Model-a-Minion! 3D Character Design in Nomad Sculpt

1. Model-a-Minion! 3D Character Design in Nomad Sculpt: What's up guys? Drug food aid here. Thanks for joining me in Brooklyn, New York, we're going to make a minion the level of details in the quality of the scopes that you can get with nomads, sculpt, it's insane. So you're going to learn a lot in this class. It's as much about the process as it is about getting to the end and making the menu. We pretty much go through everything you need to know. From the blocking out, the modeling, sculpting, coloring. I love coloring and nomad sculpt. I tried to bring into procreate that didn't really work for me. I color it right? No man. I mean, a gene texture that was very difficult to figure out how to do a gene texture. I kinda sat there just recording and deleting and recording and deleting until I got something that really worked. So a few of the other things you'll learn in this class is how to make eyes. I really loved making eyes. I came up with this way to do really cool, glossy, colorful eyes. And you'll be or use it in all your characters after this class, I also do texture. I wanted to give us an overall some texture. And also I wanted to give his, his skin some texture because he feels guilty. I've never felt dominion, but I feel like they would be sort of like like fealty. Then you can go ahead and make things with texture. It's really not that difficult once you just know how to do it. And I'm going to walk you through all of that in this class and then sums. This is one of my favorite most complex scopes to date. This minion really gave me some problems and some issues that I really enjoyed figuring out. And that's really the key takeaway for the class. It's just working through issues and figuring out different problems and then figuring out the solutions to those problems. Alright, let's move on to the next video, the class project. 2. Class Project: What's up, guys, welcome to the class project. By now you know me, I don't go on and on about the class project. We're gonna make a minion. There's a lot to go over. There's a lot of moving pieces. Minions are as complex as they are acute, but you in the right place, I'm going to go through everything step-by-step slowly so you can follow along and understand it. And if you do have any issues, don't hesitate to post them in the discussion. We'll get through it. I'll get you through it and will continue to move forward and make our cute little minion. Alright, let's move on to the next video. Getting Started. 3. Getting Started: Okay guys, so we're going to make this little minion. We're going to start from the very top and open nomad. Now we're going to just import our image into our, into nomad so they can use it for reference. So firstly, we just want to go to this little picture icon reference image. Tap on the image, import from photos. Or it might be under files, wherever you send it to your iPad. But here it is. And now you can tap transform. You can adjust it until you're happy. I think something like this is pretty good. And then you tap your screen once, and then you can go back to moving your sphere. Another thing I'd like to do is first make sure that you're in orthographic. So just tap this icon on the top here, all the way to the right of the left icons. This little camera, orthographic. So that's going to take care of any perspective issues. I always sculpt in orthographic. So then we go to this little sun icon and we're in PBR, which is the default. And I'd like to sculpt in makeup. Makeup. This makes it easier to see the clay from me or the mesh. I like to call it Clay. His mom named CLI have a whole ugly. So let's validate our sphere. And this sphere will be the start of our little minion. Let's make this into a pill shape because his body is more of a pill shape. So we'll go here to symmetry. And we want to uncheck the red and just make sure that we have the green. Why? Because that's what we're going to use. We're going to stretch this sphere out. The next we'll go to our gizmo. And we want to make sure that we have symmetry on. Then we're just going to take this and stretch it down till maybe something like this. He's not very he's not that long. So maybe something like that works. I think he's a little bit wider. He's little bit wider. So let's let's just take our gizmo and then you would just kinda widen them out a little bit by using this red sphere. Let's make them a little wider like that. And I'm not sure. I don't think he needs to be any longer. I think this is probably good. Now that we've gotten him widened up a bit. So I'm going to voxel Ramesh this. So then we can use smooth and we can just smooth them out. So we'll go here, a voxel. And I'm going to remember it 200. Then I'm going to go to smooth. Symmetry is on, that's okay. And actually we can just go back to regular symmetry. And intensity is about 70, radius about 01:41, 50. And you can feel it closely. You see all these at all sort of squares. So we're just going to smooth all of that out k. And also note that I'm sort of smoothing out a little bit more along the bottom and along the top. Because if you notice when we stretch it, There's a slight bend in the in his in his body. It's not too bad, but it's just something I noticed when you smooth just smooth more underneath and on top so that it pushes back the clay a little bit and that will get a little bit more evened out. So let's take our move tool. And the intensity, my intensity is all the way up. I have symmetry on and radius is about 02:30. So I'm just going to stretch out his little sides here. Just so he's a little more accurate because he is quite punchy. So just push them out a little bit. I think that's good. Then I'll just go ahead and smooth around that again. Okay. He's also a little bit flatter on the bottom here. So we'll use move again. And we're just going to stretch out these two sides. Obviously symmetry is on, so we only have to do one side, but just pay attention to the other side as well. And then we'll also turn him and just make sure that he's fairly even underneath. So we're going to use Move again the same sizes. And we'll just pull the clay down a little bit. Just so it flattens amount. Then I'm going to turn it to the side, to the left. I'm going to pull this down as well. So I'm essentially just making sure that he's nice and smooth. On the bottom, that everything stays consistent and round. And of course this doesn't have to be absolutely perfect. But I can't really, I can't help it but to try and make everything as perfect as I can get it. Which includes all of these little details. To try to keep everything round. Sort of pushed his butt out a little bit there. Okay. So once you're happy, once it's fairly round and you're happy. You can take smooth and just smooth out the whole area. You'll notice this is something I do a lot. Anytime I really moved the clay or manipulate the clay, I smooth. Okay. I think that's pretty good. I'm just spread it out a little bit. Okay. Notice I'm just I'm spinning it. And any parts that don't look street. I'm just sort of pulling them out. Okay. So let's go back to our to the front. Okay. I think that looks good. Okay. So just make sure that you're happy. You just want the bottom to be flat. And of course, just look at your reference. So we just want to match the shapes in our reference and just make them nice and pudgy in nugget like. So now let's name this mesh, display his body. So it'll go in our scene. We'll just rename it potty. So now let's clone it because we're going to use this to get the shape of the bottom part of the little overalls. So we'll clone it and let's rename it overalls. So make sure that you're on your overall mesh. And we'll go to trim. And we'll use the rectangle. And we're just going to trim the whole top half just about to where this line is. So now we'll take our gizmo and we're just going to make this a little bit bigger than our body. 4. Overall Leggies: So now we'll do the little parts of his pants. Ruby use cylinders for that. We're going to mirror them and then we'll adjust the top part so it sort of spreads out to go into his little egg-shaped bottom. So let's go to the scene and we'll add a cylinder. And we can rename it pant, pant legs. Alright, so we'll just drag our cylinder down and we can shrink it up and move it over. And let's mirror it. Right? Looking pretty good so far. I'm just going to adjust this a little bit and just bring this down a little bit. So it's a little more even. Always, always continues to adjust as you're as you're working through if you see something that's not right adjusted. So let's go back to the gizmo tap on our cylinders. Let's bring them down, make them a little smaller. So now what we're gonna do is I'll bring them out so you can see what I'm doing. So you can adjust the tops and the bottom and you can make a hole in it. So that's what hole is four. Now. There's a whole. So we can make it we can make the hole bigger or smaller. So let's tap on Edit. Then you have these tools here. Here you can make the hole bigger or smaller. Here you can make the whole cylinder bigger or smaller. You tap radius again. Then you can adjust both sides of it like this. So that's what we need. We're going to bring it up to the pants. Whoops. When it drag it up to the pants. And then we can just adjust it until it looks right for r little, r little guy here. So his legs are actually quite small. So I'm gonna make these actually smaller, bring them closer together. So you basically just want them to look like this. It's okay if they're touching. And I might The only thing I might do is make these a little bit thicker on the bottom. Just close up the holes a little bit. I think that's a pretty good place to start. I'll make them a little smaller because his lips are very small. But they're Y2, so maybe I'll wind it up a little bit. Okay, I'm pretty happy with his little legs here. So now we can make this little front plate that's going to, it's going to attach to his overalls. So this looks like a square to me, like a flat plate, so we will use a square. So go here and we can actually validate our mirror. We can validate this and just call this pant legs. Now we'll go back here. We'll add a box. We'll drag it out in front, flattened it up. We can take it off edit. So now we're just making this front square part. So we're just going to try to match that. Something like that. It's probably good. That's gonna go Let's try to get the rent the width the basic width of it. So it looks like something like that. Maybe a little wider. I don't see that looks pretty good. So obviously we have the problem of the bend. It's not really going to conform around his little belly because I think that's a good height. I think that's a good height. To make sure you don't make it too tall or too short. Just sort of judge it from the from your reference because he needs his mouth. His mouth can go here and then he has the big eyes. But there's only a little bit of head showing. So for now I think that this is pretty good. So what I like to do in this situation is I'm going to use move and I'm just gonna, I'm just gonna move. Let's bring it out a little bit more. So I'm going to validate. And then we go to the Move tool. And I usually make the move tool really big. And we can actually drag this out. So I'm going to use symmetry. I'm just going to drag it out from the middle. To give it that bend a little bit more on the top. So now we'll just go back to gizmo and we can just slide that back. And then hopefully we'll have something that will look more like it's resting on his on his little stomach. And if you see that like it's still not quite as bent as we need it to be. We can just go back to the move tool and make sure that you're on that front square. And you can just move it out. You can move it out more and then just drag it back. I think that's pretty good. And eventually we're gonna be voxel merging all this together. So don't worry too much about down here because all this is going to be fused together and we'll smooth all of that out. You can actually, I'm just going to bring out his pants a little bit more in the front. We have a little bit more room for that. So looking at some of these references, you can tell that the back of the overalls is pretty much the same as the front. It's a square, which makes our lives easier because we already have one square in the front. So essentially we're going to take this and use symmetry to flip it to the other side. So we're going to clone it and then flip it. So we also have a square on the back. The front and the back is a different symmetrical split. So I've turned it to the right. And I'm just going to turn on the lines. Just so you can have an idea of the symmetry points. I'll tap on the his, his body. You see this red line. So this is symmetry left and right. Because we're looking at it from the front. But if I turn it like this, that's a different symmetry. So let's do e.g. green is top and bottom. We want blue, we want the Z because Z is front and back. So hopefully that makes sense. So z is front and back. So that's where we need to do because we want to mirror this box which is on the front of him to the back of it. So now we'll go to symmetry around z for front and back. And we'll hit world. And don't forget right now, I'm on the body, so let's just tap on the square just to make sure that we're where we need to be. So symmetry is z, Ron world. And we've tapped on the front box. So let's clone it because we don't want to get rid of the front one. So let's just clone it and name this one back. Okay, so now we have front and back. All of these settings are the same. We just going to switch left to right. And there's a dialog pop-up is going to come on and be scary. It always pops up. I don't understand it. But we're just going to tap. Yes. And now we have a square on the front and on the back. So let's make the little pocket in the front, this little pocket here. And we'll just use a little square for that. So let's add a square or box. And very similar to how we made the little pouch in the front. We'll bring it forward, shrink it, bring it forward again. And let's just get the general size that we want. So something like that seems about a decent size. Maybe it's a little wider, something like that. So I'm going to drag it out so you can see what I'm doing. There is need to be that long. So I'll just use the little sphere to stretch it back in place. I think something like that is okay. So I'm gonna go into the options for the box. You'll see them here. And there's a thing called parameter. So I'm in this little cube here where we're multi-region box when everything else is. I guess you can see it. I don't know why I always feel like I'm going to lose you. I always feel like I'm going to lose people when I just go to this menu really quickly. Hopefully you can see that clearly every time I do it. Anyway, so the perimeter, we're gonna move to two. We'll do linear subdivision. And then we're going to validate it. Okay? It's actually quite thick. I don't think I meant it to be that thick, but that's okay. Or that the vertices are quite high. But that's okay. So let's smooth it out. Let's go to Symmetry and turn them all on. So I went to symmetry and tapped both green and blue. And I'll tap symmetry here. And I'm just going to smooth this really quickly. I'll just smooth it out. Okay, now, I'm going to turn off why? But I'm going to keep x and z. So now we'll go to our flattened tool, make it a little bigger. And we should be able to flatten the sides fairly easily. Flatten them a little bit more. So we're just kinda, we're just trying to match that shape of the pocket. I think that actually looks pretty good. So now I'll just use smooth. Smooth it out. Let's go ahead and voxel Ramesh this at 200. So we're back at the little multi-resolution. Will vote go to voxel and Ambry measured at 200. And let's just go, let's stick with, let's turn to z off. And now it's just smooth. This. If it doesn't want to smooth like mine, then we'll just remember it at a lower number. So we'll try like 1150 or so. And maybe even lower. There we go. Now let's start to smooth. I probably didn't need to do the double, do the two. When I set the parameters. I think I just made it a little too dense. But if that happens, if you ever can't smooth or something like that, then now you know to just remeshing it at a lower number, just go as low as you need, as you need to go until it starts smoothing. Because you can always then rematch again or sub-divide again if you wanna do details, but just always bring it down until you're able to smooth it and get it the way that you want, that you wanted. So let's go to gizmo and bring it back to where it should sit. Something like that. Then we can do the same exact thing that we did for this part. So we'll go to move it a little bit smaller. And we can just pull this out, some pull that top edge is out. Now we can just move it in. And I think that looks good. Just want this to be a tad bit straighter like that. 5. Overall Strappies: I would say the hardest part is the straps so far. So we're going to work through that nice and slowly. And hopefully it won't be too annoying to do. But I did come up with a way. So let's slowly work through these little, these little straps. So these are gonna go all the way around. They're going to curve, they're going to start here and curve up and go around to there. So let's go to our scene and add a cylinder. And much like we did before, we're going to tap on the little cylinder for the other options. And we're going to do to the perimeter of two and linear subdivision. Ok, so now let's drag it out to the side and we'll shrink it with the green sphere. I think that's about it. A decent size. So now we'll just make it really, really big. Shrink it again. And we'll just move it into place. So as you see, there's a button and this kind of goes over the, underneath the button. So it's on a diagonal and it goes out and around to the back. So first before we slide this in and start maneuvering it, we want to make a hole in the middle. So let's tap hole. And we want to make the whole thinner than this. So let's tap Edit. And I don't think this is what we did, is we what we want, okay? So you only need to hit Edit once and then you have these options where you can make the, you can make it a little thinner, can make the ring thing thinner. So let's slide it in. So it's just about touching his body. And then we can we can adjust it so it comes out over the body or over the pants. So all I did was just use the sphere to sort of stretch it. So they went over the pants and not just touching his body. Okay. I think something like that is pretty good. So now that we have at generally in the place where we want it, It's a little bit of weight from the body. And it's a little bit over where his genes, because the strap is gonna go over the genes. So that's a pretty good spot. So now let's turn it to the side. And we can go ahead and validate it from here. So we'll validate. And since we're on the side, we have to use a different symmetry. So let's go to Symmetry. And instead of x, we want to use z. So z, but makes sure you tap X off. So we just want to use z. And as you know, on the bottom I have show line and show plane. So you can, you can check those as well. So now we can see, I can see the center line. The symmetry is going to work on this side and this side. So now we'll use our Move Tool. And you see my move tool is very big. It's about like 480. And I'm just going to slowly move this up so that it's sort of arched like this. So that it's sort of coming around. And it is quite tricky. But you have full control once you're moving it. Just be slow and just keep trying until you get it's how you like it. Make sure that you have symmetry on. So we're going to drag this up like this. And until we have something like that, I think that actually looks pretty good. So we can make, move a little bit smaller. And then we can just drag this part until, you know, because we want this trap to come straight on the edge. So I'm going to grab it around here and then I'm just going to drag it down. Maybe a little bit more to something like that. You'll see that it did this, still doing the same thing on the opposite side. And I think that looks really good so far. So now, obviously it's not touching. We want it to be touching his body. So I want to make the move tool a little bit bigger, maybe about for 20 or so. And the reason why I'm making the move tool so big is because then it will move everything as one. And it won't, it won't manipulate and push this out of having a nice smooth singular strap. So we just want to push it closer to his skin. So I'm just going to slowly work it until it starts to touch his skin. It's going to bring it in. Okay. I think that looks pretty good. A couple of spots right here. Just pushing on. You can even make move smaller. Do something like that. But I think that looks pretty good. I just want to make this flat line. So I'm just going to drag the edges a little bit more like this. I think that looks good. So now we're just going to trim it. So we can use the trim tool. And I'm actually going to turn it on its side because I like using the rectangle tool. So if I turn it on its side, then I can just use the rectangle tool and cut it like this. Let's take a look at the back. That looks good as well. I noticed when I, when I look underneath, I'll just use the move tool. There's some spots that are a little bit too close to the skin. So I'm just gonna go ahead and pull those out. And I made the move tool a bit smaller. So I just have to be careful, make it a little bit bigger with my movements. Because the main thing that I want is I want it to look like a strap. I don't want it to look too manipulated. I like it a little flatter and I think that I will just push the gene, pushed the, this part back some when we get to it. Or remission. Remission at 200. Why I keep saying sub-divide. And then we'll use smooth and we'll just smooth it out. Hopefully it's smooth, it'll smooth. Okay. Still looking a bit soft. So once it's smooth, Let's take pinch, pinch intensity. Let's move intentionally to about 60. And let's move the radius to about 70. And then let's just pinch these corners. Pinch these edges. Make it look real professional. Let's pinch all this. Give it a nice edge. Given pension there. Because pinch also relieves some of that, some of that weird texture issue on the edges. I don't like that. I like a smooth mesh. Like my clay smooth. All right. Let's get these front edges looking good. Okay. That looks, I think that looks good. I did see some extra space here, right here. So I'm actually going to just move this, move it in a little bit. I think I'll pull this out a tiny bit. I'm actually going to take it off symmetry because some parts are, his body isn't a completely symmetrical. So some parts might stick out more than others. And I want to put it, I'm going to push it right up against his skin. Then be able to loosen it up or I want to this is all the extra stuff that this is why my scopes take take forever because I'm always I'm always do an extra. I just want to stretch this down a little bit just to give this some room for our little button because he has a little button there. I want to make sure that I have enough room for it. I'm just lifted out a little bit. So this should be enough room for the button. So let's just check the back. And I'll just do the same thing. I'll just pull it a little bit. So we have room for that button. Okay, there we go. So let's go ahead and flip our strap to the opposite side. So first let's name it strap. We go, It's called cylinder. Now we'll rename it to strap and we can clone it. Alright, so now we just have to mirror from right to left. We're looking at it from the front. So that means that the initial enabled it, the initial symmetry will come back into play. So that's not X or Y. Of course I would say that it's not z or y, it's x. So it's the red X we want. And we want to use world. That way. This is right in the center. So again, want to make sure that we're on our strap, but we just cloned it. So make sure you're on strap. One. Doesn't matter which one you're on. Now we're just going to mirror it from right to left. So symmetry, we're using x. We use in the world right to left. Here's the scary window. Yes. I'm so glad it worked. Sometimes there might be something I leave out and it doesn't work. I have to re-record. But now we have two straps. And he's looking good. So far. 6. Butt-ons: So let's do the buttons. Will do some buttons real quick. Button shouldn't take too long. So let's use a cylinder. So we'll go with plus, we'll do cylinder. And we'll bring it up. And I'm gonna, I'm gonna touch snap. And you'll see 90. You can type 90. And if it doesn't say 90, and snap just allows you to snap it 90 degrees or whatever degree you want in a certain direction. Only if you're using the colored directions. If you notice. There's green, there's red, there's blue, and then there's this dark gray or black. This will actually do in a minute. In the older version, if you touch that, if you try to use the black, it would still do it normally. But now it looks like all of the it looks like they all react to the snap. So I just really explain something that didn't need explaining. But that's what happens when you have a new build. I'm sort of learning things myself. So we're just going to shrink it until it's button size. Nothing too fancy. It actually looks pretty good. I don't think I have to manipulate it or smooth it at all. I'll go ahead and mirror. Now we'll just make it small and will just fit it right on top of that strap. Just remember to take it off snap when you wanna do more fine tuning. Whoops, there we go. And let's put this stuff is a little tricky. But the more you get used to the gizmo, the easier stuff like this, we'll get attended bit bigger. Let's take a look at the reference here that looks pretty good. And he would have some buttons in the back as well. So let's take this mirror and we can actually validate. It. Will validate, we'll call this Buttons, we'll rename it buttons. And we can flip it from front-to-back. We've been using a lot of symmetry lately, so we're going to clone it. And we're gonna go back up to symmetry. We're gonna go to the Z world. And even though there's, there's left to right and right to left. I think we would just want to do flip object. Let's see. Yeah, flip object works. I'm curious if left or right. Okay, That works too. So I thought that they both should work in this scenario, but I wasn't certain. So now let's just slightly move it so it's there right in the center. And this one is not. So as you can see, this button is actually pretty perfect. But this one is off. It's too far over. And these are the back buttons. So if you want to fix that, you can go into your buttons. I'm going to rename this back buttons. So just so I always remember back buttons. Okay, I know this also because this little cubes his back. So you can go into your buttons, pressed the three dots, and then hit separate. So now we have both of our individual buttons. So we can go to the button in question, and then we can move it as we need. It's a little tricky. If you want to move the gizmo to make it easier. You can hit pivot. Then you can actually pivot the gizmo, e.g. okay, this looks pretty good. But want to make it so it's nice and straight like that. So what that does now I'll tap pivot again. See now I can tilt it and then I can use this to just bring it straight down. Whereas before it had to like sort of maneuver it and it was a bit more difficult. E.g. if I wanted to bring it straight this way. I can tap pivot. Then I can turn this into that green line is pointing the way that I want it to move, the way that I want it to go. Press pivot again. And now I can drag it exactly where I want it to go. So this pivot option is very useful when you need to move something in a certain way. So if you try to adjust your pivot, but you don't see these rings like this. And just go here and tap world to turn world off. And then you should see the rings. And just remember, after you change your pivot, after you move it however you like, then just tap pivot again. Then it goes back to regular Gizmo. So now let's add some shapes for the arms, for the legs, which will actually be boots, and also for the little goggles. So we'll add a cylinder. And this one we can call legs, or we'll call this one boots. So we'll bring that down. And we'll just put it inside the little pants. Maybe something like this. And then we can mirror it, make them a little bigger. So maybe something like this looks like Here's a little bit of space in between, so maybe something like that. Okay, so we can go ahead and validate that. And now we'll add another cylinder. So the cylinder, That's gonna be the arms. I think the easiest thing to do would be to create the thin cylinder. So let's just, I just slide it straight out forward. Take care not to go, not to move it left and right. Because you always want to be able to maintain this, the center of symmetry. So I'm just bringing it straight out. I'll shrink it. And then I'll just stretch it. So you can either stretch it this way or you can hit Edit and then just pull this green tab like this. So these are gonna be our arms. But we'll make one and we'll create the hand. And then we'll flip it to the other side. So that will be easier than tilting it and putting it in place. Because then when we make the hand will have to make the hand straight and then tilt it and put it into place. But if we do it this way, then we have the arm. We can make the hand on top. We can use symmetry as much as, as far as we can. And then we can tilt the whole thing, the whole arm, and then put it into place. So let's go ahead and rename this loops. So this cylinder is within this mirror. Sometimes when you add a shape, it, it goes within. So let's hold it and just bring it out just so we don't get confused. Let's rename it to arm. You can call it arms. That will be the arms. So let's add another cylinder. And this will be, Let's move it up. This is going to be our head band strap. So let's move it all the way up so we can see it. Shrink it. I'm gonna, I'm gonna take off edit because it's a little easier to maneuver. Here we go. Something like that. And you might have to reshape it. And now I'm just going to position it sort of around his head a little bit. You can see this brown. It's a very small. So I'm gonna go ahead and I guess I can't I can't subdivide until I validate it. So instead, that's why I'm gonna go ahead and do the post subdivision. And I'll do it twice. And I'll do linear. That makes it a lot more dense. So this looks pretty good. So this is what the goggles are going to be on. So it doesn't have to be perfect right now. But as long as we put it in place that way, in the next video, we can come back and start working on the boots and arms and the goggles and things like that. But this is a good start in blocking this stuff out. 7. Hand in Glove: So let's make his hands. So it looks like we can use maybe a small box for the palm of the hand. And then we can probably use maybe two spheres or maybe two pill like shapes or the fingers. And we'll add a sphere for the pump for the little piece here, and maybe another sphere for the thumb. So we'll just work out a hand by using shapes, by blocking out the shapes of the hand. And then we'll, we'll voxel merge them together. And this looks like it could be a cone sticking out that way. Alright, so let's, let's, let's shrink his arm down a little bit. So click it might be a little thinner. They're pretty, his arms are pretty thin. Okay. So let's start with adding a box. So we'll add, we have our box here. And let's just rename it home. So we'll move it out. And we'll position it over our arm here. And we'll make it just a little bit thicker than the, than the arm. Now let's just shrink it down, but I have to resize it again and do it this way. Okay. So his his palm is just a little bit wider than his arm. It's not that much bigger. So I just use cues like that from the reference to gauge how big certain things are. So I think something like that feels, feels okay. Alright, so now let's try a cone. It could be a cone or actually could be a cylinder. Let's try the cylinder. So we'll add a cylinder. And this will be gloved bottom. So we'll do the same thing, will move it to our glove and we can shrink it down. So I'm just making it basically the widest part at the bottom. So maybe something like that. So now we can use our editing tools to make the top of the cylinder smaller. So we can actually do whole as well loops. Sometimes it moves kinda funny. So let's tap edit and let's figure out the sizes that we want different things. So this is probably good for the glove. And we won't see the top, so we don't really have to worry about the top too much. So let's hit radius. And let's take this orange, this orange dot, and we'll pull this in. So something like that. Now I'm gonna take, I'm gonna get rid of edit so I can just maneuver this and move it up a little bit just so it matches as close as I can get it. And I think that actually looks pretty good. Let's take a look on the side. Just move this over a little bit. Okay, I think that's a good start so far. So now let's figure out these little fingers. When I usually do, when I usually do hands, I use the tube tool. But that might be a little too complicated. So I'm thinking we might do to pill type shapes for the two fingers and maybe even the same thing for the thumb. But let's try, let's try it. So let's add a sphere. We're bringing it up to the general area. Okay? Then we'll shrink it. Okay, so now we just have to do that same pill type shape that we made before. So let's validate our sphere. And then we'll go into symmetry and we want to stretch it. We want to do top to bottom because we want to stretch it out from up and down. So we'll go to the green. Why? We'll make sure that we have symmetry. And then we'll just drag it. Make sure you don't drag it the opposite way. You'll definitely know. So then we're just going to drag it down. That looks pretty good. So we'll just make another pill shape. Alright, so I think that works. So I'm just gonna go over here and just name this finger. Okay, so now let's turn off symmetry. And we should be able to just move it around once we turn off symmetry. So now we can shrink it a little bit. And we can sort of move it into place, shrink it down some, maybe make it a little bigger. Okay, I think that looks pretty good. Now let's just clone it. So you can clone through here. You can go to the finger and tap clone or songs in your Gizmo. As long as you and your Gizmo, you can clone here as well. So I'll tap clone and I'll drag it over like this. Now of course you see that the hand isn't really straight like this. So we'll just have to just these fingers once we get them all, once we get them all squared away. So let's clone again. Let's bring this one down and over. And then we'll just turn it. This will be the thumb. So generally something like that, I think works. Let's look at the overall size of the orbital size is good. Maybe the square is a little bit too big. So I'll make it a little bit smaller. Maybe I'll make this a little smaller too. Okay. Okay, so now we just have to make it a little more truer to what we're seeing here. So let's tilt this first finger. We're just going to tilt it a little bit and bring it off like that. I think that looks pretty good. I'm even going to bring it off a little bit more. I'm going to tilt it a little bit more. I'm going to tilt this one a little bit the opposite way. I'll bring it down a little closer. Maybe we'll just make them all touch bigger. So something like that is a good start. Again, this is just, we're just blocking this in. So it'll look better once we actually have upsell merge and then smooth it out and stuff like that. So we also need an area for this part and I think I'm just going to use will validate the box. And then I'm gonna use inflate. Inflate is great because you can just inflate different areas. So we can make that you can make that little round peas for the thumb. I'm putting a little more in Fleet like this is obviously very big. But once we do some of that out, we're gonna lose some of the shape. So that's why I went a little bit bigger with my inflate. Okay, So now another thing is these edges is sticking out. So I'm going to take flatten. And I'm just going to flatten those edges. I'll do the same thing down here. So I just flatten those edges out a little bit. So something like that. 8. Hand in Glove 2: Okay, so our hand is looking pretty good. We can go around and just make sure there's no sharp edges, like they're sharp edges on the back. And we can just make sure we tap on that shape. And then just go to flatten. You can flatten out any sharp edges. And also I just want to make this a little more round here. So I'll just take inflate again, makes sure I'm on the palm. And I can just add some clay here. Doesn't have to be that pretty because we're going to really mess everything. And also if you want to, you can do things like if you wanted to tilt the the fingers a little bit, make them a little more dynamic. You can do that. Tilt as little fingers. Do the same with the thumb. You can also you can also drag if you want it to drag some. I'm going to go to my symmetry and I see the green. That's why it's nice to keep these on. And I'm gonna change that to change it to the red X. And maybe we'll just drag the bottom a little bit. You can turn symmetry on or keep it off. I'll just make the bottom a little wider and just stretch it to to the palm. Okay. So I think that's pretty good for the hand. So now we'll just voxel merge the hand together at 200. So we just want to make sure that we grab all the elements of the hand. So we'll grab the palm, finger, finger, finger to and the glove bottom. And I don't think this is yeah, that's something else. So all we need is these five. And we'll box L3 mesh at 200 voxel merge. Okay, so it looks pretty terrible, but that's okay because we're going to smooth this puppy out. So my smooth is on radius is about 01:40. That intensity is about 70, which you might have to adjust it depending on how big your you made your initial shapes and things like that. So you might have to adjust that a little bit. I'm actually going to need symmetry because the hand isn't symmetrical. So I'm going to turn symmetry off. To smooth. Smooth around here. I'm going to smooth lightly around here because I don't want to move the shape too much. We go, It looks good. It looks a lot better. And again, if there's anything that you see that you wanna do, like e.g. I think I was a little too crazy with this little bump. So I'm just gonna take flatten the flattened tool and I'll just flatten it some. I'm just going over it and just flattening and flattening flattening the mountain because it's a little too big. Okay. So it looks better. Flatten that down a bit. And then maybe we'll take the inflate and just add little roundness on this side. So that's the other part of the hand. So add a little roundness here too. Then we can his gloves. He has a little pudgy fingers. So you can do an inflate here and here, something like that. Then we'll just go over everything in, smooth everything out. Keep it nice and clean. Just smooth this out. And it's great because we really want it to be subtle. You know what I mean? Like these things don't always have to be really heavily defined. It's just that subtle sort of, you know, puff of the finger. And you can do someone top two. We can go back to inflate, make it a little bigger. You can do some up here as well. And round that out a little bit. And maybe we'll do it with the thumb as well. Then we'll just smooth, smooth everything out. And then once you have everything where you like it, I might actually do inflate again down here just to make it a little more defined. So when I do it this time, I'm just a little more careful because I'll smooth it out a little less. And now I'll just smooth ever so slightly just to sort of blend it in with the size. But when I go over the front, I'm just gonna go very lightly just so it's just smooth enough, but it has a little more detail. Okay. That looks pretty good as a glove. It looks like we can do some let's take inflate again. It looks like we can do some down here. So we'll just sort of go around. We can actually hit Solo. Am I make it a little easier to control so we can hit Solo and then sort of go around this bottom part like this. Right now, my radius is about 50. Another thing that works well for sort of creases like this is using crease. But sub gives you a more sharp crease like that. Let's move some of these out. Get them looking a little more natural. In some of my smooth over, a little bit lighter. Just to maintain. The shape doesn't melt away completely. That looks pretty good. And these are a great way. The inflates is a great way to add some more details to your glove. Wherever you might want to do that. Maybe we'll add some little inflate around here to this kind of thing. You can put a glove on and see where the glove pools, even on your own hand. Things like that. We'll add some around here as well. Just kinda smooth out very softly so it keeps the shape just at the end, so it looks it looks natural. Okay, I think that looks pretty good. 9. Bootlegging: All right. Let's make his little booties. So we already made his legs. And that's going to serve as the heal pretty much for the boots. Because obviously here it just looks like he has boots on legs and boots. So this will be sort of the bottom part. We can make the front part. I think the best way to do it is probably make a sphere and then just ship it to the form of a boot. So first I want to add a plane to the floor. Just, just something so that we can see what the what the ground level is. That'll be easier when we're making our boot and stuff. So let's add a, let's just add a box for now. And we'll drag it down. Make it bigger. So we can actually we can probably make it just about to there because he doesn't really have that much space between there and the floor. So this will be the heel. Then we can make the front part of the boot. So we can just validate and let's call this floor so we don't forget. And I'm gonna move it out of the mirror. So let's just rename it floor. Okay? So now let's make a sphere. So we'll make a sphere and we'll drag it down and we'll shrink it. Okay, It looks pretty good so far. Sort of just bring it into place and then we'll just stretch it and push it until it's kinda looks like the front of a boot. Boot. And a boot doesn't look like his his feet are too big. So just keep that in mind. Isn't a huge feat. You get a little wider. So I think that's actually pretty nice. So we just have to think about it a little bigger. I think something like that is pretty good. You can ever make up my mind. Let's take a look. I think that looks pretty good. So next we'll mirror it. That way. We have one on the other side. And now we can adjust them so they look so they look more like more like feet. So the way we'll do that is let's go ahead and validate both of these and these can be renamed these boots round. I just tried to keep everything nice and labelled otherwise I forget what everything is. So Boots round. And we can probably use the Move tool. And it will be easier if we're only focusing on the The maybe the cylinders of the legs and the browns and the floor. So let's take those. So we have the boots. We have the boots, the floor and the boots round. So we've highlighted all those and now we'll hit Solo. And it's okay. It's alright that we can only see half of it. We'll have to just edit this one side. And I believe that will mirror on the other. Let's just do a quick quick check of that. Quick check. Yeah. Everything works the way that I thought it should. So I think that's a little bit easier way to adjust this actually. So let's just go back to that. So I'm going to highlight the boots, the floor, and then the legs in its solo again. So now we can just this, this will essentially be our boot. So you can tap on each, each one. And I'm just going to skinny this up a little bit with the move tool. So I'm just going to pull it and just make it even with the with the round part. It looks pretty good. Now the only thing on this is his boots or a little rent more round in the front. And we seem to have lost a little bit of that roundness. So I'm just going to pump them up a little bit. Same thing just using the Move tool. And I'll just drag this down so that the Buddha is pretty even. I'm just pushing down now. I'm pushing down the back part of the boot a little bit. Now we might, we might add a, we might add, let's go ahead and add it. Let's take inflate. And let's tap on this part of the, this part of the boot. And so it looks like this is actually not dense enough. So I'm gonna go ahead and I'll subdivide it. So I'm gonna go to more tirades and then I'll subdivide it. And then we'll try that again. Okay, so once you're happy with your boot and your little round boot front, Let's take a look. Un-solo them and just see how they look. Whoops. I think they look pretty good, pretty happy with them. Alright, so we can voxel merge these together, actually. Will voxel merge the front part in these boots part. So we'll tap on the mirror and the boots up here. What's up on the mirror and the boots? And we can just voxel, merge them together. So go to voxel and will rematch them together. 200, right? So then we'll just do some smoothing. I'm noticing that my, you can see that my symmetry is off. And so let's double-check that world. Local. For some reason. Whenever I go to World and local, now the symmetry is in the right spot. I'm not sure why that is and why that happens. It's happened to me a couple of times. But at least now we're in the right spot. Okay, So his boots look pretty good. So now we can add a soul to the boots. Well, before we do that, let's actually just trim it. And then we'll go ahead and take the trim tool. We'll make sure that we're on our boots. And we're going to use the rectangle. 10. Bootlegging 2: Then we'll go ahead and take the trim tool. We'll make sure that we're on our boots. And we're going to use the rectangle. And we'll just trim the boots. So we'll just make a square. We'll kind of use the floor as a reference. And then we'll just trim them. Alright, so now let's hide our floor. We'll hide the floor because we don't need it right now. And we have our boots. And let's take a cylinder. We'll drag it all the way down to the bottom. Shrink it up. And we can go ahead and change the parameter. So we'll go back in the cylinder options and change the parameter to two linear subdivision. Now we'll just shrink it, move it over, and we'll hit mirror. So we basically just mirrored our cylinder twice. We can skinny it up a little bit and bring it to the front. So now I'm essentially going to spread this. I'm going to spread the cylinder out so it covers the bottom of the boot. And I'm going to use the boot as a reference. So here's a front view of what the boots look like with the cylinders underneath. So it will tilt, it will make sure that we're on our boots. Right now. I remember it's what It's the cylinders are mirrored. So when we take our move tool, it will also affect the left cylinder. So let's see if we can tap bottom. So we have the exact bottom. Now, I'm basically just going to use Move to bring these in the right direction. Okay, so here's the front view and here's the back view. So you can see that it does curve around a little bit. So you just have to make sure that you try and follow the little boot. And actually think that can probably make the foot, the shape a little bit better. With the soul. The soul, actually it looks a bit better. So I'm going to tap on the feet. And I'll just bring them in to the soul. Go. And I'll just continue to adjust until I'm happy with happy with the Soul. I think that looks good. So now let's just drag these up. So we use our gizmo and we'll just bring them up, sandwich them onto the boot. Maybe we'll make them as Smith smaller. We will just slide it back a little bit. I think that works. And just continue to do any adjusting that you need to do. For the Soul. I think that looks pretty good. So I'm going to smooth the bottom of the boots. Because remember we trimmed and sometimes trimming leaves the, It'll leave the edge a little bit, little bit crusty. So now I'm just smoothing the boots out just so it has a nice soft round edge. Again, like I was saying before, if it's really bad, if it doesn't, you know, if you can't get some of the kinks out, you can actually, you can actually voxels. Voxel, remember it again at 200. So you can voxel remember it again. And that will recalculate all the vertices. And it will result in a smoother smoothing. And like I always say, I like a smooth mesh. So sometimes I have to. Symmetry wasn't on, should have been on. Gotta will always watch your symmetry because symmetry is tries to get me all the time. So I think that looks great. Now I'm going to tap on the soul. Was already on the soul. And I'd like to smooth that out as well. Just make it nice and soft. They're cute characters so they don't really need to have a lot of hard edges. Are sharp edges. Just keep everything nice and soft. Okay. Pretty happy with pretty happy with the boots. Let's take another good look at them. I think they look good. 11. Arms Overalls: Okay, So let's get his arms a little more together and where they're going to be. And also we can voxel. Remember, ramesh is it'll overalls. So let's grab the hand and the arms. See there's the, there's the arms. Or the arm. Will make sure that we select those here. And then we'll use our gizmo and we'll just put them in the general position. They're gonna be maybe something like this. You can tilt it a little bit. What kind of get a feel? They're obviously very big. Shrink it up a little bit. And just sort of put it in the general position. Doing that to be perfect right now. As I, as I continue to make it perfect. Hopefully you can hear the music. Okay, and also another thing I noticed is that the hand is tilted a little bit. So I just make sure that you tap the glove and then you can go ahead and just tilt it a little bit, maybe something like this, maybe a little more. Like it might be a little bit too much til I think that's better. Yeah, I think that's a little bit better. Okay. So it's right underneath the strap. So that looks good. And it actually looks like it's a little tilted. You don't really have to do this, but I think I might just take the Move brush and make it really big. And I'll tap on the arm. And then I'll just tilted a little bit. Whoops. I didn't even validate the arm, it looks like. So let's mirror the arm so that'll make that easier and validate. And now let's see if I can move it. Yeah, just a little bit. So it's sort of tilted it and then I'll just bring it back out because his arm is tilted a little bit like that. So you can choose to do that or not. I mean, it just depends on really your preference. I mean, it looks fine actually if it's straight two. Either way. Let's voxel Ramesh, this square. So we're going to box this square, the back square and the overall bottoms and the legs. So we have the pant legs, we have the front, the back. And then we want the religion only three. And we're missing missing this old overalls. How did they get way down there? So let's move this up. Move it up here. So we have the overalls pant legs front and back. N. As usual, we'll voxel, remember at 200. So we'll go here. Voxel 200, like so, that looks good. Then we can go to it. We can grab our smooth brush and in smooth, smooth this out. He's looking good. Then you just continue to smooth this out. He may have some little issues like this and you can go ahead and just flatten those out and just use your flat flatten brush. It's very soft. The clay is actually very, very soft. Clay is very soft. So you can either be very gentle with flattened. So you can be very gentle with it. Notice how I use like a gentle voice as well. And also you notice there's some divots, like some slight divots. So I'll just take clay. And clay is intensity is about 50, radius is about 85. Then I'll just add some clay there. Were if I notice that there's a point where it goes in and it should be round. Same thing with here. There's a slight there's a slight depression right across the middle. So we'll just add some clay there. A little bit more here. So I'll just add some clay there so it sort of looks round. Then you just go ahead and smooth that out too. So you have a nice round front, nice round bottom. Just smooth, smooth some more. Okay, This is looking good. We can actually push the, push this back a little bit if we want. Let's try move a radius about 200. We can just push this back or pull it back. Should be the same on the other side. Same thing with here. We don't want the straps really going that much into the overalls. So we'll just pull this back a little bit. It's okay if it's going in a little bit, but you don't want it too obvious. I think that looks good. In another trick, you can take a pinch like we did before. Intensities about 60, radius is about 70. And then you can just, you can just sort of define these edges out a little bit more. Let's take our crease and let's just follow this edge. I still have it on sub because that's where we're headed on before. So I'll go back to pinch and just go along this edge right here. They'll just give us a nice plane. It will make it look really professional, gives us a nice clean plane. And by plane, I just mean this is a plane, this surface, but then we have this plane here, this flat plane. It's always nice to just really define those. It gives a light, a nice place to land. And it really helps out with just making the, making the model look really good. Okay, that looks good. I might not voxel Ramesh the pocket. I think it looks good without remission. So I might not I might not remember it together. Okay. So while we're here, let's go ahead and flip the hand. So we'll tap on the glove bottom. We'll go ahead and clone it. And I'm just going to rename it to this one will be glove to this one will be gloved one. Alright. So we'll take loved one and then we'll flip it to the opposite side. So we'll go to symmetry. X is the one we want. We want world because we want to flip it completely on the other side of everything. We want x, we want world, and then we want left to right. So we'll tap it and then tap yes. And there we have our globe on the other side. 12. Overall Checkup: Okay, So I wanna go in and make sure that everything is clear. In our scene. We have the body, the back, which is now the overalls. So let's change the name of this from back to overalls. Okay? So now we have the strap, which actually don't even know what that is. So when I don't know what something is, then I'll select it and then I'll move it up and see. So it looks like an extra strap. That's odd. Not sure how that got there. So let's just hide it for now. So then we have so these are the actual straps. So I'll rename these overall straps. Okay. So we have overall strips. We have buttons. Let's make sure these are all the buttons. Let's get rid of this gizmo. So we have buttons. So let's hide everything else. So these are the front buttons. Okay, so let's rename these front buttons. And we can probably just, if we find the other buttons. What is this? This is okay. So this is the arm. So these are the arms. So I'm gonna go to this mirror and I'm gonna validate it. Okay, so now this is armed, so I'm going to rename it arms glove club to okay, so somehow we have an extra glove in there as well. Happens, I guess. So here are the gloves. And I should probably save, I should probably save this globe in case anyone who has trouble with the gloves, so they'll be able to access the actual glove that I made. So I'll just export it as an OBJ. Okay. We actually don't need this extra gloves, so I'm just gonna get rid of it. And we don't need that extra strap. So I'm gonna get rid of it. Okay, I'll bring everything back. So we have a cylinder here, so this will be, let's change this to head strap. Then we have the floor. We have boots round. And then we have this mirror, which is the boot soles. So let's validate it and rename it to boot soles. And the y always want to put SOUs ALS. And then we have the back buttons. So we can see the back buttons. You can actually take them out of here. And then we can just join them together. And we'll delete this. Let me have a box. Not sure what the boxes. Let's see. Oh, that's the pocket. So that's the front pocket. And I'll move this up with the overalls. 13. The Perfect Fit: I think we need to shrink down. The overall is a little bit, I think mine are a little high. And I'm thinking if his eyes are about this big, there's not gonna be a lot of room for his mouth. I think I need to shrink the overalls. So what we'll do is we'll highlight the overalls, the pocket and the straps and the buttons. And we'll, we'll squeeze them with the gizmo will shrink them down. So let's make sure that we grab all those. We have the front pocket, the overall straps, the front buttons, the back buttons, which I probably should have brought up. And I think that's it. So let's solo and just see what we have right now. We just need to shrink it. So let's use our gizmo. And let's just use this sphere and shrink it a little bit. Like so. And then we can bring it down a little bit. Okay, I think that's good. So let's just take a look and make sure everything is how we like it still I think it still looks pretty good. Now that I'm happy with the adjustments that we made with the overalls. The only thing that I'm seeing is this sort of bytes into his arm a little bit too much. I'm used Move tool and I'm going to make it really small radius about 190. I'm going to tap on the strap. Make sure symmetries own. Now I'm just going to move the top part out and up. So we'll take the top part and we'll move it out. Maybe you need to make it a little bit bigger than this. So I bring it up a little bit. So it's sort of like his arm is smushed against. It. Can even bring woops, even bring it back a little bit. Like his arm is smashed against it. Then the bottom part, I'm actually going to drag in. So I'll make my, I'll make the move tool a little bit bigger. And I keep accidentally hitting the body. So I'm going to tap the strap and then I'm going to hit Lock. So now I'm gonna go. And if your lock, if you don't have lock here, then go up to this option here and just tap Lock, because then it'll show up there. So now that we're locked on the strap, I'm going to bring this part down, make it a little bigger. So something like that. So it looks like his arm is maybe pressed against it. Bring the rest of this trap a little bit a little bit further in as well. Okay. Just so his arm is pressed against it because it was a little too much going into his arm for me. Alright, I think is looking great. I liked the new size. I think we have enough room for the mouth now. Alright, so I think the next thing we'll do is start to block in the goggles because we have the goggles and the mouth and the eyes. So what started working on all that stuff next? 14. Googly Goggles: So let's start blocking out the goggles. The fun part. I do have another image that I just looked up to sort of get a better understanding of what they look like. So it looks like two cylinders with a smaller maybe cylinder in the middle and one on each side. And you have two cylinders with a small cylinder going through them with a little bit of space here and then you have the strap. So it looks like we'll do one cylinder, two cylinders, and maybe a thin cylinder in-between. So everything is together. Then after that, we'll do 123 more cylinders for this. We're gonna, we're gonna cylinder this up. Alright, so we'll go here. We'll add a cylinder. And we'll just generally put it in the right position. Let's go snap. That way. We know that it's moving 90 degrees. Move it over and will mirror it. Let's move them a little bit further apart. Shrink them. Just sort of figure out the size and the placement. It looks like they're touching. Like they're about there. Maybe a little bit bigger, maybe even a little bit bigger. And further apart. So I'm thinking maybe something like that. They look really silly now. But I think that's kinda where we're at. Maybe a little bit smaller. I think that looks a bit that looks pretty good. So essentially, you can just barely see the straps on both sides and you can just barely see the head and they're touching. So I think this is a good, I think this is a good spot. Before we validate, let's make the hole in the middle. So we'll do whole. And that's to edit so we can edit how wide this hole is. Okay. It looks like it's probably around there. I think that looks that looks about right. We really don't need them to be this long. So we'll go ahead and use this green button should bring this up. And this will be like the first, the first ring of the of the goggles. Let's take a look at our guess. So that's pretty thick. So something like this will be the first ring. Maybe even a little, maybe even a touch, touch smaller. I think that's good. Before I validate, I'm just going to clone this. So I'll clone it. And now I'll drag that one back. There's not that much space in-between the two. I think it's something like this. Now I'm going to grab both of them and then use the gizmo to sort of bring them back to the face. So great start. I think the only thing I'll do next is we have to make the thin. We have to have it. So these are together. So we'll just clone another one. And I'm just going to rename this one thin. So we'll bring it up so it's in-between. We'll make it smaller. And we can also just make it thinner. So we'll tap Edit. Let's see what we need to do here. Maybe the blue. And then maybe let's make the whole thing smaller. Now let's see if we can. Here we go. So I made the hole size smaller. And then I used the blue the blue little dot here to just adjust the thickness of the ring. Yes, that can be a little confusing. But essentially you just want to make another ring, make it smaller and make it even on the inside. We will be putting the eyes in there. So that's not extremely important. But I'd like to be, like to be thorough. The most important thing is that there's this change, this difference happening here. And we can actually join all of these. So let's, let's go ahead and validate these. Okay, good. And they're already joints, so we're going to name this goggles. So let's add these cylinders here. It looks like there's one cylinder down the center, we'll pin and then two cylinders on the top and bottom. Okay, so we'll add a cylinder. And we're not going to mirror it yet. So we'll just bring it into place. Okay. And I'll just shrink it. I'm going to tap Lock because I keep tapping on the parts of the mesh. And it's dangerous because sometimes you can re-size something without even noticing, noticing it. Now I'm just going to shrink it. Just generally put it into the place where it should be. I think we'll have to make this traps sort of coming up a little bit to the goggles. And I actually might expand the top of his head. It's not so round just so it goes up a little bit more and then curves over. But we'll see, we'll deal with that when we get to it. I think that looks pretty good. Maybe we'll make it a little bit thinner. Think something like that is pretty good. So we can actually clone this. And then we'll shrink it, make it a little bigger. Maybe something like that. I'll bring it up to the top. And then we can clone this one as well. And drag it down. I think that looks pretty good. We can just even these out a little bit. Freaked out that I was I had everything locked. Okay. So this first one I'll rename pin because it's sort of like the pin in the middle. And then we have these two cylinders. And I'm just going to hold these and I'm going to attach them all to the pin. That way we can just collapse it. Okay, let's take another look. Okay, so the strip connects to this. This is on the very side of the goggle. So we have our pen that we just made. And then we have a little round cylinder it looks like for the strap and then this strap comes off. Okay. So there's a couple of changes I want to make before we are and just as we move on as usual with my scopes. So I want to add, I'm going to add a new reference image. So of course I included this image with the class, but you can go online. Obviously, these aren't my images. You can go online and have plenty of references. But let's add this other photo. Or a little minion friend. And I'm actually going to go back here and just hit Transform and Transform. So I can just make a little bit smaller or a little bit bigger. Okay. So it looks like the back one is a little bit smaller. And also this one also there's like a like a plate that goes around. It looks like as I complete that goes around with little spheres in the whole thing. So at least there's 123455 little spheres on the sides. So we'll go to the goggles. And I think I'm just going to go to the Options here and separate them. So now we have all our, all of our pieces here. So I'm going to join the two front goggles. I'm going to join. Okay. And these are the two back goggles. So I'll just join those as well. Just the two back goggles. So we have the front ones in the back ones. This must be the middle. Will join the middle ones as well. And just name them all. Um, so they don't get you don't get confused. Back and front. 15. Goggles Part 2: Okay. So for the back goggles, I think I just want to make them a little bit smaller or a little bit thinner. And it kinda want to round off this, this back part. So I'm going to sub-divide these ones because I don't want to ruin I don't want to ruin the shape of them too much. So I'm gonna go here, multirate and then just sub-divide them once. And I'm going to put a mask on the front side because I like the front side, I don't want to ruin that. So I'm gonna go to select mask rectangle. I'm just mask the front. So now on the back. So I'll take this smooth brush and let's see what our symmetry is. So right now it's just left to right. I think that works. We'll do Y2 for a top and bottom. Let's go world and in local, press world and then local because it's, then it jumps to where it should be. It's kind of annoying that it does that, but, you know, what can you do? So we just want to smooth this out a little bit and make this back ring a little bit more round where it touches his face. Okay. Something like that I think is good. Let's clear this mask. Going up here and then tapping clear. So we'll just clear the mask and make sure that it still looks good. And we can probably smooth smooth it a little bit. Okay. Okay, I think that looks pretty good. So looking at another photo here, there's actually like a cap. There's there's like a cap around the front around the front part and then these little screws that are around the side. So, so far everything we have is good. It's just we have to make this cap on the front. So after looking a little bit further into the cap situation, I did make it. I can show it to you here. So I did make a cat, but I actually don't like the way it looks. And I think that it was just an optical illusion of what I'm seeing. I think that it's actually one piece and that these spheres are on this singular piece. So this actually can hide. Get rid of. So we don't need to make this extra piece. I'm just going to fast forward to the part where I'm making the spheres. So you can make the spheres the same way that I do. And we can skip the whole part where I'm making the front cap because I don t think we need it and it doesn't look, doesn't make it look better. Alright, so back to the video. So let's make the little, the little round cylinders. They're gonna be right in here. So we'll use a sphere and we'll use one of the new features of nomads go up to 1.68. So we will firstly just add a sphere. We can bring it to the general position, will shrink it. I can see it's mirrored, so I must have yet, it's underneath this mirror thing. I'm going to take it out of there. So I'm going to hold this. I'm going to bring it up to underneath the goggle. And we don't need to mirror it just yet. And let's name this ball. Goggle. All right, so let's make it the size, about the size that it needs to go. So we'll shrink. It. Might be a little bit too big still. Maybe top he will make it easier to drag it in. Okay, So we essentially want something like that. We want five of them from about here to about the top. So actually I can bring this down a little bit more. I think it should start about there. So let's try and use the curve option. So we'll go back to our screen, are seen here. We have the ball goggle. So now let's go ahead and curve. You'll see this long piece that comes up and you see another one here. So we have the original one and then we have one on the last point on this line. And that's why you have the two here. And I think when I counted there was five. 12345, it looks like there's five. Not that it's a huge deal either way. Let's adjust this and we'll drag it to five. So now we have the five spheres. So now we'll take this point and we'll just drag it out. And I find it a little easier to tap on these and make them black. So I'm going to tap where the balls are. Now we can just, we just have to adjust this. So let's say we tap it left. So we want this line to be straight up and down, because this is our curve. So right now we're just going to make it go straight up and down. You can tap tube to get rid of the gizmo. Since it's just in the way. Gizmos always in the way. Okay, so now we have it straight up and down. Sometimes it's easier to focus on one angle and then turn it and focus on different, different angles and things like that. Okay, so now let's tap front. We can just move these more into position. So that looks pretty good actually. So now we can turn it and then we can fine tune it a bit. We'll bring them out. So maybe we want just half of them showing. So now we can just fine tune them so that we have half, half showing that one looks pretty good. We'll bring it out a little bit. Looks pretty good. Vitamin vitamin can go over a little bit. And maybe something like that. I think that looks pretty decent because they don't take out that far, but they stick out enough. So I think that looks pretty good. So you can also just make sure that the spaces work. It's going to slide this over. So it takes a little finesse, but just keep working on it makes sure that everything is perfect. You only want to do it once. So you just want to make it really good. So you only have to do it once so you don't finish and then say, Oh, I wish I would've straightened out these silly ball bearing thingies. Okay, so now we have these spheres here. And we can mirror them same way we always mirror. Let's rename them so we don't get lost. So we'll rename them. My name is Goggle balls. Alright, goggle balls. So now let's just clone it. And we'll go to our symmetry. And we want x because we want left and right. So we want to flip it left to right. I guess we can go world doesn't make, doesn't make a difference. But left to right. And then they should be on the other side and it should be just as perfect. Good. This is another reason why I like to keep everything symmetrical because it makes this kind of stuff a lot easier. 16. Goggles Part 3: Now let's adjust this, this little piece. Let's can take it off lock. So we're going to grab all of these pins in both cylinders. Let's just reposition this. So we'll use our gizmo and we're going to reposition it onto the goggle. Because it's trapped, seems to go right on to the goggle, will make it a little bigger. And even though I'm bringing it a little lower than the strap, I want to put it in the middle of in the middle of his Goggle. And I need to make it a little bigger actually to think that looks a little more accurate. So let's do the same thing for the pin. Okay, so we have the pin and then we have the cylinders. So we'll go cylinder, cylinder. I don't know why the arm is selected. And we'll just join this. So now we just have one pin. Let's bring that up to goggles. So this is why I labeled everything because it's so easy for things to just get confusing and for things to get lost. The goggle balls, I'm going to select those and join them. Snowing, have the goggle balls. We have the front ring, the back ring, the goggle balls that we just made on the curve. And then we have the pin. And then we have the middle, which I think is just the middle little middle piece. Let's see. Yep. That's the middle piece. Okay. So yeah, Granicus were pretty good. I think. I'm pretty set with those. Pretty happy with those so far. I think I might actually expand the top of his head so it's a little more round because it looks like his head is a little flatter. And right now mine is very egg-shaped, so we might just flatten this out a little bit. So it'll it'll work better with the strap and the goggles. So we have to make sure that his head is the right shape on top. And their heads are a little bit, they're not as egg-shaped there if they're flatter on top as I was saying. So let's adjust that. Hopefully it won't be too, too difficult to change that. So just make sure that you're on the body layer. And you can see the symmetry since I have the line on, you can see that I have x, I have z, it looks like, and I want x as well. So this is what I want because when we manipulate the head, I want it to work both left and right and front and back because we want to expand his head and all the directions. We don't need the green because we're not, we're not worried about the bottom. So let's use Move. And now let's just try and expand his head. Was just sort of bring it out towards the edges. Sort of like that. I think that's actually more closer to the minions, the shape of their actual head. So I think that looks pretty good. So now I want to get rid of the front and back because I just want to adjust the front parts. So I just want to adjust the front hemisphere so we need to get rid of the blue symmetry. So we'll tag that. So now we just have left and right, which is what we want. I'll make the move to the move tool a little bit smaller. Because in an ideal world, I'd like this strap, the head strap to come all the way here. We have some room to stretch out the head a little bit more here. So we'll bring it out like that. I think that's a great start. And he actually the shape of him and he actually looks a lot better being that this is more flat up against the goggles. So now that the heads, the head shape is in a good position. So now we can adjust this cylinder that's sort of fallen inside of his head. We can adjust that to match up with this, to go right behind this little piece here. And we can always adjust this a little bit if we need. I think, I think what's more important is having this be even and go around to the goggles and match up with the goggles. So we'll make sure we're tap on unlocked, will make sure that we tap on the head strap. And obviously that's a cylinder right now, which is fine. And now I'm going to lock it so I don't accidentally touch anything else. So I'm going to go ahead and validate this so that we can use some, we can use the move tool. So we want to go to symmetry and we want to affect left and right. We also want to affect the top and the bottom. Okay, so once we have our symmetry on x and y, we want to make sure that we have symmetry triggered here as well. So now we can just drag out, we can use the Move tool and drag the, the edges out. Like this. That's actually almost perfect. Drag it out a little more. We can make it a little smaller. And just I think that's actually really, I think that's actually perfect. We can also drag out here as well. Depending on how thick you want the strap. Let's drag this part in a little bit. You don't need it that far away from his head. The best way to change the best way to since I want to pull the bottom part out, Let's get rid of the top and the bottom. So now I'll make the move tool a little smaller and it'll pull out just the bottom. And I just want to add that this is all like very, it's very complex. Like we're actually doing some pretty complex mechanics here. So don't be discouraged if you have some trouble, if you get stuck. That's what the discussion pages for or the discussion area. So feel free to reach out if you just don't understand something. Because I can make some I can figure out ways to just make it easier and make it more, a little bit more digestible. To the best of my ability. K, This is looking good. So let me just drag move it all in a little bit more. That looks good. Okay. I think that looks good. I'm pretty happy with that. The way that that's looking. So while we're here, it looks like I need to mirror our pin because I don't see it on the other side. I don't think it's anywhere else on the canvas. So we'll just go to the pin, will clone it. And then we'll go to our symmetry, will go to World. And then we'll just do left to right. Now our pin is on the other, the opposite side. We can go ahead and join the two pins. I think I want to move them back a little bit. I think I want to move them back inwards towards each other. Let's see if that works. The smarter thing that I would have done, the smartest thing to do was to be to not to not duplicate it just yet. Get this perfect where I want it. And then duplicate. Sometimes I sometimes I tried it. I get two I get too excited and I skipped steps. Unfortunately. You know, I mean, you learn from my mistakes. I learned from my mistakes too. Alright, so I think we're looking pretty good. Pretty good there. I might have to push his head back a little bit, but we can do that later on, but just want to make sure that we get the basics right now. Okay. And I'm actually going to trim, let's trim this cylinder just to get it out of the, out of the goggles. It's not really that big of a deal, but it kind of annoys me at the moment. So let's take trim, unlock, and let's go to our cylinder. We can lock the cylinder. And let's just trim this. So I'm turning it on. I'm turning it looking down so we don't accidentally trim it and then triple trim all the way through. Because when you trim like this, then sometimes it'll trim all the way through. He didn't, which is good, but sometimes, sometimes it can do that. So let's use the Lasso. Just trim this. Check the back. Nope, still looks good. Okay. That's better. I feel better. Now that we're happy with the pin. I think we're happy with it. Do I want to make it a little bit? I have this trap. Let's bring the head strap up, the goggles. So we'll go back to the pen and maybe just make it a little bit bigger. Maybe a little fatter, fat little pin. Here we go. And while I'm here, let me just make sure that I don't want it even fatter. Because it might be nice to be nice to have it there because that would actually work better with the strap. Okay. I think that's fine. Okay. Sometimes I really I really tend to overthink things and I can't help it. So now that's actually clone it. And let's go to Symmetry. And we'll go to World and then left to right. Yes. Then we have our pin on the other side as well. It's looking good. Okay, so our pins are looking great. So now let's add a little tiny baby cylinder for this little part of the strap will add it right here. That'll be pretty easy. I don't see how that will force me to do anything too complex. So we'll just make it small, drag it out, put it where it needs to go. I'll make it the correct size. Should make it the correct width first, and then make it the correct length. So it looks like it's probably about right here. Just kinda nestled in there. Maybe we'll give it a little stretch. Take it off snap. So we'll just give it a little stretch, kinda like that. And we'll validate and we'll just do, we'll rename it to what is this? Let's see what this is. As always, things just like popping up. Let's hide it. Okay, So this is the, um, strap extra will make that this trap extra. And we'll clone it. And then we'll just symmetry world left to right. Okay, so now it's on both sides and we're good. Let's just join these together. So we have strap extra. Let's see what this is. Just a big cylinder that's just chilling in there. I'll delete it. All right. It's looking really good. Really happy with it so far. Okay. So I really want to adjust the forehead now. It's a little too forward here. It's moving in a little too much. So let's unlock all my symmetry. I want to make sure that I'm in x because I definitely want to be an x and I think that's it. I think I want to push in the middle a little bit like so and maybe even just smooth it so that it moves back a little bit. Maybe we'll just move it back a little bit more. Let's make sure that the Move button is big enough so it doesn't really, we don't want it to really start manipulating anything else around it, but we want it big enough to just be a nice natural curve down. And I think that looks good. Like this. Now I'll just smooth this out a little bit. Okay, that looks better. So let's try this. Who can bring the goggles? So we have all the goggles. Head strap, the front to back, the goggle balls to pin the strap extra in the middle. So we want to take all of that. We don't, we don't want to do body. So let's take all of that and maybe just move it forward. Do I have this trap included as well? I do have the head strap. So maybe let's not include the head strap, just the goggle parts. So maybe we just need to move them forward. Like that. Maybe even a little bit more. So now that we've done that, the strap actually hasn't changed that much. But let's focus on the head. Now. Now that we've done that, we just have to adjust the head as well. So we'll use move. And let's just adjust this head and go forward a little bit. Yeah, I think that's I think that's perfect. You can move this up a little bit to like it there. Let's tag the head strap and let's lock it so we can just lock it in place. And again for the head strap, we want to do the top and the bottom. And we want to do left and right. We don't, we don't need the bank right now. So let's just pull this out. Let's make our move tool a little bit bigger and we'll just pull this out. Here we go. Here we go. So now it's attached. It looks like it's more attached and we can just pull it to get rid of that open space. Okay, I'm very happy with this traps. I'm happy with how the goggles are resting on his face. I think we're at a good I think we're in a good spot. I think I'm still on track. Let's unlock and tap the face. And I just want to try to smooth a little bit. I just want to get a little bit of that, a little bit more of that Goggle. So once you're happy with your strap, then you can rejoice and we can move on to the eyes. 17. Googly Eyes: Okay, So we've made it past one of the most difficult, complicated parts. Now, let's work on the eyes. And this should be fun. Hold on here. But first we're going to make the glass that's actually in the, the goggle. Let's take a look at another image of it. So obviously these goggles should have glass. You can't really see it that much. You can't really see it. So I guess it's up to us if we want to put glass in there. We can always take it out really simple. Just add a cylinder, a thin cylinder, and that will be our front part of the glass. So let's add a cylinder. And also make sure you're saving numerous times. Save, save, save. So we'll just bring out our cylinder. We're on snap so it will snap it forward. And then we can squeeze it together. You don't have to be on edit. So squeezes together. We can tap mirror and then we can just slowly maneuver it into place. Okay, so we just want to get the right size so that it's not poking out anywhere. And good. So now we have that That's looking good. And also another thing I forgot to do we can do really quick is just to tap on the spheres are the goggle balls. And we can actually just slide them up a little bit. I don't want to be that far back. Just like that. Okay. So now let's change it from Metcalf to PBR. So we'll tap this little circle, will tap, I always lose it. So we'll tap the shading menu and instead of Mac app will go to lit PBR. And now we can start to see kind of how we shaping up. So for the lenses, so we'll tap on the lenses, the cylinders. Let's now tap on the little circle and we'll do refraction, paint, glossy absorption. Then we tap on this color bar and bring that to white. So now we have our lenses in there. All right, let's make sure that they're white and Glossy panel. Okay, so now we have our cylinders in there. They're looking good and we can just hide them for now. Let's go, let's go to the mirror. Let's validate it and then just call this lenses. We can actually drag this into goggles because it's part of the goggles. But we want to hide it because we can always bring them. You can always bring them back out later. Okay, so now let's add our eyeball. So we'll add a sphere and we'll bring it to the Ford, and we'll bring it up. And we're actually going to keep it quite big, comically big, even. Because we want it to rest inside the goggle like this. So we just want to line it up. So we want to line it up pretty much like that. I think that looks pretty perfect. Straight back a little bit. I think that's good. So now that we pretty much have our AI in place, we can go ahead and rename this sphere to Iwate. And also let's bring it out of the goggles and put it right over. So I'm just gonna long press it and drag it up. So it's its own piece right here. And we're going to clone this a couple of times. So we'll tap here clone and this one will be, I erase. So let's clone I erase this one we can named P1. So we have Ira, Hi white, IRAs and P1. And these were all going to use to shape our eye and shaped the iris and pupil and things like that. Okay, so now it's easier to just concentrate on the sphere. So we're gonna go up here and we're going to tag Iwate in IRAs. And then we're going to hit Solo. So let's make sure that we turn Lock off if you have it on. So we'll turn Lock off. So now let's go to IRAs and we're just going to pull it out. We can validate it. So what we're gonna do with IRAs is we'll shrink it down and we'll make that the concave part of the iris. So we're going to shrink it down pretty small. Because they have pretty small eyes. Will shrink it down and then we'll bring it out. Because we only want really the very end. And we can actually squeeze, we can actually squeeze our circle a little bit. Because we want it to be very shallow. We don't want it to be too deep. I would say squeeze it almost halfway. Maybe even a little more. So it's like so it looks like a scuttle. And then just put that into the eye. Maybe a little less than halfway. I think something like that looks good. Let's get rid of my gizmo so you can see what I've done. Because we just want the very end to be concave. He is very, very small eyes tube. We can make it a little bit bigger. It's a little small. So let's make it just a tad bit bigger. I think that's good. Bring it out a little bit more. Not going to lie. I did a test right before this and I just add it to concave. So just make sure you don't put it to concave. Concave means like a bowl, the bowl shape. So we don't want it to deepen the eyeball. Okay, So this should be good. So what we're gonna do now is take, I erase and I wait, we can tag them both. And then we can voxel rematch them at 300. But before we hit 300, so let's just scale to 300 on the box will merge. But before we get there, we want to make sure that I erase. We want to make sure that I erase is erased. So we just want to tap the eyeball. So now we have our, our IY and then our IRAs. You can see what's going to be carved out, deleted. So now we can go ahead and voxel Ramesh, our 300. See what we got. It Looks good. It's not too concave. Okay, So that looks pretty good. So I'm going to take smooth and just go ahead and I'll put the brush a little bit bigger just to get rid of some of this, like, you know, some of these ideas. Just smooth, smooth, smooth, smooth. Alright, so we're looking good. That was a good first step. We have our concave. So let's bring up P1. So we'll tap P1. Then we'll bring it out. The other one might disappear. But we'll just go back here and we'll tag the eye white and P1. And then we'll just tap on P1. It's a little weird with the solo. It might take some getting used to, but hopefully, hopefully you guys are following along with me. Also, if there's if there's an issue, like you can just do it with this showing. So like don't get, don't get upset if the, if the solo is not working or you get confused, just do it like this. Maybe I'll do the rest of it like this. Alright, so we're on our P1. Let's double-check. We're on P1. So now we want to just paint this matte black so we don't get it confused with Iwate. So we'll go to our pain here, go to black, turn the roughness all the way up, paint, and then we can shrink it. So again, this is going to be our, this is going to be our pupil will make it smaller. So maybe something like this. And there's some shortcuts to like we might not even have to really carve it out. To be honest, like you could probably just go like this and push it in. And it would actually look fine. But there's another, but you could also carve it out the same way that we did. The same, the same way that we carved out this bowl. You could do that with the pupil. And what's kind of interesting is if you've had this sphere colored, when you carve it, like it will leave black on the, on the the Iwate. Like wherever you carve like that would be black if we made it red, wherever you carve, that would be red. Which I find interesting. Anyway, I'm getting sidetracked. Let's see if I can go back to this solo stuff. His finds it a little easier to kind of move stuff around and do things. 18. Tricksy Eyes: So now we'll add some color to our pupil. But we want to start with black because it's just always nice to have a nice black rim around your iris that I say pupil iris. So recoloring the iris which is, whoops, which is this part here. So we want to be on high white. Firstly, we want to make a new layer because we want to be able to edit these if we need or change if we need. And we also want to be able to color on the base. So make sure that you're on Iwate. And go here and add a layer, we can rename this black. So that'll be our first layer, and we'll make the other layers as we go on. So now we're actually going to create a new, like create a clone brush. And that'll make it easier. Let me delete the ones that I've already made so I can just start from scratch so you can see the whole process. I like to make spheres like make round paintbrush strokes. But I also sometimes like to use my regular paintbrush. So that's why we're going to clone paintbrush and do it on something separate. That way, if you need to go back and forth, you don't always have to go in and change the settings. I wish to settings would be saved on the clone brushes, but it's not. But I still like to have a dedicated brush to do my circles. So let's start walking through that now. So once again, we are on our black layer. We're on the Iwate mesh. We don't need symmetry, so we can turn that off for now. So let's take our paint and just tap on it and tap clone. And we can name this pink circle. So then it will show up down here, paint circle. So now we'll go into the paintbrush options, the paint options by touching this little icon here. So the first thing we wanna do is scale it. So just bring up the scale so that it's all white inside the red. 1.4 would work. Then we're gonna go down to fall off and we want to tap it. And we want to tap this straight line for fall off. And we'll scroll a little bit more. And he grabbed dynamic radius. So now we have a circle brush. Alright, so symmetry is off because we don't need symmetry. But you want to make sure that you tap front, the exact front, because that will help you out. Because this little red dot we know is the exact center. So when we pull our circle out, then it will just make a complete circle. Something like this. But we're going to use black. Go just like that and it looks pretty good. So there's a couple of terms that you may have heard with nomad sculpt in 3D and things like that. And we can actually use their RI as an example of a few things just to keep in mind when you're sculpting. So if you notice the eye white is 336,000 vertices. That's a lot. That's really, really dense. And we don't really need it to be that dense because it's just an eye. And as you can see, when we made our sphere, It's not that crisp. It's not that crisp and clear. Let's we can cut back on the size of this I by using decimate. Decimate will reduce the size by reducing the vertices mathematically, somehow, I don't really know the lingo. But it brings the size down because this is huge. So let's go into here where we have multilayers, voxel, den, Topo, and Deci uv. So we want to be there. Then we want to hit decimate. Now you see that the mesh is 168 k. So that's a pretty big difference. So let's decimate again. And now it's 84. And you can sort of play around with it. I think I'll just stay at 84 and cut my losses. And now we can deal with making this clearer. I mean, it's pretty it's pretty small. It's not that bad, but when you look close, it just looks a little bit messy. So here's what I would do in this situation. So we have our Iwate. It's nice and small will not 2s is not extremely small, but much smaller than it was. So what we'll do is we can use our regular paintbrush. So that's just the regular paintbrush here. That's why I separated these two because sometimes I like to go back and forth. So with the regular paintbrush. And we're just going to use the same color black. But we're going to use dynamic topology. Then topo or Dine topo. I don't know. But we're going to use this little diamond. It's right to the left or to the left. Is right here. Next to decimate dynamic topology. So we're on our brush. We're on the same color as our black circle for the iris. We're going to tap enabled. And you'll see the little diamond here. The intensity is all the way up with the brushes. Fairly small itself, race is about 20:24. So what dynamic typology is, is it sort of lays a clean, dense path as you're going along like with that tool. So e.g. the whole eye doesn't have to be super dense. But dynamic topology will make the area in front of whatever you're doing, dance. That way. It looks that way. It appears to be very detailed, even though the rest of the sphere isn't very detailed. So hopefully that sheds some light on it. But we're going to use dynamic topology to make this a little clearer. And another trick for things like this, you know, we've, we've consistently stayed with the symmetry, which is always very important. And it will make this a lot easier. So we have our red line down the middle. If you look in symmetry, that's the x plane. So if we want to make this sharp with the paintbrush, we can use the Y plane as well. So now you see the green. And that's going to help us out. So now we can just go back to our paint tool, Ron Den Topo. And just, you can just do one of these. Whoops. See what happened is I stayed a little bit too long and then it started started to do the color pick thing. I got to turn that off. So anyway, back on the sphere. If you just draw like this and you notice it just takes care of it takes care of the other sections. So I'm gonna go over it again just because I feel like it's not perfect. Here we go. So that's how we make this more clear, more precise just by using dynamic topology. And it does add some vertices because like I was saying, it adds the vertices along the path so that we can get it looking crisp and clear. But the rest of the eye, we don't really need all that extra space. But now it's nice and pretty. We can turn dynamic topology off. You can tap the diamond here, but I like to go back up here, tap the diamond, and then disable it. Otherwise, I'll forget about it and then I'll, sometimes, I'll be using a tool and I'll be utilizing it, not realizing it. So just disable it. I think that's better. So back to the color. Make sure that you're on your eye. Front again. We'll go to our layers and then we'll add. And you can check out the light, the colors of the actual minions eyes. I'm gonna do my own colors. So let's name this one greenish Aqua, I'm going to name mine aqua. So we named this layer aqua. And let's go back to our pink circle. But we're going to change something in the settings. So we're gonna go here to the little pencil setting for fall off. We're gonna go back to where it was. So we're going to use this round one out Powell output L two. So we're going to use that for the fall off. So now let's go over here and pick our color. So I'll do it like a nice deep aqua blue. It looks nice. Okay. So you don't want to get paint all or anything, you just want to grab the color. Now you can drag out from the middle. You're going to like this. We have a nice fade. Looks really good. Something like that. If you want to get it stronger, you can double up. I feel like I'm going to sneeze. 19. Tricksy Eyes 2: Okay. I've recovered back. We can continue. I'm a real person with a real nose, real sneezes, really annoying. Now we can, hopefully you kinda get the idea. We're going to add another layer. We'll make this one orange. And then we'll pick a nice orange color. Make it a little lighter. Something like that. Then I'm going to drag out from the middle. We have a nice orange double up, a little, little more saturated. Now I'm going to get crazy and I'm gonna go to for like a yellow and make it a little lighter. And just give a little kiss along the, right, along the outside of the pupil. So something like that. I think that looks nice. Of course, you can do any color. You can match the color of the, of the minions. But I just want to do my own color. Okay, so our eye is looking good. Looking good looking good. I'm not certain yet if I want to, if we're going to use the lenses because it doesn't really look like you can see their lenses. But even if not, we still have to make these shiny areas on the eyes. And if you notice, you can kinda see the shine on mine. And that comes from the environment because we haven't let him yet. So all of these lights are just the environment. So the environment is here. So it's in this little, little shading menu, this little sun, the light menu. So this is the environment and I made this in Procreate. I made this environment, so I've included this. So hopefully you've already have this downloaded. And if you want to import it, and this is where you just have to import any type photos. And then you just find it and you import it. And you can use anything for foreign environment. It's just all of these shapes and colors like that's I designed it because I liked having the, having these nice round pops of light here. That's what I designed it for. So if we want to make this glossy, and also there's a really nice pop of light on the pupil. So let's create that. So the first step is we're going to have to clone our Iwate. So let's just clone and also let me just say, I don't really save a lot. So let's save. So we've cloned our eye white. And the next thing we wanna do is turn it into a refraction. So let's turn it into a refraction. And we're gonna go to absorption. We're going to tap absorption, will tap this color line and then we'll bring it up to white paint glossy. And then index of refraction. Let's just bring that down to zero. So that actually looks pretty interesting in itself. We could possibly keep that or we could do it this way, because right now it's still, it's still going to be concave. Which is cool. But if we don't want it to be concave, then we can actually just spin the circle because the back of the sphere is not concave. We didn't make anything back there. So we can use the gizmo and then we can just flip it twice because I still have snap-on. We flipped it twice. And now it's, you can kinda see it's sort of like a, like a lens there. So I'm going to drag it back. I don't want it to be sticking out that far. I want it to be right in front of what we've made. Like that. If you see some triangles are some squares is kinda Blache, you can just smooth it out with the smooth tool. And it should clear up. I'm gotta be careful. Put too much pressure on it. So I'm just gonna move it up a little bit. I'll just move it up a touch. Alright, so to get that nice pop of light, I think the best, I think my best bet is to actually pull out the pupil a little bit in X and also paint it like glossy, because right now we made it like a matte black, so we need to paint glossy so we can try to get that pop of light. Let's go into here and then tag P1. And you can go ahead and validate it. And let's rename it pupil. So we'll just use our gizmo and we'll just stretch it out a little bit. And let's, let's peanut so we can see the pop of light. So I just want to paint it black and then you want to take away all of the roughness, pain all. So now we can sort of see it a little bit and let's just stretch it out. Something like that. Now you can see that pop of light on it. I think that looks great. I think that looks really good. Now let's get this white pop. I want it to be more crisp. So let's actually take our oops, I actually almost showed my secrets. So I had to undo that. So what we're gonna do is we're going to take the eye white one, which is the clear part. So that's the clear part we added on. And let's just box a 3D mesh it at 200. Mesh at 200. And now we can take our smooth brush and smooth it out. And should get a little clearer. Yes. Yes. So now it's just a little bit clear and it's not going to push down because we voxel remixed it, which made it more sturdy. Even though sometimes the number is higher, it doesn't always correlate to how soft or how valuable certain, certain things are. So I like to just remeasure 200 because it sort of puts me back in that middle ground where I'm comfortable and I sort of understand where it is. Alright, doubly good. 20. Trimming & Fixins: Okay, I'm gonna get rid of these symmetry lines. I don't think that we need them anymore. I just want to see it as an all its glory. So now we can go ahead and trim all this excess bubbly from around it. We don't really need and all that stuff. So to do that, we'll use the trim tool. We use ellipse, and then we'll use flip, makes sure that flip is engaged. So essentially with flip, it's just going to erase everything outside of the circle that we make. So let's just make sure that we're on the right layer. We're on IY, That's the white part. So we'll just start in the middle and then we'll go out. And it's gonna be important that you bring it out quite far and you let it go. So when you bring out the circle and it might actually be actually no, we don't need, I don't need to do. I was going to bring back the symmetry things, but we don't really need to. So now let's go to my white and we're going to do the same thing. Just use the trim tool. And let's bring it out from the center In Sri member to go a little wide with it. Perfect. Now we have an I am working inside of our inside of our lens. And if you see any excess like that looks like it might be Let's see. It looks like it might be some excess. I mean, yeah. It is so that we can actually trim that as well. So let's take it off of flip. Let's use lasso. See if we can trim that. There we go. If you see any excess, yes. Just trim it off. And this actually looks like excess of the white tube. So we can go to the I wait. And let's trim this. Yeah, there we go. So just look out for things like that. Trixie Trixie eyes. So the reason why it was important that we bring the the trim out wide is because we're going to need a little more room to move the eyes around once we set them. So in order to set them, we're just going to mirror this. But first, we'll go into scene and let's just connect these. So I'm going to long press it and you see how I just connected it underneath. You just move it up and it connects automatically. So I wait, I wait one and pupil, I'm going to rename this. Whoops, I'm going to rename the, the, the secondary one to clear this called cornea. Now, I mean, it's not really because it goes around the whole thing, but it's close enough. So we have IY, cornea and pupil. So now these are all parented. So it's just good to keep them together. So let's go to Iwate. The main parent will go to plus, and then we'll go to mirror. So now we've mirrored this. I now we wouldn't be able to move them both in and out. But you can't do it on a mirror because we tried to do it on mere even if you even if you if you do it if you tried to do it on mirror is just kind of go like this. That's not what we want. So you'd have to go to high white. Now. You can move them outwards and inwards. And we want to just move them inwards a little bit. So we want to find a good spot to where it looks like it looks realistic. I think maybe something like this is good. So I just have to be careful because you just don't want to come too far off of. You don't want to come too far out. Or two for n, because then you come off of the thing. But let's see if we might be able to get a little more real estate. If we make them a little, if we make the eyes a little bigger, you make the eyes a little bigger, then you have a little more space to come inwards. I think that looks pretty good. I think that's a good it's a good space. So once you do that, just, you know, you may have to do some extra trimming. It looks like I have to do some extra trimming for sure. But just make sure that your eyes are in the spot that you like. Make sure that they are and you want them sort of. Notice how I put them sort of inwards. That's how it looks like that he's looking at camera. Because they're inwards. I don't think I want to go anymore inwards with them makes it doesn't look too bad. I think that that might actually look better. Let's see. Yeah, that looks better. It looks way better. So there's a couple of things that I noticed that I have to do that I didn't do. Like box will rematch these this front part. So these are very small. So I don't want to Vasa we miss them now because I'm afraid that they won't look clear because they're just they're so small that the size is very low. So when you're on the front here, the front part of your goggles. Let's just go ahead to multiracial and the sub-divide them. So once you sub-divide them, Let's voxel rematch them at 300. So we'll go back here. Voxel will rematch them at 300, just so we don't lose any shape or any any to make sure that they're copacetic. Okay, that looks good. So now we can go ahead and smooth this out a bit. They don't need too much smoothing, but smooth them out a little bit. Alright, that looks great. So the next thing is I noticed that I have this line here. And I'm pretty sure that's from the middle ring. This middle ring. So I've tapped on the middle and I just want to try to slide it back because I don't want that showing. So I'm going to slide it back until I can't see it. But this still looks good here. I didn't cite it back too far. Oops. He went to accidentally touch the d's mole. Okay. So I'm gonna save, you should save. It's looking good. And also here's something if your, if your eyes feel like they're a little too like if they're sticking out too far because the eyes really don't come past the, the lenses. Here's another little trick you can do. You can take the mirror and everything within it and your Gizmo. And you can actually just, just squeeze it in. If you need it to be thinner. You can just squeeze it in like that and you can move it up or move it back. But you can move them altogether. However you need. I think that looks good. I'm happy with the eye placement. Now let's just go ahead and trim around the eyes. So there's a few ways you can do this. Firstly, as you see the tools they haven't showed up and that's because we have multiple things selected. So let's just go to Iwate. Let's actually uncheck these two. So we're just on Iwate. So there's a few ways to do it. You tap on it again, the tool should come back. You can do trim, ellipse and flip. And you can do the same thing. Just go from the center of the circle out. And you can trim that way. But just remember when you trim this way that you don't want to have symmetry on. Because if you have symmetry on and you try to do it, Goes Bananas like that. So you don't want to have symmetry on. So let's turn symmetry off. And I'll do this one this way. Like that. It looks decent. And it actually mirrored. It looks like it, it it did this. You did the function, so it just mirrored everything I did on this side. So we don't need the symmetry. It looks like a car to the other side. Pretty good. And there might be a little bit excess, so then you just have to trim it with the lasso, something something like that. Who but I forgot I had flip on. So luckily it didn't really do anything. If you're going to use the Lasso, then don't use flip note to self. So now we can go to the other one. Let's go to cornea. And we can do the same thing. Let's do ellipse and flip again. We're on the cornea ellipse and flip. Let's make sure we're in the front. And let's just drag out from the wait a minute. Cornea ellipse flip. Why aren't you letting me drag and let's see, maybe it's a tap on it again. See, it's tricky. I did tap on it twice. I was wondering why it wasn't working. So now we're on trim. The lips, flip around, the cornea will drag out from the center. I'm going to do that one again. It looks like something funny is going on here. Oh, I had symmetry on. It's tricky. I told you it's tricky. It even gets me. There's always so much to think about and so many things to think about that it's really normal to make these mistakes. It's really normal. Don't get too stressed about things like that because as you see, it happens to me all the time. I make silly mistakes like that. But the key is just kind of after awhile, then you, you are quicker to understand what you've done wrong and how to not do it wrong. 21. Pie Hole: A really, really happy with the eyes. Let's go back to our original photo. That's my little guy right there. I love this photo. So now let's do the mouth. The mouth is sort of like, kinda like a banana shape. And to me it looks like the easiest way to do it is, well, there's two ways we can do it with a cylinder and we can do a Boolean operation. So we sort of carve, we carve it out. Or we can kinda do with the lazy way using layer. I'll turn the intensity up. I'll turn the size down to about 50. You had Sub, make sure you're on your body layer. And then you can sort of do it this way. This is not really cheap way and doesn't let them, it doesn't look bad. I don't know why I'm turning it on its side. I'm so used to doing that. So there's one way to do it using layer. And then of course you could just keep going like that to kind of get the depth. So that's one way to do it. If you want to be a little bit more precise with it, then you can add a cylinder. Snap-on. Remember we have snap. So we can snap it forward. And before we validate, let's go ahead and set the parameter. So we just be tapped here. We'll set that parameter to two linear subdivision. Let's just validate it. We need to make that kind of mouth shape. So maybe it will just shrink it up a little bit like this. And we can take our trim tool, make sure that we turn flip off. And we can do rectangle or we could do, we could do ellipse. Let's do rectangle. Much, just trim it, something like that. So now let's just smooth out the edges. We don't need to match it perfectly. Because once we make, once we do the Boolean operation, once we remove this and make the mouth area, we can sorta, we can edit it while it's a mouth rather than, well, it's a shape. Alright, so now we can kinda check the size, see what we like. Maybe I'll just speak a little wider. Feels like it should be a little wider. Like that. Then I will move it into position with our gizmo. It's kinda big. That looks pretty good. Maybe I'll just make it a little bit thinner. Kind of give it a little bit more separation from the overalls. But overall, I think that looks good. A little wider. Maybe. Once you have a shape that you like. Then we can go in here and we have our cylinder, which we can hide. And then we just have to find the body. Let's see, where's that body right above it. So now we have the body and the cylinder, and the cylinder is hidden. So that's gonna make our Boolean operation. Now we'll voxel 3D mesh. And let's do, let's do 250. Will go crazy. So 250 box L3 mesh. And now we have a nice mouth cut out. So looking good. So let's just move it out. All right, It's looking good. I might even I might even move this down a bit. Just grab this and just move it down. Can even just move this down with the gizmo. That's good. So I think that looks pretty nice. And sometimes if you want to get, get rid of these little dimples, that's kinda tricky. Sometimes you can pinch them together. Loops, be back on the body. Sometimes you can pinch them together and then you can smooth that out. And just makes for a cleaner smooth. Okay, I think that's good. 22. Teefies: So let's make his little t fees one of my favorite things to make. So it's making me because it'll teeth and his little tongue. So I like to use spheres. So I'm going to add a sphere. Bring it forward, bring it all the way forward. So you can see what I'm doing. So I'm going to shrink it down. And then I'm going to smoosh it together like this. Right? Now, let's just fit it. We can just move it back and we can just fit it until it looks right. So we'll make it smaller and a little bit wider. It looks like they're kinda squat. So maybe something like this. So I can see 12345 of them. Let's make it a little smaller. 1234. So it looks like there might be a little bit smaller. As you know, unlike all about details. Okay, I think that's decent. So I'm going to validate this. Now we can worry about the shape a little bit more, so I'm gonna make it a little thinner. Then I'm going to use drag. I'm going to turn on symmetry. Might have to go in here, okay, It's on local. So I just want to be on on local. So the reason why I'm using drag is because his teeth seem like they're a little more squared off. So I don't want to have them to round. So now that they're a little squared off, I'm just going to hit Solo. Just so I can see that the tooth and we can use the flattened tool. And I just want to flatten the bottom and the sides. And you could actually flatten the front a little bit. If you're feeling crazy. K, Let's un-solo and see how that looks. I think that looks good. I think that fits for our needs. Remember, you can always you can still, if you wanted to make it a little bit more flat, move it around. So we'll just position it persistent it there for now. It looks like they're towards the front of the mouth. Maybe they're so that's looking good. So we can mirror this actually will just tap, Add, tap, mirror. And and that's another thing I did. I stayed on mirror so they didn't You have to go to sphere. And then you can separate them. Separate them and actually want to angle them a little bit. Let's take it off snap. Because now they're straight, but I want them to be a little more form to the mouth. So I'm gonna just going to angle them a little bit like that. It looks like there's a little bit less of a gap. So we'll do, we'll do that. I think that's good. So now we can clone this. So we have another sphere. And let's move this further, further out. And now we're just going to position them to our liking. And are these small window, these around the same size? A little bit. I think there's a little bit of space between the teeth. That feels good. Alright. I think that works. I don't really think we need to make any more teeth. I think that looks good enough. So you can't see his teeth on the bottom, so we really don't have to worry about that. Thank you. Ipad is trying to put me to sleep. So we just have to make his little tongue. So this should be pretty simple. We use a sphere. Sometimes I even forget how to add a sphere. Sometimes it starts to get late and I forget, simple things will move the sphere up, flatten it like so let's bring it up a little bit further just so you can see. Roughly something like this, I think is good for a tongue. Make it a little flatter and a little smaller. So we'll go ahead and validate it. And then I'll use my flattened tool. For some reason, I always flatten out the sides of the tongue. Lips. Sure. You're on the right mesh. Oh, you know what? That's what was happening. I am still in mirror. So I'm going to bring this sphere out of mirror. And that's one of the things you have to be careful of because I didn't mean to have this in mirror. But it affects how you sculpt and it affects how everything looks. So that's just something that you have to be careful about. I'm actually going to undo. I'm going to undo all the flattens. I'm going to validate it. But now I'm going to bring it out of mirror. And I'm just going to name it tongue. And then I'm gonna go to the mirror, which is the teeth. And I'm going to rename that Tethys as I always do. Okay, so now I'm just going to, I'm going to rename this one eyes just so I know. I can collapse these layers. Okay, we're looking good. Now we have the teeth and now we have the tongue here. So I'm going to flatten the sides. I think I'm gonna do something a little different. I'm going to inflate. I'm going to turn symmetry on. Just inflate the tongue. And I'm just going to smooth everything out, make it nice and smooth. I'm going to use crease. And I'm just going to draw it down. I'll actually turn symmetry off because I don't really need to use symmetry. Here we go. I don't, you don't want to have a sub on. So you want to make sure you have sub off. I think that looks good. Just smooth out a little bit. So let's take a look at this. Inside is garb. Let's see, shrink it up a little bit. I think that looks great. And I'll go in the body layer. If I want to unlock, I want to make it a little deeper. You can take layer like I was showing you before on sub. And you can just sort of make this a little bit deeper here too. You want to go above and beyond, which I like to do. Sometimes you can make that a little deeper and then you can smooth it out in their little extra credit or something like that. Alright, we're at a good, We're doing well. We're doing well. So I think he's pretty much, you know, he's he's pretty much in a good spot. Next, I just think we should first light him and then color them. But great job so far, we're really trucking along. 23. Light Bright: Alright, so now it's time to light our little menu here. And there's two quick things that I want to show you before we add in our first light. The first thing is sometimes these little icons are kind of annoying. So this is how you turn them off. So you just go to the Scene menu and then go down here and you'll see these little icons so you can tap them both and turn them off. Because I don't usually click them to do what they do. It's just an easy way to go to whatever, like the eyes, like the symmetry and stuff like that. I don't really use them, so I just wanted to turn them off. Another thing is let's add a plane. So right now we have a box for the floor. We have the box there. But let's add a plane instead. So I'm going to take this floor and delete it because we don't need it. But let's just add a plane, bring it down. And we'll make it big. So maybe something like this. And then we'll just make sure that it's lined up with the shoes correctly. Here's another little tip. When I'm lining things up with the shoes. I would say it's a point. We're on orthographic so you can't see it. If we were on perspective, you could see it, but run orthographic, so you have to just tilt it a little bit. But what I like to do is drag it up just so it covers that initial shadow. Just a little bit. Something like that. I think that's good. We can validate it. Another really quick thing. Let's go into the eye, the cornea. And let's go into the options. So go to this little sphere and reflectance. So you want to make sure they refraction is down. Otherwise it'll look real crazy. So makes sure index of refraction is down, but you can bring reflectance up. So that'll make this light, this reflect even brighter. So it looks skewed. So let's find a nice view for little minion. Maybe something like this. Let's go ahead and turn perspective on. So just tap a little camera, rent orthographic right now, change it to perspective. And usually when I do perspective, I don't like it up too much. So there's ten. Let's do maybe just let's take a look in the photo. And the photo It's probably around here. And that looks good. So you can just put it somewhere where you like it. I think I might go like 15. So now I'm gonna just gonna find a nice spot that we can continue to work on him that looks good. He's in the middle. That's pretty good. Okay. This feels like a good position. He's in the middle. I like it. So now I'm just going to hit, you can hit this little icon here or you can just go to the camera and hit Add view. And I'm just going to rename this center stage. So now you can always go back if you, you know, if we're messing with it, you can always go back. And I'm so confused. I'm thoroughly confused as to which has happened. So let's try that again. All I did was positioned him. It went here. I did add view. So we'll call this one center. Center stage. Center works. So I must have done something wrong with center stage. So we'll just delete that. You can do a side view as well. Something like this. Whoops. Sometimes I accidentally long press something with my fingers. I know it's kind of annoying. So let's save this. I'm going to save this one as well. Well, what happened to my overview? Here we go. So I'm going to save this one as well. This can be 34. I think that looks good. Okay, so at least we have on now. Let's try this again. Center. I don't know what's going on. Okay. So we have three-fourths and we have center. I'm just going to save this because I don't know what's going on. Save. Let's turn our environment off. That's all this. Ambient light is all environment. So we'll go to this little icon here and turn the environment off. Once you environment is off, now we can start lighting completely fresh. So we'll go to add light. And this is our world light. So let's name this world. One. We can tap gizmo and we can move it off. It doesn't have to be in the center word lights. It doesn't matter where they are because it's almost like the sun coming down. So good position for this. So in the image. Let's move. So in the image, the sun or the, the world light is coming down from here. The shadow is behind him. So let's try to emulate that. I think something like this is good. So right now, this little arrow is pointing, points in the direction of the light. Whoops, lost it. I'm gonna, I'm gonna go to the lighting thing and tap light icons because sometimes I like to get rid of them. So that's so it shows the icon. So now I can tap on that and continue. So we'll put it roughly in the same position. Something like this. And that's pretty good for now. And I'm actually going to want to soften up this shadow. So we'll tap the little three dots which goes to the light, the light menu. It's the same thing as if you were to go here. And then you were to tap on this bulb, It's the same menu. Except now I have two of them up. So let's soften the shadows. So here we go down and you see shadow here. And institutes to softness. Makes it nice and soft. You can choose how soft you want it. You can see the difference. So just this makes all the shadows softer. So that's the first light. Now let's add another light to shine from this direction, just to light up some of these shadows from behind. So we'll name this one, whoops, we'll name this one W2. So that's world too. So let's flip it. I'm just saying I'm adjusting it so that the light this way so you can sort of see. So I want the light to be on the opposite side of him. So maybe something like that. So now the light is coming from behind and it's hitting him on that side. So another thing that I that I like to do is change the material. Because right now he's very, very shiny. So let's just change all the materials so that it's softer. And then we can come back and we can adjust the different materials. Like obviously the goggles are going to be a different material than the overalls, which will be different from the gloves, things like that. So let's take the body when we can just change everything now. So we changed the tongue, front pocket overalls, the plane. We don't want to do the eyes yet because we'll do the eyes. The eyes I think are fine as they, as they are. Overall. Straps, front buttons, arms, gloves, boots, souls, and back buttons. So we chosen all of those. And let's just change it to put the roughness up to like, you know, 0.5, 20 or so. Okay. So now it's a lot softer. And it's just, I find it better to light this way versus having everything super, super shiny. 24. Material World: So we can change the gloves and the teeth and maybe even these pieces of the goggles. We can change the material just to make them a little closer to what there'll be in the end. So let's go to let's see where the teeth are here. The teeth. Let's make sure we have both of those. So here are the teeth. I'm going to change that to make them a little shinier. So I'm gonna go to, you know, 0.1 or so. Paint all. So now the teeth can be shinier. The gloves, I'll tap on the gloves. Those can be shinier. Maybe it like 315 or so. So now the gloves are shinier and I think the boots can probably be around the same. So I'll just hit pain all because it's still the same the same level that we did the gloves. And we'll keep this souls because the soldier usually like rubber or something that would be more than like a leathery boot. So for the goggles, goggles. We have the front, the back. And let's see. I think all of this would be the same. The pin, the middle. Yeah. So I think all of these would be actually the same material. So let's just go ahead and make them a little shinier for now. So we'll make that a little shinier. So we already have two lights. Let's add a spotlight coming from up above shining down. You can actually see on the image there's a light. You can see the shine from a light coming from above. So let's just zoom out. And we'll go to our lights. And we'll add a light. And I'll rename this one top-down. And let's change this. So I'll tap here and change it to a spotlight. Let's tap our gizmo. I do wish that gizmo is automatically triggered when you put a light in, but that's okay. So now we'll shine a light from above, sort of like here, and then we'll just bring it up, bring it up higher. And that's really bright. So you can soften it with the blue, the blue dot softens it. That's hard light. So we can solve in it. This is the cone angle, the orange is the cone angle that makes the cone bigger or smaller, the cone of light. And I believe this is intensity. Oh no, that I think there's just moves it around. What that does. Anyway. So now we have a light above. I can sort of bring it towards the front a little bit. Let's just lower the intensity of it. Because it's right now it's really bright. Okay, that looks good. So we do have another light that we might, we might put in the front. But for now let's actually turn on our environment. And you can see it's really bright. So once you turn on your environment, and again, this is the one that I use, you need to turn the exposure down. So turn the exposure down. And I'm going to put mine up to about maybe 0.35, 0.3, 51 or so. That might be good for now. Maybe I'll turn it down to like 3.3, I think is good. So another quick thing I wanna do is we can tap on the eye, which should bring us to the cornea. If not, just go into the eye and make sure you're on your cornea. And I'm actually going to raise the reflection up all the way. So I'm going to tap on this little sphere and just raise this up all the way so that our reflected light is as bright as it can be. The only way we'd make it brighter is to bring the environment. Light up more, but we don't want to bring that up because it's going to change the lighting on on everything. So we're just going to move the reflectance up a little bit. Here's another small adjustment I want to make to the light that's top-down. So right now, right now the light is really bright on the top of his head. But instead of that, I think I just want the light to sort of hit the top of the head, but also offers some shadows for this plane here, where it curves down his forehead. And I want it to shine a little bit brighter, just off the top edges. So in order to do that, Let's first bring the light down. We'll bring it down closer to him. So that way it's easier for us to move around. So in order to do what I'm, what I'm thinking, I basically need to bring the light back further and then tilt it up. So let's go to the front view and you should be able to see a bit easier. What I mean, I'm going to bring it back, bring it down a little bit more so we can so I can bring this brighter or bigger so you can see what I'm doing. So we move the light back and now I'm just tilting it up. Notice how when I tilt it up, you can see some of the shadow behind and in front. I'll bring it down a little bit more and even push it back a little bit more. So when I go like this and bring it up, you'll see that it just has a pop of light here, which I think I might like better. So now let's go into the Options. And we can just lower the softness of it. We can make it a little bit brighter on top. Let's see that. Let's see. Imagine if that's our view. And we can even turn the intensity down a little bit. But now we have a nice, We can see the shadow for the forehead. And it's not so bright on top that it's lost. There's a little bit of brightness on the edges of the top of the goggles. So another rule of thumb, it's always nice to have some shadows behind. Granted this one, this light is really bright on the side. But it's also because when we made the other light, there was a dark shadow here. So now I just added in some light. So it's always good to kind of go back and forth and just think about how the light is hitting the surface. And it will take some time. There's so many ways to move and adjust the lights. But the more you do it, the more you'll notice like little things like that. Like I want to take advantage of this, making this shape like good. Even when we look from this angle, we have the light shadow and then shadow behind. So just keep in mind those things like when you see 3D characters and 3D art, really study how they use light and shadow because it really makes a huge difference. So now we're going to add the very last light, and we're going to add it in the front. We're going to use it as a world light, but we want to make a nice pop right on the pupil. So this is gonna be my main, my main view. Something like this where we already have a center view. So that's gonna be my main view. So when I add the light, whoops, I guess I didn't delete it. So we're going to add the light. And we'll rename this one. Let's just name a key. So again, this is a worldwide. So it doesn't really matter where we position it, but I'm going to put it I'll leave it here. So now we're just going to turn the light and just, we're going to use our ring and just, just so it's shines right in the dark part of the eye. I think something like that. It's pretty good. So maybe something like this. A little more little more on the top-left. I think I like. So that's good for the last light. And I think it's sufficiently brightens up our scene as well. Let's, I'm gonna go to my lights and just turn the icons off so we can see what we're doing. Okay, I think that looks good. 25. Colorful World: So now might be a good time to take a screenshot and saved because I think it looks pretty good just with white and the textures. I really loved the way that looks. So. You can always take a screenshot. I'll take one like this. And even one with post-process will look good. Also. Like to take screenshots. It's good to just take screenshots as you go. Alright. So I'm going to undo because I don't really need all turn post-process off. And let's save. Gotta make sure you save often. Okay, So let's start coloring our minion. So we're on the body right now. Just make sure that your tap on the body will go here and let's add a yellow. Yellow looks pretty good. Actually, I can see him peeking out from there. You can always move your, your, you can move your image around. You can just go to Transform if you want to move it so you can see the colors here. Something like that. So we're on the body. That looks like a pretty good color. Maybe it's a little more orange. That looks good. And you can see there's no shine or anything on his skin. So you wanna make sure that he's fairly rough. So I'm putting mine at 0.8 pane. Alright, that looks good. So now let's do a general blue for the, for the gene, for the overalls. We have overalls, the front pocket, and the straps. Overall straps. Let's actually take these, let's move everything up to where it's buddies are. So we have the overall, overall straps. Front pocket can go in overalls, front buttons, back buttons. Let's move these up as well. So front buttons, back buttons. Let's move all of these into overalls. Just collapse some of these to make it easier. Goggles. I don't know why the lights in here. Let's take this line out. Keep that separate. It's always good to organize. Keep your scene organized. I'm just going to save I'm going to save quite often now. Just because somebody had arms, gloves and we can put the let's move this up to so we have arms with gloves nestled underneath it. We have boots and boots soles. So I'm going to connect those boots, boots, soles. We'll just rename these boots. And our lights. Let's bring our lights out too much now we have our lights. And these are actually the views. I'm not sure why those are in eyes either. So let's bring the views out. Center, bringing that out too. Now we have eyes, overalls, Tethys, arms, gloves. Okay, So now it's a little more organized. So this should, this should help us out. For the tongue. We can just go pink, sort of like a reddish. So something like that. It doesn't have to be too rough so you can bring the roughness down a little bit. Maybe something like that. Go pain all for the teeth. Even though can join these together. We can actually validate this to, let's just go to TVs and validate. And let's join them again. There we go. That's what I wanted. So now the teeth are just one piece. And we can make this white even though they look white and let's actually paint them white. And then bring the roughness all the way down or a little bit more than all the way down, maybe like 0.1. I think I started with the overalls. I don't know how I got sidetracked. So let's grab the overalls and front pocket overall straps. And these are blue. So let's go to bring the roughness up. Firstly, applying the roughness up to like maybe 5.5. And that's fine. A decent blue that's close. I think something like that is good. Feel a little bit off. There we go. That looks like a gene color. So my number is five, F A7, E7. Again, that's flat. Five F A7, E7. I think that's a good color. Roughness is at 0.5. I think that's good. Maybe even a little bit more, maybe even 0.6, 0.63. So that's decent for now, the buttons are black, it looks like. So we'll grab the buttons, front buttons, back buttons. And we can actually join these together and just rename them buttons. The buttons are black. So I'm gonna go all the way black. I might just go. I'm gonna go, I'm gonna make them a little warmer. We'll do something like this. Almost black but not exactly black. But maybe we have the roughness down a little bit so that there's a little shine on the edges because they're buttons after all. So for the gloves, the gloves are also black. And what we're doing with the gloves is I kinda like how we set the a squared. Let's tap paint, but we already set that the material. So lets just grab that material. So now it's the same, it's the same roughness. So we can just change the color. So we'll go to black. I don't think I want to do completely black. Again. I think something like this is good where it's pretty much black, but not all the way black. So I think that looks good and then you can adjust because it might be a little too shiny. So I'll just adjust this up a little bit. Just so it's a little, little tiny bit rougher. Maybe it can be a little more glossy, maybe something like that. And also we can also grab the paint from the body. We can tap the arms and paint all the arms can actually be. So I'll just necessarily the arms under the body. So the boots are also black. So let's just grab the color of the glove, which I'm actually going to make darker black. Make sure I'm on the gloves. I'm just going to actually just make them a little bit darker black. And then the boots, the booties paint them black. And the soles, whoops. And the souls, we can also paint black thing. I want to make them a bit rougher. So now the souls are also black. Let's go to our view, center, 0. And also another thing. Notice, when I tapped the center, it actually moved the image back over. So I'm gonna, I'm gonna move the image again. So transform. And I'll move it here. I'll tap on the screen. Then I'm going to move on, move the minion to the center again. And I'm just going to make a new, I'm just going to update the viewpoint. So now the center will be here and the little image will be here. I'll just save it again. Speaking of saving will save it. There. 26. Dapper Details: So now let's find some colors for our goggles. So it looks like this trap is around. So we'll just go to a brown Let's bring it up later. So maybe somewhere in a family of their I think looks good. And I bring down the roughness so I can just see the glare on the image. So maybe 4.421. That's a good start. And you can also reference, you can look up some minions. Yeah, So it's quite glad they're quite shiny, leathery look. I think that's actually pretty good. And at some point in time I'll probably make that that dimple in the middle because I kinda like that. So I think that's a good color for now. And for all of this stuff. So we have the front part of the goggles. Let's go ahead and expand our goggle here. So we have the head strap which we just colored in. Then there's the front, the back, the spheres, and the pin. In the middle, I think two here in the middle. So this is all like a shiny, shiny silver, but it's not super, super like what's the material? It's not super glossy. So let's start with one of these shiny. So you can go to the Paint tool and you can tap and then it has some saved. Usually one of the Silvers is always saved. But you notice that right now, like when you tap on it, it's very dark, even if you make it gold mentioned for me to gold. So we tap on silver. And now we can just go into these options and we can adjust a little bit. So let's bring up the roughness because that will actually make it lighter. So it looks like probably something like something like the air is good because when it gets too light, then it gets a little too rough. So think maybe 0.7 is good. That's a good medium. I think that sort of matches. And of course, you can adjust it. If you want it to be a little more shiny. You could just go a little darker with it. Something like that. Maybe, you know, this also, you know, whatever tastes you have. But I think that looks good. Alright, so now we're gonna do some details in the overalls. So the first thing that we're going to use is the crease tool. So this tool is right here. So you want to use the crease tool. And very small, my radius is about 30, 31, intensities about 63. We're going to leave symmetry on what we want to make sure that we tapped sub because we want Sub on. And let's go ahead and hide the plane because that's just going to get in our way. So we'll just hide the plane. So we go back to our overalls. So now with decreased tool on sub and symmetry, we're going to trace down this line and we're going to bring it over. We're going to do this little piece right here. So I'm going to start from here and go down and bring it up like that. And feel free. You can get it as perfect as you like. It doesn't have to be perfect, but you can just keep doing it until you get it where you want it. You know, for me that usually takes forever. I think that's good. Okay. So that was a crease with sub. So now we're going to take crease, same thing but we're going to take off. So just a regular crease. We're actually going to start from in here and come around right on the inside of the crease. We just made like that. So we have those little pocket groups. So now tap sub again. Here's a little crease here. So we're going to make that and we're just going to draw that line straight down, but we don't need symmetry. So we'll turn symmetry off and we'll just draw a line straight down. Like that. I think that's good for you to get it as straight as you want or as straight as you can. But it's not too critical. That worked better coming from the bottom-up, work better for me. Okay, so now we're going to stay with sub on, but we're going to turn on symmetry. So now we want symmetry back and we're just going to make a little ridge up here as well. So but she has started on this corner. Just go along that edge like that. Since the overall is have a lot of details. We want to go up here to multiracial and subdivide it. So just tap sub-divide. And it makes it really, really big. But we'll be able to put a lot of details in. 27. Wrinkle Magic: Let's add some, let's add some inflate tool to make these, all these little creases are little wrinkles. So we're going to use the right tool for that. So we'll go to inflate. And very small radius can be about 20. Intensity have about 75 or so. Make sure that we're on the overalls. And let's just make it a new layer. So we have this layer, which is, I don't know what, this is 0. So this layer is the pockets. So let's name that pockets. I didn't realize that it did it on a new layer. But it's fine actually, if, it's fine, if you don't have it on a new layer, that's okay. So let's just add a layer and this can be wrinkles. So this will be our wrinkle layer. So we'll use inflate. And we don't really need symmetry because we don't want them to be super symmetrical. So let's just turn symmetry off. So now you can take a look at your reference and just see where the wrinkles are. So they're pulling on the pockets and on the sides here and off underneath here. So we're just going to concentrate on that. So I'll go closer so you can see. So we'll just add some inflate like this. You can, you can vary the size a little bit. Something like that is what we want. Also, you can vary how strong, how strong you want the intensity to be. So I might like that. Oops, let's lock it so you don't go on a different layer. I think I like the intensity more like that. So we'll just go ahead and add our little creases. So it looks like it's pulling from there. And then we'll also add some coming out from this little pocket. A cup on the bottom, make some bigger ones. And we can go afterwards, we can go through and add kinda smooth some of these down because some of them might be a little too aggressive. It happens. So something like that is pretty good. And we can add some of these kinda go a ways over. There's some that sort of bring these pockets. I absolutely loved doing details like this. So you can take smooth and you can smooth them out a bit. Especially if you, if you think that some are too defined, things like that. I just want to smooth them out so everything is nice and blended together and looks natural. I think that looks good. Now just go through and you can add some, there's a little bit here. You can just add some other ones across our, across the body. I'm going to smooth this out a little bit. Back to inflate. I want to add some bigger ones to the pocket on some that are smaller. This have to be careful because the only thing that you want to be careful about is going like this. Because you don't want them to sort of overlap. So you just kinda have to be, be confident in your your wrinkle making. Okay, so let's add some more here. You can add some more pulling. I want this to be one long flat one. Let's make it a little smaller and just do some ones that are pulling off of this. And some down here too. Some going crossways. Whoops. And a couple in here. A few here. Almost like it's pulling on the pants a little bit. Okay, that looks pretty good. Now I'm just gonna go and smooth some of these out. Sometimes less is more and you just want them to be nice and subtle. Because you'll let the light, let the light and shadows do most of the work for you. I think they look much better when they're nice and subtle. And later on we will add some darker colors. Like we'll add some darker blue and maybe a little bit of crease lake in the middle. So that'll darken up sort of in the middle. That'll make it look even more realistic. All right, until it looks good. I think I would like to add a bigger one. Maybe just like want to add a going across. Maybe we'll just add some smaller ones here around his leg. Of course, you don't have to go this crazy, but you know me, I just like I love these little details. I think they add so much. Even when there's subtle. They really add so much to your character. I think that looks good. 28. Mo Wrinkles, Mo Magic: Oops, let's also make some up here. Since there's all these little dimples up here. And around the edges. I'm going to make sure that these actually go over. Okay, Now let's add someone top. Also. I know my, I can't remember what the settings are, but I know when my screen is closer, the brush is smaller and vice versa. If you notice that when I'm I like it but I just don't I don't remember what the setting is. There's a setting to change that. I think it's I think it's one of one of these things, but I just leave it on. I just leave them both off. I mean, I believe it's one of these something like this that controls how big your meshes and then how the brush reacts. I leave them off. Keep it simple. Okay, that's good. So let's do the straps and the pocket. If we can join them. So the front pocket and the straps. Just put them. Let's just join them together. And let's see how big they are. So there are 127 k, So they might actually be just fine, but we just want to put some of these, we want to put some of these wrinkles there as well. So let's take a look at the ear. So it's just one has this really tiny wrinkles radiating. Maybe a little bit bigger than that. They're all sort of like that. Maybe not that small. And do I want symmetry? Let's turn symmetry off. Something like that. And I was just smooth. Smooth it. So it looks way more realistic. Something like that is good. Sometimes you just flow your work together like someone smooth. Feel free to like go back-and-forth. Like that's something that I always do. I try not to when I'm doing tutorials. But it's really how I work. Like sometimes I, you know, I'll see something that I want to change or that I wanted to differently. And you just do it, you know, you just get it done regardless. Alright, that's pretty good. So now let's do some on the straps. So let's make sure we're on the straps and then we'll lock it. I'm just locking it so I don't accidentally go in a different layer. I hate when that happens. We use inflate and doesn't look like there's too many, but there is some. So it seems like they're more like on the on the outside coming in like this. Kinda like that. Some over here as well. Don't wanna go. I want to get that big because then they'll they'll start to come up over the button. So just be aware that can do some on the dark side. I need to go too crazy with it also just another side note. You can do sub. You cannot, you can actually do the reverse to just as an, it's another little option. So we can do go to the end here and you can sub. So this is the same thing. I usually do it with the crease, but very similar. Smooth it out and it makes that nice, that nice depression. And they're just smooth this out a little bit. Just get them a little more subtle. Good, good. Okay, thanks. Let's do some, let's do some inflate, but sub c, That's way too deep. You want to be more subtle. Even something like that is good. Because you have smooth, then you can smooth it and it really makes a nice, some nice depth. And let's do on the front part. I'll bring down the intensity. We'll just do some along the front go. That feels good. So once you feel good, then we can, we can move on to some more styling. 29. Denim Details: So now we're going to start to do all of the color of the white in the genes. So this is a little bit tricky. But as long as we move through it slowly, I think you'll be able to get it. So gene texture, obviously it's like, it's like a washed gene color. There's lights and things like that. So I think the best thing to do is firstly, so we have two layers. We have the strap and the little pocket, and then we have the overalls. So for each one. So for the overalls, we're going to add another layer. And let's just call that lighter. This will be lighter than, the color will be lighter than the blue. So it's sort of like a lighter, just a lighter blue. So we'll tag that color by long pressing on the overalls. And then we just need to make it like a lighter color. I think something like that looks good. Okay, so now when we have that color, we can lower our and our paintbrush intensity to about 50 and see what that looks like. Maybe even a little less, maybe like 35. 35 is pretty good. So first, we're just gonna, we're gonna sort of lightly put in this white. By tracing along the edges. You can make your brush a little bit smaller in some spots. And you kinda wanna go over where the genes are raised. So we're just lightly just painting on especially where the genes are raised. There's a lot here. I'm just sort of go in that same general direction that all the wrinkles are going. Make my brush a little bigger and you just wanted to to same. Just lightly painted. It doesn't have to be big long strokes. You can do just like Blache and make it really Blache. Because it is blotchy. It's like doing this random gene color. So we just want to make it Blache and kinda messy and don't think too much about it. So we'll just add a little dark over here. We'll just add some of these in some areas you can sort of go over the same the same spot to make it a little lighter. But there's no real easy way to do like colors like this. It's just like a gene color. You have to do it manually. There isn't maybe there is an easier way, but I don't know it. But I just see, you know, what I'm doing 2D. He just had to figure out how to do things. You have to figure out how to make things work. I think this is pretty good so far. I'm just gonna go over some of these just to make it a little later in some spots. Okay, I think that's pretty good. So now we can do the same thing with the straps. Little light in the middle. Just to some patterns going up and down. Same thing on this side. Some patterns bring it in closer so it's a little smaller. Okay, so now let's take our, so we're going to make a different smooth brush. So they're smooth here and we want to do the same thing. We're going to clone it. So you just tap on it and clone and smooth. Let's name it smooth color. So that'll be on the bottom two. And you can lower the intensity on the smooth brush is lower it all the way. So then it's only going to smooth the color. It's only going to blend the color. So very similar to what we did with the paint tool. Well, actually it's not similar with the paint tool. What am I saying? But it's just going to move the color and it's not going to smooth the, it's not going to smooth the shapes that we've made. So you can also use smudge. The same way. You can sort of just like smudge this color around. Sometimes the smooth, we probably use it later, but the smooth is a little bit better when it's when the mesh isn't so dense. We did sub-divide it a lot. So That kinda makes it a little tricky. Just want to create some movements in some more movement. Okay? Looking crazy. Right? So now let's go around the edges. The edges seem to be a little bit white, like lighter. So let's go around the edges with our lighter color. I might even make it a little bit lighter, just a tad bit lighter. And we use a paintbrush. And I'm just going to go around the edge. We can actually do symmetry, the intensity a little bit. So I'm literally just going over the edges now. The edges of these pockets, all the edges along the overalls. I have, I do have environment on. Oops. I'll make sure that you tap the next day he tapped the where you are, you're doing the coloring. I can help grow on the edge there. Go along the back edge like a symmetry is off. Turn it back off. Okay. Looks pretty good. Okay, so now we have a lease, we have that weight along the edge. Just use my smudge. Just make some more movement over here. The pattern, I don't want it to be too uniform. Okay. I think that's a good start. 30. Creases Pieces: So now we're going to use crease. And we have symmetry. We can keep symmetry on for now. And my brush is very small. The radius is about 39 and intensity is about 55. So we want to take a darker color. So we want to take a really dark color like that. Then we want to add a layer. And we'll name this one darker. That's on top of later. Also realized that didn't make a new layer for the, for the straps. I think I did that on just the same the same layer. But that's okay when we use the when we use the decrease will make a new, we'll make a new layer. Matter of fact, I'll just make one now. Okay, so let's go back to the overalls. And the first thing that I wanna do is make a crease down here. So remember the crease is really small. We're using symmetries, so it will work on both sides. And I just wanted to come out here and down. And then you have that really nice dark crease line. So we did that for both. I'd also like to do it down here. So I just like to make a straight line down. But that actually wasn't it wasn't too much darker there. So I might want to even make this darker. Let's see. Let's turn symmetry off since this is just a straight line. There we go, That's what I want. So now that symmetry is off and we're still on here. Make this a little bigger. And we can just turn the opacity, the intensity down. You can just make some really nice creases. And we can take the smooth brush that we just made. You can actually smooth. You can smooth those out or you can take smudge. You can smudge them out. You can get some really nice creases, some really nice creased textures. So let's go back to crease. Crease. And this color is a little dark. So I'm gonna go home and it's going to grab a regular color and just bring it bring it down a little bit. I don't want it to be too dark. Now I'm just going to just sort of bring out these little wrinkles. Because there's a lot here in the photo. There's a lot right around this whole pocket. So I just wanted to make sure that I add those in. And on the top, I'm just going to turn on symmetry just so I can go from the top end. We can actually make that pretty dark. Okay. I'll make it a little lighter now. And just make some few little creases. Then I'll take my smooth. I'll just sort of smooth them out. So they look a little more natural. I think it's good. So take crease and I'll do the same thing over here. Although this looks pretty good. Can even add some like you can really go crazy with misusing the smooth, smooth brush now. But you can really go crazy with these, with these details and you can get a lot. And this is how I do a lot of my, lot of my work on, on in Procreate, like in 2D. So I'm just using the same sort of thinking in the same sort of ideas that I use in 2D. I make my brush a little bit bigger and bring down the intensity a little bit. And I just want to like, oops, let's turn off symmetry. And I just wanted to draw out some of these, some of these bigger. I want to darken up some of these spots that are a little bright. Maybe darken up this underside of this little thing over here. So you basically just want to color in a coloring, but you want to depart the parts that go in, then you want to add some darkness to them. That's essentially all I'm doing. And you can do it with paint, but you can also do it with things like creased two. So when I use crease, that's why I use the color. Normally if you want to turn that off, you turn it off like this. But when you tap it, then it does the tool with the color. So that's called stroke painting. You see I've put these like in-between what we raised. I put them in-between where we raised up. And that gives it a nice, really nice look. So now I'm just going back and forth using my crease and paint. I'm just adding some nice little like tugs. And you can ask, you can use the Smooth tool like e.g. like I just made these and they're a little deep, they feel a little deep. So I'll just use the regular smudge brush because that's softens the actual clay. And I'm gonna go back, I'm going to go back a layer to lighter. I'm going to re-add that crease that we made because I don't really see it. So I'm gonna go, I'm gonna make my color lighter and just redo this little crease here. We want to decrease and you want to do sub. And we'll just bring this back because it's sort of got lost. But I want to bring it back. Sound, go back to paint, back to darker and then make my color darker. And maybe just do a darker line. That'll sort of help it to define itself. Maybe color these little darker. But I'm always going with our kind of going along with our lines. And I don't know how much I'm not going to do too much detail on the back because I don't think anyone's really going to see. I mean, I guess I'll show the back butt, somebody who's crease. And I'm going to take it off sub because we don't need sub anymore. Tad bit darker. I'll just kinda smooth this out a bit and go back to crease. Just added some paint, doesn't really need to be that deep, so I'll just add the paint. The paint looks really nice. When you add the pain and break up some of these. Make sure you get it nice and dark underneath the buttons are sort of holding together. Smooth everything out a little bit. So you start to see my, you know, my patterns and how I, how I do certain things. So make sure that you know, that's, that's what you need to take away from. This is just like the way that I, the way that I think about tackling these problems in now and most of it is just thinking about things in how I would do them in 2D. It's really helpful actually. Crease. Go lighter on the intensity and bigger on the size. Paint this out a little bit. 31. Creases Pieces 2: Okay, I'm actually going to add, Let's do will decrease. We'll do a little crease, little paints. When the intensity down. I'll use regular smooth and just sort of smooth this out a bit. Just to give his pants a little something different. Go to crease again. Just keep his pants a little crease action. They'll just take paint. I feel like I'm doing the Bob Ross thing. I always get that on, on, on YouTube. I get the whole Bob Ross thing. And I love it sometime. But that's how, that's how I create the button you have to create you just you just sort of get lost in it. And that's definitely what I do. I try to contain it because I don't want to keep you guys for longer than you need. I know sometimes my classes are long, but I just hope that it makes sense what I'm doing and why I do certain things. Because it literally takes me years to figure out how to tackle some of these problems. Then that's not on me. It's also a lot of, a lot of time studying other artists and being inspired by other artists and figuring out how they do things in it's also plays a big part in it. So I don't want to pretend like I'm taking all the credit. But that's kinda how it goes. Like artists learn from other artists. That's the way it is. Some little creases here. Let's go and close so you can become pretty good. It small. Smooth this out. We'll even smooth with the smooth brush. Okay, I think this is looking really, really good. So maybe we'll just add a little bit more. Darker, too little. A little darker. Just sort of go around the button. It's looking good. Little, some little darkness. It's just nice to have a nice to have some variation. And you have to have it like, you know, for this gene, which is like, you know, some of the hardest Material to like to draw, you know. Oh, that's why I was on the wrong thing. I was wondering why it wasn't wasn't painting on this layer. I was on the wrong. She smashed and smudge this. Okay. So add a little darkness to this and I think we'll just have to move on a little bit. Okay. I think it looks great. I think it looks really, really good. Okay, so let's just go back to the pocket layer and just darken it up in a few places. She little pockets. Okay, I think that looks good. Here. Get that really looking like a texture. I think that's really great. I'm really happy with that. So hopefully you guys kinda figured out a way to get yours looking fairly similar to similar is as you can get it. All right. 32. Time for Texture: So now we're going to add some texture to the overalls. And we're going to use the stamp tool. So the stamp tools here and make sure you save number one. And also really quick, Let's just lighten them up a little bit. So let's go to the key light. So we're in this little sun will go to the key light. That's this light here. And let's just, let's just make it a little bit brighter so we can see them more. We can always lower it down later. Is it a good idea? I think it's a good idea just for now, just so we can see. We're going to add some texture to this. Tap on the overalls. First, let's make a layer before I forget. Let's rename it texts for texture. Let's do the same thing with the straps. So new layer texts. So now at least if we go back and forth, we're on the texture layer. So we're going to use stamp. And once you tap stamp, go here. And then import. And this is where you import the stamp file or the standard photo. I think this is it in photos or is it in import and files? So it's the gene alpha. I think that's what I named it, but it's the only like alpha, it looks like a pattern. So we want to select the gene alpha. And it's going to go and you're a little import folder. After you do that, just hit Save this mostly because of trauma and the old world and one of the old versions, every time I would bring a new alpha n, it would crash. So stamp tool, we're down here. We have our texture. Alright, so let's go in our Stamp settings right here. And you'll see our Alpha there. So we want to scale it up so that the texture covers the red circle. There you go. So now we also want to lower the intensity. So we can lower it down to maybe like for us, for good. Maybe we'll lower even lower to like one. I think one is probably better. Yeah. Okay. So now that we did that, again, we're going to just start on our genes and we're just going to, we're just going to add in the texture. So you just pull and it will start adding the texture closer. So hopefully you can see I'm just pulling, adding the texture to the genes. I think it's better the further back you are. Some texture down here. So just make sure you just gonna kinda go over it and just try to make it even. I'm going to lock it because somehow I got on a different layer. How did that go? Then just go around and add some texture to them. I kinda wish I hand a texture for his actual skin because they look sort of like faculty the minions do. Okay, let's unlock and go to the straps and then lock. I'm going do the same thing. See how that looks. It doesn't look too bad. The only difference between the two is the strap isn't as it isn't as high resolution as the as the overalls. Because we remember we subdivided the overalls. But we didn't sub-divide the straps. And probably could have symmetry. I wouldn't ask her. But I think it's okay. We could sub-divide the straps. But if you don't want to use up that much, I don't want it to get too big, but we could subdivide this trapped. So I think it's fine without doing that. And I think it looks good. I think it looks fine without it. You just wanted to have a little texture. And I think we, I think we've accomplished that. So let's actually add a little bit of texture to the body as well. Because he, he sort of feels soft. It sort of feels like little felt. So we can actually use the same sort of texture, but his body isn't as the same density. So it shouldn't look too much the same as the genes. Will just go back to the Stamp tool. And I'm actually going to do it a little bit further away. And I'm just going to pull out and just add a little bit of this texture to his body. So it kinda looks like this. It's very, very slight. My intensity is only at one. Oops. Let's go back to the body. Symmetries on. Okay, so he should be all cupboard since symmetry was on. She did his little mouth, nose area, and his arms as well. Okay. Okay. I think he looks good. Next, I just want to add you can see here's a little bit of a little bit or redness now that could just be the shadow. But a lot of times in characters you add a little bit of redness to the cheeks and nose area. So let's try that out. Let's go back to the body. And let's actually try it out on a new layer. So we have a new layer, Let's name it reddish. And we'll just go with, let's see, it's more like this color actually. So we'll use that. Go to our paint. And we can lower the intensity. But we have it's own layer so that we have a lot of control over it. So let's just go ahead and just paint these colors and a little bit. Cheek area. Okay. I think that it looks pretty good. So now I'm just going to use mice are smooth without intensity, our new smooth brush and just smooth that a little bit. And then we'll go to the layer. And we'll just see how we can slide it and make it more or less visible. So I want to be just slightly visible. So maybe around half, just slightly visible. But I feel like it's there. Alright. 33. Fine Tuning: So there are a couple of the things I wanted to do with the strap. I noticed these sort of ribs in this trap. So I just want to smooth those out. Because by now you guys should know, I like a smooth mesh. Okay, So symmetry, It was good. I do like the divot in the middle. So let's add a new layer and call this darker. Let's take our crease. And let's, let's tap on here. We'll tap this little icon. It's the eyedropper will tap the color. So now we have the color of the, of this trap and we can make it a little darker. And we can use that for our crease is maybe a little tricky. But let's see what we can do. So let's start towards the back and just bring it to the front right in the middle. Something like that. I think that's actually perfect. I like that. I'm just going to use paint. And I'm just going to sort of paint in, make it a little darker around these edges. Like we can go darker than that and raise the opacity. Raise the intensity of the brush a little bit. Three's it up to about half. All of this stuff is just icing on the cake. Really making this trap look, look good. I like that. I think I want to make the middle one a little bit darker. So we'll do the same thing we're on the paint tool so we can use our finger to grab the color. And just for that middle one, I think I want to make it a little darker. So we can bring down we can bring down the roughness, or we can bring down the color. So do painter. And the same thing for the pin inside. Okay, Let's see. So if we go down here to the pin, it looks like it's altogether. Let's see if we can separate. Here we go. So we've separated all of them. So now we just have to find the actual pen areas. So we found the actual pen, and let's just do it the same color. Let's do the same thing with the opposite side. So we should be able to highlight it now. And just paint it a little bit darker. Just to give some variation. Okay, so a lot of this stuff is just icing on the cake. Now what I wanna do is let's start on the body. So we'll take the color of the body and we'll just make it a little bit darker, maybe even a little bit more orange. And then we'll add a new layer. We'll go back to the original layer. I'll delete this one. And we'll name this darker. So again, this is going to be darker. And I just want to I just want to paint sort of underneath where the overt where his skin meets his overalls. So I'm just giving it a nice little nice little brushy. It's a little it's a little bigger. Let's make this bigger. Here we go. So just adding a nice little subtle shadow where things are making contact with his body. It's bring this up here because this would be pretty dark here. All along the back part of the doesn't have to be much, but all this little stuff makes a difference. These little details. Little bit aggressive here. So it's smooth that out a little bit. Maybe even take a race. Take a race and lower the intensity and just sort of re, sit down a little bit if you get too aggressive. Sometimes it happens. Okay, Let's go back to the color. Make sure we get a little bit like that over the around the goggles. And we can also do that around the edges here where there's some contact and then also under the glove. So we'll just add some color into the glove. How we should also color inside the mouth. So we can go very, very dark with that color. We want to bring the roughness all the way up. And we just want to, Let's bring the intensity all the way up as well. Make sure that we're on the body. And we'll just color inside this mouth. And the reason why we raised the roughness all the way up because you don't want any share. Anything shining and glistening like inside the mouth. Because you want it to show depth. Good. Might even be able to go darker. Darker with it. Because I don't want I don't like that light hitting the back part of the clay. So I'm just doing straight black. I really want to blacken out that mouth. There we go. Alright, that looks great so we can add a little bit of that to the goggles as well. So I'm going to take this color. I'm going to bring it down slightly. I guess we're still in the body. Okay. So now we're on the lenses or the goggles. And I want to add a new layer. And we don't have to name it darker because we're not going to add too many new layers to this. So let's just bring our intensity down. We'll just go along the edge. Maybe underneath our little knees. Just like when it shows a little bit of like where does it not to be too crazy, but I don't want him to perfect. No, I don't want to to to clean. Looking good. Let's go ahead and join all of these things again. Which join these backup should be able to just my symmetry doing. It's weird. Let's change the symmetry to world. Here we go. I want to do both. For some reason it was doing only the one side. I wanted to both of these at once. Little darker even know what? Let's grab the color of this band because this is supposed to be the same color. So let's just color that in. Make sure the other one colored, it did good. Let's go on the inside. So now I'm in the inside rim going to grab that color, make it darker. I just wanted to go along the inside as well and make that a little darker. Okay. Alright, And last but not least, it's probably not last, but for at least for this coloring part, let's take the teeth will add a new layer. We'll go to like a tarnish color. So we'll drag a little bit more. And I just want to color in on the top. Just kinda color that in. And then we can take our little smooth brush and just sort of smooth it out a little bit. Okay, so let's tap the teeth and let's change them to subsurface. 34. Into the Shadows: I do want to add a little bit of a shadow on the inside of the eye. So we're going to tap the eye. Let's make sure that we're on. Actually, you know what, we can. So there are actually a few adjustments that I want to make right now. It's all about dialing this thing in. So it's the best and the most perfect that we can make it. So one thing I noticed was when we did the shadows around the eyes, I did them in black and they're actually kind of a bluish color. So I'd rather do him a darkish blue rather than a black. And also the symmetry made them on both sides. And I just want to do a darker blue here and a darker blue here. So in order to do that, I need to we need to remove the mirror. So we need to fix, we need to fix our layer here, our eyes. So the first thing is we can validate the eyes layer. So then we have Iwate. And you see that when you tap the little triangle, and it has all of these. So this is of course, the right has left and they're separated like that. And I think what might be easier is if we join like e.g. this eye white and this high white, if we join them. So now we just have my white, the corneas. We join and then we have the cornea and the pupil. We can join just the pupils. We should be pretty good. We can put the cornea. We can make it almost just the way it was. Actually. I think it was a white first and then cornea and then pupil. So just a little organization. So let's actually go, Let's actually go to the cornea. Our layer should still be intact, which they are. I'm going to drag this layer down. And these two shadows. So now they're above each other. I'm just going to tap this little button here to just join them. So that's our shadows. And you can do the same thing with these other colors, you can just join them. So essentially e.g. for the oranges, a long press this orange and bring it above the other orange, and then tap that. And same for this. The only thing you have to pay attention to is you just want your original layer hierarchy. So e.g. we have the orange on top, and then we have the aqua, and then we have the black behind. All right. So I know that's it's an all this stuff is so complicated and but it's, it's important when you want to do certain things, you have to sometimes go through the long way. So let's go to R. So let's go to where we are on our cornea. And let's just hide this shadow. So this is the shadow and we'll just hide it. Let's actually go to the eye white. So the white actually has all these colors as well. I'm not sure how they actually got onto the cornea, but that's okay. Not a big, big issue. So we'll make our layer and I say we do it on the IY. We'll just add a new layer. We'll name it shadow blue. Okay, so let's bring shadow blue down to right over the base. Okay. So now we're in shadow blue and we should be able to just paint and paint on each I. We have our blue color. Let's do a little test. Perfect. So now we can just paint on both sides. So I'm actually going to do it in a lighter blue. Just be sure to be on high white. Lock it. And then add your shadow blue, right above the base. I might be a little too aggressive. And here's something that's a little bit helpful. You can go in your brush options and you can go to various strokes smoothing and turn that all the way up and that should help with your curve. Something else, you notice if you go to front, it's snapped to orthographic. So I'm actually going to turn that off because we were working in, in symmetry or in perspective. So it's snapped to orthographic. So you can turn that off orthographic snap. So I'll turn it off and then it won't automatically go back to orthographic when I use the little tube. So just a little, another few other little side notes. So let's just take this smooth and just smooth it out. I want to give a little bit to the other side as well. So I'm gonna go back to paint. I'm going to lower the intensity. Let's take it off erase. And I just want to give this side a little bit of love to just want to darken it up a little bit and then smooth it with our smooth with zero intensity. And now we can lower the, the layer. So we'll go back to our layer shadow blue here. And we can actually lower the layer, lower the intensity of the layer. So maybe something like that. I'm just going to take my paint erase. So I'm just going to use erase and just erase it back. It just feels like it's a little too thick. So I just wanted to erase that back some just clean it up with smudge a little bit. I also want to adjust the lighting a little bit because these are looking very bright. And I want them to I want them to shine down a little bit more from this direction rather than straight on. That might affect one of our little pops of light, but that's okay. So let's first figure out which light it is. Okay, So it's that light. So it's our key light. So we'll go to the key light, will make sure that we're on our gizmo. Can move it over some, since it's a world light doesn't matter where it is. And I'm just going to adjust it. So it's something like this. This looks a little bit better. It's a little bit more dramatic. And we might even lower the intensity on it a little bit. Let's see how much darker. I actually like it with that intensity. Maybe we'll just make the shadows softer. Something like that. I think that looks good. 35. Back that Drop Up: Alright, so let's bring in the background. We have the plane which is somewhere. Let's see. Just collapse some of these to make it easier to see. Okay, there it is. So we have the plane. Let's bring that to the top for now. Okay, so now we can see the plane and we can also zoom out a bit. Let me save. The plane is looking good. I'm going to stretch it out a little bit more. I'm going to duplicate the plane and then make it the backdrop. So I'll just go here, clonus, and I'll just attach it. So now I'm just going to slide it back. People always dropping stuff upstairs. Slide this up. I don't think this needs to be as high. So we'll just sort of slice it. This is another instance, e.g. we have our side view here. But if we want to just move this like straight up or down or straight, this way, it can become an issue. So what you do is once you're at the level, I'll just do it as an example. So we'll tap, there are gizmo settings and tap bake and then go pivot and reset pivot. So now if I wanted to move it back and forth, it makes it much easier. I do still want to just hit a little bit more. So maybe like this. Now I'll do the same thing I just told you. Bake, pivot, rosette pivot. So now I can just move it up and down. As I wish. We know, we have a nice little backdrop. Which colors do we? I don't know if I want to make everything white. It might be a little difficult. It'll be very bright on our character. But it might, it might look okay, so let's, it's a good place to start. So we'll start there. I don't want it to be glossy. So right now I'm still on the back. So I'll do pain all. Let's paint the floor of the same color. Whoops, I'm still unlock. Let's unlock. So paint the floor the same color and you can see the ambient light, all the lights that we've added. That's what shows if something is white or not. So e.g. these are white, but the ambient, the environment isn't very bright. E.g. if I turn this all the way up, it's going to get more white. So let's bring it back down to where it was. So we could bring it up a little bit. But you can also control that with the lights. But one thing that's important is when you're doing all this, these kind of things, they can look slightly different once you do post-process as well. So you want to do as much as you can before, like we've done a lot without using post-process. But it might be a good time now to turn post-process on so that we'll actually see what it's going to look like. When for the final render. By render, I just mean what it's gonna look like when we've completely finished and we've turned post-processing on, and we want to save it and export it. That's what the product will look like. So of course, as you see, it's going to look a little different once we add post-process. Alright, so we're pretty much on the home stretch. Let's just sort of flow through this environment and working that out. So let's go to the, the light menu where it with our lights and turn on the light icons. So if we want to get this white or lighter, then we obviously have to, we have to lighten the environment or our lights. So let's try the environment first. Obviously this is with the environment off. But let's turn it up. Sometimes you can tell when the highlights start getting really, really bright, that it might be too much. I think two is the most I want to go. Next. It doesn't look bad, brighter, but I don't wanna go too bright with it, but I wanted to still try to get the floor a little bit lighter. So let's see if any of these lights are affecting the floor. So our key light is affecting the floor. And our world light is doing a little bit, but it doesn't seem like it's doing a ton. So let's go to the key light. Let's see it's information here. And maybe we will just raise the intensity. So I have it. I'd like to maybe like 214 to 13 to 14. So that's not bad. Let's look at the world light. Let's just see if we were to angle it a little more down, what would happen? The world light is right now. It's just the light that's giving some shine right here to the to his right side. But let's see if we shine it down a little bit. My own snap. No, I'm not who I must be turning it somehow. So I think I was just using the wrong rain. I think I'm going to use the red. So the red makes the floor very bright, but it's also just going to change. Sorry, that's the cat playing with birds behind me. So it makes it nice and white, but it also just changes, you know, we don't have that nice shine on the back. But now I know we did have a top-down. So we do have another option. So let's undo this and put our light back where we had it. Now we have a light, we have a world light shining towards his back. And we do have top-down. And let's see how much that's doing. It's doing something, but it's not really doing a lot. And as you can tell that like when we change it and color it, you do have to adjust the lights quite a bit. So let's just see if we can get this brighter by turning this into a world. Light will tap on the light, or a directional light, I should say. We'll tap on the light. Let's just make sure that it's still pointing down. It looks like it is. So let's just make sure that it's oh, you know what? This is new. This is new for me. So if you notice that when I when I spun, this is spun all the lights. And let me show you what my cat is doing to leave the birds alone, okay? I can't catch the birds. They're outside. 36. Home Stretch: Alright, so guys, I apologize for the cat, but she's having a good time with the birds. So what was happening was I was turning the light and they're actually connected to these lights. I believe that's the issue. See, they're all connected. And I didn't realize that that's what would happen. So we just need to separate them. So we can just drag each light out and just make them separate lights. So that's just something to note. Because I didn't I didn't realize that if you parent-child them, then they would all act as one if I the top-down. So now let's just adjust this. That gives us a much brighter floor. I think that looks that looks pretty good. Sometimes like to go back and just see, I mean, it is very bright on his head. And we might actually have to get brighter. If we want to get the floor to be white. Let's make sure that we can change it with the color at all or with the roughness of the glossiness. The more rough we go. I don't think mental illness will change it at all. No. So the more the more roughly put it though, the lighter the floor is. So obviously we'll paint it will paint it white. And we can try to we can try to raise the exposure a bit for top-down. I'm also noticing that it's a little bit yellow. So let's actually make the color white. Whoops. There might have actually, what we've been seeing. The color is now white and let's see, is at 1.39. Now, whenever I bring it down, maybe 1.31 is the most I can go. And hopefully you probably cannot see the difference. But I can see that it's slightly, you just want to, you're going to have to gauge it with your eye. To maybe 1.34, I think is good. Okay. I'm just experimenting now. Pardon me? Likes the floor a little bit of a different like not as bright. But for now we're going to leave it all bright because I feel like that's classic. Minion. Territory is Albright. And we have, we do have the shadows here. Alright? So we have top-down. This makes it very bright to world one key. I think it looks good without the key actually. And world too. So let's quickly just go through post-process. And then we can call this done because the rest of it is going to be however you feel like lighting it and whatever you think looks best. So let's go to post-process. I think it looks fantastic. It looks really good. I'm really happy with it. You can see the floor is a bit lighter still, but I'm actually okay with that. That isn't really bother me too much. So post-process, let's go ahead and save. And by now you can go through and mess with post-process. I'm going to turn my render resolution all the way up. I want to be able to see it as close to finished as I can. Reflection is on. I have max samples for resolution, global illumination. So when you turn that on that actually make it, made it brighter. Because I think this is, it just bounces the light off of things, which looks really good. I don't know if I want it that much though. I like it. But maybe just not, not as much. So we'll just do a little bit for now. Ambient inclusion. I definitely want to bring up. I'll bring up the size. Well, a lot of times I just have to like sort of toggle these until I can get them right. Can probably turn bloomed down a little bit. But I'll leave it on. You can add a vignette if you want, or you can leave it white. I'll add a vignette later if I want to. So I think I'm just going to turn tolerance up a bit. But I think at this point in time you can sort of float off and you'll just have to mess with these things and adjust them until you get until you get it, how you want it. Alright, I think all this looks good. I'm just going to adjust the lights now the way it now that we have post-process on, I just wanted to just the lights a little bit. And also I want to turn on and see this line here. I'm going to make sure that I turn on depth of field. Alright, so let's see, maybe I can lock him so I don't focus on anything else. Okay. Clearly it doesn't work. It's probably a setting somewhere. All right. So let's just adjust to adjust the lighting and see what we have and see what we like. This lady is making it very bright. Think I'll turn top-down off for now. We have world one. World one is making it very bright as well. But I like some of that brightness. So then we have our key, and then we have W2. Okay, So this is like a back light. I like this light, so I'm going to work with that first. And maybe just make it brighter. I think it looks great. So make that nice and bright, happy with that light. Our key light is very bright. So firstly, I'm going to bring that down. Might even turn it in, turn it to a spotlight later, or road light. That actually doesn't look too bad. I think that looks good. Then top-down. Top-down is way too bright. So we can experiment by, maybe we'll make it a spotlight. So maybe we'll turn it into a spotlight. And then we'll do sort of what we did in the beginning. Maybe we'll try to shine it right at the top of his head and hitting the goggles. So maybe something like that. Okay. Just figure out what I like better. See if I want to turn the environment up a little bit. It's kinda nice. This is a little dark. So maybe I'll just turn the ambient occlusion down a little bit. Okay, so I'll just bring this down a little bit. I like it in the eyes but I don't like it underneath underneath the goggles. That's the only thing. Okay. So I think that's good. Well, I guess I should show you how to export. Let me just save. And of course to export, you just go to this first folder. And firstly, you want to save before you export just in case it would crash or something like that. So just scroll all the way down. And you have screen, you have all these. You just pick whatever one you want. For k. Export PNG is very high. So just know your limitations with your different iPads, but you'll know, but as long as you save it and you'll be good, if it does crash, then you have to save it to a smaller export setting. There we go For k, Save Image. And that's it. Okay, very last thing, I forgot the buttons. They need to have their little thingy on them. So let's use clay. And I don't know what colors. Let's see what colors. They are. Little buttons are there blue. So little buttons look like they're just blue. You can make you can make them any color you want. Somebody who's Clay? I'm going to turn the strength up, make it small, and you can use blue. Gonna get to the back buttons. Didn't do a good job on this side. So I'm going to turn symmetry off and then just do this one. Separate. Okay. Now he's official. Sure. You get them in focus. Now is official. 37. Thank You!: All right guys. Congratulations on getting through all of those classes. That was a lot. I mean, this was one of the most complex characters that I've ever made. And then on top of it, filming and recording. But it even helps me. So teaching actually helps me as well. Because I can't just float my way through things. I have to try to figure out a way to come up with a formula that I can say and explained that it makes sense. So once again, I really appreciate you guys being with me. This is so much fun and the outcome. I mean, I love the minion. I never really, I never really looked at them quite. I guess you don't really ever look at anything quite the way you do when you make a 3D sculpture of it. Because you just have to spend so much time concentrating on every little tiny detail. And you really get to appreciate what you're making and what you're doing in the art, e.g. in this reference art, you really appreciate it on a different level. And speaking of appreciate, I appreciate all you guys for supporting me here on Skillshare and taking my classes and posting to make sure that you post to the class projects so I can see. And so everyone else can see. And if you post on social media tag me drove per day. I love showing you off and I can't wait to see your minions. I can't wait to see them. Of course, I'm on YouTube. I actually already have a continuing education class. That's what I might start calling them. So after I finished this class, I have to make the thumbnails for the class. So I actually did that live on YouTube. So that video is live on YouTube right now. So you can go check that out. Youtube.com slash drug-free. Dave, Of course, if you want to see more of my 2D work in 3D work, instagram.com slash drug-free. Dave TikTok, add me on TikTok. Tiktok is becoming one of the more fun social media. So make sure you check me out there. This is going on way too long. You've already spent a lot of time with me, so I'm going to let you go. But again, I appreciate you nama stay. I don't know why I just wanted to say that. And I also appreciate everyone for calling me the Bob Ross of nomads scoped. Like I get that so much on YouTube that I remind them of Bob Ross and I love it. I'm here for it. Alright, so make sure you upload your minion. I want to see, I can't wait to see and thank you again for taking my class. As always, keep drawing, keep sculpting. I'll see you all in the next video. What's up, guys drug-free Dave, here, I just wanted to tell you about my newest Skillshare course, course at all, a minion, model and Minion. I'm living now making a minion modeling and Minion. I don't know. I learned a lot making this class. And I know you're going to learn that, learn a little, a little a allele.