we can sharpen the edge here from below two. Okay? Now we should give a I guess a bit more volume to the chest, but also make it contracted or rather stretched in this scenario. So we'll pull this just a bit more back using the clay strips. This is where it'll converge to, I guess, the think of muscle fibers, and the humerus should be here. I guess, let me draw it. The humerus, which is the bone in your upper arm is around here. The chest might connect till here, and then the muscle fibers will just go like this. So we're just going to think of that point. Then with the play strips brush, sort of emulate that effect. It's going to be a bit more hoy. Now, you could go like this as well, but I prefer the more detail to be in the border, I guess, the inner border. You could probably get away with less let's call them fibers. They're not exactly fibers. But like five maybe maybe five is two less, but they could do the job. Now, let's pull this lower chest area forward. Pull this connecting area a bit back and up, pull this forward, and then this upper chest part or rather the clavicle just behind like this. Kind of want like a sweeping motion, I guess, where it goes like, flat, flat, flat, and then it pops here. Connect this. We can smooth it out. Just tap, though. Okay. Not too bad. The down area is a bit too forward, maybe, but we can pull it back. Plus, when we make the abs, we might have to card in. But let's go and pull it just a bit. Start from the libs and try not to get the chest. I feel like this lower pelvisds also too big. But when we get the legs, we get that easily fixed. Okay. So around belly button, stick out, and then the rest can go be a bit more tucked in. Okay. We could send the upper lip part a bit higher. This could be quite in line with the chest. Let's smooth this out and we can start working on the apps. Let me just check if the rip is fine. Let's pull this out just a bit. And then here we can pull it in, smooth out. I think we'll really fix even though they're fine, I think we can fix the how wide the lots will be when we have the arms. As right now, I think they are a bit too tucked in. Make the upper chest still pop a bit and around this area go like this. Where this part that'll be connecting, we can pull it. And then the front delt, we can round it around this area as sort of on top. I think we can get away with a bit more shoulder width. Also around the lateral delt. Again around here, and this part can go like this, just a bit let's widen the shoulders a bit. Grab in this area where you also can pull the front out. So don't go something like this, but a bit bigger, something like this. Maybe bigger and just pull along those same shapes. But very slowly. You can put this a bit more down. This in. This can be more down, more sharp here. This can be a bit thicker like this. This part could go out to the here. Okay, I think we can start working on the abs. With the higher stabs here, we'll go around here, and usually there's just a rounded squarish piece sticking out, but smooth it out. We just want to mark it kind of multiplier. And now around if the nipple is round here, go let's say middle of the chest, just a bit more than the middle and make a triangle ish. Yeah, this is a triangle and smooth it out. Actually, I think we can widen this just a bit. So it does go at the middle ish. Now, do we want to carve the abs? Yeah, let's carve them first, and then we can see how much volume we can out. Now, the abs should be the same in width or is that width? Okay, maybe in length, but that would be width. In length vertically. Or, no, no, no, width orzontly. So they should be the same size like this, but they can differ like this. They aren't going to be exactly the same. So can go like this. Some can go like this. But generally, they should have the same issue width that should be So let's go around here. And with a crease polish brush, dig in. Like this. I'm going for two lines, so one like this, one like this. I'm generally following this guy's ab structure, but you can go a bit more straight. You can you should you shouldn't try to make them uniform. But you can really experiment with the apps. You can make them not super visible, but, like, let me just demonstrate it, I guess. Don't do that? Let's hope. Let me. Okay. Now this is the experimental body. You could make something like this where it's like a higher body fat percentage, I guess. You can just see the ab wall sticking out. Then you can make some separation here and there, but it's mostly invisible. This is just an option. I'm gonna delete this back here. But you can see how you want your apps to look, but I'm gonna follow this guy's general ab structure, and then I will move them in future tweakings. Yeah. Also, something that let me make this and then I can speak. You can see there's a big difference, so I'll probably increase this. It's going to go down. Again, from the nipple, there should be a chest width, a chest distance, and then the belly button around here. Different from the head, I guess. We are going to add clothes to this figurine thingy, but we're going to do that fairly simply by using a mask. But since we do want to learn some anatomy, we are going to do quite a I shall call it a naked scope. But then when we make the clothes, we can smooth out details. But a lot of superhero costumes are very very skin tight, I guess. So let's continue with the apps. I'm going to add some volume as it connects to here, smooth out, add volume here, smooth out. Now we can add the obliques, I guess. The first one can go very in line with the first app. First app. Sure. And then it can dig in around here. We're not going to make them that lean, I guess, but the details should still be there. So every oblique thing, I don't know what they're called, should come up from the ribcage rib cage end and then go at about, let's say, here. So let's make another one. They're all about the same width and usually sticking three, four, maybe five would be best. So I want like five here. So let's widen them up. Now the motion that you can make them with, you can try to make them like this so they sit on top, and then the app can be like this. And then also the other oblique area like this. Et's continue. So I have, like, two more to make. I know that. Play strips. And then the last one, I like to make flat. Not flat, but rather just going straight behind. It's not usually visible, but it adds a level of separation from the love handles. I think that's what we call them. Okay, we can define them more with polar brush. So this goes in, like, here. And you can make a plane like this. So here, here, this goes like this. This can go like this. The front plane, I guess, should be where the rib cage is, yeah, where the rib cage ends is. But now this upper app can go down like here. So they're all the same or they all touch each other like join. So this is in here, and this app can come a bit more forward. Not the whole app has the same volume. As you can see, this is a bit more in, this is a bit more popping out. It usually just depends on genetics because the muscle itself isn't being biased. I can't really be biased that much. So you can't really grow like only this area. Okay, let's make the upper I don't know if they call the upper obliques, they are generally more straight and they'll just interconnect with these ones. Now, the shave that connects you is like a zigzag. So why do this. Then as they climb up they'll dig in the rib cage and smooth. We can also connect them with the lats. But since we will work. Actually, we don't want them to be that visible, but since we are still working on the abs, we can work on that later. And I think we are going to shrink the ab the torso bit because it's a bit wide, but very slightly. So big brush, go in. This can go in more, and then we can pull these up at the end, like the end of the thing. I can dig like this. So our six pack is done? On this level of detail. Now, you can go for an eight pack, you can go for a four pack. But we're gonna go for six, just like the reference. Now for the belly area, I'm going to dig these parts in and the parts, this should be more dug into dug in. All smooth. And I can push the apps very slightly for now. Just in. Now, this is going to be the belly buttonaa. I'm going to go with a crease polish brush just define the area, so don't go too sharp. For now, it'll be like a triangle that goes till here. Okay, triangle done. Now, the belly button area will be a bit more square. Yeah, more square. I like less. Very subtle here. We're just sketching where everything will be. Can pull this down. And you generally want your love handles or rather your belly button to be where the love handles are. You can wind this a bit. Okay? We can pull this in, but very slightly at this level. Now, this guy has a pretty tight stomach. But what we'll do first is from here, we're going to go like this. So don't touch this area for now, like this. So like two sources just going down till here. An smooth us out. And now here, we should make this thicker, so it should stick out. Okay, that's pretty good. And now I like to keep this line, but don't leave it too prominent. And this part should, as you can see, just stick out a bit more. Smooth. Smooth around the edges. Okay. We can make the belly button now. So usually it's very high up here. Just as a guide, we probably will have to dig in more, pull it can smooth this hole down area here. And I think we should let's widen this first. Smooth and then widen this area. Smooth. Now, this I think we should pull it a bit more in. Sorry if you're needing noises from the outside. Let's pull this down. Again, keep that boxy shape. And now let's pull the guess the separation area back. Pull this in the front. This back smooth. Now we could make it with clay strips. Let's smooth this area. Okay. Don't try this just 1 second. Do this actually first. It's smooth. It's going to be sharp. And I think here, we should decrease the size, so pull. But then as it goes here, it should be on that same lip. We can definitely play around more here when we have the legs. But now I want to make this a more sharp here. Then with the clay strips brush, I'm gonna go like this. So around here, maybe. Smooth as salt. Okay. I'm going to pull this up. I'm going to widen this out. So this should really be more squarish. Actually I just pull this bit out. Yeah, I think that's pretty good. When we get the legs, we can see if we want to pull the stomach, a bit more back, the abs. But for this low, we are in a pretty good spot. Let's pull this middle chest area a bit up. Pull out a bit, just slightly out. Let's widen the lasts just a bit. We're probably going to have to make them more thick, but we'll see how the me work. Again, triangle shape here. Smooth out. Looks fine, to be honest. Again sorry for the noise from the outside. And I think we could go for the next level of quality here, even though it's gonna be harder to change some things when we do get the arms. Mm. Let's see. Let's smooth this oblique area just a bit. So just slightly. Especially here, it shouldn't really be a sim. I think we can go just a level more. Yeah, yeah, yeah. Now, let's see if we what's your let's torso. And since the next second Since the next thing we'll do here is mostly clean up the scope, let's make this just a bit more sharper. I think this is a good time to back up your torso. As I said, for the head, we got to a very finished finished zone, I guess, finished state. Our only worries are to connect with the traps. But here we might mess up some things or rather, if it's too high polygons, we can't do very good changes, or it will be way harder. So now I think it is a good practice to back a torso up. So I'll put this into backup. As you can see, there's only one, no one hidden. And if I do need it, let's hide this other collection. I can open my backup collection. Have this backup, I have this backup, I have this backup. And if I do need them, I can just use them or re use them, I guess. Now before we go to the next level, let just make sure everything is in a good spot. It should be a bit more smooth here. Let's goes up. Shoulders Look fine. Let's make them just a bit wider. Let's widen them like this as well. Mm. Let's make the throps just a bit thicker. So pull back, pull in here. And let's also add some thickness here. We're not in a bad spot. Let's see how that's quite a nice clavicle. Let's pull this a bit down just for variation. Let's see the traps from here. Okay, yeah, we can go to the next one. Mm. Let's poke the drops actually just a bit in. This upward as And let's go with R and go to 300, I guess. 200 could also work. Let's see how 300 looks. Let's go for 200. Let's go for 100. Might take some time. And depending on your device, you should go slowly from polygon to polygon level, I guess. That is when my bolts are gone. And here, we're just gonna move things around. Not really move around. But let's say, like, join the chest a bit more rather close the gap. We can move the traps a bit, just emphasize their shape, pull them, widen them here. We can sometimes remove some things. But generally, what we're trying to do here is smooth things out. Again, follow the I don't want to call them planes, but shapes and smooth along them. Leave some imperfections here and there. Like this wouldn't be a bad spot to make it more organic looking. Okay. Pull this like this. This can go up. We're gonna change a lot in the trap area. When we do eventually join them. Let's smooth this. This is sitting under the trap ssh, at least under this. So we can have some parts look like they're going below the traps. Let's smooth it out. So like this, like this. Smooth out. More calypticalm like this. Smooth this area. Electors. The upper traps or rather the middle traps might end a bit. Don't do this. Like heat ish, maybe. Let's pull it actually just a bit. But I've usually seen a lot of people who make them go way lower, and even now, it's a bit high. Let's pull this upper trap area just a bit more on top. Is it goes down like this, you can increase them. But yeah, they're not that low. Most of this area is going to be electors. Which is like those thick pillars. You can kind of see them iris, maybe. Maybe this isn't a good picture for that, but they usually stick at the end of the lats and above the lower back. And this lower back area here isn't actually muscle. It's fascia, which shouldn't be muscle. But I still think you can grow it. But the erectors, sorry, or actually muscles. Let's mind this in like this, clean this up here. Now for a nice trap or trap flat effect. You can have a very small place us go like this. This can be not super thick. Then just heavily smooth. Yeah. We'll come back and work on a lot quite a bit more later. Let's sharpen the clavicle here, go a bit more down. Now, we won't smooth this upper part just yet. We'll smooth a chest. We'll make it a bit more connective. F the shapes. It's going be like, more smooth out because it's like, hollow. Puff it up, smooth along the lines. I can smooth around here, but try not to smooth in the middle. Okay. So from below. Okay. Let's go over the shoulders first. So this should pop up. This can be mostly smoothed out. Say, Well, emphasize the distinction between these two shoulder parts. His back, pull a little bit in front here. So here. Further here do we smooth it down here first, then up here. I don't like this thing here. As I shouldn't really look like this. It should look as of the middle delt is sitting on top of the rear delt. So try to just make it more connected to the middle delt. I'm just adding a light amount of, I forgot the brush's name, clay strips and smoothing it out. Smooth around here. We can round this quite a lot. But the general, like, the line line should be there. Okay. That's smooth abs now. This area should be quite smooth. Like, you shouldn't really notice this type of thing. You should notice the smoothness of thing. That makes sense. Now scoped along the lines, we're not gonna separate the abs just yet. Now, these here can be quite smooth now. Almost joined, but depending on how lean you want on man to look. It depends on how much you are going to smooth them here. That's why I prefer to emphasize the earlier. But then as we go, we can smooth them out if we want him to look a bit fat here, I guess, would be the most the best description. Let's close the gap set, actually. But I still don't want them to be visible that much. No difference here. Not really here. See this other. This other one. Might have made them a bit too lean, I guess, but it's not something we can change. Smooth this out. Again, more squared. This can be a bit more dug it in. This we close here. Let's make the belly button. Let's the inflated brush and very lightly inflate this area, smooth it out. I think we can close it. Not super much. This Let's go with a crease polish brush and just do this again and smooth it out. Okay, let's smooth again. I think here it's quite important to smooth on the plains ish. So this is a plane. We can sharpen this here. Okay. I definitely going to have to tone down the muscle. It's not really muscle here. Let's get the same level of effect or same effect not level around here. So this area is quite thin as it comes back, it pops out. I should pop out here too, but we won't really notice it. This is where our butt is going to be. And we probably might have to pull it up, but that's when legs come into play. Second. Yeah, the torso is not looking bad. We're gonna work on the fibers on some more nicer. Oh, yeah. Well to smooth here, first, we'll go with the scrape though, and we'll do it on top, just to make it more bony looking. Then we can dig this area here. Then we can smooth out. Now smooth this area, too, but just to have a more sharper, bony look. What was I saying? We are gonna add a more organic look, I guess, to the torso. But as of a shape, it's pretty much done. We might have to change some things when we do legs and the arms. We'll go at the arms first. Let's separate the abs, I guess. I think smoothing them out a bit and then separate them might be the best idea. It's usually how I did it. How I've done. So the silhouette is squarish, but then the apps can take many forms. Now, here we let's try to smooth it out. Just enough, so we can take them up, but they're like a secondary thought, I guess. Okay, my mouse is not enough. So us up. But, yeah, our overall shape is done here. When we make the arms and the legs, we can let's emphasize the part where the chest connects you. We'll clean this area a bit. We'll fix the lats, even though the lats aren't good, but we'll determine how the triceps connect here and so on. I'm going to emphasize the lats a bit. Smooth. All the armpit area here. Smooth. Yeah, we're not sitting in a bad position. Let's see with shadow. Yeah, as I said, we are also gonna make him a costume. No, yeah, the costume, probably the Omniman costume, not the ltermite one or the comic one that he gets. But the one with the cape probably in the cape, as well. Again, this episode, I just wanted to see. Maybe something like this where he's, like, looking more I'd like to call it proud. Yeah. And then the arms, we are going to work on the fists a bit, not the fist, the hands, as they are going to be interlocked. So we'll make one hand, and then the other we'll make a basic hand, and then we'll pose it for one arm, and then we'll pose it for the other and then join them. After that, we'll probably work on the legs. And after we're done with the legs, we can slowly join them, clean up the mesh, add the clothes, and give it a maybe gray black and white colouring, just to make it look cooler. We could now, I think we're gonna stick with the black and white coloring just to make it. I like to say more more cartoony, no, but more action figure. Yeah, maybe. I think that's the word. But yeah, that is it for Episode six. The next episode, we will continue with the arms. As you can see, the other body parts do take less, just because we will come back to each after we finish one and because the head is probably the most complex thing out of the whole sculpt. So see you onto the next episode and thank you for watching. 9. Adding The Arms: Hey, there. Welcome back to the seventh episode or welcome to the seventh episode where we will beginning the arms. Now, again, we're going to use the same reference, but let's just zoom in a bit. I'm just going to do this to zoom, or I guess I don't have my mouse connected, so I didn't need to do that. But since we're focusing on the arms, it does help if the reference is just a bit bigger, and we can see the arms a bit more clearly. Now, as I think I mentioned last episode, we are moving faster, especially compared to the head. And I want to say it's mostly because the other parts are less complex, but that's not really the case. It's more that the head just has a lot of moving parts, and it wouldn't be the same as the whole body wouldn't be the same as the head. But I guess the head just has a lot of going on. That's why I believe it took less for the head. But now to move on to the arms, you can do it in multiple ways. As you've noticed, we used a sphere for the head, a sphere for the torso. But for the arms, we are going to use two cylinders. I think that pretty much gets the best shape, but you can use two spheres. You can use one sphere. You can use one cylinder. I in my daily sculpting, I will go through whichever way I feel like it. But I believe two cinders is probably the best. So let's start by adding one. We're going to move it to around the mid section here and then go in edit mode. Again, we are changing the dimensions in edit mode just so you don't have to apply the scales because then when we remash, the polygons are a bit stretched, and generally we don't like that. So let's decrease this to about as wide as the shoulder, I would say. Maybe a bit wider. And this will be our upper arm or yeah, upper arm. So if it connects from the part where the chest connects, it goes to just above the belly button, I would say. Yeah, that's really good. Now, let's pull this back. We can rose it a bit and pull it here. Now, I think we can decrease the quality. But before that, let's copy one, and we are going to use this for the forearm. Now, we'll just see if this angle is fine and it looks the same to me. The forearm looked like this ish. We're not gonna move on the farms just yet, but having them there helps. Now, the arms, the hands do push on the butt, so it could be something like this, maybe just a bit more. But in the arms episode, we are not going to make the hands just because the hands are a bit more complicated. No than the whole arm, but I think we should dedicate time to the arms alone. Again, coffee. I think this is long enough. Now, I would like to work on bit this. But I think we can just do that by sculpting. So let's go. Now, for the first time, we are going to increase the polygons to about, let's say, 270. Just something low because we're just trying to get the shape, the very uh simple shape, I guess. I don't know what word. So the tricep here should connect literally under the rear delt as it connects with the other thing here. One of the hvoids. We tuck this in Okay. Now, actually, I was looking at some references, and this part is very, how should I say, very hollow, I guess, hollow is not the right word, but the reference here is quite what you want to emulate. So we can get the clay strips brush and just dig in the edges here, and then dig in the actual shape and then smooth out. Something like this. But again, as I said, we are going to come back to the torso. We do the ledge. We're also going to come back to the torso, but most of it is done. Let's continue with triceps. Now, the long head of the triceps will be around here. So this will be very touching with the plates. So around here. And now from the back or rather, let's hide this just for now, the tricep will dig in like this. As you can see here, it doesn't just pop, but it wraps around the I guess the bone. So pull this to about the same level as the lats. I think we can inflate a bit. Okay. And now we can just grab the sport down. This is the only part where the long head is. The tricep has three heads. It is the medial head, medial head, the lateral head and the long head. This is the long head, and I think it's the biggest part of the tricep. If I'm not wrong, the medial head sits around here, and the lateral head is this part, probably the most popular. But the very simple shape that I like to think of, why do you do that is like a diamond a stressed diamond, but something like this. And this is where the elbow will be. Or long head will be, long head and then our lateral head like this. There is some detail here, but it's not really visible due to the fat and other things. Can be visible from person to person, but the shape of the whole tricep is very varied from person to person. Now, since his arm is rotated, the elbow might go just a bit to the side, so it won't be directly down, but rather like here. Let's bring back the pseudo forearm. Now let's pull out the lateral help. So this is it, and it should come to about here. So here we're going to pull out a bit just a bit. Okay. This is its tail, I guess. Now we'll pull in. Now around middle here we also pull up. So this, think of it as a P, like the letter P in the simple sense, not literally. Okay. Now, I think it does come quite forward just because the arm is quite rotated. So I think before we continue to the bicep, we can flatten this area with the scrape fill right on here. The bicep, which is this will be on top, rather normal with the tricep. So these areas to the side aren't necessarily flat, but they are more flat on the side. Like the majority of the happenings are here at the biceps and here at the triceps. So the general shape at the side will be flat. There is things here. There is the brachialis and other things that stick out here. But generally, we can get away with a flat shape and then add the muscles as we get more detail. So tuck this in Okay. Now let's see. Let's pull the thrice a bit more forward. The upper part of the peak should go more forward, and the tail can go a bit backward. Not too much, but just as a stylistic look, I guess. Okay? Now we can define a bit of the bicep. The current upper or front shoulder goes a bit too low, I think. So let's pull the front shoulder just so it's round. And then let's go from below and this part, pull it out to just about shoulder chest level, sorry. And now with the bicep, we can pull it first to around here. Do less of, like, don't pull it forward as much as you are pulling it in towards the torso. And flatten this, but not with the scrape filled brush, but just by grabbing it. Okay? Now the bicep comes from up here, goes down. And since we are not curling, or the model isn't curling, but he's about to curl. We shouldn't make the bicep fully stretched. So at around 80% of the 70 to 80% of the whole pseudoarm, we're just going to pull it back. But think of it in the tricep direction. Like this on this is normal with the drisp. So put it that way. Now we can pull this down. Okay. Might be a bit too wide now, but it's not bad. Make it quite flat around here and let's pull it towards the triceps. Okay. Now, I think we can push the triceps a bit more towards the biceps. So big brush or a bit smaller. Just push. Hey, that's not bad. From the side, we could tuck in the triceps a bit. Let's pull this up first a bit. Okay. Now, from the side, we're gonna tug this in. I think you're going to see the general shape. This is, like, squirtish and then it goes in. Okay? You could just tuck it in a bit. Okay. Now it would help to start doing the forearm, but before that, pull the bicep just a bit to the side, I guess, of the arm, the side of the arm, curl it a bit. And our width seems fine. What we can do here is pull it pull the elbow a bit more to the side, just so it's not fully touching the flats. So big brush, then from the elbow around here, pull to the side. Now try to just now get it fully joined with the lats. Okay. Let's work on the forearm. Let's actually copy or mirror it just so we get a better view. Okay. Let's also rename them. This will be let's call this the arm, and then this will be the forearm. Thank spell like that. Let me take a super water. Sometimes I think that the forum might be a bit more complex than the arm. I don't think that it's complex. It just may be a bit harder to get the correct shape. So first thing we're going to do is go on Edit mode, scale with S, and on the Y axis and just decase this about more than half of the top length here. Let's go with dogs. No, we'll decrease that in sculpting move. I also forgot to turn on the screen cast keys. They should be on, though. But let's go with let me see. Okay. Before we decrease the size, before we decrease the quality, grab here, yeah, here, and pull down the front part where our hand will be. And let's also pull it towards the butt a bit. Leave some space here. Even though he is going to squish the butt, that is some decent mass. Let's pull this down. Just follow the shapes for now. That's around here, where it'll connect, pull this out and pull this towards the middle here. Like this. Can't really get that much quality. Now, from here, pull down. Like the exercise. I. Let's go back to the main arm, and we'll decrease this. Decrease this a bit and pull the bicep area here a bit back. Like this, and more in like this. Okay, let's go back to the forearm. Now, let's increase the quality. Let's try 101st. Or let's go 200. Yeah, we can do that. I want to say let's mirror this as well right now, but let's not do it right now. Let's pull once again the whole area more out. Okay. Again, down middle of the arm here. But now let's get a tube like shape. So from here out. Okay. Now from here, we'll connect it to the elbow. Now the start, just get it as much as you can in line with the elbow. Let's actually go back to the arm and pull this back. Again, get this as much in line with the elbow. We are going to decrease the elbow, but cannot right now. Now this is mostly flat. Now here we can pull just a bit out, and then here we can tuck it. Okay. Let's pull this in towards the torso. Now, this area, let's inflate, actually, very lightly. Then pull let's say this is it. Yeah, around the middle of the forearm, pull this up. And it's a bit down. This front part where our hand will be should be quite squarish or boxish. So just try to get a nice. It doesn't have to be fully, but think of a rounded box. So, something like that. Let's mirror this just to see if they touch again with a torso. Neither looks good if we have the hand should touch One more sipoa Let's work on the front now. Again, we want a tube like shape here, even though we don't have much quality to work with. But let's just try to get this. But this part should be like a tube, and then it kind of disappears or just joins the rest of whatever muscles are here. But let's get this shape better. That is clear. Let's hide the torso. We can also hide the head if you want to. We'll just have this floating for now. Now, it should come here as it comes outside of the bicep, and then it can go back in. Now, I think let's use this opportunity to also tuck in the bicep. So it should start around here, and then this should be the front part of the bicep. There should be more tucked in. Let's pull this up. This is where it goes down. Let's tug this in. As you can see, it's very similar in. Okay. Let's add some mass here. So this is where it'll connect to the elbow. So here the massing can start. Also a bit from below, a bit up here, it goes back. This can go also quite in like this, but this should be the same not the same width, but the higher part should be upper, so it shouldn't go like this rather smoothly down. Okay. Let's return to the torso. Okay? I think it's fine. We're just lacking in detail. Dig this in. Now, this can go up here. So this in is up down, up, and then it goes down. Okay. I think our biceps or our upper arm might be a bit too low. So with a big brush, just pull up very slowly. Now the forearms pull up very slowly, as well. Okay. Let's try to decrease the elbows now. The elbow joint, rather. So around here, Okay. Now, Yeah, I think we can join them. I was thinking that we might have to change the position of one Fon. But at best, we change around here, not really anything too much. But before that, or non copy, select both of these, Shift D, and move them to backup. And now let's increase the quality of our arm. But first, at this part where this is the bicep tricep, we'll add just a bit of mass. This will be our Blake yals I think we can pull the shoulder just a bit more forward. We can tuck the tricep in here. This lateral belt can come. This puff it up here. This adds some mass. Connect here. Now, this medial deal does sit on top of the arm. This can go in a bit round. I don't fully like this area. Let's go with the flat brush and just inflate this. Smooth out. Dug this up. I just need to be more smooth. Go with the clays your brush. This more thug this up. Go in with this. That's good for now. Again, literally under the delts. Puff them up from the side like this. And for the bicep, just one more like this. Now, let's increase the cote. Let's go for 300 Yeah, 300 is fine. Let me just sip some coffee. So I think we begin by smoothing. Pull this down a bit. Smooth on top, smooth the side. Pull it out a bit, pull it in up here. Smooth the lateral head, pull it in like this. Okay, my nose is something. Pull it in, pull it up here in, pull where they sort of separate. And the tail should be quite thin. Okay. Now, this part can be quite smooth, but you should still be able to see the separation. Let's go with the crease polish brush and just dig here like this. We're going to make this exactly here, but smooth without a lot. This we're going to, what should I call it? Just pull, I guess, around the long head is and then smooth. Again, there's some differentiation here, but we don't really see it, so we'll smooth it out. We can pull this tail the elbow, but not super narrow. Pull this down, smooth Fool this back smooth from the front, then the side, smooth this whole area. Smooth the back heat as well. Now, let's go again with the creased polish brush. And where the elbow joint is, we'll go that way and then from up also here. We can smooth this out. Okay. Pull a bit more forward, and pull down here back, and then just generally flat. Okay. Now with the clay strips brush, we'll add, again, the brachialis. So it should be exactly in between the bicep and the tricep. But it should be smaller than the bicep. So just make a belt like this and go from side with the clay strips brush and smooth it out. I shouldn't really be visible, but it should be there, and we can smooth it here and there. It should be smooth on top and then a mouse. Now, let's pull the tricep just a bit more in. Smooth this area. I don't really like how it looks from the side, tricep or from the front. So let's pull this area more in, and then he ish. It's fine with this parish, we'll dig like here. Okay, that is better. Yeah, that's better. Now, let's go with a crease polish brush, and we're gonna curve this brig as. So like this. Now, here it'll go like this in, but it's not really visible. So we only care about this front part, smooth it out. Okay, I don't know. Oh, my God. Okay. That was my keyboard. Let's tuck this upper part in. Now, let's add some more mass to the long head. So starting from here, we'll go with the clay strapping brush. Just do this. Now smooth. We can do it for the lateral head as well. Now smooth this out. I don't know what's today. So go with lightly, though, along the P shape, then to the back and smooth it. We can also do this later when we are more detail, just for I think feathering of the tricep. We can also do something for the biceps, actually. So this will be the front up the bicep. Okay. Now we'll do this. Try to get some outside as well, and smooth along the front. Smooth along the side as well. Then also separate the tricep from the back, I guess. Crease polish brush, just dig in like this and smooth it out. Go down, make this round and like, let's get the torso back. Okay. Now we can work on the forearms. We're definitely gonna add more mass, but it looks fine. I think we went to 300, so let's go to 300 as well. And here, I think we can, yeah, we can smooth everything, but lightly. And try to follow again the path. Okay. We really don't need the. Let's just select the arm and the forearm and press slash the slash. Now we've isolated them. If we want to go back, and just press slash again, but we have to select them again and slash. So now since we have isolated them, we can work on them. Take a sip of coffee. Okay. I think if we define the elbow right now, press H to hide the fore arms and this isolated, which is pretty cool. And let's make so this should be the line that the tricep is flowing on really. But just make a squared or rounded square here. Smooth it out, and this will be our elbow for now. Go back old age to hide them. Now, let's just make sure that they sit well with the elbow. We can pull this tail up. Pull this back and Okay. Now, this can have a bit more mass from here. So mostly here, it probably be to the bone, but it won't have too much muscle here, very close to the elbow. Then immediately it'll have the I don't know. It's just this. It's not the flexors, but the one that sits below, not in front of the arm. So as it goes in around here, it'll then just go in the wrist. So around here, kind of converges. This could be, like, very sharp like this. Maybe not that sharp, but the more sharp, the more stylized, I guess, pull this in, salt a bit. Let's add some mask like this. Smooth out. Let's dig here. Now with a crease polars brush, we're going to go from here and just dig to here and smooth us out. Now, if you notice there's like two lines at your wrist for some people, actually. For most, maybe. But there's like two lines around here. Don't give us down. And they usually come in the same direction as this lower forearm thing is coming. So we can make them like this with a crease polars brush. But they mostly flow on this direction. Small amounts. We might have made them a bit too big here. So just smooth out things a bit. Now, from here, since this will be our list, let's go with a crease polish brush, and from the from here to here, we'll make a line that connects here is. So very lightly, like this sort of this line pull it to the front. And we depending on the size, we could make this pop out down here. But I don't think it'll be in the angle, but we'll see. Now, pull this line up just a bit and slowly. Now here with the draw so we can define sort of the joints of this. This could be maybe a quarter, maybe almost half the disk, but we'll get that clear when we make the hands. Something like that. Now let's go for this thing. Pull this out, pull this in, in, play strips brush, just go along the line like this. You can make a bit more dipped, pull it out, smooth it out. Go with a crease plush and just do this. Add definitely more mass. Here, they're very touching, so we need to figure that out when we join them. Now with a crease polise brush, we can also just dig in here. Let's move out. Pull this down. Pull it closer like this. Let's make it a bit more straight like this. Let's dig in with a clay strips brush here. Now, pull this out. With a creased polish brush. Actually, we can smooth this quite a lot, and then around middle here, we can just dig in like this. Just a triangle for now. And then it'll be less visible, but go in a straight line and then connects. Smooth is quite a lot. Now, depending on how much lines you want to get in, you can get in just a lot of lines randomly, but one to three lines is probably the sweet spot, and you don't want the lines to be the same following the same shape, I guess. Okay. So we have one here. You can make another one. That goes a bit more straight, maybe. Or, no, let's go straight. Then it goes up like this. You just don't want them to fall the same shape. They kind of like no. But when we get more detail, we can work better on it. Car should be smoothed out. Let's get the crease boise brush. And let's go back to the arm, pull the elbows back, pull this area in, widen the elbow just a bit, smoothly tricep. And with a crease boise brush, we'll make this like this. And this not a triangle, but a trapezoid, yeah. That sits right under the elbow. So like this. Okay. Now, let's go along this again and just do this, this that. We can widen this a bit. We can decrease the size a bit. Pull this out a bit or here actually, and make this more wide like this. Pull this back and we could with the scrape fill, make this flat like this. Just to add a bit of stylization, pull it in. Pull it out here again, goes down, okay? Pull this out a bit. We can flatten it here. And from below where this back thing will be, pull it out just a bit. Not to follow the flow a bit, we can make it go like this, and then here, go back. Let's also pull it in here. Put it in a bit in here, but this should be most not flat, but sort of following a line. I think you can see it. Okay, let's bring in the torso. I think the forearms at least here are a bit too big or the arms are a bit too small. So let's increase the arms a bit. Let's increase them in just normal view. Go just slowly. Okay, let's hold the forearms down a bit. Hold this area up a bit. And then the biceps will make them a bit curvier here. I think we can join them. See. Let's work on the upper part of the tricep. Go in, go in. Let's separate this better. Smooth out. Let's tuck in the tail a bit more and pull this out just a bit more. Yeah, I think we can join them. You can take one more backup right now. Let's just also do this with a scrape fill. Go along like this and smooth out. And if you do want, take a backup now. Let's put it try just a bit more out here. And if you have save your backup, wait. But now we will grab the phonon, then select the arm and press join. We'll do something similar when we do the other parts. But let's just see controller. Okay, we're gonna have to decrease the quality, but we will do that in the next episode where we will be finishing the arms. Without the hand, hands will come after the legs just because we need the butt, as well. To get a better grasp, we can do the hands now, I guess. But in the next episode, we will continue with the arms. Hope you enjoyed. And thank you. 10. Joining and Completing The Arms: Hey, there. Welcome to the eighth episode of Discourse, where we will be completing the arms. They are mostly done. Like the big shapes are done. You have to join them, clean the mesh, do fixing problems, and we are good. So go inside of your joined arms, and let's increase the quality to below 100, I think. Let's go. Yeah, that's fine. Again, do experiment with your PC and see how it handles each resolution. Don't just go to one. It's very likely that it could just crash. Even though I think in the newest update, they made it that you can only go low enough that it doesn't crash or maybe that it might crash, but it's less likely. Like, it might just stop you to a low point. But let's continue. Now, since we are only smoothing, let's isolate them again with slash and smooth along the keep calling them planes. I'll call them shapes or something. Smooth on the side. And this whole area is just weird, honestly. Let's do this. Well amalgamated with the rest here, but just for now, we can cre posh it a bit smooth this elbow area. Smooth this part. A long head, lateral head. This part should be quite small, like we don't really notice anything. Then this part smooth, smooth from under here. I don't super like this detail here. Spool this just a bit, pull it a bit forward on top of the bicep, smoth smooth the tricep from here. That big smooth this area. I'll just smooth it outside for now, and then when we connect it, we can see. We can pull this area in like this and then out here. You can make this go like around, like, goes down, goes up like this, but smooth it out. Pull this here, smooth smooth. Smooth around here. We might add some mass to the line there. Smooth this. Smooth this. Let's tuck this in. Smooth, smooth. This line shouldn't really be visible. Like, you should be able to see that there's, like, two masses, but the line shouldn't really be visible. Okay. Let's go with a clays that's brushing out and just sculpt over here. Like this. Pull it out like this. This goes in a bit. Let's see how it looks with our torso. Okay. Mm mm. It's not too bad. Let's go back, take a coffee. Okay. Let's tuck this in. Smooth this here. Let's go with a crease boy brush and just crease here. Here, there'll be a lot of overlap, especially skin. Pull this out, pull this in very slightly, pull this down a bit in in. Let's make this a bit wider down. So from here, pull down. Pull in. We can pull this whole thing a bit more in. This pull this a bit down, smoke. We can smooth a lot of here. Okay. Pull it in. Tile area should be way more then. The bicep from here, pull it down. It looks fine from here. Let's separate the brachias just a bit. So I'm just pushing the mass around it. I'm gonna make it a bit more round, pull it up here. Then I'm going to smooth, especially a top. Let's define this part again. So one line here, two lines. We go more to the lower forearm, smooth out. This skin go in like this, pull it out, smooth. Smooth. Smooth. Let's go with a scrape fill and smooth this area. This Let's scrape it around the side as it is quite sharp around here and then it digs in. This can increase it. Then around here, it just goes inside the arm. Ve a bit more down. Okay. I don't super like this part. Pull this in. Now, let's go with the clay strips. Try to follow that line we made. Don't add too much, but make it visible. Till it goes dearest joint thing and smooth it, especially here. And it should be more smooth this side than a bit more sticking out from this side. So like it is Okay. Just look from the side. You can't pull this part in. I think it's down enough. The spark can go a bit down. The spark can go a bit up. Tu this in, come on, here. This part is definitely too sharp. It's not that it's long, but Mm. Let's pull it like this or a ten or this a bit more like this with the breaky eye area. Smooth it out. T bar can go more in more like this, Spull it down and smooth it. Now, do this very lightly, but go along the lines, the crease pose brush, till about here, and then under it, also do the same. Now smoothest a lot. Okay? That could go lower, though. So pull this down down down down. And smooth out once again. This down. Smooth around here. There's a sharp shape. What? Shape or size difference? I think I missed size and shape. So I said shape. But there's a size difference that I kind of don't like. Let's tug this in pull this this, smooth this out. Pull the smooth out. Okay. That's one of the clay strips. In this area, we're just going to dig a bit. Not that much. Smooth, smooth. Now, on top of here, we're gonna go like this. Smooth. There should be just little details here and there visible. So let's make this like this. Small. Let's go with a crease bog brush and make this sharper. Smooth, say you here. Smooth here. Hold down. Hold down as well. Smooth. Hold up. Let's try this and just make this Look at this with a claisropsh we'll go along it heavily smooth. Should go a bit more in. Is gonna be a bit more smooth. Won't not too bad. Let's pull this bit more out. Let's shut this in. Tart this in as well. Let's go with a clay strips brush and do that thing we did earlier like this smooth from the top O here, out here. Make this as well. Okay. Let's also do that to the triceps. So let's go with a bit more sterno. Yeah, this works. Just along the shape and smooth. This could also come down to here. Okay? Let's do it for the long head as well. Let's see how it looks with a torso. Let's square on that side. The triceps a bit. So come in front. Okay. This out in here just lightly missing. This smooth this up top. Smooth this from the side. Smooth about heat as well. Let's work a bit on the shoulders. Let's pull this up, but keep the same shape. We can pull this a bit more down, pull it out here at the front. As it goes, let's go with a crease bows brush. Just do this. Okay? We can definitely work on them more when we join them. Let's move down. Smol. Let's talk them in here. Yeah. Just make this a bit more flat. The triceps, don't say that they're a bit too big. I think they're just kind of sticking out, so let's pull them in this way. Then put them in like this. And this part might be a bit too low. So with the medium brush, pull up. This part, the tail should go like on top of the elbow joint, and then it disappears here. But we can definitely puff it up a bit, then it should come out smoother from here. This I think we can inflate a bit, so we'll just try that. Please brush, inflate, inflate, inflate. Suck in. So just a bit. Sin. Is it doing it? Yeah. Pull the sin, decrease it a bit. Okay. Smooth out here. Let's also decrease the size a bit here. Well, that's not bad. All the biceps small in here. Biceps seem fine. Mm. Let's pull this. I forgot the name of it, but let's pull it out from the side from the back, but we're pulling it to the side. So like this, the tail should be tucked in, but then the bar does come out. So just try to get some nice angles where you can pull it from. So something like this. Let's try to pull from here. Mm. Yeah, so it's quite straight with the elbow. And then we can tuck the tail in up until like here. Actually quite higher till here. So this can be tucked in. This can come out a smooth out. But yeah, I think it's a bit harder to change some shapes here, but we can get it done. It's just a bit harder. But we're in a pretty good spot. Let's pull the biceps a bit here, and then go down a bit around them up, pull. They could go a bit higher, actually. So let's go isolate this and try to mask just the bicep area. I don't have to be super precise. Not really just the bicep area, but just this little connecting part of the bicep. Control either reverse the mask or inverse the mask and pull this up. Hold M. Yeah, that would be good. The breaky eye will be better. The brakiye brachialis, breaky eye will go like this. But again, don't really care about that part. Small, small. Oops. Sorry. Pull this down, pull this up, up back. It's back a bit, puts a bit more on top of the biceps and curl it here. Smooth, pull this in. Smooth, smooth, smooth. Let's try to not make this as visible. But yeah, there's still some differentiation there. I'm gonna pull this in pull this out with the thing. Smooth token. Let's make it just a bit more square. You go very lively with your ten or mouse, but I wouldn't recommend that. Let's pull this up. Spot this a bit more then. Up. Smell here. So to say out. So the say out. Let's give someone to tell to here. Smell on top. Pull this in also do this. Pull this in and smooth it on top. Smooth a lot around here. Should still be quite small, actually, not this visible. Let's do one last clay strips. I may bit too visible, but he's lean. Let's pull this in a bit. Okay, pull this up a bit, especially down here. Okay. Yeah, we have some pretty solid ones. Now we are going to work on the connecting here. It's on the wrist later. Let's pull them up a bit. Pull this down a bit. You can actually push this forward. But we'll get some of this done when we make the hands and when we connect the torso, don't forget to save. Let's see how it looks under shadow. Yeah, definitely need to inflate this a bit. I But, yeah, we are in a pretty good spot, and we are going to move to the legs next. And then we're going to come back to the arms after the hands, but also arms. And after that, we will try and join them together and clean the mesh. So thank you for watching and see you in the next episode. 11. Adding The Legs Part 1: Hey, there. Welcome to the ninth episode of Discourse, where we will begin the legs. Now, personally, I think the legs are simpler than the arms. They're not simple, but they are simpler than the arms. But I feel like a lot of people, including me, slack when it comes to legs. I will usually when I do a full body scope, start from the head, torso arms, just like we've done in this course, at the end, I'll do the legs. And oftentimes I'm either just bored or tired, and I might want to speed things up and just get some shapes there. But you should generally try to avoid that. I don't do it super often, but if I were to slack on a body part, it would probably be the legs. So now to start, we are going to use a cylinder, so shift a cylinder. But again, similar to the arms, you can use a sphere. You can use two spheres, but we are only going to use a cylinder. Now, to get an idea of how big the legs are, I am using my fingers to get the size of the legs currently, and now I'm going to shift up just to see how big the legs are in proportion or in comparison to the upper tor upper body. So I think it's about from the love handles, it's slightly over the head, almost a head over. Let's go back here. So if we were to place this around here, we can place it here, I guess. So this is where the love handles sort of start or where the legs will connect. I'll go in di mode, get this top plane, and I'll go up to, I would say about here. We can always change these things, but I think getting the proportions at least close at the start really does help bring out the shape. Now we are going to get this close, get this about where the love handle sorted again. So about here. And let's pull this out. Now I'm going to select again S Shift Z or shift, Shift Z. So it doesn't change in the z axis. Pull this in. And I want it to be, let's say, from here to around here wide. Yeah, I think that's fine, and we can rotate it just a bit. Okay. Let's put this down here. Okay. Now, a bit different than the arms. We are going to create some loop cuts, but before that, pull the lower plane, I guess, of the cylinder back only on the Y axis to about, let's say, trap level. So around here. So it's on the same level as a traps. And similarly to the wrist, we are going to shrink this in the z axis, in this case. About how wide are is there a name for this? I'm not sure. But where our feet connect, I guess, feet joint? Should be a name. Now let's go to about halfway, a bit higher, I would say. And this will be where our keep forgetting these names. Our knee will be. I'm going to do a loop cut here and a loop cut here. And now in Scot mode. Oh, this is kind of not as wide as I would prefer. Let's try with Inflate. Okay, let's go with the flat brush. Just this upper part, but a bit on down blow as well. Okay. You are hold more. Now, from the side, I'm going to leave this about here. And as you can see, this is the I will call it the widest point from the side. So let's go I would say about belly area. But it's also up. Then this digs in. This goes even more in. And this can be somewhat straight. This can go a bit more in. Okay? Now, we are going to pull the thighs you. So try to only get this area not this as it will dig something like this. Don't do that. But yeah, try to only get this inner area more thigh. I don't know. Okay? We can pull the butt. Let's hide the arms for now. And we'll pull this pull this up, pull also this to about where the lower back is. We might have to push the lower back a bit. But for now, just on the same level, I guess, push this down a bit. Okay. So this will be our button hamstrings. Maybe like this. We can pull this a bit up just to give a tiny shape to our calves, calves, like this. We could also widen this area a bit. So don't go at the side exactly, but middle side dish and just pull out like this. Then here you can also go a bit like this. We are on very low poly right now, so we're just getting some shapes that could be useful. Let me just sip some coffee. Okay. Now from the front here we'll also shift a bit like this. And I think we can pull this just a bit down. Now, actually from the front, this is the widest part. So this goes over or if this is the torso line, it goes out of it like this, this goes in. Okay. I think we can increase the quality. It's actually pulled us just a bit higher. Okay. And we are still going to work on low quality but not this low quality. Let's go 250. Yeah, that works. Now, for now, we are going to try to get the same position as the leg in the reference. But you can stick with that, I guess. But my goal is to get them closer and just change the pose a bit, change the feet a bit. And first, I wanted to make him flying or floating, I guess. But I want to make the cape uh, touch the ground. So he also has to be not sitting, but standing on ground. So our main pose is going to be him standing on ground, so feet flat. But I'll also show you some tips on how you can make him you can make the legs, I guess. That's the main part we want to change. If you want to make the position or pose like he's floating and needed. But for now, we are pretty much going to try to replicate the reference. Let's see. We can pull the butt in. So try to go to pretty much where this line is here. Let's tuck in the upper back, so switch to here. If you don't know, you switch from a mesh to a mesh without going out of Scot mode with Q. So hover on a mesh, all Q. And we're working on the torso. So let's tuck in the lower back. Just lightly. Okay. Let's go back to the legs, pull out butts, pull it back, and we can give it a round shape now. So it should be coming like this. Let me see. No, no, this drawing is not good. If I could zoom in this drawing, it would be great. But sort of like that. I can't really get the shape, right? But I think we can get it with Scoting. So like this. And then here you want to tuck it in rather than pulling it like this, you want to very much make them overlap. So this will be the hamstrings. This will be the butt. We're not trying to do this. We're trying to pull them in, sorta. We can also do that more with the crease brush. So the butt should be sitting on top of the hamstrings. Pull this more, and this should be quite in line with the lower back. This pull here. Now, from here, so this area, push in very slightly, and we'll also pull it from here. You can push this in, get a bit more round. We can make it slightly bigger, so big brush and pull down. Yeah, just slightly. Let's work on the hamstring area. So this might be a bit too big. But I think it goes like this as well. So push this in. So don't really move this, push this area in. Push this out a bit. It should be in line with the butt and then pull it down. Tuck this in. Okay. Let's grab the thigh from here and pull it just a bit like this. We can pull the butt and the hamstring is out like this. Okay. Now, let's pull let's say this is the knee about here, I guess. Maybe, like, a butt from where it This is a butt. So this is the endpoint, so a butt down from where it connects to the butt. Oh, my God, I am messing up. A lot of butts. But who. Sorry, guys. Okay, I'm gonna draw it even though it's not that important. This is a butt length from here, a butt ng. And now we'll tuck this in. That was quite difficult to explain. So tuck it in, pull this just a bit out. Not too much. Around here might be the widest part. Then this will be tucked in. Let's tuck the sides as well. So like this, we can widen it just a bit and then smooth out. Okay? I think we should work on the back first, and then we can work on the front. So this is kind of where the sorry for the mouse, where the calves would start. Now, as this calf goes out, should come out like this. So it's very, like, smooth. Yes, smooth, I guess. I don't know what other word to describe it. So it was like anoxin. Okay. Now, the other calf is a bit more sharp. So we'll get this sticking out point just a bit lower than the other one. So around here, this is very straight, and then this is in. See how it looks. Okay. We can pull this just a bit down, but very lightly. Let's pull one side first, and then the other. Okay. And now from here, what we'll do is you can go a bit on the side and where the point of contact is, just start pulling in. Until here, we're trying to get a triangle like shape, very stressed tangle. Do that on both sides. Now here, we'll just do this. We're gonna have to pause just for 1 second. Okay, so unfortunately, my power has gone out, but that will not stop us. Unless my laptop dies. Is battery dies, then we'll have to continue on to the next video. Well, I'll just edit the segments, but I'll have to start recording again. Now, the calves, yes. As I said, this has to form a very squished triangle. So from the parts that connect I think it's flowing like this. Most of this upper area won't really be visible, but especially here, there is some parts that are missing, like, that are hollow. So that's where we kind of want to emphasize the shape, I guess, not emphasize, but make it stick out. I guess that's emphasizing. So the back isn't that bad right now. You could add just a bit more mass because Omniman is also a dad, so he has okay, my powerless back. That's good. Onman also has he's a dad, so he has dad calves. I'm losing my train of thought. Mm. Let's come again from the side here and tuck this lower part Okay, I think we are good for the back for now. Smooth to the front. So from the front where it comes up here, it should be quite flat or straight down, up top here. So sort of where the hips might be. Very straight up here. And then immediately from, like, it shouldn't be really visible as it's straight, but you should make it that. And then here, let's say, a bit lower than this or down here, it's going to be our widest point. Okay, my mouse is tweaking a bit. So again, it goes out, then it goes back in, but we're just going to smooth. Actually, for now, we'll make this quite sharp, just for now though. Now, this thigh area we are going to pull back. So pull at around mid level with a torso. Okay. And then from here, the thigh just goes inner. Okay. That's pretty good. Now, this area, we also want to dig in a bit, but very slightly. Okay. And then our main quad muscles here, we can make them pop. Kind of want to make the wider, but let's just see while we make the quarts. So what's the name of this? Uh second. This should be the vastest No, vastus medialis. Okay. The outside, this is the vastus lateralis. This is medialis. You don't really have to know them, but just a way of separating them. So this should come out very slightly here. But here, this should begin as this part sits on top of whatever's in the back here, then it goes in. This area could be also a bit higher. But around here, I guess, maybe a bit higher, as you can see in the reference. Oh, I can't see it here. But this is where the ck fin is. This is the medialis, and this is the laterals. I always thought that the medialis is the tear drop because it looks like a tear drop to me. I think people usually refer to this as a tear drop. Can't see it, though, I can't see it. Let's go on. Now we want this medial sport to come till about halfway of our upper leg. And then from down here, let's say this is the wreck fan, let's pull. You go also go from up, but I think the down is better. So pull out. Now, since we have this widest from the side, let's smooth it out. And the widest area is going to be this wreck fa area. Pull it and then smooth, then smoothes of it. While the widest from the front will be the laterals. Let's also define the knee here. So tug this a bit in and this a bit in, and then with the claisters brush, do some little little or there's a word little strokes, I guess. And then pull this down. Light strokes. That would be better word. Try to get the same shape here where there's just a flat part, and there's a part that sits under this rounder shape. So this ight have to make the knee a bit bigger. Let's see. Let's first just add a bit more mass to the medialis, as it does sit a bit on top of the knee. And then this area down here should be quite in line with the lateralis the medialis, as it does sit on top of it, then it'll come in here right under the knee. So straight and then in and then it shouldn't really be visible. Yeah, there's a bunch of a mess there, which I don't really like, but we'll fix it a bit. I think we can pull the calves a bit down. Also from the side. Okay, with a big brush, go like this to the side a bit. Then from the side, we'll pull the calf a bit down like this, a bit outer. While this goes in, we'll shift this also, and with a bigger brush, just follow this side of the calf. So it should go like this. Okay. And then it comes back. Sound like that definitely wider here. And we can kind of make it pop here and then go back. Okay. Let's pull this whole knee area up. So with a big brush. Let's go from like a three quarters view here. Just pull. Et's decrease the caps just a bit. Okay. Now let's work on the laterals. So we can puff up this area just a bit, then go in. But again, this is DUI that starts to pull. Pull this as it goes down and pull here to smooth the transition. Add mass to the side as well. So just stretch it, I guess. Now, as you can see here, there's a sort of dip. It's like a diagonal line. And then this goes straight. There's also a line here. We're not doing too bad. I don't like how thin this is. But let's see. I think we can pull the feet. We're really not gonna add detail to the feet as compared to, let's say, like, the fists or the hands, as we're probably gonna add boots or shoes. But we're still going to give a general shape. I think we should make this area wider or let's just make this the square here. Go with a scrape fill brush and flatten this area. So it's this back area here. Now, from the side, let's pull the back of the feet. So just around this corner up, maybe not this much. Now from down. Let's widen it very slightly. As you can see, it's not that wider than this area, and then make this quite flat and start pulling out. For now, just go with a This is not a square man. Wang rectangle shape that goes Yeah, you should try to go over or at least until the quads here. You can widen it a bit. Okay. Now, from the side, smooth this area, slightly pull it back. Now, this part, we're going to pull up. Let's go from the side, actually. Right to keep it flat. Pull this up up up. You can make this part here, the widest from the side I guess. That's where the big toe is shifting towards like this. And as you can see, the feet are going outside or standing on the side, so like this. Okay. We do have some nice feet shape. We can pull this part a bit up, pull this out, and then pull this in. The closer to the knee, the thicker it is, but it's not that big of a difference. But it should be noticeable, like where the shin area is Shin Let's pull this to the side more. It'll be a brush a class. And we can also pull these areas out. So around here, find a verte vertex. Just pull it out lightly. Well, figure out the shape later, but just pull it out for now. Should also be more towards the back of the feet. And this part here is quite hollow, as you can see here. This part should be wider and meaningful like this. Definitely wider here go in, okay? I don't like this knee area. I think this is the problem. Let's smooth it out. Okay, my mouse is not doing well right now. Okay. Let's pull this just a little. This area seems fine, but we can put a bit N or this a bit in in Let's pros in also. Ma should be wide, comes in. Let to the edge of bit Hmm. Let's see. Pull this a bit down. So it connects here. I think this area might be a bit too wide, so tuck it in. This area might be a bit too low as well. So this is where the mediala sort of ends should come up to here, and then just let's make it a bit bigger. Then go in. Let's go with a crease forage brush and just define the shape so we can get it. So it goes out here and goes in and here we can make it sharper no, this cap I really don't like. Let's put out like this. But out. Let's try to rotate it. So R and Z. No, let's not rotate it for now. Let's pull this higher. Smooth this area and dip this area more in. So like this, this let's see our re front. This more in in in c fem should be, like, very iangular, I guess. We can talk the thighs in a bit. Let's move this should come out like this. Let's pull out like this. Let's pull the whole upper u a bit lower. Let's pull this area in this higher, increase the width of the whole quads. Tuck this in. Okay. Let's try the knee again. So with the clay strips add here, widen it about half the width of this and then pull it down. We can pull this a bit lower, pull it a bit higher this, this, come out like this. Okay, we can pull the whole leg just a bit more behind. So from here with a big brush, just go back. Now, this area of the leg fem will pour forward and then smooth, not like that. The smooth this end. Okay. Let's try to see how two legs look. So with your legs selected, add a mirror modifier and select Octo. With the legs. I think there is definitely some thickness problem around here. But let's get rid of the arms. Did I say with legs? I don't know. Pull the butt in pull the butt a bit higher, then connect these very good. Pull this up a bit. This can go a bit higher like this. Then we'll pull this also higher. Now for the lower back, we also want to just converge to this point inside here, smooth things out. Pull the butt up. Okay. Let me just sell him some coffee. I think a lot of the issues we can fix at higher detail. But let's just make sure the shape is okay for now. Here it should come out a bit more wide here. So why this point here and then smoothly transition down. We can make the transition quite sharp right now just because we are on lower quality. Let's tuck this in smooth it here, tuck in, pull a bit down, shift like this. Let's widen this area just slightly. So widen widen? We can make this go a bit higher like this. Smooth. Widen the knee just a bit. This can go just a bit lower, so it's like almost at the knee and then go in. Okay. I swam this a bit. The shape seems fine up here. Let's tuck around the love handles here. It should all go under them. Okay, please mouse. Let me just sap a few seconds. Okay? Let's tuck this area under the thighs in. Okay. I think we can go to the next level. I just put the medallas a bit at the knee and then pop it in here. Okay. You can pull this just a bit lower flat on this side. A little bit slower. Let's go with a cream polish brush and the fine with the parts sort of go. So the medals will go till here, it should be around So like this and then pop in here. Okay. And let's go to edit mode with S and shift Z, increase the thickness a bit. Yeah, let's go to the next quality. So R, let's go to, like, 300, lower 400 and control R. Now, similar to the other areas. Just smooth along the I keep calling the planes and then thinking if planes is the right word. But yeah, planes, shapes. You can kind of see here, like, there's one plane that goes this way, and there's a plane that goes this way. Now you want to be a bit lighter on the legs, especially the butt, as it does probably hold on the most fat on most people. So just smooth slowly get the shapes, redefine the shapes, I guess. Pull the butt in as he will be clenching his butt here. Okay? Let's smooth just the back first. Now, there is also a lot of fat in the hamstring area or rather in the part where it connects to the butt. Go with a crease police brush. This is like overlapping, I guess. Okay? You can widen at the top here, bit here too, smooth out. Smooth here, smother calves. Let's add this trunk here, we'll work on it later, but should widen this by a decent amount. Small this in here, here. Okay. Hollow this out with the scrape fill brush, smooth this area here. Then smooth slowly as you go up. Please mouse. Here, you shouldn't really notice the triangle thing. But as it goes lower, you should really be able to see it, especially down here. Smooth We're gonna go to the front. Let's start from the top. Tuck this area in. So it's also quite flat, at least till here and it can pop. Smooth smooth. Mm Let's give it some shape first. So go till about here. It's quite smooth here and then tucks in here. Now, smooth along the shapes. Okay. Let's tuck this like this. Pop it down, tuck it in a bit, pop it down. Okay. Pull this just a bit lower. Pull this bit out there, but also in in. Let's smooth this area first, but very lightly. Okay. Now with the clay strips brush, we're just going to separate this area here where the thighs and the other coiled muscles are, which basically don't do this right now, but basically comes from here till up there. But you can't really see it, I guess, unless you're at certain points where you can view it from. Let's first pull this in. So it's quite straight from the side. Smooth it out. Definitely going to have to work here. Small it first. Now very lightly, just go along the quartz. Actually, only up until here, then here we'll just dig in. We just want to define what the shape will be. Okay. Let go a bit more here. Smooth that out. Smooth it out here, too. Now, here, let's pull the thighs apart with a bit in front. And even though we do want them to touch, we're going to try to not overlap. Let me just pause 12. Adding The Legs Part 2: Okay, so to continue with our legs, we're also going to smooth this area because it's not a visible, like what you would see is it sticking out, but also due to the legs holding a higher amount of fat. A lot of it is very smooth, I guess. So we smooth. Mm I'm gonna make the thighs go a bit more in. Hold them forward. Let's give some shape to the quads. So it goes here and it sort of cups around knee. Then here it'll go up till middle of the whole quad, like this. You can tug a bit more in like this. Now we could make the reg fem go till here. But first, let's get the vasus laterals in and then we'll see based on where lateralis will be, then we can see the reg fam. So it'll go in and then close to here, but it'll go up. So try to get a triangular shape and then in around here. Now this will be Rc fM. Let's pull this higher, this lower, this more in, also this more in. And now try to only grab this and tuck it in. As again, this will be the widest point from the side. Just tuck it in and try to fall this shape, then it'll go down here. Make two not really fully diagonal lines, but something like this. Smooth this out a lot. We can also make this tube looking thing here, and it should go down to here, but we'll only make the top while thinking about this. Okay, and smooth out. It lacks a lot of mass right now, but Sorry. We're kind of worried about the shapes. We can pull this vast vast vastus lateral is in. So this endpoint is very narrow. This can be pretty straight. I guess it's more of a diamond than a triangle, but it should be a diamond trying to be a triangle. That's the thing. Okay. Let's also, my mouse is not doing well. Pull this a bit like this and let's stylize the knees a bit. So pull down but also forward, and it should be quite straight from here. So it just goes down, and this can also go down. Just think of two planes, one this and one this. But most of this just disappears inside here. Pull this from the side, pull this in and widen it a bit here. So please mouse. Smooth this area, the scrape fill brush, lightly scrape it, I guess. But smooth this down part. Also dig here. And then the bottom here should be a bit more narrow, but mostly a smooth dt. Okay. You might need to shring them a bit later on. For now, they're fine. Now, this definitely can go higher. So as soon as the medialis ends, it kind of dips in. My mouse is really weeding right now. So it should be more straight here, more in here. And this can be a bit more hollow. Not really hollow, just, I guess, less mass than the side. So try to tug this in a bit, and this comes over the spot. Let's tuck most of this calf behind. And also, if you want a bit more detail, you can just highlight this belt thing around here. Smooth. Most of this should be quite smooth. Pull a bit back. Okay? Pull most of the calf back. Smooth. Pull this down a bit. Pull this out, out out. You could pull this out as well. Let's pull this hamstring part out. So here that it does kind of go more out. So something like this, and then just smooth like which front part I like to make kind of flatter. So with the scrape you brush, just dig here, smooth, and then not really hollow those points. But with the crease polish brush, we'll emphasize this like stretching try to emulate stretching. It's not really stretching. Okay? Let's pull this a bit more pull this a bit more out. And then let's smooth this down part first. Try not to smooth that much below here, even though we'll flatten them later. When we're making the shoes and everything. Or the ground, I guess, with the shoes out that's a bit. And now for the I have no idea what they're called, but these things at the edge of your feet. They call bowl of your feet. I think this or that would be. But to do them, first, dig with your crease polish brush like this, then hold control. Why are my screen casks of? Hold control and just grab this bar with a creased polish brush and then try to follow the calves. So just outside of the calves. From the side, they should be essentially the same as the calves or from the front, sorry. But from the side, they're sticking just a bit more towards the feet. Tug this in here. Let's now dig out of it and just make this belt around here, I guess. Pull this a bit more forward than the ball part B. You can pull this a bit out. Smooth this. It's not really visible, just kind of adds a nice detail. I go go here and exactly where this is. Should be kind of the narrowest point here. Now, let's do the same with the inside one. Just inside, I guess. So from here, we should go down, so this way, so go it up, digin. But now we're going to try to get on the line with the calves. Try to make it a bit smoother than the last one. So about the outside as the calve is kind of sitting on top of it. There should be more hollow, smooth out. Okay. Let's do that with a clay striped brush. So here, the ball is here, and then very lightly go up, probably not this wide, but we only care about the belt like shape. Is movie outside, too. Okay. Now we want to emphasize on this outer or inner cap, I guess, sitting on top of it. So from the below here, just pull down. It has, like, that effect of sitting on top of the planes here. Pull this in a bit. Again, this is the most hollow point of this thing. Grab the clay stips brush and just lightly add mass here. Smooth also lightly. Okay. We can pull them a bit down. Pull them a bit out, and then this down smooth. Okay. Here we can pull this up around the middle. Put this down, and then just smooth and very nice. A lot, I guess, not very nice. Pull this out a bit, pull this up a bit. With the clay steps brush, dig around the edges here, add a bit more here and just smooth out a lot. Smooth along here as well. We're not in a bad spot, but we definitely need to add more mass around here. Maybe make them longer, but they look long enough from the side. So I think from here we'll pull up. Also this, pull up. Okay. Let's just tug this in a bit. To come out, come in. Let's push this to the side a bit. This more in, bit more down, more than here. Okay. Now, I think we should work on the quartz more. Pull this down. Widen it's just a bit smooth. Smooth down here. These are some very stylized knees. So try to get the sides very flat, I guess. There should be a bit more dug in. This can pop out a bit. But, yeah, we can definitely benefit from increasing them. Let's go in edit mode. Let's just increase them slowly. Mm. Okay. Something like that. Yeah, that looks better. And before we stretch them just a bit, let's fix the shape of this one of the vastus lateralis. So around here, this should be flat again. You can actually do it with a crease polish brush like this, and this should all sit under the love handles. It should be generally on the same level as the love handles. So like this. And now, as it ops out, we're gonna make it smoother. So for the same shape, just make the transition smoother. As you can see, it's quite sharp here. So just smooth it out. Let's get it from the back and tuck this in. This should still be the widest point, but we'll make it smoother. Now, here we could widen it up a bit, just because from the side, but still does a similar motion. Let's grab from here and just widen slowly. I think we're definitely in a good spot here. Pull this out. This should be hollow looking. But since again, there's a lot of fat, sort of just sits on top. Let's add some of this. Just the crease polish brush, do some shapes like this, and then slowly smooth out. Smooth it out as well. This, this Mm. Let's first give the pose that I want to do. So if you do want, you can save now, but we're still going to make some changes. But basically, we're gonna tuck the back of the feet here a bit more in. Let me demonstrate, but don't do this, just so I can give you an idea. So something like this where the calves are almost touching and his squad should be flexing a bit more. Something like that. So let's try that and then we'll make some more differences. So more changes, not differences. Let's pull the butt a bit up, separate it just a bit. And then pulled it down a bit up, smooth it out, so it's kind of one big mass. Mass, yeah? Oh, it's mass as well as never mind. But at the end of the feet here, slowly pulling with a big brush. Actually bigger. Just slowly pulling. And from the side from the front as well. Probably less right, B. Let's fix. But This gonna pop out. It really does touch, but for better effect, we want to make the touching ourselves, not just the mesh overlapping. So very flat here. Pushing against each other. This can go in like this. And now we should make the quads pop up a bit more as they'll be very contract here. Let's pull down a bit, make it this straighter. And let's add some more detail. So with your clay strips, just go along the quads shape. So this will be the first one and smoothen. But well also don't want our claws to be super separated as there's a lot of fat there, too. Now for our deck fan, we'll do this. You can kind of notice it here. But don't do this right now. It goes till here, but we only want the star to be that smooth out. We can pull this a bit more in like this. Now we should make our vases lateralis pop a bit more out. But first let's do the thing we did with their est and just go along the shapes with the clay strips brush and now smooth like this. Now let's again follow the shape. So around here, the cfm should be deep. Widest, and then it pulls in. Okay. This can go a bit more forward. Widest here goes in. Even though we are viewing more to the side, so do take that into account. Now let's just make lateralis pop quite a lot. Let's make this sharper. And we should smooth this out. For I don't fully like this shape. Dig here, dig here. So can make us a bit more forward. Tuck it in and then tuck also this in. We got pelvis a bit more back. So povi a bit more in. Again, I'm not exactly on the x axis. I'm going a bit more behind. I just tuck this in, tug this more in the back. I think we could pull this out a bit. And then from here, just make this transition smoother. Let's try one more thing. Go to Edit mode, scale, shift whether there's scale, Shift Z and just increase slightly. Pull this in so they don't touch. Now we have to change a lot of things, you? This in a hole in around the love handles. The love handles should be popping out. Now I think the vases Ladas might be a bit too much. So let's just tuck them in like this. So from here, they should come in, smooth this point. Okay, so from here in a bit. It's gonna be pulled in a bit. Quite a lot, actually. This could be flattened like this. Pulls from all sides while keeping that same shape, though. Mmm I think around here we should tuck it in a bit, actually. So from this, this can go a bit lower out in higher So like this. It doesn't look too bad. Maybe you should emphasize more shapes, though. So just redo some of the shapes. This My muscles been tweaking. Squeeze this mod in. So here, not flat, but generally flat. Then as it goes in, it should be tucked from down. Let's pull This is the wreck fan, so we'll pull a bit out. This can go a bit lower. Separate them just a bit. Let's see. So this should pop I guess we can eat them less. He's got more in lating a bit. Yeah, that's something, Bob. Let's make this a bit more flat. Should make this flatter though. You can pull this inner though. This go go just a bit more forward out slowly come in. Flat. Let's pull this just a bit down. And then with the scrape fail, scrape this area this area. Yeah, we might have to add a few more I call I'll call them, like, organic looking things, but we're not bad. Scoop this in in let's dry some of this as well. But yeah, I think we are in a pretty good spot. We'll also have to work when we do the pants and the boots. But before that, if you do want to make him floating, let's take the arms back in Altage. We might have to tuck them in a bit more. But if you do want to make him floating, I'm just going to shift the it. You don't have to do this. I'm just showing you mostly have to change the feet, but you can pull a bit forward and then pull the feet down as that, like, I guess, very generic floating pose that a lot of superheroes hit. Now, this part should also be up, and this should make the calves be contracted. So you can make the calves a bit sharper. But something like that. This, why do I say that? The quotes could be a bit more relaxed. And something like this will work. This is floating. This is standing. I would say floating is a bit more menacing, but that depends on your preference. I'm going to put this in my backup. Let's see with shadows on. Let's just took them just a bit more. I think shadows also help just get some details cleared. Let's redo that wreck fm thing. Should be more tight, and scrape some of this out. Smooth. Smooth. Now, here should really be the part where this is inserted. I choose this straighten this a bit and we could tug this in. But yeah, I think we are fine here. Or not. No, I think we are fine for here. We'll change the butt a bit when we do the fist in the next episode. So we'll have an idea of how the butt reacts. And we can also change some smoothing and some shapes around here. But majority of the bodywork is done. I hope you've learned something up until now, and we will meet each other in Episode ten where we'll do the arms. No arms, hands with the butt. But arms are also gonna play a role. See you there. 13. Creating The Hands Part 1: Hey, there. Welcome to the tenth episode of this course where we will sort of complete the whole body. Now, we will also adjust the legs, but our main objective for this episode is to make the hands. Now I've added to this purifle a no, but some hand references. So I'm going to increase the size of bit. Let me see if you can see it. Yes. Now, for the hand, these aren't necessarily the best references, but I think compared to the other body parts, your own hand is probably your best reference. I think if you had a mirror or Yeah, a mirror. And you could look at your head, it's also a very good reference. But your hand is much more naked than your head or body, and you can view your hand without really I'm not going to say distracting yourself, but you're not going out too much of your way. But enough yapping and let's go with the creating, making, something like that. I'm going to isolate the arms. So with slash, let's turn on screen cast keys. Okay, again, let's go back slash and I'm here. Now I am going to decrease actually, actually, let's go back. And from here, I'm going to pull the wrists back. You want to do this slowly. And I think it's about a quarter of the at orso. So just pull, try to not move this area too much, just the rest area. You can always adjust this. And let's flatten this just a bit. Also up here, but slightly. Okay. That's pretty good. I'm going to go with the scrape fill brush and just do this. We're not going to squish the butt just now. We'll do it after we pose the arms. Now we can slash. But what we're going to do is create a base hand, and then you can pose it based on your preference. I'm going to go with something similar to this. So I might just make both hands more flat, but it's going to be something similar to this. Now, we aren't gonna add armature to it or not gonna dig it. But if you do really want to rig it, feel free to do so. You will have a bit more freedom when posing it, but I prefer to create the pose while actually sculpting. Let me take a sip of coffee and we can go on. We will heavily adjust the disks after we have done the hands. But now I'm going to hold Shift and right click around here. Now, I think that should be where the three D cursor is, yes. So shift, and you can right click, but I'm going to click around middle here. And I'm going to add a cube this time. I'm going to shrink it to about it, I guess, to about the length of the rest. I'm going to rotate it and just get it in line. We're just kind of getting the proportions right now. So get it in line. To not really what should I say, change the rotation. We're going to move the edges rather than rotating or scaling it in object mode. So select the face, press G twice, and slowly go to about the wrist with this one as well and about here. Now, I think our hand can be just a bit longer. Uh, this should do. And then I'm going to add an edge loop. Okay, and put it just a bit below middle of this rectangle thing box. Okay. I think it's a bit too wide right now, but we can put this in. This or not for now. But no, leave it like this. Okay. Now, to get this, we're gonna try to rotate it back. This isn't the best rotation, but it will do. So just try to get it back to a more inline rotation. So some like this, this will be your hand. Now, I kind of want to rotate it down like this. Let's not rotate for now, and we'll pull this up now. I think it does need to rotate so R Y -90. And I'm going to mainly look at this one and this one. But also my own hand. So I guess it would help to look at the other way then. Okay. So this is the palm. So we want the palm to be not in this side. So control M and mirror it in the Y axis. Okay, now R Y, 180, and then Control M X. So we essentially have this one. Okay. We can pull this much higher. Like this, or this side, now we can pull a bit out, but it should be mostly in line with this side. Let's pull this a bit down as well. Yeah, I think that's not bad. It's definitely quite thick right now, but I think that's better than being less thick. Now let's add the fingers, which will also be a cube. And I think based on looking at my fingers, at least the index finger is as long as the hand. So you don't need the width wide that. But we just need the length. I'm mostly doing the changes in Edmo, so scale, Z axis, Z Z, and just go about the hand. Now, let's see it up here, and we can see the width. We can change most of these things just before I do it, but it's good to get an idea of proportions right now. Sorry. So S, Shift Z now. So we're only scaling in the X and Y axis. And think about getting five of these things up here. You don't have to do this, I'm just going to demonstrate. Yeah. Please don't select those. That might be a bit too wide, even though they will be a bit closer and these two will be a bit smaller. I think it's fine, since we will smooth a lot. But now is the width, the length is fine, width is fine. Let's put this back here. We could I want to say hide these, but I think going back to them will help us. So let's just keep them for now. Now I'm going to subdivide twice. Like this. And I'm going to select these two middle edges edges, edges, these two, and I'm going to pull them up. So G and Z, something like this. Now, a lot of this part is going to go inside. So even though it does look a bit too long, it's fine for now. On now, I think it's fine. Yeah. What I'd like to do is pull this in, so GY, and also pull this in GY. And then we can rotate the whole thing as it shouldn't be like it's curling, but just a relaxed finger. Now double G, and we can pull this slightly in and slightly in like this. We can pull these two edges or groups of edges, I guess, a bit down GZ, or ImpraG. Okay, be careful. Double G and slightly. I think this one might have a bit too much as well. So double G. Okay. Now, I'm rotating way too much. We're going to go on scope note and go on a very low resolution. Let's try 600. To log. Okay, 400 works. And we should turn on symmetry. And to start, we're going to smooth these edges along this side. So slowly, just go along. Okay. This side is much smoother or rounder than this side. Even though this side is quite smooth, it's still more flat. So let's just decrease the not this one. Let's go to the smooth. So this one. And yeah, 300. And just lightly, just to get rid of these sharp edges, but not as smooth as this as this side. Okay? Let's smooth the hell out of this one. Okay. One more set C. And we're not in a bad position. Again, a lot of this chunk will go inside. We could let's move this just once or twice, puff it up. And now with the creased polish brush, go here and just dig in. Smooth. I think the line was around here, dig in. Definitely, this needs to go lower. Think it was lower, puff this up. Since it's kind of curling, even though my fingers are quite flat, even when I'm curling, we are very close to the finger right now. This definitely needs more smoothing. Up here as well. Okay. Let's pull this up. We're not going to make the nails just because it's going to be literally not visible. But we can smooth this area here, but it shouldn't be super small. Now, I think we could benefit from adding a bit more width, but let you see. This is probably the most popping, especially around here. Let's smooth some more on this side. So it just rounder. It's kind of flat up here. And then we can smooth just a bit more on the outside or the other side. Now, I think wherever these lines are, on this side, it'll just get out of it like this. Thickness. Okay. Let's go and dim, select, S, and shift Z. Okay, maybe too much right in this area. On this side, it's quite flat. This might be a bit too much. If we look at this, pull down, pull down, pull this out. In. Yeah, it's quite flat on the side. They were not in a bad position for now, let's see. Something like this should be fine. Let's decrease the width just a bit. So S shift, go slowly. Yeah. Let's do the other fingers. So shift D X around here. That's only on the z axis, axis. So it's just slightly longer than this one. Then we can add some variation later. I prefer to just copy this one, but you could just copy this and then change for the ring finger, but shift D X. And this is just slightly smaller than the index finger. Something like this. Now for the pinky, this is quite smaller, also thinner. Shorter Probably even more than that. Yeah, something like that. This could benefit from shrinking it a bit widthwise so we're just going to shift it to. Not bad. Now, I'm not sure if we should do the index finger now or leave it when we have more of the hand. In the practice ones, I've done it now, so I think that's what we'll do. Do this or Z. Is this the negative. Let me just see. That's the positive. Don't do 90, do something like 70, 70. Not even 70, maybe 60. Well, 60. So, this. Even though, okay, before you move that, sorry. S and let's shrink it. That's also widen it. And now we can pull this down. It's quite more rounder at the top than the rest of the fingers. This can come down by a lot. Let's see. Again, I think your hand is probably the best reference. This only has two of these chunks. So this part will mostly go inside of the hand of this out. It's quite sharp in this area. So like this. It's quite shrinking here. We can pull this down, pull this out. I don't really like this, but I think it's just cause of this. Okay? This kind of grows. Kind of grows a descriptor and a half. Pull this out out. And yeah, this is quite more rounder around here as well. We can pull this down. We only need to get the sport. It's also quite flat around here. Let's see. So it's out here. Goes in, goes in, goes out. Now, comparing it, it's probably slightly shorter than the index finger. Okay, around here. So, let's see. I think I'm going to go with S and Z. Let's try that. Now, we're just gonna rotate it in place, here, and then R Z. I don't know how much this is. As I can't see it because of the reference. Okay, I can see it now. 40 47. But 50 probably works as well. Just pull it out a bit, like this. Now, this could go quite down, like, he ish. And yeah, the palm is definitely way too thick. But again, I think that is better than being way thinner. Now, let's go here, grab this edge, double G, and go about finger finger place. I don't know. Exciting. There is my coffee grown. We could pull this much outer around here. And I would like to tuck this in, but I think we'll do that in scope mode. Let see this area as well. We could shrim this area as well, to be honest. Go with GY. Okay, that doesn't do it. Just these two. I've just done this space. Yeah, G Y. Yeah, I think that we shouldn't get below the thickness. Let's go. Okay. Rotation and scale. Change the origin again, and let's scope. How much is that 450? Yeah, that's not bad. Let's start by smoothing the edges for now. Let me just see. 14. Creating The Hands Part 2: Okay. After some technical difficulties, I am back. So to continue, I think I want to shrink the fingers a bit. But I think they're wide enough, so we'll just pull them down. Yeah. That looks fine. Also gonna make this a bit thinner. Let's put it a bit more to the side. And just tuck the sides in. Let's see. I'm kind of fine with this top. So here it goes in. Let's pull this up a bit. Then it's just out here. I don't like that this is stuck here. So let's shrink it. Something like this. And we can make this more smooth here and then sharper as it goes up. Yeah, that's not that. Tuck this a bit in, pull it down. And we can get way more detail. As we, uh, work on the palm. I think I'm gonna pull this a bit more to the side. And then from here, it's quite sharp, but it is more in like this. And then more to the side, bit more in. Another thing we really didn't do is the I'm not going to call it curvature as it's really not apparent, but grab these two middle ones with G and the Y and just put them a bit more up. Now with your palm, pull it up. This should be like very there's a word, and I keep forgetting these when I talk. We'll say light, I guess, very light, but it should still have this curvature. Okay. We can smooth here. And as it comes, it should be very in line with the index finger, especially here. The smooth. Now on the bottom here, we can pull this higher. As you can probably notice on your hand. There's a word, but I guess it's the netting or webbing that ducks have. It's not that, but it looks like that. So do that under here, and then we can pull it a bit more down. This edge is very smooth. Okay. And this can come morning. And also smooth on the side. Then in. You might have to road it a bit more, but we're not in a bad position. Let's see. It's quite sharp this way. So this way, then there is this here, and here it's quite bumpy. So we might lower it a bit and try to get those eagles in. So first, I'm going to pull this in that it's in line with the I forgot the name with a thumb. Okay. And then with the scrape fill, we're going to flatten this. Okay. Definitely this area of the thumb is more to this. And then this will be way way smoother than not bubbly. More volume. I'm losing words, man. So pull this in. We could define the more sticking out area here, but not now. And then this we'll pull it in. Honestly, we would smooth it as well. Pull it down. Let's give it one big smooth. Okay, pull it down, pull it in. And let's shrink it just tiny amount and then tuck it a bit more in. Most of this area will be drawn when we connect. And I think at the top here switch, we'll just push this upper part in mostly in line with the fingers, a bit out. And then at the parts when there's nothing, I don't know. In between the fingers, just tuck it in. It kind of smoothly transitions to the webbing. So it should be visible from the we call this the front. But yeah, tuck this in, tug this even more in, and smooth or pull this area a bit more out. It's not really sharp, but I think it's just because you haven't connected them yet. This can go a bit more in. Now, this thumb is sticking out like a sore thumb. Okay. So I think we are going to try to give it less width. So just tug this in again. Then around this. We can widen it from this side, though. See? And shrink it slightly and pull it in. I think this is the lowest that it should go. That's actually rotated a bit. What's it then? The thumb will be the first thing that we connect with the palm. But let's add the I really don't know what to call this. But the back here, the palm, but I don't know what to call. Don't do this, these things. We turn screencaskeys because I closed it. So bump these areas. I'm using the clay strips brush, but the level of detail is quite low, so you could use the flay brush, the draw brush. But I like using the clay strips brush. And I'll think of it where the thumb is starting, and then it goes down. This is probably the best, but looking at your arm suffices, to be honest. Tug this in should only go to about where the thumb is starting at. And I'm pretty sure the thumb bones come in here. Does that matter? Not really, but just a fact fun fact. Now, bump this area as well. Then as it goes up till here. So not here. But let's say the tip of the finger length here. That's how far it should be. Widen this up. Smooth. Not bad. Let's also make a layer here. Smooth. Let's define the detail just a bit more. So this goes in, touch, this goes up. This goes like this. Okay, now let's work on the front a bit. I think this part is also quite smooth. We're trying not to smooth it as much as this area. Okay, this looks bad. Smooth it out and try to make it in one mesh dish. That was a lot of SH, SH. Let me also take a sip of water. That was a lot of water. Again, let's start smoothing this, but not as smooth as this area. Just tapping around. Let's see one. I can kind of pop out here and then go in. So select all the fingers and decrease them. Just go a and slowly decrease them. I know I'm holding shift, I think it's the photoshop. Push it again to the edge. This can stick out, but not that much. Okay. Now, I keep forgetting names. The knuckles, the knuckles. I'm going with a draw sharp, too, and I'm going to hold control and just go over where they connect with the palm, with the hand, I guess, not the p. Okay, now I'm going to go down, go down, go down. This is not really detailed, but we're just giving it some shape. Now I'm going to dig in between them. Especially here, even though there's no knuckle here. But yeah, dig here, pull this in, pull this in. And we can make this a bit more hollow like this and go with very light smoothing. You know that much. Well, okay. Yeah. Let's do it. I'm not sure if I can swear on you, mate. What the other platforms. Let's talk this side. We can make these connect more. Just for the shapes. Yeah. Now, let's work a bit on the fingers. Okay, let's go. That's not gonna work. I'll just tuck it in. I guess up here, it is very not changing, except at the top as it is quite round, quite round, but rounder than the other fingers. Mm his make us pop a bit more and less short as it goes down, go out. I'm going to turn off symmetry. I'm going to turn this this way. Okay. I'm also gonna do this. And I'm just gonna pull it a bit more down. It's still sticking out. I'll tuck it from this side and this side. I think we'll figure it out when we connect it to the hand. Now, I think this might be a bit too big. So let's go or too wide, what is happening. So p a shift that. Okay. But this area here is a bit too big. So pull it up. Let's see. This is quite flat. I don't particularly like this. So let's make it more round. Let's see the others. We can also increase a bit, pull it up. We do care mostly for this side, though, rather than this side. I don't think we should neglect this side. Again, I think it's flat up until here, and then it rounds up. Something like this. Also, something like that. So up until here, flat and then rounds. Yeah. Now, there is definitely some variation. They shouldn't all look the same. I see my finger, my index finger goes to the what would this be to the right a bit. So like this and just add a bit of variation here and there, honestly. But make sure that they do look fine before you do that. Let me just try to smooth this also. That's a lot of smoothing. But it kind of works. I think we'll see when we have a bit more detail. Again, just add some variation here and there. We can tuck this in a bit. Okay, we have a nice basic hand, but we are not going to connect them just yet. I do notice that it's quite smaller than the this we had. So let's go and position this to where we wanted it. So select all of it and keep that selection for a while now. Rotate it in the This was the Y axis or? Yeah, the X axis. I think this is fairly straightforward, but just rotate it so it sits on the palm like this. On the wrist, sorry. Z, let's go here. Just about where it would be. Let's increase the size. Okay. I think that's let's do it just a bit more. I think that's fine. We'll tuck in the list a bit. It's offer just slightly more. Okay. Let's see it with On now. Is that a bit too small? Okay, that might be a bit too small. I think let's go for a but cheek butchek long or just the distance from the ok, the distance from the ring finger to the end of the wrist should be about a but cheek. Yeah, I think at the start, we said that this ends at about a quarter of the torso, and it seems like it. But let's pull this in a bit closer. Now let's move the wrist a bit slowly, though. But we don't have to connect them right now. Let's only select all of the hand, so individually. Again slash. Select the hand, the arm pull in. Just about the rest. We'll clean most of it up, but it is more helpful before we do the cleaning that it is closer to what we want. Let's pull this back. Flatten this up. That should be quite flat as well, These are changes that we mostly do closer to when we join them, Bill. But it definitely helps to have an idea now. We'll define that is better at the hand itself. Now it seems a bit too big. And just decrease it a bit. Okay, that seems fine. Smooth this a out. Tuck it in. We'll definitely clean it up after. Let's see. That seems fine. Now, I don't want to connect them. I want to define the pose first and then connect them. But if you do want to rig them, then you can connect them now and then do the rigging and pose. But now practice, I did dispose, but I don't know if I really like it. I kind of want the fingers to be flat, but the thumbs to interlock each other. So let's try that. Again, for now, we're going to have to select all of the hand and then work on it. But let's isolate these two once again. Now, you can just pan them, but I don't like doing that. If you want, just Control P. I'd suggest you select the hand and pan them. Shift D, Control M X. Now we have our second hand. And let's fing this out. I'm going to rotate this in the Z axis. Pull this more in. Yeah, I think I'm gonna keep them flat. But now one hand should have N I think they get hit the same pose, actually. Okay. Again, as we mentioned earlier, I'm going to undo all of this. Delete that, and I'm going to shift D and put this in my backup. Now, maybe I should have deleted that. Okay, never mind. Control M. Control M again. X axis, axis, one of those words and around here. Now, this arm this hand is going to be a dummy hand. What about. Do I want this to be. I'll make this the front one. And this will be the back one. Oops. Please. Okay. This. Okay, we can join this, but we're not going to join join it. We just want the mesh to be a thing in itself. So this is going to be flat. Let's tuck this in. But we could tuck this higher. So when we make the other arm hand, also be slightly tucked. Now, let's select our main hand. Pull it a bit back the Yaxs just so the fingers don't interlock, pull it back. Like this. Okay. Now, I guess we do want this part to be more back here. Ole up now you really don't move one finger. Now, it still has to go down. What we're going to do is pull this way higher. Again, don't be scared here. We have it in the backup. And also pull this higher. So it's coming out from here. We can rotate it a bit. Again, no symmetry on. Pull this up. Now, you should be way more careful. Poll this up. And I'm going to go with the pose brush. Try to go in the same plane as where you want to rotate. And from the tip, we're going to leave this anchor thing go where the finger would rotate from what's the name? Like, origin, I guess. It's not exactly origin. But the smaller sphere node thing should be at the digging part. And then from here, we're just going to curl it very slowly, but do make sure you are on the same plane. Shrink it just a bit. Okay. Now with the grab brush, let's grab it down. Also grab it down, can pull this up, and in also this in it looks quite weird, and I think it's just not that long. Let's hide this. Okay, it doesn't look bad. If I move it up, it's kind of straight here. This can go more in. We're definitely struggling here, or I am. So let's put it out like this. This I think we'll start by joining these two. Okay, and join. I think the pingers might want to be a bit thicker. Let's see. Okay, I think we switch the local here as a ship z, and just make them thicker. As ship Z a ship z. I think this one's fine. That could be a bit too thick, but I think that's fine. I would prefer to have thicker fingers than wide. Okay, we'll smooth this out. When we have more quality. Let's go with this. And let's go to let's see. Below 100. Let's go like 700. Control R. Okay. We're definitely gonna need to work on this. Now, just as we've done prior, smooth along the planes. Try not to smooth these, but we can just redo them if you do. Try to make this part a bit more rounded. But that's not going to matter that much. It's just smooth, smooth. Now, here, let's smooth this area first. Let's see. This is more higher. We can make this a bit more smooth for now. Smooth. I really don't want to work on here as it doesn't matter, but we are going to add some detail. Now, from this point, I'll just do this. This definitely goes lower now. And around here, there should be like stretching artifacts. So just move along the shapes. Oh, that looks. Pull it out like this. Okay. Now, also up top, we're going to smooth now. Okay. From here, it looks pretty good. Let me just say about water. But yeah, in three D, you have to look at every angle to make it correct. You can not do it good from every angle, especially in our case. But it does make the shape look better at the end. Let's try to figure out the knuckle thing area here. So up top, make a cube first, smooth it out, and I'll dig here. Don't super dig, but dig, so we notice the What could this be? It's not a bone. Keep forgetting names. But this thing should stick out, so make it hollow enough, so it does that. Pull it up just so this is more rectangle like. Smooth, smooth. Tuck this in. I think we should pull this out like this. Pull it in. Just try to make it more in line. So this goes in, this goes out there working fine. You can put this up a bit. Tuck this in smooth out the area here, we can smooth it a lot. But again, it should have, like, a stretching part. As you can see, if you separate your thumb a lot from your hand, it has that pulling area, I guess, I don't know what to call. But, it looks fine. You might have to change the pose a bit later. We're going to do both hands, but with a scrap brush, just go over the top, the sides, move this out. Again, this should be very close to here. Let's pull it from up here. I guess we are down, but arm itself is up, so pull it out. Okay, that's decent. Let's tuck this in down and we can connect our second finger, that being index finger and joint. Let's go with the same detail, just controller. And now we're going to do the same thing but especially smooth on the side here, here, then here you can go quick, I guess, as this area is quite smooth and around. Let's see. We can pull this area just a bit. Smooth. Now, from here, we're going to smooth a lot, but not as much as here. So we're just getting rid of the sharpness. Yeah, we're not we are smoothing, but we're trying to get rid of the sharpness rather than get it all smooth. Look fine. Let's grease polish here. Small. Gee polish here, small. Now, this is taking about a bit too much. Let's make this like this. Now. Yeah, we should have made it a bit. No, I don't think we should have made it wither. But let's slowly tuck it in. Try to get the spend some decent time in the earlier stages, just so you when you don't fully what should I say? When you fully don't get the shape correct at the lower detail stages, you can always fix them later, but it's much harder than earlier. Okay. That's fine for now. Let's sit down these edges. Okay. Now the part of getting these in is a bit harder as they might stick to each other. So we're going for the edge one first, then we'll slowly increase the quality. Um, I don't think we're gonna work on the details here of the finger, but you can, if you want. It's mostly just adding lines and crease polishing crease polishing, and what is this called? Like you forget Clay stripping it. Oh, that sounds wrong. But adding strips to make it more more organic, I guess. Now we'll follow the same procedure with the rest of the fingers. Again, we're going to smooth a bit more on this side, but we're just trying to get rid of the sharpness. Now, even though it does stick out from here, from here, it's quite smooth, almost like one. Shape. This is all so. But from this, we're going to go like this the solid. Let's go with the crease part first and crease around here with the clay strips brush, add the bit here, and then pull this area here. I think the pinky, most of these are the same size. And this the top tip might be the largest, but they're mostly the same size. Now, this should be the most puffy. Yeah. And let's also make this here. Okay. You can smooth just a bit. And the pinky is much sharper at the top than the rest, I would say. Now let's try the ring finger, join, control R. And yeah, we want to avoid that. So let's go with the middle finger, see if it does that, too. And it does it less, so go ahead, but we still have to increase the quality, so let's go for 400. We can get rid of that. Let's go before we go to 400. We'll move it just slightly down. As we're trying to stay in this, we didn't even need to change at this time. We're trying to stay as low quality as possible for as much as we can. Let's pull this up. Smooth. Again, from here, smooth from the side. Let's see. Please hear, please hear smooth from the side. Smooth. Okay. I think we could leave it like this, but I do want to tuck it in. Let's also make this before. I think in most thingers they are going up rather than down, so just. Okay, let's tuck this down. First smooth us up. Now slowly we'll tuck it down. But it's definitely quite long, I would say. So go slowly. I think that's fine. Okay? And now we'll go for the finger. Let's pull this just a bit higher and let's join it. Throw R. Okay? Let's go for a bit lower. Okay. I'd rather have more than one side. But this time we'll have to increase the quality. Let's go for 300, 200 I guess. Okay, that's fine. Let's just dry 300. Okay, lower than 300. That is fine. Small bigot. Let's start by smoothing the sides here. As you can see, it is much harder to get the shapes correct now. Not much harder, but it's affecting more. It's affecting more? No. There's just more things to be affected by it. No. That is not why. I guess more points of failure. That's what I'm trying to say. All lets up. Let's smooth less. Smooth. Okay. Again, these are going more towards the fingers. Smooth by side. We should smooth these other fingers as well. I don't like how these are sticking out. I don't think smoothing is going to fix them. Let's try a sharp crease polish. Then smooth. Yeah. So sharp crease polish, smooth from one side, smooth from the other. H Okay. Smell this area, smooth this area. We should clean this up first. Also here we'll go with a smoother with a sharper crease polish and smooth small smooth here. Should we should go down with it a bit. Pull it out just a bit, pull this out a bit. Smooth, smooth. Yeah, we're not in a bad position. We definitely need to smooth this out 1 second. 15. Creating The Hands Part 3: Okay, so let's continue on with the smoothing. And also remake some of the details or lines we made in the previous levels. But, yeah, these aren't that visible, or they shouldn't stick out as individual parts of the hand, but rather just skin overlapping and going here and there. Let's widen this a bit. Sm, sm. Okay. I think we're just gonna clean this side just so it looks fine if you do want to add a few more details to it. But if or in any case that you would use this sculpture, you don't really need to see part. Mm mm Let's clay fill this Definitely work on these knuckles. If you do plan to use the sport. But since we don't, I'm gonna leave this mostly just very blank. Let's pull this back a bit. So this Smoll smooth. Let's go to our crease polish brush. Go quite narrow and just dig in. We can pull this up a bit very slowly. Hmm. We can make this a bit thicker down here. Let's see. And then my finger is going quite up here. Let's pull this down a bit. Okay, it doesn't look. Looks fine. I think we can add quite a bit more with it. And then around the top, this single bit more out like this, smooth the side. You could also make something like this, but very little. Two, let's see. To maybe three of these lines. And just smooth as they get closer. I like that. Let's now get the second hand. See. Okay, let's just leave this for but it really doesn't matter. Shift D, control, and X or Y? Oh, we are on local. Okay, global. Sorry. Control M and X. We met it on the X axis. And, this is just getting on our way, deleted. Now I think I'm going to make this hand more forward. So rotate, pull forward, and we could also rotate in the Y axis. This and up here, Mm. But I kind of do want this finger to stick out. So let's lots. Let's rotate this one on the y axis. Put it a bit more up, this down now and put it down. Okay. Let's rotate this in the X axis and pull it back a bit. This on the x axis as well. Pull it forward a bit. And now we could Okay, let's go to edit mode. This might lag, so be careful. Shift or no. Sorry. First Control A, apply rotation and scale, set origin to geometry, and then in edit mode, shift N, and now our normal should be back to normal. That was horrible. Now with the grab brush, I'm going to grab this forward very lightly. Okay? Now this side, I'm going to grab it backwards. I can go a bit more strongly, I guess. But just try to not make them overlap. We can also just tug this in since it's hand material, hand mass, I don't know. It is way more soft. But as we pull back, we should also pull a bit in. I do think that they're not overlapping that much. Now, they can overlap a little if you want to. You can just adjust them to look good. But if you blant a three gi Prentum or something, just make sure they look a bit cleaner. Let's pull this down a bit. Let's grab this whole thing. Rutate it Rtate it. Now we'll also grab this up. Pull this down. You could also make the thumb just fully tucked in, but I kind of want to make it more dynamic. The brush pull up. And it looks fine. Now on the next episode, we are going to adjust each of the hands. So we are going to apply the mirior modifier that we have here and then join each arm separately, clean up the mesh, and join and then clean up the mesh. We might do some adjusting on the wrists and we should be good on the hand side. Let's name these. This will be our hand, right, yes. This will be our hand left. Let's go out of our isolation mode. And we are currently in this position. Then we didn't also name the leg, so leg, legs and everything else should be fine. Let's get one last look at him before we move on to the next one, where we will be adjusting the legs a bit, we will very much adjust the butt here. As you can see, it should be pushed back. Again, join the arms, and then this section is done. And in the next section, we will finalize everything. So thank you for watching and I hope to see you there. 16. Adjusting The Butt: Hey, there. Welcome back to for the welcome, sorry, to episode 11 of the scores, where we will be adjusting the legs, working on the butt and joining the arms with the hands. Our legs aren't in a bad position, but I feel like they are a bit too sharp, especially the vases lateralis. So we're going to add a bit a bit of a nicer look to it. So let's go to the side, and we're going to flatten this area. We're gonna push this a bit forward, push this a bit in, and just round things up. Let's define where direct fem comes from or not comes from, but the general shape of direct fam. So like this, pull it out a bit and we'll pull this out. Should come out the widest about here, and then come in. But it should come in quite sharply at the Okay, Let's just puff the vases lateralis a bit. Sorry. We can smooth this area a lot. And let's dig in to get the shapes here. You can just do this part here and then smooth out. Let's add the belt like thing here, but very lightly and just connect it to here. Smooth going like, side to side. Let's add some more detail to the thighs like this. Smooth, smooth it here. For the vases atadals, I'm going to dig. Sorry. Okay. I think I can continue. Dig here, so on the side towards the back. Let's see. Tug this in this and we can make something like this and then go from side to side with clay strips. So until here, smooth side to side. Let's go with the flat brush and just flaate the cross here. Something like this. My about here. Let's put it up just a bit. Also from here. Mm. I just pull it out from this side a bit. Tuck it in a bit. I don't think it's bad. Let's see from the side. Make this just a bit flatter. **** this a bit more in. And as it comes down, it should go in. It's going to be smooth. Let's pull this area a bit out. Okay. Also from here. But they can just slowly pull and push in, I guess. Okay. We could also adjust this area a bit it is sticking out a lot. Ready. Let's pull it from the back, actually. So like this, move out. Okay, we're not in a bad position. Let's don't do this. It's too thick, but it could work. So let's just pull it back as shift Z Pull it in, so the thighs aren't fully touching. Tug these in. The butt should also not be fully touching. Well, I guess it can since we are going to join it. Okay, that looks fine. Now, I was thinking if we should adjust the arms first or the butt. I really don't need the torso or head. So let's hide these. That looks insane. Let's see. I think we're going to adjust the butt. So just slowly pull back mostly at the top. We're just trying to flatten it. Even not on the top, more of this area, but you should see the after effects like the ah. Okay, at the top. But we are still mirrored here, so do remember that? Yeah, we can pull the butt from up top, but very lightly. See around here. Okay. You know, I think that's fine. Oh, we didn't hide. That's fine. Let's apply the merry modifier. The way that I like to do it. Very similar to the normal way, but I just like to press Q and then press object. This is in my quick favorites, but it is the convert to mesh one. But for more understandable more understandable sake, we are just going to hit Apply if I have selected them. Okay? Now, you can see that we can move these individually. Let's just apply the rotation. Let's apply and then turn back the origin. Now we are going to join each hand individually. So our dist should be more based on the hand than the wrist from the arm. So tuck this in and smooth it out and just try to get the same shape as the wrist from the hand. It doesn't have to be exactly it, but also try not to get overlapping parts. Let's also hide the legs. Again, this part really is non essential. This front part. Okay. I think that's fine to join, go in. Actually, I think we are going to separate the hands. I think that would be better. The arms, sorry. So go here, select adult or some part of one of the arms, press Control L, P, and selection. Now these two are separate. I would suggest that you go rotation scale and origin again, rotation scale and origin. Now we can join. Okay. Let's see if our quality. What is it? 0.009, R. Okay, no. I don't remember what we did with the hands, as the last one we did with the hands is probably the best. Just before that, let's isolate, so select these three, isolate. And with the hands, we went to a level of detail of 0.0 h two. I don't think that's gonna be the same. But let's go to zero point oh two. Really. That's not the greatest news. Let me just smooth things out. Let's hope the blender doesn't crash. And it didn't, that worked very well. And now we will smooth around here. And I guess you can work around here as well. This should be more flattered. Now we can make those wrist lines and start about here with a thinner, crease polis brush. Here, here. I like two or three, I think. Smooth. Should come across all of this. Okay. Now, this part I don't really like. So let's flatten it. Tuck it in. Pull it a bit more down flat. Tuck it in. Tuck it in from this side as well. This could actually be a bit thicker from here. Okay. We could also make the two lines that come from Hirsh. So let's just try. Don't try this right now. Definitely more narrow. Okay, let's go with the plasters brush. Let's do one, maybe thicker, one, two. Around here should be not visible at all. Then closer. You could do that if you want to. Even though I don't think it should be that detail, but if you'd like to, it's there. Now, let's go to the other one. I just but seems nice. Tuck this in from this side not Ino, flatten this here. Again, this should be a bit more flat. Then go in here. This can go more in. In here. Lot like this. This can also go in. Okay, we can join them. 0.02, it was. Our 0.00 looking. I still prefer going to this. Oh, is that gonna work? H. Yeah, that's fine. You can slowly just try other resolutions and see when artifacts aren't made in your hands. But mine kind of worked with the lowest. But what? Be very careful. Not that this is gonna ruin everything if it crashes, but it might just distur up your flow. It's gonna take some time to relaunch, things of that nature. So if you really haven't experimented with your resolution, check that out slowly. You should be good. Smooth this out. Let's make those lines. So some of those other lines that I don't know the name of. I think they are quite thick and they kind of look like tubes. And But yeah, something like this. Let's see if body. The one thing I can see that we can do is maybe increase the size of the hands a bit. It's not bad. The arm, sorry. Let's pull more in more in more in small, bit more down. It's going to go up down. Sorry. It's going go up as well. Yeah, overall pretty good position. I think we can start separating some things. But let's just see. Let's adjust the shoulders a bit. So I like to make this part to sit like this sharp part to sit in between the break your radials and the tricep. So try to get that if you want some nicer look, but it doesn't have to. Pull this forward, pull this a bit more up. Pull this back a bit. Pull this in. Also pull this in. Can pull this forward a bit. Okay. That seems fine. Then we are in a pretty good position. Let's Let's No, let's pull it. So pull this but also we can pull this forward and out here. So that tuck these sides and just make sure that the most of the shapes don't completely just collide with each other wrongly. So they're very, what should I say, nicely sitting on top of each other. The arms and shoulders seem fine. You seem fine as well, honestly. And I do want to join the legs together with the torso in one go. So I don't think I'm gonna separate them. Okay, Animation player. All age. And overall, it looks fine. Mm. Most of our trap work is going to be when we connect them. But let's just clean the shape. So when it connects here, as you can see in the reference here, it is quite sharply going down. So just do this. But it is going down by a lot. It's not like sticking out at the end. Just pull this up. Pull this up, pull this back. And I do think we can make the change now where he is looking up. So select the head with the mustache and the eyes. So make sure first everything is selected. Go R X and just thot it enough so it looks like he's not looking up, but he's in between looking straight and up Let's put it back into position. Okay, that was pretty good. Let's put the traps a bit, put them in a bit from the body. Okay? We can do. We are going to do a lot of the cleaning when we connect everything, but it doesn't hurt to make sure that things are looking nice first. I was a bit more up, a bit more up. When it comes to here, it just goes in, I guess. I don't know how to describe it. We can pull the neck out a bit. We can put put up. Sorry. Grab it at the very end out a bit, and then take down, something like that. Yeah, we are in a pretty good position. We could not inflate, but just grab these love handles out a bit. So around middle here, grab out, out. Yeah, that is pretty good. Now, again, we're not going to work on the feet as we're going to make the boots. But check if there's any big artifacts that you'd like to remove. If not, we are sitting in quite nice position here. Okay, I think that is pretty good for our first or our first, what should I call it? Level of doneness. This is our complete scope. From here, we are going to connect all the parts, clean up, join them properly, and then start by making the clothes, coloring Oh, no, making the clothes, including the cape, coloring. And that is our completed figurine, scope, whatever you want to call it. Now, I think I will call Episode 11 here. I have a midterm that I have to go to. Wish me luck, even though this will probably be uploaded much later. Now. So I hope you've learned up until here. From now, there is still work to be done, but it's mostly the same thing we've done in a much smaller scale, and it's only up from here. Thank you for watching, and I hope to see you on Episode 12. 17. Joining and Cleaning Up The Mesh: Hey there. Welcome to the 12th episode of Discourse. It is a weird number to say, where we will be finally joining all of the pieces together since we joined the hands last episode. Now, joining is quite straightforward and it's much easier than everything we've done up until now. So we should get away with a fairly nice result from here. But this is the point where I would actually suggest saving a backup of all of your scope because here, it's more of we're not taking a risk in the sense of am I getting the shape right? We're taking a risk in are the polygons gonna just ruin everything? So we have less things under control here. So I'm going to shift the I might take some time, but just copy or duplicate the whole mesh, press right click to put it back in place, M, and I'm going to put it in backup. You can also make a complete new collection from our old backup folder if you want to know which parts exactly are the main scoped. Let's turn off the shadow, and I think we can remove our preference because we're not gonna deal with anatan anatomy anymore, so I'm gonna close it. You can keep it, though, as it will help you to get the shapes if you aren't completely sure that they're correct or mostly correct. So for the anatomy part, we are done. We might have to come back just a bit on the clothes, but we are pretty much done. So if you are using this just for anatomy's sake, you can just leave your scope here, and you have learned anatomy. But if we want to complete our figurine or sculpt, we will have to join them and then potentially add a multi res modifier. Now, similarly, how we join the hands to the arms, we're going to join each piece individually to reduce or yeah, to reduce points of failures, so if something, we can just control Z, undo and come back. There was a lot of talking. Now, I think we're going to leave the head for last. But actually, let's do it first. So click your head, click your body, let's join. And now we might lose some mirror, but we just have to join back to the torso. If you have any mirrors that are not connected to the eyes, just put them back in the torso. 1 second. Okay, to continue, we are going to try a Control R immediately and see what will happen. Okay, I think that is pretty good. Let's see the face. We could go lower, but I think we can keep it at this. Now let's do smoothing. That's probably going to be the theme of this episode. Smoothing, not just smoothing, but a lot of smoothing. This should be like a diamond shape, and this is sort of where the taps split. But it's not really that visible here. Just make sure that this pops outside of the I don't know. I think it's a bone mark here, bony mark, bone landmark that. Now with our clay strips, just redefine this area smooth from side to side. We can narrow the space. This now let's smoove from here. Tuck this in smolt a lot here and try to differentiate these two areas, this and then this it's sort of just flat down. Now, here, let's try not to join in with the collar bone, even though some parts might be connected to the collar bone. Pull this down. We're going to dig this in just down here and smolt like this. Okay. Again, pull this in swing the transition here, in down, up a bit. Okay, that's not bad. Let's pull it a bit to the side, it up. Good one just a bit and maybe down, smooth. Smooth here. Hold this down, smooth. And that is our head and torso connected. Now I'm going to try this and go the claister brush from here to here is smooth from side to side. And also do this from side to side. Smooth. Majority of this part should be flat. Okay. That this our head, traps, and we're so connected. Now, I think we should go with the legs next. I want to hide these for better just for better visibility, honestly. And let me real quick, come back here. When we are trying to make the shape clean, rather the connection clean, try to make a part that sits under and the part that sits above it. Similarly, here, we could quote the shoulders just a bit out to emphasize this that the shoulders are sitting on top of the arm. And this will make the shape connection a bit clean. So let's join them. I did this to apply the mirror mollifier and going too fast there. But that was it. You could also just apply it here. Go to the body, join. That's the eye control R. Okay. Now, if you do notice that the polygons are leaving too much artifacts or let's say in the neck or in the body just too much polygons, you should lower the mesh or the voxel size, or you notice that you are losing detail on the face. In this case, we lost a bit. As you can see, this was way more defined, but we will clean this and increase the polygon size as we join the rest of the parts. Now, the legs have joined pretty cleanly, so we don't have to increase either. Smooth this area here by a lot. Now, depending on what body part you're joining with what, always check if your symmetry is on, but if you're going in the same order, it should be on. Now, smooth from below, just to make sure that the love handles are separated from the legs. Hold this up. Smooth. Smooth. Okay? Not that much smooth here. Connect the butt cheeks. Smooth. We can also get some crease polish. Sure, more narrow. Or just push them, I guess. Let's also make the butt cheeks a bit fatter. Smooth, smooth. You can just do a overall smoothing as we have smooth generally earlier. But if you see too much artifacts, just go over and smooth. My PC is lagging slightly. So again, check what your PC can handle with voxel sizes and slowly change it. If you crash, it's not a big deal, but better to avoid them. Let's dig in here. Now, as it goes down, I think we can just small this by a lot. And that is also our legs joint. We could sharpen this area a bit. Okay. Now we can go with the hands. I think this hand is a bit more questionable, so we'll go with you first. Try to make sure that they aren't touching. So we're gonna pull this out. They can be touching if you really don't mind, but it's better not to and we might get some what should I call it? Let me just smooth this out. I send. So voxels or some polygons sticking together, but personally, I don't mind when it's like here. I would mind if it was in between the fingers or heat ish, but I think it's fine. Again, let's join. Make sure that they're generally sitting on top, I guess. This let's try Control R, but I think here we're going to have to increase a bit. So control R. Don't go way too fast in this what I call it? In this area, I guess. But it is fairly simple. Just make sure that some things, as you can see, overlapping here and overlapping here. Sort Cctrol Z. Let's see what the other arms Vauxel size is, even though they are different from object to object because their size is different, their scale is different. 0.004. Well, I don't know why screen casks turns off. 0.04. Yeah, we are very high. I don't like this. Okay, that seems to be the lowest we can go for now. Let's try it. But go slowly if you you can leave. Polygons connect here and there, but if we can avoid it, why not? Can we now go lower that? 016, 08. Maybe you have to go here, then. Let's hope that it doesn't crash. After we join them, we're going to clean up the mesh a bit and we'll do the clothes first. You can do any costume of Oni Man you want, but we are going to stick with the Omniman one, the one he has from the start, not the ltermte one, not the one he gets in the comics, or the one when he goes to the Taxon that's their name. Okay, 08 is still a bit too much. Let's try. Let's go for 04. I wouldn't suggest that you go this high or this low, this fast, I guess. But I'm just gonna experiment here. But if you try slowly, it might take some time depending on your PCO mine. I wouldn't say that it is the most powerful, but it's taking some time in between each re mesh. I'll be shipping on some more. We're also going to add a platform that he will stand on just so we can get some more of a dynamic look to his cape and also just make it like a figuring figurine. Sorry. I think if we can figure this hand out, then the other hand should be fairly simple. But it'd be great if it worked. But I don't want to switch the tab. So yeah. This is quite a beautiful day today. Come on. I do think if we use the multis modifier, it'll probably even take more, okay. And that works pretty well. There's still some artifacts here, but unless you are digging it, it should be completely fine. If you are digging it, you should actually sculpt it in tipos. So you can put the shoulders a bit wider, this endpoint. Also, the chest stretching more, and then the arms are straight. I say tipos, I meant a pos. Now, we're not going to smooth this just yet, since we have the the symmetry. So if we smooth it here, it look kind of weird here. But after we join them, we can smooth both. Both sides as the hands, the arms are similar, as we didn't change much in the arms. Again, let's try to avoid overlapping. You should have changed this Uh, before we joined, it's not something we can change. Just if you want her to do slagging, then it's better. Okay, let's join the other. And this is also going to take some time, so I might pause it. Okay, I'm gonna pause it first, just so it doesn't mess up, but take your time here. Okay, so as I was about to get up and get some more water, it has come back. Now, there is overlap some not so good joints here, but I don't think it matters that much. Looks clean. Now we can smooth out the shoulders and arms. Let's start by sharpening this connection up here. You are going to have to move much slower. But it's fine. Smooth around. I can smooth quite a lot here and then just sharpen it with crease polish. Let's make this bigger. Let's smooth this area. Now, here I'd like a smoother transition, I guess. So let me just try this. I'm trying to only sculpt on the shoulder, but also some of the parts that it connects to, but not on the tricep and the other areas. Okay, I overdid this here. But yeah, this is the part where adjustments are very hard to make. As you can see, there's an artifact there. So do be careful. But they're not impossible to make. Impossible to change, but I mean, make the adjustments. Yeah, I like the overall look. I think it's the same from here to the other one. Yeah. So let's tuck it in. Smooth out. Let's make the arms just poke a bit out. Okay. I think we connected everything. Let's see. Without the mustache and everything else. Looks like it. Now let's just smooth and clean the head a bit. Also, the other parts if you do notice, but I think everything except the head for me is clean. Almost doesn't have to be clean, and I think some noise does add a bit of let's say, realism, but more organic, I guess. But you don't want it everywhere. Generally do want clean shapes. So just move along the planes for you now. Well, something happened to my nose. Okay. We'll see how it looks without a mustache in a second. Pull this a bit higher, get out down smooth. Stuck in a bit and smooth down here. As the ki goes out, we'll smooth it. Those things look pretty short. I'm going to define the lower lip a bit better here. And you generally do want thicker eyelids, both at the top and the bottom, I guess, but that's not really the bottom. And also thicker upper eyelids. We can make the little sphere that hangs out here. Sharpen this part up, dig a bit here. And if you do want to, you could go even in higher detail and make it more clean. I think this is a pretty good spot. Okay, my mouse is doing the tweaking. Let's see under the mustache. We could join the lips a bit better. If you want to make him without a mustache, then do spend some time here. So we'll just close the lips. We can pull this down a bit. We'll find the filtrm more. And the upper lip generally sits quite on top of the lower lip. This is how it looks mustacheless. Let's bring it back. And this is our joined scoat. As you can see, pretty good spot. Now, if you do want to just anatomy, it is going to be harder here, but it's not impossible, especially if you are in higher levels of detail. You can do that. But your result should look like this. This will be it for Episode 12. In the next one, we will use this scope to first make the cape. So I guess we have to add the platform first and then we'll pull out the other clothes, including some highly joined gloves and the boots for each feet. Yes. So I hope to see you in episode 13. 18. Adding The Cape and Clothes Part 1: Heather, welcome to Episode 13. Whoa. Wathen? Where we will be creating Omni Man's clothes. He will no longer be pseudo naked. Now, I think on the last episode, I said we were going to do the cape first, but Omni Man's cape connects to the red thing on his T shirt at the top. So it would be much better to do the clothes first. I noticed that when I was looking for cape references. So making the clothes is fairly simple. As we are going to do it with a mask. So all we need is our scoop. Now, you can use a reference for his clothes, but I think they are fairly simple. So we're going to start with the upper It's a T shirt. It's a shirt, I guess. So mask the whole upper body. I think we can get a line mask as well, but I prefer using just the mask brush itself. And go up until half of the neck around here, or I guess the whole traps are connected. So around here, here you want to be I don't want to say precise, but you don't want too much of jagged the endpoints like that, for example. So just go around, make sure it's quite smooth for the best results. Okay. So this is one edge of the upper shirt, and just make sure that you mask everything. I should have turned this off. This just means that my pen's strength will dictate the strength of the brush. But if you just press hard enough, should be fine. Um. And the mask strength doesn't really matter since we're not going to sculpt on on the mask, I guess, the count. And don't go fully in with the arms just now. And now at the crotch, it goes above, so maybe here is. Let's see the legs. Yeah, the line where it connects with the butt. So make a fairly straight line at the front. Herea. That's too much, but fairly straight. And then go up to here, I would say. So we're gonna have to clean this up. This actually, let's just go through this line as the pants are just gonna sit on top. I don't know why I didn't think of that. So the shirt can go lower, but don't make it super low. A bit lower than that line, we said. Now here it might be a bit difficult. And maybe we should have made the gloves before, but it's not anything too much. And for the arms go about here, as his gloves are quite long, they'll probably probably be up until here. So we just come from the side, from here. Let's see. Yeah, that's fine. Increase the size here. And I think that is fine for our upper body. Make sure edges that are less visible are masked. And now we are going to go at mask. I think with MS, no. Mask, please. And we're going to do max. I can't speak mask, extract. This might take a bit, so I might have to pause, but let's just press extract for now. I don't change these settings, but you can experiment if you want. Now, if you did Holy ****. I don't know if I should say that. Now, if you did want to make your clothes lower quality in the sense of resolution, you could have uh I keep forgetting things. You could have topolozRtpologized it. That's the word, Rtpologized it. And you would get a fairly similar shape. Then use a multi las modifier with a project to faces, I think. And you could get a quite clean shirt or clothes or whatever you're making. But we still want the the clothes itself to be highly detailed and we really aren't interested in optimizing it. So extracting from mask with a solidify modifier should do most of it. I think I'm going to pause it just because it's going to take a while probably. Okay, so that took quite a while. But we have a body suit now, which we are going to put on offset one. Did that do it? And now we can change how thick we want it to be. I size 0.05. Yeah, I think a three might be good. But let's go for four. I think your total should be quite thick. Now, I'm going to apply it, but before that, I'm going to shift D. Did I click and put it in backup, just so I don't have to do that again. I'm going to apply this. W should I have done a Multilas first? Let's see how multilas No, I should probably done. Let's see how. It's probably going to lag more. 1 second. Okay, the Imooraz is going to take too much, so we're going to go with a simpler method, which is going to be reducing the boxel size. Let's see nine hun. Now, similarly to when we're increasing the Boxle size, sorry. Similarly to how we decreased it earlier when you were joining, we are going to want to do this slowly and just see where the detail isn't too much, but we can still pick something up. Even here, we are going to do a lot of smoothing. But since this is more since we are doing this in reverse, yeah, that should be the right word. This is going to be a simpler technique of doing it where something like topo would have taken us much more time, but the results would have been much cleaner. Not bad. Let's try here and smooth. Now, here it's going to take here we can smooth a lot. Now, if you want to keep Oni man naked, feel free to do so. But think of this as a thin cloth sitting on top. You could still see muscle definition here and there, but you shouldn't be able to see this. So just smooth. Some parts you can make even more stretchy, I guess. But it's definitely gonna take some time. No some time, but more time than some other things we did earlier. You could make the belly button visible, but I don't think it should be visible. Most of the separation should also be gone. You shouldn't be able to see the brachialis. You can pull on certain parts down. This part we really don't care as the fans are going to sit on top of it. I can make some tries of visible, but not much. And it's starting to look like both. You can pull this back up. Not that, but this back a bit as tshirt would sit around here, and then here would be more dropping, I guess. Also, if you do not want to have the cake, feel free to do so. But we are gonna add the cake. Yeah, unless he's wearing like a muscle shirt. He just stick to you, he's not gonna have these visible here. I mean, they could be that thick that they are, but I don't think he would be wearing such a tight cloth. Sorry. Okay, I think the upper wraps would be visible. Shunt be that visible. You're gonna add some clay strips if you want to just to connect things better. I think I'm going to pull this out a bit. Also smalls quite a bit. But they can definitely be visible. It just depends how much you want to make them visible. Okay. Let's pull us quite a lot. Give us a bit upper. Pull us away from the triceps a bit so smooth more now. Now we'll make the triceps stick out a bit should generally be big. But don't go too fast here. But you can swive quite hard. I definitely don't think that his abs will be this visible, but he has a lramite. Okay. I think we are in a good spot for the upper body mostly. Now, around here, you can go with a scrape fill and just make this flatter, make sure you are coming from the same angle as you could get weird spots. If you want cleaner clothes, again, topo is a very good, approach. I think that's a good spot for the upper thing. Let's call this shirt. We could hide it. Okay, no, let's not hide it for now. Let's come back to here. Shouldn't taking that long. And our mask should still be on, so press Control I. And now we have reverse mask. Now we could isolate just the body, so press slash. Why did it also do that? Oh, no. That is our body, actually, not our T shirt. And just do control to remove anything that we don't actually want. That's gonna be our hands, as well. But if they're not touching, I think we can do something else. So let's leave the hands for now. Now, this part should come up to here or higher, where the butt connects so a bit higher like here, try to make it straight. Then as it goes the love handles, should come up should be very sharp up, and then just go around the body. I'm just scared I'm getting behind sometimes. Could we make that closer? I think we can. Let's put this in more and do this. It's fine, and now we'll hit mask extract again. I think we can also remove this part as we're going up, not that much like the ish, so we don't get extra geometry. I'm gonna pause here because it's gonna take some time to extract, but that's what we have to do. 19. Adding The Cape and Clothes Part 2: Okay, the mask is done, as you can see here. But since we did select the hands as well, this is going to allow us to easily make the gloves. I'm going to hide the body just for easier connection approach. And I'm going to go on at them. This is going to be quite hard on your machine. So I'll pause when it comes back. Okay, My PC feels like it's going to explode. So maybe better stick to masking the hands again in the body. So when you do the pants, don't mask the legs as well. Or the hands, as well, the legs. But now I'm going to select at least one vertice from the hands, and I will hope that I did. Fresh Control L. Tang hook. This will allow to separate them if they are not connected, which luckily they are not. So I would suggest that you mask the pants and hands individually. Now, I'll press selection and we have two separate measures that we will turn into clothes which we shall do next. 20. Adding The Cape and Clothes Part 3: Okay, now that we have the pants and the gloves in quotation mark marks, we can put the torso back. But it is it isolated? I think it's not. Hopefully, it doesn't take too long. Okay, it is not. Good. Let's hide the gloves for now. So just H. This should be our paths. Now, before we apply the modifier, we are going to decrease the resolution of it. Mm mm that should be fine. I'm pretty sure we didn't mask the boot area. Just in fact, this episode has taken like three days to record, just because I've been trying to find free time here and there. But okay, we shouldn't do that first. But the actual thing doesn't take three days. It's just that I have to cut certain parts. I think we are going to have to apply the modifier first, and then we can decrease the resolution. So let's go with one here. Changing the direction where the thickness is being applied to. And let's try 0.5 now. I think we did 0.3 for the, let's do 0.03, five or just three, actually, use that seems decent. Yeah. We also didn't do the boot. Mm. I want to delete though? Yeah, let's delete. Okay, maybe we should delete those after. But this should take less. Now, the knees won't really be visible. The whole detail in the legs isn't going to be that visible. We can make them a bit wider so they're not stuck to the legs again. The butt area might be a bit problem. Not the butt area. But just above the butt, we had to connect with the t shirt or sit on top of the shirt. It's not a t shirt. But it's not gonna be anything. Too complicated. Now, when you do join them, I guess, depending on your device, you should be careful and try not to go to too high a resolution. As right now we are in a quite high resolution, and as you can see, you can definitely do things, but it is much lager. And it's mostly just more annoying. Can you spell some of that on my table? I don't think I should be table. Until this comes back, I cannot plain it. I don't cut or pulse too much just to show that there is waiting time. Whether it does take too much, Did crash? No, I didn't crash, right? Yeah, I didn't crash. Okay? Al should take that much. But yeah, if you also do this with topo, it's much quicker in the sense of these pauses. But for the legs, it might be a bit more difficult. So I would suggest that you do the legs from another mesh, like, with a sphere. You're basically trying to emulate the same process as the legs, really not that detailed, more cylinder like. So I guess you can use cylinders. Yeah, you could really do well with cylinders. Come on. Okay, I'm going to pause as well. Keeps doing a thing where it works, but it opens OBS on top, and I'm just scared it's crashing, but I don't know why you're doing that. Okay, we have the thickness. Let's apply it. Let's go to Scot mode. Let's mesh two. Let's four. I think even higher than four should be fine, just because we don't have that much detail as compared to the shirt. But if it works faster, that would be great. Okay. Symmetry is on, I believe, yeah. You can't also hide anything, now. So let's smooth this. You should leave certain details the same. But here and there, you really won't be able to see some things. Like, yeah, maybe you could see this butt thing. Not by this much. The but could remain that fat. But it depends on how you want it. I'm gonna pull this as the cloth should go about here and then sit on top of it, so it should be quite just sitting over rather than sticking to the body. I guess, there are certain parts where you can see details, but the cloth will sit on top of it and then just come down like this. Don't let your body parts be shown. Like, your calves could be visible like this or like this. The shins here should really now be visible. Here, the boots will probably make it quite tight, so we should leave that body tight. Let's stick into the body, as you can see that. So some places are overlapping. So let's just go with a little scale if Come on, I changed the resolution, man. Very light. Okay. Okay, maybe that's just overlapping. No, I think we bring back the shirt. But it is isolated. Let's try this, okay? Yeah, this place is actually sitting quite nicely. We do have selections. But again, we want the pants to be out here. This line should really not be visible unless he's clenching his butt cheeks like a lot and it's taking the the pants. So just pull this out and it sit on top of it like this Smoth out. Make it a bit more sharper. Let's increase part. I might have gone a bit too low in detail, but for now, we just want the performance. Okay, let's see this. Maybe we fold it a bit, so we'll just throw it out. Now, the screw go much forward like this. Mm. I guess we shouldn't highlight this crotch area? Come on. Okay, now we okay. Now, for gloves, if you didn't select them with your pants mask, you can just select where is you want your gloves to be. And then now we would be at the same same stage, I guess. Just make them also kind of thick. I'll pull on later. Apply the solidifier modifier. Now here we probably need to be a bit more careful as they are gonna join, but we don't want that to be that much. The turn off symmetry. Now, if I could know where glove you see any parts where it's like popping outside of clothes just fix that. It doesn't take much. And we are just going to try. Let's isolate these and make these edges pop out like mickey mouse type thing. Also, we're going to try to make them the same length. So just pull where you need it. If you didn't select the glove mask in the same time at the same time as the pants mask, then try to make the length of these things longer. Maybe just before the middle of the forearms is pretty good. Let's see. Okay. Let's pull out here first. About, middle, maybe even a bit further than middle works. Again, less detail in the clothes. No pulling where I want to. You don't have to speed things up. Just take your time and make things correct. I should not have examined the mode. You can also pull in some of the shirt, let's say, here. Just a bit longer, I think, works fine. Yeah, it looks fine. You can make certain parts longer. This can pop out a bit. So like this part is in like this. And this part is popping out a bit. Smooth part of this part should be visible. Smooth just a bit. I don't want to tuck these edges like this. That seems fine. I think we are done for the close. Now we just need the platform at the cape Now you can either make the plane platform. Oh, no, you need to make the boots as well. I guess the plane should come first. Or you can make I think this is a viewport thing. Or you can make a spherical or should I call it Really? Do I decrease? Okay. You can make this a spherical platform, or this is the simpler one. Just go like this, normal, like this, and then you can make it as thick as you want. We'll go slower just trying to show the two variation. Or you can make a sphere. Come from here. I should've gotten my mouse, but try to flatten the top, increase their proportional size, and then take only the top. So maybe this Control I delete this Set the origin back. Sorry if you think car noises. Then it something like this. Probably way smaller. I don't know why my shift alt isn't working. Something like this. Yeah, I guess we can sit with something like that. By just happened. Please don't crash. I didn't crash, but I don't know why I did that. But yeah, someone like this, I think we're going to stick with this, but we have to make it bigger. Now, let's turn this origin to world origin. So it's just in the middle. Again, sphere. Let's make it quite big this time. If you have a mouse right now, it probably is better and put it about here. Let's increase it a bit more. Again, select the top thing here and shift Z until you get, like, quite a flat top like that. I'm only going to take these two faces. Control I, delete the faces. Now, since I do want to also make the cape, let's see. Okay, come on. Let's say the cape, yeah, maybe slightly. Something like this, we can make another one. Why is that not working? I can't seem to select these. I don't know if it's my mouse. Okay, but basically select the edges here. That work way too fast. Uh down. No, you can either What is happening? You can either increase it like this or just like this. I'm gonna increase it a bit. I don't know why Object mod is taking so long. So it's something like this. I think I'm gonna decrease the size just a bit, actually. Like that? Yeah, that seems fine. The cape should be like this long. C. So even something like this works? I'm going to join this edge of the bulk these edges in this space. You can do a grid fill, as well, but I don't really care about the details right now. And I'm just gonna shift this. Probably should have made the grit fill that day. I'm gonna shade some this or shade all the small. I kind of like some edges here. So let's go with a bevel. I probably shouldn't have done the edge sharpening, but something like this works. Now we have the boots left. So let's go to the body, hoping it doesn't lie too much. Okay. There is probably a mask on there. So we're going to hit clear mask. And with M, let's isolate just the body. Now, think of your books. I think I'm going to go till Hirsh. So same method as earlier. We're going to make his toes a bit sharper. But this part mostly is the same. Mask extract, extract. You can experiment again with these values, but I'm just going to the default one. I'm just gonna pause here. Okay, the boots are extracted. Oh, my God, I keep going into Scoop mode. We can make the boots a bit thicker. 0485. Keep forgetting that the screencast keys aren't on. Now we can turn the rest of the body on, just see. Let's decrease the quality of it. Mm hmm. Symmetry, even though it's most likely on since it's coming from the body. Do I know apply the solifon? Apply the modifier first. Now we can change the resolution. Okay. Let's start by pulling these sides. Just try to grab the top. Okay, let's isolate. And then when we turn the body back on, it's much easier to put it back. Is that part not connecting or what do I miss? These are the pants. This detail on the back should really be visible. The I have no idea what these cold might be visible, depending on your boots. And I guess Any man does have some, like, tied to the body boots. I don't think we should make them above the calves, though. But there is calves. There is calves. Yeah, there is boots, superheroes that go beyond calves. And the fran part can be a bit more forward. We do it correctly, that is. That should be it for nun's costume without the color and cape. If you want to customize them more or add some other things, you can add vest, shin guards, different bells on the top, I guess. Now, here we go from down. Now, let's go but try to grab it down and make it much sharper, like this. And then as it comes back, round it. So this can go a bit more round like this. Just make sure it's not letting the feet stick out. Then this can be quite round. Short on this and might have made the fee too long, to be honest. Or the pants are a bit too thick, but they are boots. Now we are going to move to the cape. So for the cape, we are going to start with a plane. Don't rotate it, increase the size to about trap width. So about that, pull it and go to about here. It should be behind the head, go a bit more. But it should connect to the trap parts. And we're going to try to make this longer than Omi man. So let me see. I'm calculating this with my fingers, or you can do it as well. Around Have I selected the edge though, select this edge. I'm measuring OmnimnGn. G, and it can be a bit longer than om man. See this for now. And we're also gonna increase its width two covered on man of it. So like this, maybe. Now let's subdivide it in this side. Let's do like four or five cuts. Let's go six. And now try to make these just outside the body. They don't have to be exact, but just so they look nice. Okay? So one, two, these If you want to go in more detail, you can now we're going to now let's subdivide this now, so these each individual thing is mostly squarish. Okay, maybe I think this is fine. At the end here, we can also do that. But a lot changes. Okay, I think that's fine. But try to keep it quite uniform. Maybe I should have done this, but it's fine. Let's also change then shirt and that's it. I to this platform. Now to this, we are going to add a cloth modifier. Cloth at the group section at the vertex group, and only select these ones. The vertices, not the faces or edges and assigned to this group. So when you're not selecting anything and you press select, this part should come highlighted. Now, in the clothing, that's good too. If you weights or no few weights. On. Is it shape? Yes, it's shape and select this group. So when the simulation is on, this part is the pin group. Let's see how it will do. As you can see, something like this. But we're also going to turn the collision for this and you could for this for the body, but okay, we might. We might. So let's turn the collision from here. If it could go slightly higher. Come on, it was slightly. It's going to gravity a bit higher. Man I do that? What? Is this the long object? Can we go back. Come on. Let's see. I'm going to holy one, put it in backup. Even though this is fairly simple, I'm going to apply it here. So now this is the mesh. Now with symmetry on, I'm going to pull it back. But adding collision to the body could also work, but our body is very complex right now. You can see his butt cheeks. And overall, this should come behind. This, honestly, it could go a bit more behind. And it could benefit from making the platform bigger. Hopefully, it does not overlap, I do not want to the simulation again. Let's pull this down. Could see from here. Okay, I might have to close that window, but this is our super simple cape. I'm gonna apply everything. And let's add a solidify modifier. Not Bv. Solidify one or do it minus one. Is the minus one. O and then see how thick you want your cape to be. I don't know why it's it in here, so I'm also gonna pull it out. But I'm going to try to make this quite connected to the T shirt. Is it not here? Have to find the right angle, I guess. But this is quite more straightforward. Oh maybe I should apply the modifier. I like the thickness. Make this more straight. This you can pull out. Try sharpen this edge here. Yeah, that looks good. Let's pull this in. I'm not sure how Omnimen costume works, but it looks like the cape is, like, a continuum or of the upper trap thing or trap thing. It's like this just flows together. Sometime I get something like that. Let's apply this. Well, just for more control. But don't speed up your uh and we are pretty good spot. Let's see the shadow. Now, come on, I can't lag. I guess it can. I'll come back when it comes back or came back. Okay. So this is our current Dmiman. The next episode, we are going to color him. We're only going to paint him on the sculpt mode as we aren't planning on rendering him or anything, but rather using him as anatomy practice, possible three D printing. But if you were to paint on him with a texture in hy polygons, then it is pretty much the same. And if you wanted to paint him better, I guess you would have to paint him on hypolygon, bake that map, save it, and then de topologize it to be less polygons. Use that map that you paint in high polygons. So you would have to follow the same procedure, which we'll see in the next one. So see you there. 21. Coloring The Sculpt: It welcome back to episode 14 of our course, where we will be coloring Omniman and finishing this figure. Figurine, something like that. We are going to get right away with it with the T shirt shirt, which is mostly white with the red stuff. Let's go with attribute. And we are going to use the paint tool here. Let's go with a Let's try white. And yeah nothing. So let's get just a little darker white, but very slightly. As we are not going to make it a in full color, we are going to make it a gray scale of the red and white costume. So now we are going to paint the straps with this dark color, start from the top and basically do the thing that most kids learn where you have to paint within the lines, but the lines are currently quite vague. So be more careful. But as you can see, there's definition here. Just try to make the boundaries smooth. Frequency here. Let's be careful. Could make a bit more smoother or just smoother. Come from the outside. No. Me the brush is too big a smaller brush. Now, till here, we're going to make it pretty straight to the cape. And behind here, if you don't want to make them with a cape, just pie the cape and then do it there. Now, from the cape, there is a line straight down, a very narrow line. I actually think we can colour the top of the clavicle here. Try to be smooth. Or then come with the white paint brush and clean the edges a bit. Okay. Now, this line should be about, let's say, thicker than this. So the middle, how should we quantify this? About a tenth, maybe, an eighth, and then just go straight down. Let's go from the front and just try to Well, that's gonna be quite hard. But yeah, try to keep the line as straight as possible. Okay, that's actually good. Now, we make his sign, which comes from the chest here up till, like, quite close. Let's say, where the narrow thing would be the hollow thing. So go from here to just above the end of the chest. And the edges, I guess, they're not edges, it's an ellipse more than it is a sphere. So go straight straight and then around. So here und I'll fix that here. I guess we can increase this and just more This definitely should be lower. Okay. This can be a bit higher. But again, try to keep them smooth and clean. Okay. Now, in the middle here, the same wide width as this line, there should be a point, a line again. So within the same widish go a bit down, and then just go down. That is our shirt. Let's go with a cape, same gray color, and then just color it all. This, let's go with the pants. The pants are all gray or red, and the boots are white, so we're going to leave masses. Now we will also colour the gloves with the same gray color. Since working here. I think we can also one set something open. Let's make this smoother. Okay, maybe not. Oh, my mouse just got stuck. Okay. We call it the gloves. Now, detail that we can have with the gloves. Gloves is a missing What is the word ec tangle thing. So I'm gonna pull this so and make a rectangle like shape. I just press H. No, that was to hide it. The same here. Not really noticeable, but that depends on your preference. Mm, the pants aren't all that good. I think we should have made them tighter, I guess. So let's change that. It's much easier to change the clothes than the body. And then for the boots or the boots or socks. They're kind of socks, to be honest. I think this can go down, actually. And close. And here we can also make that rectangle type of thing. What if we mask it? Definitely should have used the reference here. But it's not something that we can change. So that's a lesson for you guys. Keep your references open. But this is more of an anatomy course, but clothes are always cool. So, something like this. Et's turn my cap back on. I'm going to remove the three cursor. Let's also paint the here. Now, this top hair is going to be the only dark part. So here we can definitely see the lines, but that doesn't mean that some hair won't flow from one part to another. But generally, you follow the lines. Now, if you want to make it more realistici ish, you should change the saturation, the other values just to have more nuance on your scot. But I want a more figurine like look. But especially on the face, you should do that. Now, we're also going to make the face a bit, that's the body? A bit grayer, but not as gray as the uh the shirt. Okay, I might have to close the window right now. So until it loads, I'll do that. Noise stopped. Amazing. But we are in here, so let's just see if anything's changing, but it doesn't look like much. I always like to just not as strong, make this area a bit darker. Definitely not as dark. You can play with the strength. It's tones. It's a bit more shadowy. These are very dark as they're getting pretty much snow lite. The inner ear thing as well here as well, but make sure you smooth. Something like this. Let's go for the eyes, and then we'll come back. We're going to make these quite smooth. And we are going to make about let's say they should be they are mostly open. So I guess they should be about one sphere from the top till the end or about one center, something like this. So let's go for this. Maybe that's smaller and try to make it very spherical. We can actually make them ar. I don't want to do them like this. Let's try the middle for now. Let's try the middle. So about this big, we'll get a Let's make this fully black, actually. Maybe not fully, but very dark. Then we grab a light gray or lighter, so it kind of looks like it's a blue shade in the gray scale sense. And then we'll also make the ts. Is a bit crazy now. Now, I'm going to decrease the strength a bit, go along like this and just smooth from side to side, trying not to touch the iris itself. Let's make theis a bit bigger. I don't know if they're separated or not. I think you should look down a bit. Okay, let's make them bigger. Again, lighter gray. Not the white one. Leave an edge outside. Let's do the dark spots now. And then the is Now, another thing that I like to add is, like, a shadow over the eyes. So with a light strength and dark color, just trade this upper part. So it looks like a shadow. We might have to rotate the eyes a bit in. So make sure that the spacing is fine. Let's try the shadow. Now, if you added more tones of the color, more tints, is that what you say? Change the saturation here and there, the brightness, then the color difference will really make it look more organic, but we are going for the figurine look. I kind of want to color this gray as well. So let's color it gray. W lagging. Yeah, well, we can leave it on a lighter tone. So like this. Let's see outline. I don't want to try cavity as that might just doing everything. But this is our only man. Again, we went for anatomy here, but adding clothes adds a nicer look to it. This is our result for the clothe version. Let's hide the clothes now. That looks pretty sick. Now, it just looks very naked. This was our anatomy. I'm going to leave the mustache as that will look wrong, but I hope that you have enjoyed this course. Most importantly, I hope that you have learned something. I hope that you have achieved or has helped you achieve results that you want, and that my advice was helpful to your general sculpting practices. So I thank you for attending this course and hope to see you or hear from you. Now and again in the future. Thank you once again. One final time for watching this quite lengthy course and have a nice I don't know. Have a nice what will quantify. I don't want to say life. Have a nice time sculpting and enjoying your life. Thank you.