Nomad Sculpt 3D Sculpting Tutorial: Stylized Female Character

1. Advanced Character Sculpting: Intro: Buck a love buttercup. And welcome to the next level. I'm drug create Ab, an artist with a passion for three D art. I graduated from the School of Visual Arts in 2003 in New York City, and art has always been an integral part of my life. Ever since I can remember, I've always had a deep desire to create three D art. Sculpting on the ipad Pro has opened up new possibilities for me and I'm excited to share my knowledge with you. I love teaching and exploring innovative ways to create art with Nomad. Sculpt, a three D sculpting application available for ipad, ipad Pro, and tablets. This advanced class is designed for those who want to create full human figures, clothing accessories, sort of Disney Pixar style. So anatomical, but not like anatomically anatomical, you know what I mean? Expect a thorough exploration of how to use and combine simple shapes and tools so you can be excited to tackle complex sculpts rather than afraid to attempt them together. We'll cultivate problem solving skills and a smooth workflow so you can make sculpts you can be proud of. Are you ready to take your three D sculpting and your workflow to the next level? Join me in class and we'll get you past the plateau and onto more complex characters that are more than just cute little round creatures, which is my favorite. But at some point in time, you got to try something that's hard. You can also export your three D file for use in other applications like Blender for animation cycles rendering, and a whole lot more. Buckle up Buttercup. Welcome to the next level. 2. Class Project: Thank you for joining me and allowing me to be a part of your three day journey. Today's class project will not only be the character that we create in class, but I'd also like to see versions of the characters that aren't exactly close to mine. So you can do the whole class, but I really want to see you make the character yours, change things where it be colors, the character's ethnicity, the characters, hair colors, things like that. It's important to expand on the things you learn in class in a way that feels right for you. The very best way to learn is to play. And there's no wrong way to do a class project in my class as long as you're learning and having fun. But don't forget to take some chances. Once you finish your class projects, be sure to upload them to the projects and resources tab. But I'll go back over that at the end of the video. So just be confident in what you can do. Work hard practice, and just have fun with it. Make sure to download any class files from projects and resources. You'll see downloads. So there you'll find the reference image and things like that that you'll need for the class. I think that's it for the class project. Next up, getting started. 3. Getting Started: Okay, let's set up our scene before we get started. First we want to go to the little camera icon and make sure that we're on orthographic. This sphere is usually pretty big. You can see it's 98.3 I usually just delete it and add a new one. Now this probably isn't too necessary because it's going to go through a lot of changes, but it just makes me feel better. I'm going to change this sphere from Lit PBR, which we'll change back to when we want to color everything. For now I'm going to go to Matt Cap. That changes it to a default clay color, disregards all the light and everything and just makes it easier to see. You have all these here which are fun to play around with. But for sculpting, I usually use XG clay. It should be there by default. Another thing I want to mention is sometimes when you make shapes or add new meshes, if you go here and you add new meshes, my shapes by default have smooth shading on. I'll show you what smooth shading off looks like when you press the little material button here. You have smooth shading auto for me is on. If you happen to have yours off, you'll notice it might look like very pixelated. It's just something to pay attention to if you're ever sculpting or if you add shapes and it seems to have this pixelated look and you can't smooth it out, it might be smooth shading again, just go here, You can just put it to auto if that's on or just put it on and you'll see it's smooth. Before you add a shape or before you use all of the regular tools for shape, you have to validate, which I haven't done yet. Now the sphere is validated and you can see I can use my tools. Just remember, anytime you add a shape, let's say we add a cone or something, you can do some primitive actions to it, but you can't use all the tools to you validate. I'm going to go ahead and delete this. You'll notice I also have a red line going down the middle here. If you go to the Symmetry tab, you can scroll down. Then you can just check show line. This helps me know where the center of the sphere is. It helps me with my symmetry. I'll know like what's going to be symmetrical. Maybe I'll want top and bottom. And that's where you can change these planes. If I change it to this, then you see the line across. It just helps me to know what symmetry I'm working with and when. It's also helpful because sometimes when you have a lot of shapes and a lot of things going on, it's good to know where everything is going to be, have these two dots here. It's just good to know what's going to be happening. When you use your tools, obviously if you have it off, you still have the buttons there. But I like to have that visual cue just to know what I'm working with. There's two tools that I use all the time. Round edge and smoothie. Pooh. I still can't believe I named it that. I want to show you how to make those really quick. I'm going to hide the sphere and add a box. I'll go ahead and validate the box. I'm going to turn on the wire frame down here. This will show us the wire frame of the box to make round edge. Essentially you want to use the smooth tool. You take the smooth tool here, tap it, and then hit Clone. Then you can name it whatever you want. We'll name it Smooth all round, all wherever you want to name it. When you hit, okay, it's going to show up down here. Then you go up to the settings. Here you have stroke alpha, fall off filter and pressure. The first one, this is pretty much set up. The only thing we need to change is put it to lock radius alpha. Everything will stay as is fall. We want to change this fall off to flat, so we just tap it and hit flat like filter is good, not going to change anything. This is very important. You want to use global settings. The reason why we're unchecking that is because we don't want all of the other tools to follow what we've done here, the global settings. We're just turning that off so that we don't mess up all of our other tools. Now we'll go preset for both of these and make both of them flat. Okay. That's pretty much it for the tool. The last thing you want to do is tap it. And then you can save, then the tool will be saved here to use this. Essentially this will flatten all the sides of whatever your mesh is. Whatever you're working with, depending on how dense it is, 6,500 is not very dense. It's going to affect it a lot, but that'll be better so you can see what it does. You want to start pretty much in the middle of your mesh or whatever it is you just want to drag down from the middle. And it didn't work. There we go. Let's start again. I'm going to drag down from the middle and you see how the edges are rounding out a bit. If I continue to do that, if I continue to drag, then it's just going to get more rounded, more round. You can see it changes the wire frame from this to that. It'll just continue to round it out. That's how you use that. The other tool I want to show you is Smoothie Pow that we might use. We might not, but I'll show you this tool as well. I'm going to turn the wire frame off. You don't have to do this, but I'm going to change from mat cap to let PBR. Now I can paint on this. I'll just go to paint. Actually you know what I'll do. I'll just use select Mask Rectangle. This is just a quicker way to paint mask off the top. Then I can tap the little sphere here and I can paint the bottom side. Maybe we'll paint the bottom side blue. Then I'll go ahead and invert this. And I'll paint metallic yellow, yellow or something goldish color. Okay, now I want to clear that mask. Now we have these two colors here. Smoothie pot is literally just the smooth tool with zero intensity. That's all it is. It's just the smooth tool, zero intensity. Essentially you want to take this tool clone. Okay, then you go here, bring this all the way down your icon and then save. And now it's saved. Essentially all this does is smooth it out. Let's turn this grid off. Now you can smooth this. It smooths the two colors. That's a quick rundown of both of these tools. The smooth is better when the mesh isn't very high. If this was, if this number was really high, then it would be more dense. It'd be a little harder to smooth it out. Just keep that in mind too. But we might use that, we might not. But I wanted to show it to you just in case, because I'm sure you're looking at all my random tools and wondering how they got there. That's how they got there. I'm just going to delete these because I've made them 1 million times. I don't think I need this box. The only other thing is the grid. The grid is right here. You should have the icon down there. If you don't think it's somewhere over here, you can turn the grid on and off. The grid only shows up when you're in orthographic. That's a good way to know if you're in perspective, then the grid goes away. I like the grid for setting up the floor, which is just a base for my models. Because when I like to bring them into blender, I like to level them with the floor. When I bring them in, they're already level blender. We'll hit front. We see this red line. In this green line, let's just take this sphere and move it up. So we'll use our gizmo and just move it up. Okay, now I just want to make a floor area. Actually, here's another way to round out a square. I'll show you another little cool trick. We'll add a box. We'll use our gizmo. We'll make it bigger with this orange ring that you can't really see, but there's an orange ring outside the gizmo. And then we'll smash it and make it thin, something like that. And then we just want to line that up with that red line. Perfect. Round off this box. Let's tap gizmo. Again, we haven't validated yet, so we're just going to tap these three dots. We want to do post subdivision to two now. It's nice and rounded, we can validate, now we have just like a rounded little platform. Sometimes I do a cylinder, sometimes I do a box. But now we can get rid of the grid. There we go. Make sure you download the image from what is it? Let's see what it is, I can't remember what it's called. Make sure that you go to the Projects and Resources tab and you go down to Resources and you can download the reference image and any other resources that are for this particular class. Just make sure you download those. Let's bring that image into Nomad. Let's tap this little photo right here, reference image. You can tap on the image. Import photos and we'll import our gal here. Then we'll go to transform. Then we can just move it around, maybe something like this is good. And then tap the screen and then we're back to regular sculpting. Now we're all set up, Obviously we have to make little characters. There's lots of really fun stuff we can do with this. I might change the shoes too, but now that we have everything set up and we can come back and start sculpting. 4. Head Shapes: All right, let's try to go over the basics of what we're going to do. The head is round, but you have to note that we're seeing the face here, which is flat on top. But the head actually goes all the way out to here. It's round, it's almost like a sphere. And then another flat sphere in for the front part of the face, and then maybe some cylinders for ears. Neck is really thin and we can probably use a box for the body or maybe a cylinder that's just flattened for the body. We'll make that straight and then we'll work on the shirt. Afterwards, I'll probably use a sphere for both shoulders, a cylinder for the arm, or like a tube for the whole arm. Now, the hands are going to be a bit tough to get those correct. Those are going to be probably either a cylinder stretched for the palm and then maybe tubes for the fingers. Or it might have to do shapes for the fingers, but we'll have to play that by ear. This is the purses. Some shapes together, we'll figure that out. The other hand, we'll do the same way. I don't know what this little character is going to be, so we'll have to figure that out. The shirt will probably use a cylinder taper down like this. This will be a cylinder here. Actually, it's a bit hard to explain, but I can see it in my head. It's almost like the top part would be like a cone. Because if you imagine like a cone this way and then a cone the other way, or a cylinder the other way that tapers. That's like what the sleeve is, something like that. Actually, the good thing is if we have this bottom part of the sleeve, we can hollow it. If it's a cylinder, we can hollow it so that the arm can go up into the sleeve. When I think about clothing, I'm just thinking about shapes as well. And maybe just like a box for this shirt, we'll just manipulate it so it's close to the body. Then we can, with using clay or something else, we can add all these breaks in the clothes just to make it feel a little bit more like a cloth. And add these little bits of detail and stuff like that. This is pretty simple. I think we can just use a cylinder that we can open up. There is a chance that I might do use a radial to get all these separate portions of the dress and maybe use the end of cylinders so that it's like scalloped around. And then once we have everything together and the top is tapered, then we may just move or something like that and drag the dress up a little bit. We'll have to play around with that. The legs can be cylinders or tubes. The feet, I'm not really sure with the feet. I think we'll do spheres for the back part, for the heels, and then maybe a cylinder or a flat box that will stretch for the mid part of the foot. Then we'll have to do maybe spheres for the toes. We'll just do some simplified cute looking toes. Probably change these shoes, I don't really like those, or maybe she'll just be in some flats or something like that. But a lot of these things we'll just have to figure out when we get to them. Hair is going to be the main bulk of it, can be a sphere with some tubes that are flattened, coming out. A lot of tubes going in this motion, this round motion that curl underneath it'll make it a little bit easier. Since everything is dark then it'll all like mesh together. We really just want a beautiful silhouette of this hair. We'll just manipulate the shapes until we get it. These are a lot of tubes that are sharp on one end and not on the other. Then we'll do some little individual, really thin strands to really make it pop and really make it look good. This will be great when the light shines on the rim. Light of this hair is going to look wonderful. All these pretty easy shapes. Every one thing to note about the face is it's very simple. I'm going to try not to really go too deep with the eye sockets and things like that, just to keep it very simple, we will work all that out as we move forward. Let's take the sphere. Let's just name this head. Let's name this box floor. Okay, let's take the head, we'll just shrink it down. She's fairly tall. Okay. We'll do something like this. Now, I think the easiest thing to do when we make her is just to make her standing straight. And then we'll position her like she is. But it's easier just to make everything make her standing straight. That way we can do the actual eyes because it'd be very difficult to create her at this perspective that she's standing. All right, let's go with the shape of the head first. It looks like it's more round on top. There's like a little line coming down and then it goes to the chin, something like that. So what I'm going to do is I'm Clone the head and name this head back. Because the back of the head, it can be round and I don't really want to mess with that head back. This can be just the back of the head. I'm going to hide it for now and go back to the regular head. I think I want to use move, maybe not too big. I want to make sure that I have my show line on. The symmetry show line will just show what we're adjusting with the symmetry. Okay, This sphere almost looks like the top of the head. The only difference would be maybe this part coming down a little bit. I'm going to make it really small and maybe try to pinch in here. Does that make sense? So something like that. I think it just fits. It's rounder up here, but then it gets straight down and then it comes to the chin. And it's not much of a chin either. Let me make this a little bit bigger. It's not much of a chin. A little bit more than that. Okay. So what I'm trying to do is I'm trying to make these lines somewhat straight here because hers are somewhat straight and they're a bit angular. They don't have to be too angular, but it's just little details that I'm seeing. Notice that there's like the far side, sometimes I was pulling the far side versus pulling in the front here. See how it's two different. You have to pay attention to how far back you're pulling. Because if you pull here, then it's on the front side. But if you pull back, it's a little bit lighter, then that's further back. Just pay attention to that. But I think something like this looks okay. Actually I'm going to make move a little bit bigger because I just want to stretch the head out bit more. I think this shape looks decent. If we turn it to the side, it does look a bit weird. Let's add our back of the head. Let's go back to our gizmo. Let's slide this back of the head out a bit. Maybe up, I'm going to stretch it a little bit. That's why I wanted to use the other sphere for the back of the head so that we can, that we have just a regular sphere to work with. That's why I copied the other head. I'm going to move, the symmetry is on. It should manipulate both sides. You can see her forehead is here and the head goes very far back. It's one of those things that you might not notice how long our heads are. Obviously, this isn't like anatomical, but still the head goes back pretty far. I'm actually going to raise this part up, but I want to turn it so I can see the top looks pretty good. Maybe it's not so pointy in the back. I'm just sliding the one side. I'm just sliding the one side over the head is a bit more round. Okay. Something like this. That's back there. So I want to make it a little bit smaller. And I'm just going to, I'm just going to adjust the sides so that it's not so wide back there. That looks better. Okay. Most of the back of the head is going to be hidden anyway. I like to just try to make them. Even Stephen, I think this shape works pretty well. You just want rounds and then you want straight is here and then straight ish for the chin. This is how, that's how she's actually positioned. It's like this. Even though it's going to be perspective, I'm still going to work orthographic and just make sure that it looks good. The only thing that I'm noticing here, actually, is she standing like this. I'm going to move, I don't like, if you notice on mine, the back of the head just slopes. Hers. It does slope, but it's a little bit more straight. So I'm going to push this side up a bit where you go. Okay. I'm going to do the same thing I always do. I'm just going to squeeze this not sticking out so far. Okay. I think that's pretty decent. Her position is like this. That's how the head is. It looks like the bottom part of the face comes out. It should be eye socket. And then this bottom part comes out a little bit. It's two things. You either add mass to the bottom part of the face somehow. It could be another sphere, it could be mask. And you just extrude the bottom part of the face or you just use the depression of the top part of the face to create that. Which I think that might be the most efficient way to do it. Let's give that a try. We'll use mask. The eye sockets will probably be here. I'm just going to use the mask. Here's another issue. You see how I made these eye sockets. They're pretty big. Maybe the eyebrows would be up here. And you want to make sure you have enough space for the forehead. The forehead is very important, let's just color these in. It's one thing that I tend to do a lot is make the eyes and then not leave enough space for the forehead. I want to try not to do that. Do I want to bring the eyes down? They might be a little high. If the chin is here, these eyes might be a little high. I'm just going to undo them and let's make them a little bit lower. Okay, If we do something like that, there is a little bit more space for the forehead. The only thing is you can tell the forehead is not really like, her forehead is high. If you're following this curve, it goes straight like it's a little nose, then it goes straight up to the forehead. And mine wouldn't do that if I was looking at the same angle. And the nose here, this bridge should go all the way up. It's missing a section here. I think what I'll do is use move, I'll use this front sphere to raise the forehead. I actually don't mind if that's pulling off of the where we mask. That's actually okay. I'm okay with that. Really? I'm just trying to add a little bit more forehead to this character. Okay, see here, the little nose, it goes up and then there's more forehead, it goes up, there's a little bit more forehead here. That's probably a little bit more accurate. I'm going to take the back part and left. I want to, actually, I want to just round out this forehead. I'm going to use this back piece. Maybe I'll make it a little bit bigger. Sometimes you have to go bigger and smaller just so you get the most smooth movements you can get from the tools. I want to smooth it out. I'm just pulling the sphere just to make it look more like a natural forehead. The forehead comes off something like that, I think looks pretty good. Maybe I'll make it a little bit wider here. But that's the beauty of being able to use this other sphere back here, because it just gives us a lot of room to play with to shape the head, things like that. I'm always losing it. I think it's because I have the floor in there. We probably don't even need it. I'm going to hide it for now. Sometimes that scrolling around easier. Essentially. I'm the head shape a little bit bigger on top, want some flatness above the eye sockets. Remember this is still this back sphere. We can, we can probably just use move and just push this part back a little bit, just so that goes away. We'll be smoothing all this together, don't worry about these weird little creases. We'll smooth her head together. She'll be all right. Okay, let's go back to this one. This might actually be pretty good. I have to make sure that I don't push in on the eye sockets too much. I might. Let's invert the mask. So we're going to take the mask and invert it. Once you invert it, the only thing that should move with your gizmo is the part that isn't inverted. I should be able to just move that back a little bit like so it would be nice if I was hoping that I could turn it and they would both turn inward. Because we'll have to push back manually. Let's just clear the mask. We'll go to mask and clear it. We have something like this. Let's use clay and sub. We'll clay this part away. We still have the top part of the head. I'm just going to clay that away using sub now we have something like this. Actually we can go to the front part of the head. I'm just going to away. I love saying that a little bit back here as well. I'm just pushing in the part of the head that's nearest the nose so we can get that nose bridge action going. You can get rid of this as well. Get rid of that back part of the head. So something like this I think looks pretty good. I'm going to go ahead and save. I don't auto save auto shave. I don't use auto shave either. I don't use auto save because I like being able to save. I like the habit of just saving often. That's what I do. Make sure you save after every video, please. Because nomad will crash when you don't expect it to. And in the middle of the most random things, make sure you save often and save after every video for sure. Okay, I think this is a good place to pause. Still don't know how exactly we still have to bring this out a little bit more, but it's looking more like a head. We're in good shape for now. 5. Face Shaping: We really need to get a handle on the lower part of this face. I'll just show you the different, how it looks from different angles so you can have an idea. This would be the chin. The chin might have to move up a little bit, but let's add a nose that will help us determine how we make the rest of the face. Here's how I like to make noses. Let's go ahead and add a cone. It's going to be probably down here a little bit. We'll just use our gizmo. I'll bring it up and over. Okay, so let's shrink it. We'll put it close to the face around where it's going to go, maybe somewhere around here. Okay, I'll put it a little bit further into the face. If you notice, if you look at the image, the nose curves like this. It should be forehead and then the nose or the bridge of the nose should curve. We don't need the E gizmo anymore. Let's go back to this face, the front part. We'll just use move. And we just need to move this bridge so it's not sticking out so much. Let's do it around here. And we'll just push that in. Now we have the face, and it looks a little bit better because this isn't so round. It's a little details like that that really make a difference when you're making faces. Because we recognize faces if something is not right, it's going to be really easy to spot. But sometimes it can be hard to know why something doesn't look right. It's just like little details making sure the nose bridge actually goes back. You can say it in the image, but this part should go back. We also have this, we might be able to just smooth this out a little bit, the back part of the head, and then that will go back. That's perfect. I'm going to take all of my pieces here, or I'm going to take the head and the head back, and I'm just going to tilt them a little bit, just so it's a more perfect profile. Then I'm going to just the nose, I'll tilt it a little bit and then move it back into the head. Okay, now you can see little, little by little. It's hard to say little by little, it starts to make a little bit more sense. The nose can be a little bit smaller. She has a very tiny nose. Of course, you can adjust the nose to make it taller or shorter. One thing that I look at when I'm placing noses and things like that, as I look at, okay, here's the eye socket, here's the bottom of the eye, and then where is the nose in conjunction to the bottom of the eye? If this is the profile that she has here, you want to look at all this. You want to look at the nose and look at this line, should match this line that goes up. It's actually pretty good looking, pretty decent. There's a little bit more curve in the nose, in the image. You can just take the nose and you can curve it a little bit more. You can go ahead and validate that and you can make it a little bit smaller. You can actually push on the nose to give it a little more of a curve to it. Now as I'm looking at that, the nose looks like it probably should stick out a little bit more. I'm going to bring the nose out a little bit, then move and then bring out the face in that area a little bit as well. Make sure you tap on the face. I'm going to bring that out because I really want this curve. I'm pushing and pulling. I really want there to be a nice curve in the bridge, into the nose. It looks pretty good. The only thing that I can think of is I might need to bring this stuff out a little bit more. This part of the face, the cheek here, I'm just lightly puffing it up a little bit, just so it comes a little bit more off of the face. I'll do the same thing down here a little bit because like I said before, I don't mind that chin being a little bit more forward. This is the great thing about symmetry, is you can do all this. Keep it symmetrical. Yeah, that's not too bad. Of course, we'll remash all this stuff together, but it's nice to have the nose there, so you have a placeholder. Pull it out a little bit. Maybe I'll drag drag. I usually use for less of an overall movement and more of just like a tight movement. Whoops, I wanted to be on the face just so I could bring this nose bridge up a little bit. Okay, let's also add some ears. This will also help frame our face and help us get an idea of the overall shape of the head. Where the hair should go, everything feeds off each other. Let's add some ears. We're just going to use simple cylinders. Let's make sure we label these things. I'll name this nose and we'll add cylinder, name it ear. And we'll tap gizmo. And we'll just move the cylinder up. Okay. We'll just make it smaller. We can use snap and should be on 90. We snap it this way, we can bring it a little bit closer, we can take it off snap, and then we can just place it tilted about this way. And again, moving in the general area where the ear should be. Shrink it a little bit. Let's look at the front. That's actually good. It looks like the bottom of the ear, it's above the nose. If you take this line at the nose is probably a little bit over the middle of the ear. I think that's actually good. I keep going back to showing this position because that will help us a let's twist this back a bit. I would be here, there's a little bit of space. And then the ears, maybe we'll move it up Smidge, Let's make sure it take it off of a line. If you have a line that way you can stretch and pull just as it is, we'll stretch it out. It looks like it's tilted a little bit like this. It still looks a little big. We'll make it a little smaller. Okay. I'm going to go back to a line so I can just swivel it. It's not so far away from the head. See all of this space. I just want to swivel it so it's not so far from her head. I'm going to take it off of a line again, so that I can swivel it this way. Now, the bottom and this part should be the closest to the head. Okay. That feels a bit better any time I switch from a line and not a line, for example, when I just want to move it left to right, not on axis with the ear. If I turn it off, I can do it forward at the axis of the ear. But if I just wanted to go inside the head straight, then I hit a line. So then I can just move it straight in and out of the head, if you're wondering why I keep going back and forth with a line. Okay, we're going to use symmetry with ear, usually the bigger part is on top and it tapers to the bottom. I think the best thing to do for this ear is use symmetry. The symmetry should go across the middle. Everything we do on the front should happen on the back, because we don't want it to get out of whack. Let's just mirror this ear. It'll show up on the other side. We'll validate it. Let's go to our symmetry. I think we want to use green. We want to use local. We want to use local because we want the symmetry to be on the ear and not on the whole project. We want local, I think it's green and you see the line in the middle. That's another reason why I use show line. We'll use move, make sure we have symmetry on. We also need to turn off this red symmetry. We want to turn that off now. We can just just make it look a little bit more like an ear, maybe, something like that. I don't want to get too too crazy with it. I do want to swivel it a little bit more, press a line. I want to swivel it a little bit more the head. Okay, I think I like that. Okay, so let's use move and let's turn the symmetry off. And I just want to push this more into the, into the side of the face, something like that. I think that looks good. Okay, so we have the ears. I'm going to go ahead and rename the mirror ears as well. I wish that the mirror would automatically take the name, but that's okay. Now I want to Vox will rematch these ears. There's two things you can do. You can either use round edge and you can smooth the ears. But you'll see that as you do it they're going to get very round. You can do it that way if you Vox rematch them first. I'm going to save it. Before I do this, if you Vauxhall remish them first, I'm using the shortcut for Vauxhall remisching. I didn't mean to remiss that. It's the same thing as if you go up here and go to Vauxhall. This is the same window as the short cut down here. You just swipe up and then you get that little window. Let's say we remiss it at 01:50 and then do round edge. It just makes it a little bit more sturdy of an ear. I think I'll keep mind like this. Another reason why I do that is because later on I'm not going to do it now. But later on we'll add some details. We'll probably use layer and sub. That's usually how I get the details in the ear. Let's make the space inside the ear. We're going to keep this very simple. Let's use layer. Make sure you have sub, we don't need symmetry. Because if you turn symmetry on, then it's going to affect the front and the back of the ear. We don't need it because the ear is a mirror. Anything we do on this side will automatically happen. On the other ear we're using layer. Let's just start from the bottom. Almost make a tear drop shape, something like that. I might even bring mine. Yeah, I think I like that a little bit better. We'll just do something like that. That just creates an inside space for the ear. Now, I'll take smooth. I'd recommend doing this if you did your ear the other way where you made it more round, just go ahead and vox remesh at 150. That might, your ear is a little more crisp, it'll still have the roundness, but in order to do the layer, make sure that you vox 150 or else it because the clay just needs to be a little bit firmer to do it. Especially you need to be a little bit firmer when you smooth and you smooth out the inside. You don't want to lose too, too much detail. That's pretty good. I'll smooth out the rest of the year as well, but I think that looks pretty good now that we have that we can take inflate, we can inflate this section here. That will be the little tip that we have in the middle of our ear that's connected to our face. We'll just go ahead and use inflate on the head. Make sure you're on the head. Let's see if we can do it now. We might need to do what I was just saying a second ago. Yeah, let's take the head, I'm going to do a quick save. I'm going to vox remesh the head, around 150. That looks terrible. Here's something we can do to just make this a little bit better. Let's go here multi, We'll subdivide it once. We might actually be able to. Yeah, I think that's actually okay. We don't need to vox remesh it yet. We subdivided it. That is going to make it a little more sturdy. We'll use inflate, We'll just inflate but on an angle. Okay, I'm just going to keep going over it until we have something like this and I make it come out a little bit comically because when I smooth it, we're going to lose a lot of it. Something like that I think is okay. I'm going to take this part of the ear and see if we can smooth that down a little bit. Okay, I think that looks all right. You can do other details too. Like sometimes I might flatten the ear here or flatten all around this edge as well. You can do interesting things like that, which I think looks pretty good. Flatten. I really love using flatten. If you haven't watched all my other videos, I'm going to use inflate again. And I'm just going to inflate a little bit more on the spot on the head then. I'm just going to leave it because we'll come back later and we'll box or remesh these things together. We just want a little bit of space there. But one thing that's important, I'm just going to use drag, is I want to make sure that this is just nice and round like that. I might even move and it, yeah, I want it going back into the ear instead of just like you don't just want to round thing like coming out this way, you want it going back in the ear, something like that. Mine's a little high so I'm just going to take move and just adjust it down a little bit. Okay, nice quick save. All right, we're doing pretty well. I'm not sure if I want to join the head just yet in case we want to make changes, but I'm pretty happy with it. It would be nice to join these two together. That way we can smooth out the forehead and adjust the eye sockets. Then we'll just do lips. She has a funny face. We might make her smiling, I'm not sure, But I think when we come back, we'll clean this up a little bit and maybe try and add some lips and keep working on the face. Great job so far. 6. Eyes & Lips: This might be a good point to save what you have now because later on you might want to make the nose a different shape or size or change the ears sometimes. When I get this far I might just do save As and then do new and keep going on another file. But I think I like what we have. So let's go ahead and make this more definitive. The only thing I was thinking about doing is adding clay or using the clay tool and sub just taking a little bit more off of the eye socket. Not that much, but I I just wanted to be even in there, something like that. I just brought it back a little bit. Okay, let's take the head, the face, the ears, and the nose. We'll box will remesh those together. I'm hesitant on merging the nose because I might want to adjust it, but I'm just going to live crazy and go with it. We'll take the head back and actually the ears as well. Let's just validate those. We'll take all of these and we're just going to box remesh it together. Let's do a quick save. I'm going to use the box remesh down here. Again, it's the same as this. If I was to put this up to maybe 200 or I'll put it around 215, and I will remish all of them together. This is what we get which is really nice. Now let's take our smooth tool and you just want to smooth out all of these, smooth everything out. And it's going to look really nice. And complete symmetry is on everything. That happens on this side is going to happen on the other side. We smooth all of this out. The clay is soft enough so you won't see any seams or anything. It'll just look really clean and really simple. I'm just going to be careful not to smooth too hard around the nose area. I'm just being a little more gentle with the nose because the clay is pretty soft and I don't want to lose too much of the nose shape, the eye sockets. I'm okay with pressing a little harder. Okay, that looks great. Okay, now let's add some simple eyes. We're going to use spheres and bring them up into this space. Just remember when you bring in shapes, they're going to show up a little bit further down. We turn off this grid. Let's add sphere. We can rename this eyes. We'll rename this head. We use our gizmo. And we're just going to bring this up. Bring it out in front. Okay, the eyes are pretty much going to go in here. I'm going to go ahead and mirror them. So now we have two eyes that look crazy. We'll use our gizmo and we're just going to concentrate on this eye, but obviously both of them are going to move, okay? The eyes are fairly big. I'm just going to actually make them a little bit bigger and then I'm going to stretch them up like this. We want to make sure we fill that space as much as we can for now. Now they're very bug eyed, which we don't want. I'm just going to go ahead and use this little blue node to flatten them a little bit. I'll bring them out and then just flatten them a little bit more. I'll push them back in because we don't want them to stick out too, too far. That's not too bad. But we might have to tilt them. Okay, that looks a lot better. Let's just stretch them a little bit more. Okay, the shape we want is we want this to go a little bit more straighter and we want to round this out. The bottom is more flat. A lot of times what I do now is I'll hit validate and move and I'll just shape the eyes alone. What I was saying before they're at, this part is a little more round, this part comes up a little bit. And I'm just using the move even though I'm tapping on the head. As long as long as I have this mesh selected. If the mesh extends underneath the skin, as long as I touch it, it'll still maneuver. Just the eyes looks creepy. Okay. So the eyes are a little bit more flat on the bottom. So I'm just going to pull this part down a bit. It's a bit hard to explain, but hopefully you can see what I'm going for. They look a little too wide to me, huh? Let's just push that in a little bit. It's wide in the bridge of the nose a little bit as well. That looks pretty good. Actually make it a little bit thinner up top. I actually think that looks all right. I'm pretty happy with that. I'm going to take smooth and just so the surface that's just in case something that we've done made. I don't know. I just always smooth everything. I want everything to be consistently smooth. And we're going to have to add some pupils on this. Let's do that next. This is the eyes. Let's change the name of the mirror as well. Two is a quick save. Now I'm going to tap on head so that when I add the spheres for the pupils, they don't go inside this mirror's. Say if I'm here and I add a circle, it's going to go inside this mirror. Even though we want the pupils mirrored, we don't want them in the same mirror as the E. I'm going to drag that out. We have sphere. I'm just going to go ahead and actually I'm not going to validate it yet. Let's just bring it up where the E is. We'll bring it forward as usual. We will shrink it and bring it around where the eye should go. Okay, this is approximately where we got the pupils. Her pupils are pretty big and they're also elongated. We might do that. We'll go ahead and mirror that. Now we have both, and we can continue to work on this pupil. First, let's flatten out this sphere a little bit, and then we can bring it back in. We see that it's a little bit difficult because of the shape of the eye, but that's okay. We'll figure that out. Let's bring it out again. And let's shrink it that way. Now it's pretty narrow. Let's shrink the size. Let's go ahead and work on just the size of it for now. Okay, that's pretty good. The only problems are the flatness of the eye. I might go to the eyes themselves and just smooth sometimes. When you do that, you can get a little bit of the shape back because what the smoothing is doing is pushing back the eye a little bit and it's actually okay. All right, so let's take the pupils and let's move them inwards a little bit. They look pretty round. They look pretty good. They still bug out a little bit too much. So I'm going to flatten them even more and then bring them out. That's a little better. Maybe we'll tilt them. You can just maneuver the pupils so that they're sticking out from the eye, but you just don't want them sticking out too, too much. It's a little tricky. I'm going to go to the eye and take move and make it a little smaller. Just push the eye in a little bit. Stretch these eyes out a little bit more and try to push them in. I think that looks pretty good. I'm going to elongate them, maybe shrink them a little bit. Just elongate them and see how that looks. I like the way that looks. There's more ways that I can probably get this flatter if I wanted to. I might use flattened tool. And just flatten this. Flatten the eye ever so slightly on the front. Then after I do that, just smooth it. There's lots of ways that you can flatten out the eye. Yeah, I like that. I think that's fine. Let's put some eyelashes on the top of her eyelids. For this, we'll take the tube tool, we'll use path, we want to use snap. We're using snap so that it will snap to the surface of our meshes so it won't go inside the head for path. We want to just copy what she has there. We'll start about here, We'll go up off the screen, then we'll tap down and bring it over a little bit and that's how you make your path. I think something like that works. Then we'll press the green button. And we have our tube for the eyelash, we want both sides to be tapered. Let's press radius twice, and then we can taper both sides. Okay, so let's turn snap off, make sure that you have B spline. That'll just keep it nice and kirby. Okay. We can make these a little bit smaller too, just so it's a nice gradual okay? So something like that looks pretty good. I think of course, if you need to, if you felt like you wanted to extend it a little bit longer, you can add a node just by tapping on the mesh. Tapping on the line, according to this, it's a little thicker towards the middle of, of the eyelash and towards the top. Just keep that in mind, but you can match the reference. That looks pretty good to me. Maybe I'll bring this up a little bit more, make it a little thicker there. Okay, once you have something that you like, I actually like how it feels a little flatter than just doing this round, this round tube for the eyelash I want to tap profile. It gives you something like this. Now, you can twist it if you want by tapping twist. And then you can add a little bit more or less. But I think it looks pretty good where it was. I'll just leave it there. I'll hit mirror, now we have it on both sides. Before I validate it, you want to make sure this end so you can see that the end is sticking out from the skin. We just want to bury this in the skin, in that little crevice that it just disappears in there, something like that. We want to do the same thing over here. We'll try to bury this right in the crease. Perfect. Let's validate. Now we have the eyelashes. Let's take the flattened tool we wanted, about maybe 95 or so. We're just going to flatten out. There's a ridge that comes here and over the eyelash and make sure you're on the head. And we just want to flatten it out. Maybe I can make it a little bit bigger. So I just want to flatten out this whole area above the eyelash. Okay, Looks pretty good. So let's smooth it out now. Okay, that looks pretty good. Let's add a lip. The easiest way I think to add a lip there's two ways, and I'll show you both. First, we can add a cone, and we'll do very similar to what we did with the nose. Let's move the cone up so we'll shrink it, so we'll do something like that. I'm going to smush it this way, just so it moves back towards the skin. I just use this little node and brings it back a little bit. I actually like that size. There's a few things that you can do. You can always make it a little bit wider if you want, or there's a lot of experimenting you can do with lips, but I think this looks pretty good. As I'm going to go ahead and validate it, I think it looks pretty good. Sometimes I'll take drag and drag the middle of the, let's put symmetry on. So I drag down the middle, it has that depression in the middle. You can also do different kinds of lips. There's lots of different shapes for lips. Here's another way. Sometimes I do lips this way. If I'm not trying to be that critical about them, I'll just use clay. And just regular clay, as long as you have symmetry on, you can just go like this. You can just a lip like this, you can smooth it and you get a lip is mound. Then you take case. Here's where you make the crease part of the lip. Let's say we start from the symmetry line and we go up a little bit, and then, and then up. You always want to make these creases a little bit deeper. You would do something like that. You can flatten and maybe flatten out the bottom part of this lip. Then you can take pinch and you can shape out the lip so it looks something like that. That actually looks great for the bottom lip. You can use clay as well. You can use clay and you can build out the bottom lip. Then with your smooth tool, you can gently smooth out the bottom part of the lip. You can do a bottom lip like that. And if you're going to do it this way, I would take case and sub, I don't have my crease that big, maybe 45. I would, I would edge out the bottom lip with this tool like that. Then I would go ahead and just smooth it a little bit. It just gives it that nice shape with the creased tool. Good. Might have to keep this. The other way that I was going to do it was to add a sphere. Bring this sphere right below the lip. Manipulate this sphere so it makes a lip. But it's the same thing as this. This is just more of a sculpting way to make lips. Most of the time this actually looks better. I'm pretty happy with this lip. There is another small detail I want to do with the nose. I want to use drag and just drag down the middle part. What's going to happen is the middle part is going to come down and it might actually push down a little bit on this upper lip, but we'll see how that looks. So I'm just going to drag down on the nose. Okay. That actually doesn't look too bad. I'm going to smooth it a little bit, but it doesn't look too bad. Also, I don't mind that it pushed down on the lip because we have naturally that depression thing is called a filtrum, and it's right in the middle of our lip, That actually doesn't look bad. Another option that you can do, another extra, no doubt that I'm putting in extras, is you can take flatten. And you can flatten out this crease a little bit, then just smooth it a little bit better. That's another option that you can do. 7. Body Blocking: I'm going to tap on the face and then tap layer here and hit add layer. I'm going to name this lip move. I'm going to zoom in, take drag. I'm going to drag the corner of this mouth up. You don't want to be on symmetry, because the symmetry is down the middle. I'm going to turn that off so it's just this side of the mouth. So I'm going to use drag, and drag this up. And drag the whole lip maybe even take move, Just move the whole thing up then you have a different expression here. What's really cool that you can do is you can take layer, you can actually see the difference that you made in this layer. In some cases, if you want to make it really small and record it. Let's turn this off. Go to Select. If you just want to cut it off, then you can actually have what looks like an animation. Obviously it's not, but you can get very creative and do very creative things with that. You can do the same thing with colors and other things as well. All you're doing is slowly bringing that layer down to zero and it gives that effect. All right, let's block out the body. We'll start with the neck, and of course we use a cylinder for that. We'll add cylinder. We'll use our gizmo and bring it up and shrink it. We can stretch it a little bit too. Let's use a cube for the body. Let's rename all these as we go. This is going to be neck. We'll add a box and move it up. This will be the body, so I'll just shrink it and then stretch it as well. Of course we're going to do a lot of changes to these. I'm just putting them in position now. This is body, there's a few different ways we can do like the pelvis area that connects to the legs. I usually use a sphere and she has to dress so that'll make it a little bit easier. We'll use a sphere here. Okay. And for legs we'll just call this waste. And we'll use some spheres. For legs, we'll move this sphere up. We'll shrink it. We can stretch it this way, probably something like that. And let's press Gizmo. And let's mirror this can move them a little bit apart here. Again, we'll do some adjusting later. Let's, let's rename this mirror, uh, thighs. Okay, And let's add another sphere and we can name this knees. So that'll go here and then we'll mirror this as well. Okay, for the lower part of the legs, we'll use some cylinders again and we'll put them. I want to make everything its mirror. I want to move that out of the knees. I'm going to rename the mirror knees. This cylinder is going to be, we'll just put calves. Actually let's just put low legs because we might do something else for the calves. This we can also mirror now it has its own mirror. I'm going to rename the actual mirror as well. Okay. So I'm going to do a quick save. All right. I'm going, I'm going to go to waste again, so I can add another sphere. And we're going to make this the shoulders, so we'll just move it up and over, shrink. And we can go ahead and mirror that as well. For the arms, it might be easy to use tubes. Tubes can also be quite tricky. I might go back and forth between the two. That's how it is with these things. I have to work these things out and figure out the most efficient way. Sometimes there's just more than one way to do things. Okay. The shoulder is looking good. I think for now I'll just use some shapes and then later on if I decide to do tubes, then we'll do that tube can have its own problems as well. We'll actually let me get out of this mirror. We'll add another cylinder. We'll move it up over, shrink it and then stretch it. This can be mired also later on we're probably going to have to get rid of these mirrors because the arms are going to be independent of each other. But for now, it's easier to just do them all at once. This will be upper arm, and we can probably just clone this and rename it lower arm. And then we want to make sure that we take the shape with our gizmo and move it okay. Of course, we can adjust the widths of all these, but as you can see, slowly, slowly, it starts to take some shape. First, let's position the body pretty much where it needs to go in accordance with the head. I'm just going to go to my layers. You see, I've just selected everything that we just made. The neck, the body, the waist, all of that. I'm just going to slide down and select. I'm going to turn a little bit this way and hit left. You can see that the neck is going into the bottom of the chin. We just want to move it back so it's just about aligned with the ear. I think this is a more natural spot that the neck would be going into the head. We might even move it back a little bit more. We can also just move the neck independently. Obviously the neck that I have here is way too thin back. I'm just going to skinny it up a bit, maybe something like that. Then we want to, of course, stretch it so that it's going both into the back and the head. The necks also going to get a little bit wider towards the bottom versus the top. I'm just going to turn it around so you can see what I'm doing. We have in validated, so I'm going to tap gizmo radius. You have both these radius, then I'm just going to squeeze this together. I think that looks pretty good. So we'll go ahead and validate. The torso is going to be more like a V shape, maybe a little bit straight, and then a little bit more of a V shape going to the waist. She has a very small waist. What we'll do for this is firstly, I want to make this box more rounded on all sides. I'm going to tap these three dots here and change the box topology to four. I'll tap and then just tap four. Now we're going to change the post subdivision to two. You see how it makes everything nice and round and didn't really add that much, that many vertices or anything to our cube, that looks a lot better. Let's go ahead and validate it. I want to tap front, I want more of a V shape. Let's take select mask. We'll use this rectangle here. We'll just make a rectangle around it. Probably around here. I think that looks pretty good. Then we'll use our gizmo. Now this part is mask so it won't change. But we want to change the size of the bottom. Maybe something like this. Again, she has a very small waste. Then we'll use this little sphere here to just stretch it down and it'll meet up with the bottom surface. Okay, it's a little bit short still. I'll just move this down with the gizmo. I think something like that Looks pretty good. We can go back to select Mask or mask, and then tap the settings and clear the mask. Okay, now we can see that the shoulders are a little big so we can shrink those. Actually, a lot of the details that I made are pretty big. It's usual, it's hard to really gauge your shapes and your sizes and things like that right off the bat actually. This is still looking a little bit wide, but we can always just little by little, we can always move the shoulder areas out. But we're going to have to are the traps. I'm not sure what the muscles are called, but back here, a lot of that stuff we'll be doing later on, I might as well make these smaller, so doesn't look like she has monster fore arms. I think I want to make this a little bit thinner. I might be able to do it with smooth sometimes if I want to take clay away in a very smooth way, that doesn't really change, change the look too much. I'll just use smooth. So let's see if it works. And it works really well if you have a really low vertice count. Because the clay, what I like to call it, is just much softer. There we go. Of course, again we can turn it on its side, we flatten certain parts. Like this way section, we can flatten, we can actually just shape it. Let's go ahead and validate this. We can shape it with move, we can just pull it in a little bit and make this shape. We can go in the front and we can push this in here, we'll push this back even nextly. We might be able to give her a little something, we'll push that back. These legs are looking quite big, so we'll just move these up then we can stretch them. Just adjust everything else accordingly. I'll move these legs a little bit and make them a little bit smaller, and we'll add the calfs on. So we don't really need to make these wide because we'll be adding the calf muscles. I'm going to place these a little bit outside, a little bit, not in line with this, but a little bit if this is straight and have the knee, this is a little bit further away, it's not exactly lined up with this line just to pinch that way. Okay, let's take these knees and just make them thinner and flatter. And move them up to the front. Then now that we're looking on the side, let's move these back. And we'll take the knees, and we'll just bend them like this. Let's give her some calf muscles using cones. We'll add a cone. And wherever it goes, I'm want to take it out of the mirror, but it's good that it's near low legs. I'm going to rename this calf. I'll use my gizmo and we need to make it smaller. I'll start with this leg. Okay, it looks pretty good. Now we can flatten it, doesn't need to be that wide. So we'll flatten it like that. Let's see. Yeah, I think that looks pretty good. So let's take this calf and clone it. Now this calf, make sure that you tap snap. And we're going to take this calf and just rotate it once, twice and then we'll slide it down. I'm going to turn snap off. Now I'm going to go back to this calf and I'm going to go ahead and invalidate it. And then I'm just going to manipulate it a little bit so it's a little more calf like I'm going to turn symmetry on. But if you notice the dots here and here, what that means is I need to go into the symmetry and change it from world to local, because world is the whole project. Local is the local shape, which is the calf. Now when I tap on it, it's local instead of world. That can be tricky. I like to explain that anytime I run into that because it can be a bit tricky. Actually, let's take both of these calves and just vax will remiss them together, probably around 150. I'll just smooth them, smooth it, okay. I think that's pretty good. Again, I'm just going to take move and change this to local again. And then I'm just going to stretch the calf a little bit. It's not crazy looking. Something like that. So now I'll go into the calf and we'll just add its own mirror. So I'll do add and then go down to the repeaters and do mirror but we were on local, so I'm just going to tap two fingers to undo, change this back to world. Now it's going to mirror instead of locally it's going to mirror according to the whole project. It'll go on the other side, calf mirror. Once you really get the hang of that and understand what's happening with the mirroring and the symmetry, it becomes a lot easier. And saves you from a lot of guesswork, trying to figure out where something is or why it's doing what it's doing. Just remember that world. Okay, I'm not on the shape, Just remember that world and local make a world of difference when you're trying to deal with symmetry. Okay, I think that's pretty good. Of course, the bottom of the legs is going to taper down here, so we'll just tap radius again, and then we can easily just taper at the bottom of these legs. 8. Blocking II: Okay, she's standing in not very linear way, but we don't really stand in a linear way. And also our bones come together is not really in a linear way. If we're looking from the side, she's very straight, and obviously the proportions of the legs need to be adjusted. But for now, let's just take the torso and you want to put like a bend in it, something like this. You want to put a bend in that torso because our spines have an S shape. I might even take this and tilt it forward a bit. Then on the back, I'll just take, just move this up. Now we're using symmetry, but we're not symmetrical front and back. And that's good. We just want to be symmetrical left and right, which is the default. And you can see the red line going down the middle. Just pull this up a little bit. We can actually pull it towards the neck. That might be, it's not too bad. I'm going to make to a little bit smaller. I just want to stretch out the back side a little bit. Just stretch that back part out a little bit. Let's put the shoulders and the arms. Let's make sure that we have everything labeled, okay? This is so okay, upper arm and lower arm. So we'll just take all of those and just move them back. Make sure I'm not moving anything else. And just move them back a little bit. It could be a little bit closer, but we'll have to do each part at a time. But that's looking a little bit better to me, this sphere. I wonder what happens if we stretch it and then tilt it a little bit. It's more, it looks a little bit more organic, although her elbows looking up there, but I think it's mostly the shirt that's doing that. I like this, I like that curve. Although her back, I might have to push down a little bit more on the back. I think from my years of being younger and drawing comic books, it's always been very easy for me to make characters more masculine. Because when I was little I actually draw comic books and Inga turtles and everything like that, it was always a lot of muscles. I have to take extra time to make sure characters are more feminine when they're supposed to be more feminine. Okay, so these arms can be a little bit thinner, especially compared to the neck actually. This can be a little bit thinner to the shoulder. Okay. And then we'll just follow suit with everything. This is how I just figure out my proportions, but they usually take a while. Did the hip, we want to bring that up a little bit, maybe even tilt it forward. Okay, that looks okay. I like to move them and make a little bit bent like this. I believe that's the right anatomy. These are awfully long. Maybe we should just shorten them up a little bit. I think she would have that long legs. We'll bring the knees on. The legs in. The calves bring those up too. I don't really like the way the calves turned out. I'm going to get rid of them. The next step is just to validate the low legs and we're going to make some new calves. Let's validate the low legs. I'm going to take the calf and just delete it and add the sphere just so you're not confused. What I'm doing here is I deleted the calves but I didn't delete the calves mirror. If you delete the calves, then you can still bring another mesh into that same mirror. What I did was just delete the calves. The mirror was still there. I added a sphere and then I just brought it up into that mirror. I'm going to rename that mirror because I don't think I had it labeled before. I think I'm going to do it with a sphere instead, doing the calves that way worked with spider Man. But for some reason it doesn't work with her. But again, maybe it's just because they don't look necessarily feminine enough for this character. Okay, it looks okay. So I'm going to validate those. There should be still in a mirror here. I'm going to rename this calves as well. We really want to make them look like calves. Obviously, the front part doesn't need to really extend through the leg. We can stretch the bottom part. Let's turn on show line is here, but it's not showing local. Got me. Again, it gets me often. Okay, Stretch this down and then stretch it. It looks a bit better. It looks a bit more like calves. I'm going to validate the legs and I'm going to validate, I'll just stay on the calves. I'm just going to smooth the cab out a little bit. It's a little big and I just want to take some of the size away. So that's why I'm using smooth sometimes. When I'm sculpting, I have an issue where I want to sculpt. I want these to be mirrored. But sometimes they can get a bit mixed up. I'm going to fix that. Now I'm going to take low legs and validate, I'm going to take calves and validate, we have both calves and both low legs. Now I'm going to go to low legs and I'm going to trim that one And I'm going to go to calf and I'm going to trim. Won't let me trim that one. Interesting. It might not let me do it because I have symmetry on. Let's turn symmetry off and then I can delete it. I should probably just do that again. Sometimes when you're dealing with mirrored parts, if they get flipped, sometimes they might get flipped. For example, I can't seem to bring these two together. See how they're on separate sides? That's because one of them I must have crossed, I must have put it on the wrong side. Now we have this issue. In order to deal with it, because I like the configuration of the legs, what I'm going to do is take legs and low legs, or take low legs and validate it. Now we have both of them. I'll take calves and validate. Now we have both calves with low legs and symmetry. We can take trim with rectangle and essentially just trim one leg. Now with this one, you see that symmetry is on. It won't let me trim it. We have to turn symmetry off. Make sure that we tap the leg. Use trim with rectangle and trim this as well. Now the low leg is just one side and this is one side. Since we have them here, we could add mirrors, but I think it's easier to save. I think it's easier to just take these two vox remish them, 125 is probably fine, vox remish them together and then smooth. We can try symmetry local. It looks like a pretty decent leg. I might do symmetry a little bit more so that it gets a little smaller. Okay, another thing that I usually do, although it is bent a little bit, I'd like to give the lower part of the legs a little bit of a bend. I'll make move a little more subtle, the bend. I'll just move it up a little bit and. Into where that would be now. It's a little wide on top, so I'll probably just maybe drag. Actually, I might just use drag and then take the top and then just drag it like so, something like that. I think that's a pretty good leg. Now personally I don't like this thing. I'm always smoothing the meshes because even that little bit of whatever that is bugs me. If I smooth and it doesn't look like it's going away, I'll box, will re mesh again and then I'll smooth it again and that should get rid of it now. It's nice and smooth and I much prefer that I take a lot of time to make sure that my meshes are really, really smooth. Okay? I also want to make it bigger. Okay? That feels a bit better. I also want to take the torso use move, we can make it much smaller and I wanted to just kind of squeeze in here a bit, make it even smaller, just kind of squeeze that. I don't mind if the bag is a little more wide. I think that looks more natural. The back can be a little bit more wide than the front. Let's do a little work on the legs. The thighs, okay. The size is looking pretty good because we do want the middle to be a fairly decent size. We'll taper off the top and the bottom. I know that you can't really see the thighs, but I figure if I'm going to go this far, I might as well try to give you a good idea of how to do the anatomy. You can use fears back here. Just mirror them. If you want to give her, everybody loves cakes, we can validate them. I'm good with the size to validate, I would like to stretch them out this way. Something like that. Maybe we'll move them back a little bit. Now what I'd like to do is I'll probably use a combination of move and drag. I want to use this curve now. It doesn't necessarily have to curve this much. You can adjust this curve if you wanted to. Oops, how did that happen? If you're ever trying to use a tool and you find like a weird color, then you have stroke painting on. Just go to this sphere and then turn stroke painting off. I don't know how that happened anyway. You can feel free to make this the waist thinner, you can play with that a little bit and that will affect where the legs come off. Because when I think about shapes and forms, I'm thinking about these curves. I'm thinking about it curving here and then stopping. And I'd like it to come out curve and then curve down like this. That's what I'm going to do with the move tool. I don't think we need symmetry, because we just want to do one side and the other. Okay, I'm going to push down on the top and I'm just going to bring these legs out a little bit. I just want to get that curve really. All I'm paying attention is trying to elongate this curve. There might be a lot of like push and pull, but I do that with most of my sculps. Now looking at on this side, I just want to pull it all in. Then I'm making sure to go back to front so I can really get an idea of what the silhouette is looking like. I think it's looking pretty good. I'm going to even pull out here. Okay, I think that's looking pretty good. Now for the back, I'm going to pull this here because this would go into the butt area. Pull, that doesn't need to really be anything crazy, but it makes sense to you. Follow through at most of the anatomy. That's what makes things look right or not look right. Very simple images and drawings that you see, usually the person has a base of anatomy. That's why things either look interesting to us and look right to us, or we feel that something is off when something is not supposed to be off or not intended to be off. When that we don't really like something. It's okay if we don't like it, but it works and it's appealing in some other way. Something that's really simple, that almost makes it a little bit harder. Okay? The only thing, other thing that I want to pay attention to, I want you to pay attention to, is when you're manipulating this leg, you don't want to be flat like this. You want to make sure you're making the leg round. I'm going to increase move a little bit just to make sure that I'm making this wide on both sides. Okay. That looks pretty good. I don't like this lumpiness. I'm going to smooth that. I'm also going to smooth the bottom. Oh, there was another step that I did when I was practicing this that I completely forgot. The other step was before I validated these. I actually rounded off the edges, but I completely forgot to do that, but it's okay still. I wish this was a little more. Let's smooth that up there. That's a great way to move it ever so gently. Okay, now at the bottom, I'm going to take drag and make sure that I'm on the leg and I just want to drag the leg into the calf area. Go ahead and try to drag it behind the knee a little bit. I just really want to tuck it in there, something like that. If you really want to get anatomical, you can take a crease and you can go to the calf and then you can just, oops, make sure you don't, make sure it's not on sub, this would be a little bit more anatomically correct for the cap. You can smooth it out a little bit. I'll go back here and smooth it out. It's funny doing this process really slowly because I'm used to going real fast and doing a lot of trial and error and just moving really fast. But it's nice to slow down again. This really doesn't have to be that anatomical, anatomically correct. But a lot of people have been asking for anatomy. And I want to spend a little bit more time just so this looks good. Because I know a lot of people are trying to do characters and things like that. You might as well figure out the anatomy a little bit. Okay. The knees, they look pretty good. I'm just going to skinny them up a bit. I don't mind that they're showing, but I I want them to be a little bit flatter. Yeah, something like that, I think looks a little bit better. Sometimes it select, everything goes away on the screen. Sometimes it's annoying when everything won't go away. Okay, that's not too bad. Okay, that's pretty good for the calf. I guess we can. Little legs, we can go ahead and add a mirror. Let's change this to world and try that again. Low legs. And add the mirror just so we can see the other side. Now we can take these and actually, you know, I might give them another little bend outwards. Yeah, I probably should shave down a little bit of this inside calf, but I think it's okay for now. 9. Feet Shapes: Okay for the feats, I think we want to make a floor platform. Again, you should be an orthographic. Just double check your orthographic so that when you turn on the grid, the grid will actually show up. This red line, that's going to be our horizon line, that's going to be the floor. Let's go ahead and add, we use a cylinder. I'm going to drag it out of this mirror and I'm actually going to rename this low legs. I just like to rename the mirrors the same thing, because otherwise it can still get confusing. Like for example, I don't know what this is, okay. It is the eyelashes. Okay. So this is turned into a little bit of housekeeping, but it must be done. One, I just use P one for pupils. So essentially just go through and you don't want anything that we don't need this upper lip that we did before that I didn't use. I'm just going to delete it. So so. Okay. All right. Everything else looks pretty good. Oh, we have a floor. Wait a minute, What is the floor? Do we make a square? Okay. We already made a square so we can get rid of the cylinder. So we'll go to the floor that we made. And that should be already lined up. Perfect. So I'm just going to move her up. Let's just take everything. We'll take everything except for the floor and move it up. Maybe right about here. I don't want her feet to be too big. So I was playing around. You might have noticed that it has light here. This guy, I was playing around before looking at some things. But I'm just going to delete it because that was just from some things I was messing around with. I'm going to turn the grid back off. Let's start with a cone for the feet. Add cone. I'm going to bring it down. Okay, here's low legs. I'm going to put it in between low legs and thighs, just so it's in that same shape area. Okay. With the gizmo. I'm just going to move it into the middle. Okay. All right. So what we need to make is I think we need to make this section of the foot where it spreads out. So that's the only reason why I used, I chose a cone. There's lots of shapes that you can use, but I feel like a cone will take care of that shape a little bit for us. We want to obviously have it thin, thinness of the foot. I think something like that looks pretty good. Let's name this one base. Maybe that would be the bridge. Let's name it. Let's call it bridge. This would be the foot bridge. Let's add a sphere. Because we need to make the shrink it, put it back here. The heel is probably going to be around here. Obviously. We need to change the back of this. We can go ahead and validate this cone. I think I just want to move this for now. Maybe I'll just turn symmetry on. The symmetry will be down the middle of it, even though I can't see it, which means I need to change to local. We'll just go ahead and move this, move the back of it. We'll center up the sphere a little bit. Okay. We might need to bring everything up a little bit more because I'm a tad unsure if this is enough room for the foot. So far, it looks okay, actually, to my surprise. But I still might want a little bit more room, so I'm going to bring everything up. I'd rather be able to make everything, and then if I need to bring it lower, I can. But I want to be able to make sure I have a proper length of the foot. Okay, so let's stretch the cone a little bit more. Heel actually looks pretty good, actually. I want to flatten it then. I think I want to drag the heel up. I'm going to go ahead and validate the heel, and I'm going to drag it up because obviously it's still back a little bit too far, But I want to drag it. Oh, let's put symmetry on as well, and make sure that it's on local so that we can see what we're doing. I just want to drag this up so it looks more like a he feels more like a heel to me. I do that. All that roundness, we want to keep that roundness. I think that looks okay. So we've just used a cone in sphere and we just do what we had to do. I do think that this needs to be a curve, a straight curve like that. I do want to work on that a little bit, so I'm just going to drag, drag until I feel like we have a nice curve. Okay. I think that looks all right. I think I want to use a sphere for the front part of the foot as well. We have a footbridge. Let's name this heel. Let's give it a save. I'm not sure if I mentioned this, but I don't have auto save on. So that's why I save so repetitively because there's nothing worse than working something out and then having to do it again. We have the let's go ahead and add another sphere. This will be what is that called? Front part. I don't remember what that's called. We'll call it foot front. We get real creative with it. Okay, So we'll shrink it. That'll be something like this. Maybe we'll spread it out a little bit. Okay, Now we'll look from this direction and just move it into the correct place. Okay? It's not bad. All right, so I think we'll validate this. I think it looks pretty good and we can use drag when we're thinking about feet is actually would make cool boots. Right now I have to remember this method. We want her foot to be thin and we can make the whole foot thinner. That's why I'm not too concerned about it. It's just getting the basic shapes and everything worked out. All right, The way that our feet are. The big toe would be here and then it would curve. We have bones that connect. I really think this side, I'm not going to use symmetry, but this side would go up maybe a bit more than the other side. I want to bring them both up, but I'm just leaning a little bit more on this side. Okay, now maybe we'll use move for this. I just want to thin this up a little bit now. Maybe even push the front because that's where the toes are going to go. I want to make that thinner. Okay. So now I'll just look at it and just see what needs to be done so that I can feel like like a foot. So I think I need to drag this forward. Did I make her feet too big? I might have. It's known to happen. Actually, it looks okay. Actually, it looked big when we're close up, but when we're not close up, it doesn't look that big. Okay. So again, I want to drag out this side a little bit. But we still need to add those toes in. Oh, you know what? I think I wanted to put her in flats. That might really save us a lot of work. Okay, let's take this, let's take this bridge and the heel and let's just put those together. I think they look pretty good. I'm just going to voxmh them together at 01:50 because I actually think they look okay. I'm going to smooth them out so they just become one shape. I probably could have thinned out the heel bit, but smooth, smooth is doing a fairly decent job. I'm going to squeeze it together a little bit more, okay? I'm going to take this bit and just smooth it. That looks okay. Normally, when I think about feet, it feels so big from this angle. Let's take a look at perspective, okay? So I'm just going to take flatten, I want to flatten out this side because this side would be, that's the pinky toe side. So I just want to flatten that out. And then I'll smooth it. Okay. That's not too bad. Okay, it's looking pretty good. I just want to adhere to the curves of the foot more, this curve then it comes out a little bit. Let's use drag on this, and I'm going to try to push this in and pull this part out. I know it looks silly, but that's what feet do. We have bone? We have those two bones like in the front. Even though this is just, even though it's just a cartoon image. Those small little details for me is what I think makes things stand apart. So it's just important to still pay attention to using the correct forms and paying attention to all that stuff. Now, this looks a bit too wide to me here. Maybe smooth will be a better option. It looks okay. Again, a lot of the pushing and pulling and stretching because I'm just trying to match those lines. Anytime I do things, I'm always trying to match the lines and make things smooth curves because that's something that I always did when I was drawing. You always want to have these lines smooth and clean. Okay. So I think that's actually a decent foot where her feet can be like, you know, in some sort of flat. I think I just want to give her flats. I don't like the chunky heel. I like this so much. I'm going to do a quick save and I think, let's just vox remish this together so we can lock this down. I like the shapes, so we'll take those two and we'll just vox re mish, it doesn't have to be anything crazy. 15160 Vox remish. Those together, and then we'll just, so I'm not going to smooth too aggressively. I don't I don't want to alter the shape to too much. Of course, we still have the ability to use drag and move. It's a permanent change, but we can still mess around with it if we need to. It's pretty good. Another thing is if it looks inward, then maybe we just need to rotate it a little bit like that. If yours is looking crazy, you can, you can take move and then you can adjust it a little bit if you need, it's not curved out to the center. I'd like to give you guys all the options. All the options, I do think here. Here, Hi, what's enunciator? Her heel is coming out a little bit too much, so we can remedy that. That probably looks a bit better then. I'll just adjust with the move tool, maybe a little bit more of a bridge here. Push this down. Yeah, you can always adjust it. I recommend spending a lot of time to just adjust and make sure things look right. I literally, for me, that's what art is all about. That's what making these things are all about is really the adjustments. Everything is blocking, everything is figuring out how to make things look perfect. You're as perfect as you can. 10. II Feet: I think I am going to go with flats. I might change it in the future, but I think it's just better to go with flats for this foot. Here's what we're going to do. Front foot, we'll clone it. We'll take trim rectangle, we want to make the rectangle probably a here and trim. We've trimmed the clone foot right now we have this front foot that, if you can see it's only half. Now we'll go to the regular foot just we're on the regular foot, this is. Let's change front foot one to foot flat. Now we go to the regular foot. Front. Smooth and smooth it. If you're smoothing it, it's making it ever so slightly smaller. And we can see the flat. You could probably also use gizmo and shrink it, but it just depends on how much you want the shoe to show. I'm going to tip tack on this shoe and use round edge. The round edge is the tool that we made in the beginning. Now we should just drag on, make sure that you're on the foot flat and just do a couple of these little drags that'll round out those edges. It did round them out, but the foot we still need to make smaller. One thing we can do is we can box remash, maybe bring it down to like 130 and remash and then smooth. Okay, so maybe we'll make this a little bit bigger. Let's try to make the flat a little bit bigger. That might help us out a little bit. Maybe we'll move it up a little bit so that's not so bad. So if you're run into any issues, you can of course move and just manually in separate from the foot. So now we have the foot and we have the flat. So let's take the flat part. And we need to give it a little bit more since the toes are in there, so we can give it a little bit more than the front. Okay. Still looks pretty good? Yeah, I think that looks pretty good actually. I'm pretty happy with that. I just want to make sure that this isn't too close to the foot, so I'm going to still open it up a little bit. Just use move and just separate it a little bit from the foot, these parts that are very close. Okay. It looks pretty good. Now, there's a few things I want to do. I want to take the foot and I want to trim it. Because right now the foot, if we do solo, not looking good. Hello again. I'm going to save because I'm liking the progress. We'll just trim the foot and then trim the shoe. The easiest way to trim it is just use rectangle with trim. Actually, we can trim up a little higher with the foot because the flat is covering it, it doesn't really make a difference. Now with the flat, let's actually hide this, let's hide the floor so we can see, because I want to do some interesting things here. Okay, I think I have a tentative plan. Let's show the floor again. Now we're on the flat. We could do the same thing. We'll just trim the bottom. Okay, just about there. Now I'm going to take foot flat and I'm going to clone it. And I'm going to change this too flat soul. I'm going to change this one to flat shoe. This is just so I don't get confused because I get confused very easily. Okay, so we have foot for four, we have foot, flat shoe and flat sole. I'm going to do a quick save for the sole. I'm just going to take trim and I'm going to trim the top. Okay. So something like that. So now we have the flat sole that I'm going to make a little bit bigger and maybe I want to just stretch it. Okay. Perfect. All right, so for this flat sole I think I'm just going to box remesh it at like 150 and then use round edge to do the round edge thing on the sole. So that's going to soften it up and make it look a bit more natural. Okay. And I'm going to take trim and just trim the I don't want the sole to go too much into the the floor. I just want to make sure that if I was to hide this, that nothing is too egregious. Okay, cool. I think that looks pretty good. If you want, you can use like, you can put like a strap around it. You can make this a little more elaborate. But the only other thing I wanted to play around with this is optional. But I wanted to see if I drag the back up. That looks better or worse. I probably should have looked at some flats, but I didn't because I feel like flats have a higher heel, right? So the shoe stays on. Also, I know some flats have like a square. They're more square here. Let's see if we just use drag and just try to make a more square shape. I'm just going very small and I'm just trying to push and pull to try to get the shape that I'm going for. But just remember that it's all filled in there. So that's why I'm moving in here. Because it's not just the outside rim. It's actually there's shapes in there too. That's why I'm moving it that way. What is that? Oh, that's the top of the that's the top of the cone. I forgot all about that. You can make a more square flat as well, and then I'll probably just go through and smooth it up a little bit, clean it up some. But I just wanted to show you that because there's different options and different things that you can do. I want you to, I want to help you problem solve. Things that you might decide that you want to do later. That's one of my big things. Problem solving is the most useful thing that you can ever know. Okay, I like it. I think it looks cool. We have all those. They're looking good and now I'm safe. So even though we might change the size of the foot and probably the angle and things like that, let's go ahead and take the lower leg and just move it towards the ankle. They look more connected. I'm just using move and I'm just going to slowly drag in a downward motion because that's going to keep this nice and smooth. I'm going to have to go back and forth because as I move this side, it's probably going to alter the other side a little bit, so I'm just kind of sliding downwards. See I want this, these nice curves. Okay, good. Okay, so it starts to look a lot better once you, once you pull that together, I might drag this up a little bit more. I guess maybe the back of flats goes a little higher, but I might work on that too, but you don't need to see me do that. All right? This is looking pretty good. Very happy with it so far. Are the feet too small? It's a good question. Feel free to work some of these things out. If you think the shoes are too small, try bigger. Give it a shot. See if it works out. See if it looks better, because it very well might, That looks good. That looks like a good size and pretty much everything else looks like it's still lining up. But maybe I'll make this a little bit smaller here. Make sure to save. 11. Hands: All right, let's make some hands. I'm going to go ahead and hide everything else, even the floor. So let's add a cylinder and we're going to use this for the palm, were you actually can't see my hand, we'll use the palm. This is like a cube but it's a little bit rounded. I think we'll just go with a cylinder. Then we can use a sphere here, or we might just use inflate or something. There's another circle area here. Then we have the fingers. If we look here, it's pretty flat here. We're going to concentrate our hands to longer in the middle. Small. We'll probably use tube for this though. I might use some shapes, but we'll see how it goes. Okay, so we have our cylinder. We want to turn it towards us. We'll hit snap and then we'll just flip it like this. Now the cylinder is towards us. We'll use the little blue node to bring it together. We want to manipulate it. It's in a square. Square is shape. We can go ahead and validate it. We'll move, but we want to change the symmetry. So for the symmetry, we not only want, but we want for now, actually we don't want y. Let's change it to, from y to z. Because we want to be, we can do both sides. And we can do the front and the back we want because Z is going to control the back as well. We make sure we have symmetry on. Maybe I'll make the move tool a little bit bigger. This is fairly smooth, okay? Okay, so something like this I think works. I think that works. I'm going to go ahead and change this to hand or palm is probably better. Okay, that's a pretty good palm. Let's add a sphere. And we'll use our gizmo. And we're going to move it right to this little lower right side. Oops, We can squeeze it together on the side view, it doesn't have to be that thick, and you can actually move it up. This part is going to be the part of the thumb. I keep forgetting that you can't see because it's actually not as dark as it seems in my room. But the more lights, the more reflections on the screen. That's why it's so dark. We want to move this to probably about here and it's a little thinner. Let's use this then. Let's tilt. It won't tilt because we're on snap 90, So we need to turn that off now. We can tilt it freely. Let's take it off of a line. That way we can stretch it as we need. Okay, So I think something like this works pretty well. So now we have the palm in the first part of the thumb. And I'm just going to open this up a little bit here, okay? Okay. So now for the thumb, thumbs can be very tricky, but usually I've been using, actually we can take this, let's name this thumb base. Let's just add another sphere and just rename it thumb. We'll validate it now. We'll move this over and we'll shrink it, but we're going to utilize the symmetry when we tap symmetry on this. Let's go ahead and tap local. Okay, we'll turn this off and we'll use, now that we have, we can move, we can make sure symmetry is on. Then we can push this up evenly. Something like that. It's huge, but it's more thumbish. A little thumb? Peanut. Okay. Something like this, I think works pretty well. Maybe a little bit bigger because we don't want the hand too big. Let's fill in this hand using tubes. We'll take the tube tool path, we're just going to draw here to here, and then we take it off. Taking it off of snap just allows it to not snap to the surface but be able to go into the other meshes. We'll drag it down a little bit. Actually, I'll probably drag this over because our hands again, I don't want to turn on the light because my cat is sleeping next to me. But if you look at the side of your hand, the thumb is actually underneath where the plane of your palm is. So the thumb is actually around here. Let's just take this and move that to match up to where that is. I'm looking at my own hand because that's an easy way to figure out some anatomical things. You can just look at your own hands or your own bodies. You can see how muscles go into other muscles. And I do that all the time. It's free reference point for a lot of things. Now let's hit radius so that we can adjust the radius of the both opposite sides of this tube. So we'll do something like this. Let's bring this more into. Here we go. Let's widen this a little bit. Let's actually bring this down. That's another thing that a little anatomy thing is. This should actually come out a bit more. I'm going to take move, this part should actually come out a bit more. I'm just going to stretch this out. That's a little correct. At least I think it's more correct. So let's look at it straight on, it Doesn't look too bad. I'm going to position this a little more into where that is. I think that looks good to stretch it out a little bit, I might just make this a bit bigger like that. Okay. I think that looks pretty good. So I'm going to validate it then I'll take move just adjust it a little bit. Just adjust the cylinder. It just matches up with everything a little bit better. I'll put it in there and then tug it down in the middle. They have that opening that we have. Let's actually go to here. And I don't want left and right anymore, so I'm going to go to Symmetry and turn off X. That way the front and the back will still be the same. But here I can just give this more of an angle here because our hands usually have a little here. That's what I'm trying to do. I want this to be flat here. I think what I'll do is just flatten at the bottom a little bit. Yeah, I think that looks good. I'll smooth that out. I'm liking how it looks. So let's go ahead and hit Save again. We might do some adjusting, but hands are quite difficult. You give yourself some grace. These things, this is a difficult sculpt, human anatomy is very difficult, even if it's a cartoon or whatever. Let's continue with the tubes, but let's make sure that everything is titled correctly. Thumb tube. This is, we'll just call it stem. Okay. We'll go add another tube path. This will be the pink. If you look at your pinky, there's three sections, but I don't know if I want to do. Sections. Yeah. Let's do three sections. Okay, and if you look at your pinky, it should be absolutely, Absolutely. I guess some people might have more unique physiology. But for the most part, the pinky is in line with the, the side of the hand. I want to make sure these fingers aren't too, too big. Okay, bring our pinky into fruition. We can turn snap off. Let's just use the gizmo to move it into place. Okay? And when we want to go back to the tube, we just tap this tube here. We can make the whole thing a bit bigger. Okay. I'm going to move it over a little bit more, maybe even tilted a little bit. Let me go back to tube. Okay. In the image her hand is going to be, she's going to be, she's holding something in both hands in both situations. The fingers are going to be Ted and almost looks like hopefully we can use one hand for both and just adjust the fingers. But we'll see how that goes. Firstly, I'm thinking that I want to just smooth together this thumb or at least parts of the thumb so we can have that done. I'm going to go back here and just make any little less adjustments that I might want to make to it. Maybe just bending this a little bit, but ultimately I really like the thumb. I think it looks good. I'm going to take the thumb stem, the thumb and the thumb base. I'm going to do a quick save before I box will re mesh these. I'm going to box, remash these around 200 and then I'll just smooth the whole thing out. I probably could have made this a little bit more thinner. Not that I still can't. I can always stretch it. Okay. It's good to see what it looks like together. Okay, let's go back to this pink. One thing I enjoy doing, I've seen this on a lot of three D characters. I enjoy making the fingers more rectangular. You can keep them circular, but I like to make them rectangular. I'm going to use profile when you look at it on the top view, this of course, has to be straight. So we'll go to twist. Once you tap, twist, and then you want to use this little pink node to twist it. Now we'll go back to profile, and the finger looks okay, but I want it to be a little thinner. Let's see. Actually, I'm not sure if I explain that we're in profile, but now we want this profile menu to come up. We take these nodes and you'll notice that they correspond with the box. This box here is like this top view of the box. As I bring this in, it's making the finger thinner, which is exactly what I want. I'll wind up probably making this thinner as well for her hand. Okay. The great thing about this is obviously we can bend the fingers and we want to use, maybe we want to turn the nodes. This is what's nice about using these shapes and using a tube is you can actually bend the fingers, so you can get a good idea of what they look like when they're bent. But first, I just want to thin out this finger. Okay, so let's tap the pivot. And I want to kind of turn the pivot sideways and then hit pivot again. And then I just want to squeeze the finger together a little bit so it's a little thinner. Okay, So there are some other things that we can do here. So if we tap on, see how I made another node right there. With fingers, they look good. If there's a little bit of a movement like the knuckle area, sometimes I put two because for some reason it just feels a little bit more natural. Okay, I think that looks pretty good. I know it looks strange now, but I actually do think it looks pretty good. I'm going to clone it. I'm going to name this one. So here's what we'll do. We're going to tap the three dots and put the subdivision to, let's put it to one. In validate it, some of the Vox will remish it at like 150. I'm going to smooth it out a little bit. Vox will remish it again. Why didn't that go away? Oh, wait a minute. That's what I did. I made a mistake, obviously, when I I forgot that I had made a duplicate of it. Now we're correct. We're in the right finger. I can rename this pinky. And I want to take flatten, and just flatten this front part. Okay? Smooth everything out. Okay? I'm going to take this finger and move it a bit up and then tilt it a little bit more like that. I want to take the palm, let's do round edge and just round it out a bit, that'll make it a little bit more soft and look a little bit more naturally like a hand. Let's take the copy tube. Let's move that over. Since that first finger looked pretty out pretty well, I want to try to keep this straight. I'm going to change the pivot, and I want to keep the pivot in line with the palm just so I can keep it straight. Let's pivot again. Actually, that looks pretty good. Okay, I'm going to go back to the tube. This finger is a little longer. Let's see if we can just move it up. Just stretch it. Okay, not too bad. Okay, that looks okay. I'm going to clone this one. And then I'm going to move it. Then I'll clone this and move it as well. Now we just have to figure out the placement of these fingers so they're not falling off of her palm. We'll just start here. We'll move it over. And we twist it a little bit. We'll twist this one a little bit and move it over something like that. Not bad, I don't think. Now let's say we want to take this finger. We can go back to tube and we can always adjust some of these fingers if we want them to be a little bit longer. I love doing that. That little bit of raising this black node just to give it that little space underneath our front part of our fingers, the top part of our fingers. I really enjoy doing that little part. Okay. On one hand she's holding her bag. On the other hand she's holding a little creature. One thing that might be smart is to actually create a second one that's reversed. So then we can start working on that one as well. 12. More Hands: Okay, the easiest way to make the opposite shape, to reverse this hand for the other hand, is we're going to have to clone all of these. Here's what we'll do. Thumb base, we'll name this thumb. This will be thumb R. We'll clone it. And we'll also have thumb L for left, we have thumb R and thumb L. Now when we clone all of these, we'll drag the clones underneath thumb L. For example, palm. We'll clone it. We'll change palm one to palm L. Now that we've changed it, we're going to drag it all the way down underneath thumb L. We did now it's Pinky clone it. Then we change it to pinky L, then we drag it all the way down underneath. Now these are a little tricky because they already have numbers. What might be easier is just to delete the number and then do the same thing with cloning these fingers clone. Bring it down and I'm going to change it to tube L, second one clone and third one. We don't want to do that again, so I'm going to save, I'm going to change all these to R so we know that these are the right side versions. Okay, now that we have that, let's just go back and make sure we know which hand is which. If she turns to the right and is looking away from us, then she would be holding the little creature in her left hand. The left hand is the one that we can keep the pinky, the right pinky we can get rid of. What we'll do is we'll take all of the Ls, hide them for now. Now we're dealing with all of the Rs. We'll be able to flip this later on. Let's take this finger and let's make a new pinky. Let's clone this, and let's make a new pinky. I just shrunk it a little bit so it's a little bit smaller. Remember this is, this is the curled, this is the hand that's going to be curled. I'm actually going to tilt it forward a little bit. And I would actually like to take this piece. I'm going to turn symmetry off. I want to take move and I want to put a bend in it. I want to slim, slim it as well. And I want to put a bend in it, so I'm going to use move quite big push on the middle. That gives a nice natural bend. Now I'll just move it back. Okay? Okay, so now we can work on this pinky, which is going to be, I'm going to get rid of these just to make it easier to bend. Oops. Okay. So something like this. Okay. So something like that and the other one is probably matching that. I'm going to get rid of those as well. It might bring them back, but I might not have to. Tubes can get a bit. It can be a little frustrating working with tubes. Be sure to take the time that you need. I've been working with tubes for a long time now. I'm used to how wonky they can be. Whoops, just like that. But just keep moving around and you essentially just want these fingers curled up a little bit. That's all we're trying to go for. You can actually use the gizmo as well and that might help a little bit. Sometimes I want to make sure that, let's go back to the tube. I want the pinky to be like that, and I really want this pinky to be smaller, Not that small, but I definitely want it smaller than the other, the next finger. Another thing that I want is to do radius. And I want the bottoms to be a little bit wider. Here, I want radius on each one, because I want just the bottom to be a little bit wider. We make sure that you have radius on three times. What did I do to this? Oh, I hit by accident. Let's go back. Okay, that's better. That was so weird. I want to take this one and do the radius three times and just make the bottom a little bit bigger. Okay. So these fingers are curled as well, but I don't think they need to be curled as much. Maybe like this and then maybe the part is turned, it's going to be something like this. And as you can see, if I put it in the same fashion as this, that's how you can really see how you're doing with it. If it looks decent, I'm going to get rid of these for now. I might bring them back in. We'll give this a little more bend. I might just use gizmo can get rid of this. Okay, let's take another look that actually looks pretty good. I just want to separate it a little bit from the other ones. Go back to tube, I want it radius twice and just spread out the bottom one a little bit. I think that looks pretty good. Okay, so now we're looking good with the hand thickness. Might I might have made this a little, not thick enough, so let's open it up a little bit, okay? Okay. That feels right. So the only thing is we might want to change the thumb a little bit. Maybe take the thumb and maybe twisted a little bit more this way. And we'll get rid of that. We'll get rid of the back part. So I'm not too worried about that. But if we're looking at it this way, you can't really see the thumb. Okay, it's not bad. I'm going to move this up for now and I'm going to get rid of, I'm going to use clay and sub and I'm just going to get rid of a lot of this back part, we don't really need it. Maybe make it a little smaller. Move it up a little bit. Okay. I think that's good for now and then it's a good spot for this hand. Let's go ahead and save, we did all of our rights. Let's hide all of those. Go to the L's. Bring those back. This one where the pinky was, good. So we're okay there. Now we have all these fingers which we can just do the same exact way. I think it'll work. Oh, you know what we should do though? We should take the palm and we need to give it that same bend. Let's turn the symmetry off. And we can, I'm going to put it to x, but I'm going to turn the symmetry off anyway. And we'll give it a nice push just to give it that natural bend. And I'm going to take this pinky and bend it even more. And I'm going to bend these as well. This one, you know, I might just straighten out a little bit. Of course we don't want to be, we want them to be even ish, I don't mind if the ends are a little bit sticking out in opposite directions. I don't really mind that too much. I think that's great. I like that. I think he can be a smidge smaller though. Might put these two together and then bring this one in a little bit. I like that. Okay, good. Save hands are hard work, but these are looking really good. Let's take all these fingers and begin to validate them. And then just make them look a bit more like fingers. We'll take the first one here, we'll validate it. Let's Fox Remish around 100. Now we'll take smooth. We might be able to use round edge, actually just round it out. I'm going to use smooth and just go over it fairly roughly. That's why I did them a little chunk here because you will lose some when you smooth. Okay, it looks good. We'll do the same thing with all of these. We'll box remesh around 100. We'll do round edge a few times, then we'll take smooth, smooth them out. Validate hoops box will remesh around 100. Turn the wire off, we'll do round edge a few times and this is just to round off the edges. And then we'll do a nice more severe smooth that will skinny up the fingers a bit. Okay, let's take flatten and flatten these edges to give us some proper fingertips. So just flattening off a nice slope. So you kind of have a round fingertip just like us. Okay, maybe we want to even round this out too. See how that looks? I guess this doesn't really need to be that square. I usually don't round this out, but maybe it looks better that it's not so square. I'll let you be the judge if you want to round out the corners of your fingers. I think they look good. I think this looks really good. The thumb looks a bit big, so I'm going to shrink it. The whole hand might be a little bit big. I think this is a good place to come back in. The finger is looking really good. When we come back, we will remesh a lot of the stuff together. Let's say this. We'll finalize, we'll go through and make sure the proportions are okay. We might not box or re mesh them together yet, just in case we want to move some of the fingers and make some adjustments later. All right, this is a good place to pause. 13. Heaps of Hands: Okay. Right now this is the right hand, but this is going to be her left hand. What we can do is use symmetry to mirror this hand. First I will say this. We probably could re remesh the whole thing together and flip it, but I want to preserve these fingers and the thumb being separate, just in case we want to make some changes later. But if I was just doing it out right, I would probably just fox remsh it together and then mirror the whole thing. But anyway, let's tap on the thumb part. We go to symmetry and we want to be in world, then we should be able to do flip object and it should just flip right over to here. Okay, perfect. Now we'll take this, we'll do the same thing, make sure it's in world and flip object. Then we'll do the same thing with these flip object. Okay, good. Now the left hand is looking pretty good. We can actually connect these pieces. Let's put the palm on top, then we can connect all of these. We can configure them so that we can move everything around as we need. Show you how to do that. You can't rig in nomad scoped, but you can set up a system of a hierarchy so that you can move things around and pose things easier. For example, we're going to set this palm so that we can set the thumb and the fingers. And then we can move everything much easier and we can pose things easier. We have the palm here, we have the thumb. I'm going to connect the thumb to the palm. Now these two are connected. But I'm going to take the thumb and I'm going to change the pivot first. You can go pivot, center pivot. And that'll center it to where your meshes. But I want to go to pivot. Let's see if I think a line is easier because that will line up our Gizmo. As long as you have pivot selected, then you can move the pivot around. All that is, is the point in which it will turn. It's almost like that's where your joint would be. For example, if you were making like an arm, you would want the pivot to be where your elbow is so that you can bend it. That's all the pivot is. I'm going to move that approximately to the point where you think that joint might be, which is probably right about here. Then I'm just going to snap pivot that's set. Now we have the palm and we have these fingers. I'm going to go back here, although I don't have these fingers. Let's move this one up. This one up, we'll put them in. Okay, Let's connect those to the palm as well. This is 21, that's this finger. I'm going to do pivot, pivot. All of these actually might as well do pivot, center pivot. The reason why the pivots are all scattered is because I actually mirrored this hand from another hand. Pivot center pivot will always bring your pivot back to the middle. It's a very useful. Okay. Now tube L, which is the pointer finger, will hit pivot and we're going to bring this to the approximate place of the joint, which would be, yeah, about there. Maybe a little higher up. So we'll tap pivot, We'll do the same thing for this. We'll pivot, we tap front, we'll bring it down, then we'll look at it from the side. And we pretty much in the middle, tap pivot again. And then we'll just do the same thing with these. Okay? Okay, now the pivots are all set. So we have the palm, but we also have these pieces. Now I can move them and they'll move on the pivot. If I wanted to change this finger, oops, now it's pretty much on the pivot. And I could change it. If it was a little bit off, I can change it, but if I want to, I can just easily adjust these fingers to make different whatever I'm trying to do with the fingers. But eventually, this is going to be part of an arm. Let's just say real quick, if I was to add an arm, let's just say I was to add an arm here. I'm going to put it on top of this and just call it, I'm going to erase this. You don't need to do it. But then you can take this whole palm and you can connect it to the arm. Then what you can do is you can take the arm, the validated arm, and you can move it. You can still take the palm, You can move that. But that's where pivot comes into play. Pivot, center pivot. And then you can move your pivot. You don't have to do center pivot. I don't know, I always do that for some reason. But I would move my pivot to around there. Then you get the real gains of being able to move stuff around. That makes it a lot easier. That's the whole point of the hierarchy. You see that now it's the arm, it moves the whole arm. Then as you go down, it moves that. And then if you want to move the fingers, then you do that hot for fingers. Now that we set the hierarchy for the left hand, let's go ahead and do the same thing with the right. So I'm going to hide all of the left and then bring back the right. Okay. I'm going to bring the palm up, all of these tubes. Actually, Yeah, I forgot all about this other hand, but now that we've done the one side, then at least we have a template to do this side. Let's start with the pinky. I'm pretty sure what we did was just validate, I think we've box remeshed to like 100. We did round edge a few times, then we used smooth to smooth the fingers. Okay, Okay, we'll do that with all of these. Now you see why certain things just take forever, literally just take forever round edge a few times then I'll just take smooth and then do some heavy smoothing. The fingers looks good, validate 100 round edge. I feel like this finger finger is thicker than the other ones. I'm not going to smooth out too much towards the back. I don't want to lose the size at the base of the finger. Okay. Looks pretty good. I'm curious if you guys use this, that shortcut for voxal rematch. I use it all the time. It's like it's I have to remember to point it out when I'm doing just regular tutorials now because I always use it and I don't think about, I don't even think about it anymore. Okay, good. Move this down a little bit. So now we have to do the other thing which is flatten out these. And it might be easier to just do solo. And I'm just going to rename these. This is Pinky. We'll figure out the rest when we figure it out. Make sure this is the pinky. Okay, so we just use flatten and just flatten out this bit here. Okay, smooth it a little bit. I think on the other side we were doing a round finger here, so we might as well do that as well. Okay, we'll probably Vox where you mentioned these again to make them a little bit smoother. So I'm going to take off solo, that's the ring finger, right? So we'll solo that. I probably need to figure out some more simple ways to do hands like you can probably sort of gesture the hands, but I don't know, it's a little tricky. I don't think I've mastered that in three D. I'm not sure how to even go about that. I feel more comfortable just taking the steps at the moment. But if I figure something else out, you guys will be the first to know. Okay, smooth it out a bit. It says the middle, the last thing I need is a crash flatten at the time of filming this, it's actually my birthday. I'm filming this exact moment on January 11 and it is my birthday. Hopefully you don't mind me talking. I mean, obviously it's repetitive, so I don't really think that you need to really watch me too or pay attention too much since we're doing the same thing with all the fingers. But today we actually confirmed our honeymoon. So that'll be fun. Okay, so solo looking good. And this is pointer flat. Okay, nice. And we probably won't even see this thumb. Yeah, we won't see the thumb, so I'm just going to leave it. All right, So let's save. The other thing we needed to do was set up these fingers with the hierarchy like we did with the other hand. So what you do the same thing. Oh, again. Okay. So these are all the right, our middle finger pink. I don't know if I actually need to do all of this, but it's easier to do it. It's just, I don't like not knowing exactly what things are. It just slows things down in the long run. So I'm just going to rename this and rename the palm right hand. Okay. So now all of these, oops, all of these can be connected actually. The thumb. No, I think that works. Yeah. Okay. Now, I just want to set goes to gizmo and or I'm on the thumb. Now, I just want to set the pivots. Setting the pivot again, you know, obviously the joint is going to be connected to the hand, so we just want to make sure that it's yeah, probably right around here is good. So we'll set that pivot pivot for that is fine. Pivot pivot just in case it moved a little. Okay. Oh, this pivot actually looks okay. Where are the oh, these pivots are? I must have set them. We must have set them before because they look like they're pretty good. Okay, great. So we've already set them. I'll save. Okay, now we have all the hands, I think now we just have to work on the arms. We can think about positioning the model so that we can start making things look right. But the next thing is just to position the arms so that way we can position the hands and we can get the body in position. And we can go from there. And then we can start doing, I think, the next video, we're going to just prepare the body and start with the arms. 14. Arm Workout: A great job with the hands. Let's go ahead and bring everything back so we can just figure everything else out. I didn't mean to select them. I meant to do all this. Just bring everything back. Everything that we've been working on. Okay. Now we have the hands which I want to keep them the same size. That's a bit freaky. That's so weird looking. That's cool though. I'm going to save a version of it. I'm going to, I'm going to save as. That's so weird looking. Anyway, so let me say A. Okay, so now we have our hands, so let's try to, let's move them to their perspective sides. So right now we're dealing with the right hand. The right hand if you're looking at someone, if you're looking at the left side of them, that's their right side. So the left hand my brain is. Okay. So let's take the right hand, all these Rs and let's move them left. Okay. And then we'll take the other hand. So we'll take all the lefts and move them right because that's how the hands are going to go. We can probably take both of them and shrink them. I'm mostly doing it this way because I want to keep them the same size. Okay. Now I'll go with right and move it left. And we'll go with left and move it right. Okay, that's good. Now we have to do the arms. She has fairly thin arms. We're not going to have that much detail in the arms. I think we're going to keep them just normal looking. Okay. I think that looks good. This actually looks good as well. Do we want to validate them? I think I want to take the bottom part of this and just shrink it a little bit. It'll have a thin wrist. I think that makes sense to me also. Now is a good time to figure out how she's positioned. She's this way. You see a little bit of her shoulder and maybe down a little bit, you're seeing a little bit of the ground, maybe something like that. Let's save this scene so we can always come back to it so that we can reference it. Let's go to this little camera add view. This is going to be, I'd like to just do numerical, this is one that we can go back to it now. We can just tap and it goes back to that position. That's going to be really helpful for us. Okay, I'm pretty happy with the size. I might make this a little bit bigger and this is just maybe a little shorter, but I just want this end to be, oops, a little bit wider maybe. Okay, I'm going to validate these and I'm going to validate these as well. You notice how I have them a little bit off of the side. That is definitely on purpose. Let's use round edge and let's round them out. We can round out both. Okay, I want to take D, We might change these arms as well. We're going to be editing them as we go because we're going to have to move them anyway. Maybe we should separate them now. Maybe we should separate them. I don't want the shoulders to be too. Yeah, that's a little bit better. Move them a little bit higher. Something like that. Okay, so this arm I think I want to use drag and I want to drag this maybe move is a little bit better. I just want to move it into the front of the shoulder a little bit. Then back here, I'm just going to take clay, make sure it's not on sub I'm just going to take clay and just add a little bit back here like a TrisetI'll just smooth this. Then we just have a thin arm that's decent. Looks good. We don't need too much muscle now for these guys. I think I want to use clay. Usually, the way hands go is right now, her palms would probably be facing her legs. Actually, why don't we just move the palms there instead of talking about it. I'll just move the palms there. Right, is on her left. Let's take this, let's flip it. Oops. Okay. So we'll move it into place so you can see it is absolutely huge, which is D, funny. I really want them to be the same size, but it's a bit. Let's move this one in place as well. Look how big her hands are. It's so comical to me though. All right, let's twist them so they would be probably around there. Can do save the people can hear you. They can hear you. Comfy, you hear all class. Okay. When I think about farms, I don't want to go too deep into the anatomy of forearms, but usually there's a s, the bicep comes down and it between, you can look at your own arm. It comes in between two muscles here. This little triangle that's in the bottom of our bicep. There's a few ways that we can go about making that. First, let's try the crease. We'll just a case we're going to, there's imaginary line up the middle. We're going to start it maybe around here. That crease will just be where that break would happen. Let's use clay. My clay is only about 100 the size. Let's just add a little bit here. I'm going to go down crossways a little bit just to add a, I'll add a little something on the top too. We have a little something there and I want to add a little something on this side as well. I'm just building a little bit with clay. Not too much. You don't want to look crazy now. Let's take drag pretty small. And the elbow, I tend to move this around a lot. I got to try to not do that so much. Let's just smooth everything out first because it's going to look too crazy. Okay, we smooth that out. Let's drag the, the elbow would be like back here. I'm just going to pull that out a little bit and then I'm going to pull it up into the other arm. We have like an elbow, Then we have all of this, which I'm also going to pull up into that arm, because now I just want to make straight is fine. And then I want a little bit of a curve here, that's all I'm doing. I just want a little bit of a curve there. Maybe a little bit of a curve on this side as well. Not too much, but to me, that looks good. We have the little thing in the back where the elbow would be. Mine is a little low. The elbow the elbow should really be up higher, but it's not a real elbow. It's not really that big of a deal, but that's okay. Let's smooth it all out. Again, we want to keep this nice and smooth. I don't know what is I was just on. We want to keep it nice and smooth and just have these things be a hint of the anatomy. Something like this straight. And then a little bit of a round bump because we have that on our forearms and it's going to peter out to the hands. This should be okay. I didn't want to do too much because we're going to be moving the arms around. Let's take the bicep. Let's actually just use flatten. See how there's like a little depression here where that triangle was that we made. We can just flatten, actually, it's probably better to do drag, Maybe we'll just drag this part in. Okay, we'll drag that part in and smooth it for standing. As you can see, I think the shapes look a lot better for the arms here. The shoulders look a little wide. That feels a bit better to me. And what I'd like to do is also let's validate these shoulders. Let's take drag and just pull the shoulders back a bit. I just want to pull them back a bit. I don't even mind that because we can just smooth that out. I just want to pull them back. I'll go ahead and smooth it because that's not really going to show anyway. I think that looks pretty good in the top part of the arms are pretty much going to stay in the same spot. I'm going to do a quick save. I think we can go ahead and take the shoulders and validate them. And then the upper arms and validate them as well. Okay, now we have the upper arms and the shoulders. Let's take both of those and Vaux remish them together, maybe around 150. Okay, Now the upper arms and the shoulders are Vaux remished. I'm just going to go ahead and smooth, smooth it out. That will make them one solid piece and I didn't have symmetry on. I need to redo the whole thing. It's tricky we go back to right after we remshed. I'll turn box remchon. I forgot that we validated the mirror, that's why I have to do that. Again. That's okay. Okay. That's good. Looking pretty good. The only thing left is really we can put everything in a hierarchy. That way we can do like a proper poses. Oh, we also need to make the foot again. I'll tap the foot just so I can easily, oh, you know what? You know what I just saw. Slow, look at that. It's terrible. We don't really need all of that. So I'm just going to take trim and just trim off the top, it, of that foot. Okay. So I'll just tap on these other pieces up. See if I tap this piece. Then you see the little cone. So let's get rid of that. Okay, good. Okay, so we have the foot and we can clone the foot. We'll clone the shoe and we'll clone the sole. And I'll put all the ones together. And then symmetry world, flip object. World flip object. World flip object. Okay, nice. So we'll save that. All right, so I'm just going to put, I'm going to do the hierarchy for, for the feet. Whoops, I didn't mean to do that. Okay, so this is the left foot, so let's do L foot. For this one, we'll do our foot. Okay, So the low legs, the knees. So let's validate the knees and let's validate the low legs. Okay. All right. So one thing we have to do is split these sections. We have the low legs. What is that in there? What is the sole Really, let's get rid of that. Okay, let's bring back the low legs. We need to split them. We'll take split Rectangle works the same as trim, except it makes two new pieces. Instead of like trimming one, it just makes a new one. We'll split the low leg. Now we have the low leg split. This is the left. Left leg, this is low leg. Okay, right foot, We're going to put right low leg, this should all be on the same side. Then left foot, we're going to put with left low leg. Now they're all on the same side like we were doing before. They're together, but of course we have to change the pivots. We'll do that later. Okay. The knees, the knees are together. So let's split again. We split the knee and this one is the left knee, knee left. This is knee right. The reason I'm doing this is because we can't have it mirrored anymore. Because we're going to position them differently, they're going to become their own different legs. Left low leg will be hierarchy to left knee, right knee, right low leg. Okay, looking good. I'm going to go ahead and save, just in case. Now, of course, we have to split the thighs. Let's actually be a little bit careful with that. The thigh, I split it. No, we don't. We didn't. Okay. So we have the thighs. Let's go ahead and validate. Here's another thing, a little extra. Here's the thighs in the cylinder. So if we go to this thigh, we can validate, we could instance, if we hit instance and yes, then we have our two thighs that are here. We can just take them out of that little blue thing and delete this. Now we actually have two thighs. This is the left thigh and this is the right thigh. The only reason I don't do that much is because I don't like, for example, the low arms, the lower arms, it'll just stay in an instance. Sometimes I find that a little bit annoying. So I'll just keep it at joining children. And then we have the lower arms, and I'll just split them. Okay? And this is the low arm. Lower arm, right? And this is the lower arm, left. Okay, so let's save. 15. Lovely Bones: Okay, let's continue with the hierarchy. I think we want everything to be contingent on the chest, the body, Okay, so we have the, wait, let's connect the waist to the body and also the neck. Okay, So we have the arms, we want to connect those to the upper arms, and these need to be split. So let's go ahead and split these. These are the shoulders. So the shoulders is now upper arm. Okay. And we'll use the split and rectangle and this will be right upper arm. Oh, lower left arm. Right upper arm. Oh, this is the left upper arm. Now this is the right upper arm. Okay. So I got that confused. This is actually supposed to be left and this one is actually the right. Because this side is the right side. Right side. Okay. So we have the body left, upper arm, right upper arm. I think we want to move those to the body. Right, upper arm, then lower arm, right? That will be connected to right upper arm, lower arm, left will be connected to left upper arm. Those are both contingent on that. This is the left palm that can be connected to left lower, that'll be here. That's another tier off of lower arm left. Then there's lower arm, right? We want to bring right hand down to another higher key level with lower arm. Right? Okay. Okay. So we have waist and we have neck. Okay. So left thigh, we want to connect to the waist. Whoops, We do want to connect to the waist part, so we want to make another bridge from waist. Right thigh. We want to connect that as well, the same spot, so those are off of waist. And then we have the knees left, so we're going to connect that off of left thigh. And then we have knee right, and we're going to put this in right thigh and then leg right, low leg. That's going to go that's going to be another bridge from knee. Right. Okay. Okay. Let's move up so we have the body. The head is also connected to the oh, actually the neck. Where's the neck? The head I want connected to the neck like that. The lashes connected to the head. We can actually take these and validate them. The eyes we can validate. And we'll connect that with the head as well. One, I'm just going to connect the whole thing to the head. That's going to be on that same level as the head. Okay, let's hit a quick save now What we need to do is change the pivots. What we just did, what we just did was make all the hierarchies Any body part that you want to be connected. Let's say the hand is connected to the lower forearm. This hand will just have to be a bridge from the forearm. The forearm is a bridge from the upper arm, and the upper arm is a bridge from the body. That's the way it works. If we move the body, it's going to move all of the smaller bridges and so on and so forth. That's pretty much how it works. But we have to change the pivots where each part is connected. Let's start with the, we'll start with the thigh. If we move this, it's not going to make sense because it's not in the spot where our joint would be for how our leg moves. We have to hit pivot, then we have to move this to pretty much a center point, maybe like right here. It's probably pretty good. I'll just turn on the side and it looks like it's generally the middle. That's good. I'll tap this thigh. Just tap front. I'll do the same thing, pivot. I'll move it up. And pretty much like right in the middle, I think that's a good spot. So we'll hit pivot, but you have to do that with all of these little pieces. The knee, knee, I'll just do pivot, I'll center it. That might be perfect for the knee, to be honest. I think that's pretty good for the knee, so we can take that off. This one is pretty much in place. Okay. Actually, for the knees, if we move them, it's actually not too bad. I was just thinking I might want to push the pivot back a little bit on the knees, but it's actually not too bad. But I think I'm going to push it back a little bit now. We'll take these lower legs and we'll our legs bend below our knees. I'm going to put them in the bottom of the knee. If I was to bend it down, let's see what the best place if I leave the pivot there. Let's see how it oh, it actually looks pretty good. Okay. I hit undo it, goes right back to the resting position. I'll do the same thing with this one. I'm going to do pivot, center pivot. Just to bring it back back up. I think I did it a little bit further down then right in the middle. I think that's a good spot. Same thing with the heels. So we'll do pivot. We move it in the middle and up a little bit, we'll move it in here. We want something like that. Same thing with this one. We'll do pivot, okay? It looks good. And then we'll move it pretty much in the middle, okay? For the hip pivot, we'll move it up. That actually looks pretty good. Pivot and let's just check it out. Yeah, I would say that's pretty good. All right, so this part, let's pivot and let's bring this down low, make sure it's in the middle. Okay, That's good. Now, these arms will do pivot, pivot, pivot. And we'll move it right in the middle where it looks like that socket might be right there, pivot. And this would be obviously where our elbow is. It actually looks pretty good. I want to make sure that it's far enough back to where our actual elbow is. I think that's good. Pivot this. We're just continuing to do the same thing and just get these guys get these pivot marks straight, okay? Pivot center. Okay. Pretty good in the hands or the palms, I should say. Because we really want the palm and we want to pivot. Let's see if we take it off of a line. I take it off of a line, so it will go be more in line with the palm and not the project. Now that I did that, it's a little bit easier to find the joint where I want this pivot to be. I want it up here. I kind of want it just the center of the wrist. That looks pretty good. I would say that looks pretty good. I'll turn that off. I'm just going to save because I don't want to have to do all this again. And I'll do the same with this one pivot. We'll bring it up. Okay? That seems good. Let's see. Neck. Oh, the neck might be in a good position. Maybe we can bring it down a little bit, the head pivot, and we want to do the base of the neck. Okay. I think that's pretty good. All right, so let's make sure we have everything worked out. Which I just noticed that I don't tap on the arm. I turn the arm and you can see that I must have the lower arms mixed up. We'll check everything, but let's just switch that out. So I'm just going to bring you with me as I figure this out. I had this lower arm. Okay, This is the left upper arm, and this is the left hand, but this is wrong. The lower, This is the left lower arm. I need to rename this left lower arm. This is a left lower arm. I need to switch these two. I need to switch this with that. How do I do that? I need to take the right hand out of this. I need to take the left hand. Let's just name this left hand instead of left palm. I need to take the left hand out of that hierarchy. Okay, now, left upper arm. I should switch the right lower arm with right upper arm. Let's try and switch that. Boom. And then we'll switch this back up. Oops, there we go. And hopefully we can put this bridge on there, and then put this right hand back on this bridge. There we go. Oops, There we go. Left upper arm. I'm going to switch to just left arm and I'm going to switch this to just right arm. Okay, let right arm waist, everything looks good. Make it a little bit smaller so we can see what's going on. Let's do it the more fun way. Okay, Now we have the right arm, perfect. If we want to do this. Okay, It still looks pretty good. Same thing with this arm? Yeah, everything's working. All right. Let's see if the body oh, wait a minute. Wait a minute. Okay. The body is connected to the. It might be better if the waste isn't connected to the body. If we take the waste, if we take the waste out, then we do the body that's better. It's actually better if the waste is not connected to it. But we could take the and make her a gymnast. We take one leg that looks good, and then we take the knee. We bend it. Even though the knee poking out now there might be a better spot for the pivot, for the knee, but I'm not sure the knee pivot, maybe if it's further back, let's see what happens. That's even worse, huh? What if the pivot is further up? Maybe up here, the pivot is up there. Then it's a little bit better, but then it winds up doing all that, so we'll just leave it where it was. Then we also have the foot. It doesn't look like it's in the right spot, So let's move the pivot of the foot. Oh, actually let's not do any of that until you have it down in the resting position. Now, it's a better time to adjust the pivots. No, I think this pivot would be best. Maybe here it's a little bit better. I want to do the same thing to decide as well. We'll take this pivot and just move it up. Now, if I wanted to put the leg up, I could just go thigh. I could probably just bend this instead of the knee. Then I could bend this good. And the head. I guess that actually works. It looks kind of funny, but I guess it works. Okay. I could probably ring it down a little bit. Let's try that. Yeah, that's a little bit better. It looks like a boxer when we do that. Okay, good. Let's save. 16. Adjustments & Wardrobe: Let's make the hands smaller. Maybe we'll just do them separately. That looks about right. Are they too small now? Anytime I just them, they always look too small. Okay. I think that's okay. What I would advise now is actually saving this because once you make a character and you do all of this work, there's really no reason that you'd have to do this again. If you want to make another character or another female character or something like that, you can just change the proportions. You can make them bigger or smaller. You can adjust it, but there's no reason to do all of this work again. You can switch out the head, you can switch out anything you want. What I would say is once you save it, then go ahead and just do save As. And firstly you can do a new one. So this can be four, then you have a new file. But you could also go down to export nomad. And you can do all. Then you can export. And we'll save it to files. And this will be a female posible three D file. Okay, so we'll save that in my saved elements. We'll save it in Assets. So now you have that saved just in case. Okay, so there is a little bit of, let's see, so for this I'm going to move it back a little bit, and in this part I want to move up a little bit and maybe even twisted a little. It's actually really fun to pose these things, but I'm debating if I want to do the hair first, maybe we should do the hat. But I actually let me twist this. I do like it's a little bit more natural that the arm goes back a little bit and then straight down, I think I want to do that for both. Okay. All right. So I think we want to give her we could give her a little bit of a chest, but since it's going to be a shirt, I'm not sure if we actually need it, but I do want to flatten this front part. Okay, we'll smooth that out. All right. I was going to pose the character, but I think it's easier to do the clothes as she's facing us front on. Then afterwards we can rotate and make all the adjustments and things we want. But let's do the clothes, let's take the chest or the body and we'll clone it. Now we have it down here. We're going to name this shirt. We'll take our gizmo and we'll just stretch it all the way out like this. Okay. We'll turn it. Let's use, move. Let's move this away from the skin a little bit. It doesn't have to be too much. We'll move this away from the skin. If you turn, you can see where some of the body is still poking through. I just want to pull this away from the skin a little bit. Okay. Now we have the shirt. As the shirt is designed, it's like the boxy middle and then there's sleeves. We're going to make the sleeves separate. Let's take trim with lasso. We're going to just draw here. And we're going to curve up a little bit to get almost like I'll just show you. We're going to go up and over a little bit and then cut this piece off pretty much like that. I don't really want it to be curved that much, but I guess it's not too bad. If you want, you can take maybe smooth or flattened. I think either one I'm going to redo it because I really wanted to go. Yeah, straight up. That's a little better. I'll take drag and just move this part up a bit. Okay. Something like this, I think looks pretty good. I'm not worried about that at the moment. Okay, I'm going to hit a quick save next. We want to do these sleeves. I think we're going to use the tube tool. We use the tube tool, we don't need snap, so make sure that's turned off. Let's use path, we'll just start here. We'll tap and hold and then let go and then tap a little further down and drag, and then let go. We'll tap this green node. Let's start this right at the base, almost like where the pivot was for the shoulder or maybe a little bit above. Again, this is going to be the sleeve which goes down to a route here. Let's take this little orange node and just make it wider. And we'll try to match this up. Okay, you can see it a little bit. Okay, There's a bit of a bend there, so I want to bend this in. I'm going to tap it so it's black. That's going to give us a sharper bend. The sleeve is a little bit tapered at the shoulder area. Let's hit radius once and then we can widen the bottom. Then you can see that break in the sleeve as well. Okay, so something like that. I think it looks good. Maybe we'll make it a little wider. Okay, I want to make this hollow, so let's hit hole. And let's take this blue and we'll make it a little th, I want this to be flat, I don't want it to be round. So let's tap the three little dots and we will make linear. We'll tap linear subdivision and then turn this up to two. I think that's pretty good. We'll mirror it and then we'll validate. Okay, Let's see if we can smooth this out, see what we get. I think it looks pretty good. Okay, so that's actually looking nice. All right, We still have to work out. There's a bunch of bends in this, but the part that's really going to be tricky is the opening up here. That's the only thing that's a little tricky, but we should be able to do that with maybe a mask. Let's first, let's take the shirt. Resh it. I'm going to do another quick save. I'm remash the shirt around 175. I'm just going to smooth it out as well. We don't really need the body anymore down there. I'm going to select the body. Just the body. I'm going to take trim and I'm actually, oops, let's do rectangle. Trim with rectangle and I'm going to trim it because if I hit so low, we don't need the body down there. It'll just get in the way. Okay, so now what I think we'll do is we'll use mask and we'll make an opening for the shirt. Okay? The shirt is 64.7 K, so that's much denser than the body. Okay, so the shirt looks like it goes right around the head. It just kind of comes forward like that, but in my mind it's a little more straight. So I'm thinking something like this. Let's go ahead and make this all around the neck. Okay? So I think that's how we want. I think that's how I want the shirt neck to be a little bit more tapered in the front. I think that works. Let's take a look at our angle. I think that works, okay. The other thing is actually we need to make her chest. That's also very important. We might be able to use inflate or clay clay might be a little bit better. Let's try clay first. We don't want to make it too too overboard, we just want to be able to raise that middle section of the shirt a bit. We'll do something like this, and maybe even here you want the whole thing to raise naturally. I'm thinking something like that. We'll smooth it out and see what it looks like. Okay, I like that. Pretty simple. I like that. Let's take a mask and let's invert it. You just go to this mask settings here and then you invert. Now let's take our gizmo, and we're just going to move just this piece down like that. Okay, so let's take a look at the back. Yeah, it looks good. Let's tap mask and then the mask settings again and clear. Okay, I think I want to box will remash this again at round 175. Hopefully, that will clean that up a little bit. Cleaned it up a little bit, not as much as I would have liked. So let's smooth it then. We might have to go back in and do something with it, but for now I'll just settle for it being smooth. Okay, let's see if we can drag this forward or drag it to get it narrow again, it's not so bad. Let's bring this back part up to the neck. It's not too bad. Okay, so I want to take clay. So there are some adjustments here, like in the fabric of the shirt. So I think we can just use clay and add them, but we don't want symmetry, so I'm going to turn symmetry off. And I'm actually going to do clay and sub because I want to make that nice break. I want to include that. Okay? I'm going to smooth that out. All right, And I'm going to use clay and take it off of sub and just put a little bit more here around here. And I'm going to add some around here. Okay, I'm going to take D and then to drag the backside out over the butt. Okay, so we'll do something like that. We'll smooth all this out. Okay, it's not bad. And we'll have to crisp all this up a little bit later too. Not terrible. Let's take dragon. I just want to move this in so it's not just sitting out there. Anytime I see the back, I'm just going to take clay and sub and just get rid of it. You can even take drag. Oh, well this is the arm can push that into. This is the sleeve I'll leave there because we're going to miss that together anyway. 17. Shirt Details: Okay, what I think we need is we'll use a tube to make this collar on the shirt. We use the tube tool, we'll use snap and we'll use path. We want to start the tube back towards the back of the neck. Well, you can always drag this node back. Just so we have a node there, we have a node here, and we'll drag one here, here, and then another one down here. Let's tap the green. Now we have something like this. What we'll do is we'll wrap this around the neck, and then we'll clone it so that it becomes a complete circular collar. Let's take this node, we'll bring it over here. We might need to add another node here. We just want to bring that around towards the back. We can actually hit a mirror. Now you can see the other side. Now we want to match these up together, but it looks more like a collar, unless you want to cool V neck, you can add another node here and you can get a little bit more, a little bit more bend in it if you want. I think that looks pretty good. We have something like that and we'll go to the back and see how that's looking. That looks okay for now, but we don't want this to be really thick, so we're going to use a profile to make it flatter. As soon as you hit profile, it's going to flatten out. Now it's quite flat, but it's bent in a funny way. So we'll use twist. We'll take this pink node and we'll just twist it until what we want, something like this. I think that looks pretty good. Now, when we look over here, maybe we should bring this down a bit. See, no, I can't seem to move it. Oh, you know what we need to do? We need to turn off snap number one. There we go. That was the issue. Snap will keep it from going inside the mesh. And that's what I wanted essentially. I wanted to just bring this down and I was very, very confused as to why it wasn't letting me do it. I'm just adjusting this to try to get them flat together, which apparently they don't want to be okay. Everything else looks good. It's just a little high. We can probably use the gizmo and move it down. Let's use a line. The line doesn't really, I guess it helps a little bit. Bring it down. We can always move the shirt up a little bit in the back, something like that. We can, we can always drag these nodes a little bit as well, just to get it a little bit more flat. Okay, I think that looks good. I think that good. It's much better than just the shirt. I'll say that we can always move that down as well. Let's make sure that we're labeling all these things. This is collar, these are the sleeves. Okay, let's make sure we save, Let's go ahead and add more detail to the shirt. Firstly, if you want more chest, if you want the chest to be bigger, then you can use drag. That might be an easy way to just drag out the shape of the shirt. That's an easy way to just add some shape to it if you want. Maybe I'll move it up a little bit. I'm doing this without symmetry. I just going for it with the shirt doesn't have to be perfect. Obviously it's fabric on top of the skin. But let's make some of these nice sharp like linear details. They look really great in shirts. Let's use crease, but we want to use sub. You want to turn sub on. Here's my other details. My radius is about 48 or 50 or so. What case sub is going to do? Remember, I don't have symmetry on. What that's going to do is it's going to make the opposite of a crease. And that'll be great for making this line. I'll start maybe about here. And I'll just draw this nice crease going back here and I'll make it going around the back of the shirt. Okay, that looks pretty good. Now I'm going to turn sub off. I'm going to make an actual crease on the inside of that that's going to give the effect of that the fabric is falling right there. It gives us that nice effect. We'll do, there's another one over here I think we'll take, we can do crease again. Next let's take some clay and build this out a little bit. We want to add clay. Let's add some clay here, a little bit smaller. We want to add some clay here. It looks like there's something here and it goes up on the shirt, maybe around the back, something like this. We get that little piece here. We'll just go ahead and smooth that out a little bit. We'll smooth this out too, because we want to smooth it and then clean it up. A lot of the things that I do, I smooth and then I clean it up. And then I smooth and clean it up. I might go back over that with the crease tool, things like that. Now I can take the crease tool, the regular crease tool, and really dig out these lines that I just made. Something like that. And then I'll turn sub on right next to it. I'll give it that nice flatness that adds a lot of character to it. So something like that. It looks great. We can take flatten, and we can flatten the bottom of it as well. It looks good. I'm going to take crease, regular crease. And I'm going to increase. No unintended. Okay, smooth this out just a little bit, but I'm going to leave it a little bit more because it's a little cleaner. Just smooth a little bit there. That looks good. I think she's good enough to start posing the dress. I think we're going to use a cylinder. I think we'll use a cylinder. But since it's asymmetrical, it doesn't really matter that we do it when she's facing us. I think we'll do the pose first and then we'll do the hair. Yeah, I think that's a good plan of attack. 18. Strike a Pose: All right, let's pose. So we want to go to our camera. We'll go to this setting here. So that's pretty much close to her being posed. All right, so it looks like the neck. Want to move back a little bit? Actually, I might turn on perspective a little bit too. Although this perspective can change a lot. But it is a good thing to look at. We can stay orthographic, but just know that I might change it to perspective a little bit later. I move the neck back a little bit and the head, head is down. It looks like it might even be like this a little bit, that ear a bit higher. Something like that save. Okay, we'll go back to our, our angle. Okay, so now we can left arm, oh, I guess I can just select it here. So left arm up a bit. Fore arm, it is up almost like here. And out some the hand. So the hand we need to rotate kind of like this. It's pretty good actually. This arm looks like it's back a bit. Fore arm bent up and turned a little bit like this. This hands turned a little bit like this and down. I mean, really, you can just follow the, the reference to get an idea. Okay, it looks like we need to move this up a bit. Let's go back to our. Okay, I'm going to break this down a little bit more and maybe swivel this over towards the body a little more. Okay. It's actually pretty good. Okay, so now, oh, the legs. I don't know what I'm going to do with these legs. I'm not going to lie. I've been a bit nervous about the legs. So let's see what looks okay. I do like the idea of one leg being back. I do like that. That actually looks okay to me. I might not even need to do that much more. The only thing that I would want to do is maybe shift, like the hips a little bit if she's standing like that. Because if she's standing like that, Yeah, the hips, would that reads. That reads is correct to me. The only thing I don't really like is I feel like I need to make a bend in the foot. I don't know if I want to make it behind this foot. We could, we could try that though. We could take the knee and bend it a little bit. I try to put it on the other side, I hardly see it. Let's take this knee and bend it a little bit like this. And this foot, I'm going to straighten it out and maybe turn it a little bit, but I'm just going to keep on checking to make sure that this is okay. Maybe I can move this leg back a bit. Another difference is this leg would be a bit more hyper extended if it's standing straight. Okay, that's not bad. I don't mind that because I forgot the dress is going to be hiding most of it. The only thing I have an issue with now is bending the foot. I feel like the foot should be like this, but bent. What's the best way to do that? I don't know. Okay, the best way to do it would be to select mask and rectangle. We can mask, don't need that one. Maybe this first we'll mask that of the gizmo. And we'll move the pivot of the gizmo up to that line. We'll pivot again and then we need to rotate this. Oh, that back part is annoying, but it's not too bad. We need to do the same thing with the soul. We'll take the select mask. I'm going to try to put it in roughly the same spot. And then take the gizmo and pivot and move it to that line again, and then also bend it up. The only problem is I can't see the other. You know what? This would be flat, I feel like. And this, it's not touching the ground though, that's an issue. Maybe this would be here. Maybe we can take the soul and move that down a bit and up. That's better. Okay, that's better. Let's clean this mask and look at the damage. So we just tap on the mesh. Go to select mask or mask. Go to the settings and it clear. It's not too terrible. Okay, so let's see what happens if I smooth. Okay. It's very soft. So I think we'll leave it for now because it's not bad. I like it. I like it. All right. I'm pretty happy with that. Let's just take a break and pause and save. It's going to be a short break. I think I want to use a cylinder for the dress because then we can add the whole, I think we can just add in these as details, the parts of the dress. I want to move this. I want to change this to be right here. I want maybe a little bit more of a turn. Something like this. Feels good. I'm going to update this. Okay. Let's I forgot how to add a cylinder for a second. We'll add a C. Move it up to around the spot it's going to be. We'll change the radius. Oh, it's only going to be maybe this long. I think I made the torso a little bit too long, so something like this. The bottom is going to be obviously wider. Okay, so now we just need to make sure that it's in the right spot. Sorry, I have a habit of just going around in circles with this thing. It's not bad. I think I might make the take the waist and well, you know what I need to do. Take the upper body, not the waist. I think I need to take all of this and move it up a little bit, or I could just shrink the shirt. Oh, I could just shrink the shirt. But I don't know if I like that plan. I kind of like what I did with the shirt. M, I did make it a bit long so people will just move everything up. We'll stop at the wait, we don't need the waist. I think we can just bring this up a bit to make her taller and then this will also extend. That works for me. I feel like that feels a bit better. Okay. We can do hole, we can use the blue to make the hole a little bit. We want to do the same thing. Let's tap these three dots. Post subdivision, we'll do two, and we want to do linear. I don't want the dress to be too, too thin because then we might run into some issues later on. I think this is pretty good for now. I'm going to validate it and I'm going to smooth it. I might do round edge and just smooth the whole thing. Okay, I'm seeing a little issue here. So I'm going to have to smooth that out back there. Actually we can use pinch. I was going to do a lot of these details, but sometimes I jump around. Pinch is a great tool for, like, if you want to get like these nice crevasses. Crevasses work out these creases smooth. Smooth that out a little bit, but you can use pinch and you can really get those nice sharp edges back. I really love using this tool. It's very useful. Oh yeah. I just want to bring it up a little bit. It's a little, it's actually annoying. You know what, we'll do. We'll do select mask. I like everything that's happening above it. Hopefully, I can just select the shirt. Just move it up a little bit. I think that's good. Now, I'll clear the mask. I'm not too worried about this. Hopefully it'll just smooth out. It might even make a happy little accidents. Let's do it's an outward crease. Maybe we can add a crease there and make it look a little bit more natural looking. Although it is smoothing, that's always a good thing. I kind of lost all that detail though, then now I have to add back. But honestly, sometimes that's just the way it goes. Like I do it a lot where I add detail and I do something and it kind of ruins it. Then I'll have to do it again. Just try, oops, I'm just trying to add some detail here using the same method with like the crease and the crease sub. Did you just add some details in the shirt? Okay. 19. Skirt Around: And she's got like a little belt, so that should be pretty easy. So we have the shirt collar sleeves. Where's this, whose cylinder is randomly over there? So we'll bring it up here and we'll rename this dress. And then we'll add another cylinder. We can rename this belt. And we'll use our gizmo and move this up. We'll shrink it, maybe something like this. We'll just slowly move it into place. I'm not even going to worry about making it hollow because it's just a belt, so it doesn't really need to be hollow. I want to push that in. That looks pretty good, actually. I'm going to tap Gizmo, the three dots, and I want to make that a linear subdivision as well. I'll increase this to two and validate it. That makes it a little bit more beltyf. I solo it, then you can see better. We'll give it a little round edge just to get rid of those rivets in it, and I think that looks pretty good. Take drag. Well actually, you know what, we need to work on this dress, but I guess I already validated it. We'll just, let's see how move works for me. I'm going to take symmetry off. Okay, where is the symmetry? The symmetry is here. Let's, let's turn x off and switch to Z. That way we have the front and the back. But let's look at this again and see what needs to happen. This needs to be going straight down, number one, okay? This needs to go straight down. We can pull this up a bit so you can see underneath it a little bit underneath. It. Sounded weird. First I want to move and just skinny this up. Okay, that's pretty good. Skinny up, that looks good. Now let's go back to our view. This is the side that's going up. I want to try to use move, but I need to turn symmetry off. Okay, first, this part of the dress that might not work. Let's see if I can turn this, tone it down and give it a nice push that works. The only problem is I want this to be going straight down. That makes it a little difficult. Because when I push, it tends to go like that instead of just going straight down. This might work. I'm not sure actually sure if this is going to work. I'm going to make move really big and the whole dress forward until the front is straight. And then let's try moving it back and see what we get. It's not bad. It's not bad. It's not great, but it's not bad. Let's see if we can get some of this shape back. Pull on that side. Okay, that's better. It's getting there. I'm just moving it around to try to try to match it to the. It will be nice if I move this arm a little bit back so we could see that belt a little bit better. Okay, I might have to start using drag. If I go to the view, this part is dragged up. So this is going to be a little tricky because I'd like to move the whole thing up. Oh, that kind of works. So you might have to make your move tool a little bit smaller. Okay, that looks all right. I kind of want to bring this side. If I'm looking here, you can see a bit more, actually undo that. You can see a bit more of this dress, and I really like that. Whether it's right or not, it just looks good. I'm going to match it. This is a little more straight here. Let's see if I can get this to be a little more straight. Looks good. Try to straighten this out as much as I can, but I really think that looks good. If we're looking at here, it looks like we can feel free to move any of this stuff because obviously we don't want the calf going through the. Okay, let's take a look at this again. Okay, let's drag this down a bit more. Okay, looks pretty good. It's a little bit, this just needs to be smaller up here. It's a very delicate game, really is. Okay. So now I just want to tuck this underneath the belt. Maybe I'll try. That was on to move, I'm going to make move a little bit bigger because I want to try and keep this nice and even I don't want to make the dress too lumpy. There's a little backside there which we don't really need. Okay, so that's all right, that's looking good. Let's go to our view and check it out. That's looking nice. Let's fix the front part of the dress. Just push it in a bit more. Great, All right, that looks good. I just want to make sure it feels good even from most angles. So I just want to make sure that it's nice and round and maybe even pressing on it, it has a little bit of flare. I don't really mind that. I'm going to pull out the bottom and press in the top, it flares out a little bit. I don't mind that at all. Okay, this just needs some more details. I think we might inflate, let's just see what happens. Inflate, it actually looks okay, but it might be easier to just use case. Let's do the opposite and use case we don't want sub. Let's just see what happens if we make a nice crease in there. Oh, that's beautiful. I think that's what we want. We originally, I was thinking to add the inflate to get that scalloped look. I love using that word crease. Let's go back to crease now. I'm just going to make the nice creases on here. Okay? And I'm just gonna sort of follow the pattern pattern. I try not to think too much about it. Okay. I think that's good. Pretty happy with that, and I really love how when it reaches the bottom, it makes that nice small depression in there. I love that. I think it looks so good. I'm not sure what happened here, but that's why it's good to go around and just do a check so we can make sure we smooth anything like that out. I don't mind smoothing it. It will make it a little more subtle. I'm not sure what happened here, but we'll just go over it. I just want to make sure that these go into the top of the skirt nicely into underneath the little belt. Noise I love little details like this. Just make it look so clean. You can see something poking through. Maybe we'll just move and just tuck that in, whatever it is. Okay. So let's see if these tubes are separate. Okay. So the sleeves, they're still two tubes but I'm pretty happy with them as is, so I think it's good to validate. The sleeves will join children. I'm going to save and then I'm going to take split and I'm going to split both of them. Okay, So this is on the left side, so that means it's the right sleeve and this should be the left sleeve. Okay. Now we see that they are a little bit different. What we'll do is just take move and we'll just move it accordingly, which isn't too much of a big deal. Let's take a look at our image. This can be, this looks like it should be flatter. I'm going to drag the top and just push all these little spots in because now these sleeves are, they're on their own. Now, that looks good. Looks good. The only thing I'm thinking I'll make drag a little bit bigger, is just to add a little bit more of that. This part of the arm, I think we'll just move this. We will just link up a little bit better to the arm. We'll just swivel it over a bit, then we'll take the arm and maybe we can just smooth that arm so it's a little bit more natural. Okay, I think that looks good. Now, the other arm, I think we'll just drag and make it a little closer to the body. Now, we just have to make it look as natural as we can. Maybe we'll drag up this side. We move and push the whole thing. Oh, it's looking good. It's really nice when you can start to do asymmetrical things. It is a lot more complicated, obviously, to do more asymmetrical pieces, but it's nice. And as long as you do most of it together and you save that work, it's not as bad to just do these adjustments so that they are asymmetrical, but they look really good. Now obviously, her T shirt has some sense of like stiffness just in the design of the shirt. But I also don't want to stick out too too much over here because it's pressed against her body. I'm going back between move and drag. Drag is just move. If you move it, it'll try to move the whole thing, drag. You can stick in one spot sometimes. That's a lot easier, but that's why I switch between both. Okay. I think that looks good. We'll take this arm and just take, move, and move it over so it's a little bit deeper into that arm. That looks good. Let's make a nice little crease in this shirt because it's going up so the fabric would bend there and there'd be some creases there. 20. Fabric Details: Okay, so let's go ahead and add a crease here because where the arm is coming up and pushing on the sleeve, that's a nice place to add some detail. So make sure you're on the sleeve and I'm just going to hit lock down here so I don't accidentally press anything else. We're on the sleeve. Let's go ahead and voxill remesh it. It's like 175. Okay, now we're increase. We don't want sub, we'll just do a regular crease starting from here. We'll just do a crease right above the end of the sleeve. And then we'll come to the other side. I made it a little too far, maybe I'll just start at the top and then come around the other side and just continue it about there. Okay, it looks very rudimentary but we're not finished yet. So we'll hit Sub. Now we're using crease, but with Sub, let's do the same thing but right in the middle of the two. Okay, so something like that. Now let's go to the other side and do the same thing. Okay, And we want to also do the same thing to this little bulge above the crease. Go to the other side and then continue it along. Okay, so then we have something like this that will then smooth. Might even be nice to flatten the bottom of this a little bit. Sometimes when things look a bit messy like that, they really bug me sometimes with a combination of flatten. Also, pinch will help sometimes to get rid of that. The tricky part about this shirt is that it's hollow, so you have to be careful that the pinch doesn't pull the inside. Okay, let's smooth out these creases a little bit. We might be able to use pinch on knees as well. A lot of times I use a combination of, you know, smooth and pinch to get rid of those really lumpy sculps sometimes. Okay, sure, we smooth this out in here and then use pinch to bring back the crease a little bit. And sometimes these are going to be a bit subtle, which actually I think look nice most of the time, okay? So as you can see, a combination of smoothing and pinching and things like that, just so I can keep everything nice and clean. So I think that looks pretty good. I need to still drag it up a little bit, so it just falls naturally. Then a nice flatten there, maybe a nice flatten on this side as well. This, I don't really like that gap, so I'm going to move that back. Okay, so we'll go to our view. Looks good. All right. Okay, I'm going to smooth out the rest of this because it feels a bit, not smooth enough. I'm going to use flatten. And I just want to flatten this somewhat. See this, I don't really like either drag or flatten, but I just want to work that out a little bit. Okay, I'll just use clay and sub to get rid of that part of the sleeve, but I think that looks pretty good. And of course, we can add some more creases and things like that. Can add a crease here, maybe one on this side as well. Oh, I know I didn't even realize that I was on that crease, but it looks good here. I didn't realize I was on the opposite crease. But sometimes, you know, you make mistakes and they actually look alright. So this is a good chance to just get familiar with doing this kind of, you know, these kind of details, something like that. Sub, so I just smooth it and those little details just start to look very natural. I love it, I literally can't get enough. But I don't want to go too crazy with it though, because I easily can. Okay? So I'm going to take it off back here. Obviously, it needs a lot of smoothing. I don't even know what's going on back there, but I'm just going to smooth because it looks like it's working. So I'll just smooth this and then maybe use move and just pull it away from the back a little bit. Can use flatten that might help get rid of that severe crease there. Okay, maybe I'll use clay and you can make some nice details in the close in combination with crease sub and just see how they see how it looks. It looks pretty good. We use crease and sub and it looks like it's pulling because she's pulling her arm back or something. These would actually look good if they're going around towards this side. I'm going to use these a little bit like this, the sub, this will help it to look a bit more natural like the creases and things are actually going around the whole shirt. Those solidified, pretty, those almost went away completely. Okay, Let's save, this might be a good time to Vax will remash it. Well, vaxill remsh. Let's see what it looks like. If we do it at 175. I want to do it a little higher, probably like 225. It shouldn't melt away as much. Now, maybe I'll use a little bit of flat. Let's see what that looks like. Flatten, crease. Oops, Smooth it out back here. It's not so bad. I'm okay with that. Okay, so let's go to this sleeve and just add a few details. It doesn't really need that much. It looks pretty good. It is a little round, so I definitely wanted to give it a little more flavor just so it's not sticking out so crazily. Okay, that looks good. And maybe we'll add a nice crease here. We'll add sub next to it. We'll kind of smooth it out a little bit. Doesn't really work too well. Doesn't look like also something about this feels funny. I think I just might need to drag this in a bit. Maybe the crease would work better here. I forgot to flip it back to regular case also. Okay, we need to vox will remesh this, let's ox remesh it at a 175 thinks that that's what we did the other one at now, our creases and things will just look a lot better. Okay. It, there's a lot of sleeve here, I think. I just want to pull that up. The sleeve doesn't look too wide. That looks a bit better. Maybe I'll use a little bit of clay because there's a detail there that I think I want to try to hit. It's a little clay. Maybe we'll smooth that out. Okay, that works a little bit better for me. I want to make this a little more subtle. I like this one, so I'm going to increase this. I need to get rid of whatever that is. Let's move this arm underneath then. I want to take crease and sub, you know the drill. You can just make really nice creases. Make sure I undo that with these two in conjunction with one another. I'll make it really subtle. Okay, that's good. This crease here, if I can smooth that out, I want to add some creases back here, and I'm thinking I might do a little bit of an inflate here. Flatten this out a little bit. Okay, let's just kind of smooth this and see what we get. Oh, it looks good. That looks nice. I'm going to try to add another crease add here just so. Oh, that's regular crease. Swear. So there's this little bend here, so I just want to add a crease above it just to make it look a little more natural, I think. Okay, I'm good with that. I think I'm not going to lie. I might come back and do some other ones, but I don't think I'm going to do that now. Because literally I can just keep going forever. So I don't want to do that to you. Okay? So these things, let's go ahead and validate these. 21. The Collar: Okay, so these things, let's go ahead and validate these the collars. So we'll validate that, didn't we just validate this? Okay. That's good. I'm going to do a quick save and Vox will remesh these together. Nothing crazy. Maybe like 150, okay? And maybe we'll try a round edge. See if we can just get the whole thing to smooth. We'll do regular smooth. Okay, That looks good. And hers does have seem to have a little bit of, it's almost like little round bits might be a way to do it. Let's see if we do symmetry. If we use, maybe we can make this sort of naturally scallop up. Scallop up. And could do out a little bit as well. To make this really small. I'm just pulling out a little bit there that's interesting. Then to top it off, we could use layer and sub and make it really small. Maybe we'll, I think that's okay. I don't even know if we made the scallops here back to layer. I will admit I did not practice this at all. This is just completely, you know, trying to do whatever I'm doing here. But what I like about this is it kind of makes it look like it's some sort of frill. I think that's the correct word, verbiage. I'm going over the layer twice because the more you do it, the deeper it'll go. Okay, so we have something like this. So let's say we can still undo it, but I want to see what happens if we Vox will remish it now at like 200. Okay, let's try a round edge. And try to round those out. That's not too bad, it didn't really work great up here. But I'll just smooth it out. This might be a success filming. Yes, I'm filming, sometimes I try things out and I don't film it like I'm having trouble with something. Let's see what might help this. I wonder if I had crease. Regular crease is not. I wonder how that would if we do a crease that makes it look like. There. It's kind of fabric. Let's just see what this looks like. But this is like, some of the fun stuff is just trying to figure out how to make different shapes and designs and things like that. But yeah, it is not for the faint of heart because you can really just go so deep into experimenting, which I've gotten in trouble plenty of times for, and buy in trouble. I just mean, like some people don't like that I explore different things and experiment. I've been trying to keep it to a minimum, but also trying to make sure that I keep it in there because it's an integral part of learning for me. And coming up with the, the best thing. I don't know why anyone would want to take a class if it's not as creative and, you know, experimenting and just figuring out the best way to do things. That's great, that's definitely unexpected. I did not really expect this, but I think it looks pretty nice. My only thing is that it might be a little too high up. I'm going to hit gizmo. I don't know where my gizmo is. Let's do pivot, pivot. Let's see if we try to move it down into the shirt a bit more. What that looks like, if it even needs to go down lower, it does look a bit more natural. The flatter it is, Maybe I'll just keep it a little closer to the shirt. I'll take the shirt and smooth it in some areas so that we just get just a tad bit more detail. I guess I probably could use symmetry, but that's okay. I want it to look like it's a part of the shirt, but it can't be sinking too much. It still has to be an element of the shirt. So I want to make sure I maintain these details that it's some sort of fabric above the shirt. Okay. And while we're doing that, just made me think of some other cool details we could probably do. Let's try clay with sub and maybe just like here and maybe here and then I'll turn it off and maybe just try to do the same thing here. Oh, I think I have an idea. Maybe not going all the way around, but just like I want it to look like the fabrics being slightly pinched. So that's what I'm going for. Let's try case and making that a little deeper. Let's try it now. I smooth all this out. I believe that I buy that. It's just subtle enough. But I think I like that it's there. Okay. Also this sleeve, I need to put the inflate around the end. I'm going to flatten this part. I think I'm going to join the sleeves, but just in case I don't. That's going to be the main thing, Why I'm putting this inflate here. I don't want to. I wanted to have a seam. And then you know how seams have a, just a tiny bit of a lip. That's what I'm going for here. I got to be careful smoothing it because it seems to be losing a little bit when I smooth it. So I'm going to save, let's try and box resh, this, 174. Let's do it at 02:25 again, just see if I can smooth this easier. Yeah, that's better. Sometimes it just has to like recalculate everything. All the details still look pretty good. Let's see if I can. It's still very fragile down there, so just be careful with these edges, but I'm pretty good with that. Okay. The other thing I wanted to change, I have a couple of minutes left. I only do the videos in like 20 minute increments because of the size issues. I think I want to take flattened. I don't like how this is to round. It looks like a, It doesn't look good, so I'm going to take flatten a little bit smaller and I'm going to flatten off, make sure I'm on the shirt. I want to flatten this right here. I'm going to flatten underneath as well. I think I want to just use pinch and just pinch this together. I want to pinch all of this together, so it really looks like a fold to me. That makes a little bit more sense. It looks more like a fold in the shirt, which is what I want. And then maybe a crease it a little bit. I think I want to flatten underneath there as well. Maybe we'll do a nice crease in the middle. I might have to box, will remash this. I'm going to hit solo sub. Yeah, I think that looks a lot better. It keeps it from looking. You don't want the fabric to really look like a skin fold at all because then it just looks kind of strange. All right, so let's, so we made that, let's pinch it so we can get some nice creases. Okay. And then I'm just going to use drag to move it up a bit so it looks like it's going in that waste. That's great. Maybe just another regular crease here or something. Yeah, I love doing details like that. Oh, I love it. Okay, Crease, maybe another one here. It looks like it's naturally, you know, and I'm just looking for these natural, you know, places that naturally look like they would kind of crease. Maybe we'll just leave this one. Yeah, we'll leave that like that. All right, let's see. 22. Detailing: The only thing that I'm thinking is maybe the arms down a little bit. I really like this space in here. I think that space adds a lot. Okay. My hands still look a little bit too big, so I'm going to shrink them a little bit, so they look a little bit more natural. Tilted a little bit back that way. Okay. And I'm going to do the same thing with this hand. Just shrink it a bit. They're not so huge. This feels right to me, this feels better. I'd rather her have slightly small hands than huge hands. I want to bring the hands to the wrist, so I'm going to use flattened first and just flatten out this bit of the hand. Maybe use some drag and then just drag it into the hand and then go to the arm and do the same thing. Maybe move is a little better, a little more natural. I'll do drag in her knee so it doesn't move the top up, but actually looks okay. But maybe we should add some clay just to the underside so the hand isn't so flat. This would actually be a little bit more natural as we do have another round bit here on our hand. I think that looks pretty good. I'm just go to flatten this bit, I think that looks really nice. Now this hand, we just have to make it makes sense essentially. Let's go ahead and do the same thing with clay and just add that little bit here. We'll add that little bit here. This thumb looks a little bit, Actually looks okay. Bring it down a little bit. Push this up some, okay? That looks all right. And then I'm just going to, I'm going to adjust the wrist so that it's easy to kind of select these two together. Actually, let's move the palm instead of the wrist. I'm going to stretch the palm down to the wrist. You might have to adjust the size of the move tool so it's not moving so much at once. That looks good. I want to add a little detail just because I'm always crazy with it. I'm just looking at the sizes of all these shapes. The left hand, I'm going to save tap here multi. Let's subdivide this twice, then let's take it inflate. I just want to make a fold here. It's actually quite big using inflate because it just feels like there would be like a skin fold there. I want to make sure that this is so that the arm is going into it nice and smoothly. Nice, smooth transition. That looks good. It's all. It's safe. Okay. I think I'm pretty happy with the positioning. This is pretty easy spot. If she has like a little bag or something, I think that this is a good spot for it. It can fall right here. We'll make jewelry and things like that. Let's also check out this foot, mainly the sneaker or the shoe. Let's try to smooth. I know this can be a bit tricky, but it looks like it's folding as it naturally would. Let's take this bit. Let's try to keep it in the soul, so I'm just going to try to move it so it's still within that soul. Okay, that's good. Okay, it looks like this part is still the foot or the upper side, so we need to get rid of that. Let's just do clay and sub. Let's see if we can just get rid of this. Uh, oh, one thing we can do. Let's try this. So we have flat sole. If I clone it and move it down a bit, I just made a clone of it. This might help the proportions. But let's give it a shot. Now we have both of these. Let's Fox remiss them together at 200 and see what we get. I think that's a lot better. I probably wouldn't have had to cut the other part, but that's okay. I'm not too worried about that. I'll need to move her completely up a little bit just so she's in line. Because this heel is going a little bit deep into the floor, so not the floor. Okay. So I moved her up a little bit. Okay, this foot we can trim. And so let's do the same thing. Let's take the flat sole and clone it. And then move it down a little bit and then take both of them, and Vox will remash them at 200. Yeah. Okay, that's a little better. Luckily, we didn't solidify anything yet, so we can still sort of turn it just a little bit so she's right on the ground. And actually we can do the same thing with this. We can actually make it so she's just touching the ground. And then we'll just adjust everything accordingly. Maybe just the foot, actually, I just want to skinny up this leg a little bit. Okay. Mm, I'm just flattening it 'cause I want this leg to be a little bit thinner, so I'm just flattening it a little bit. Okay. 23. The Purse: Okay, so let's make her a little purse. I'm going to try to keep this simple. Let's add a box. Whoops, Spring it right up to, above the floor. Okay, I'll move this up. Let's shrink it. And we'll shrink it this way. And we'll stretch it out. So have a one of those little cute purses that young women have. Let's just check the size real quick. Maybe something like that. I'm going to hit Gizmo and just move origin to put it right back in the middle. That way if we want to use symmetry and stuff, it's like perfectly in the middle. I just like working like that. All right. We don't need it too thick really. Something like that is good. Let's tap Gizmo, three dots. Let's just soften it a little bit. We'll bring the division down to four and then we'll do the post subdivision at two. Let's just validate that. Okay box, let's rename it per, let's clone it. And let's rename this part per front. We'll take the gizmo and we'll just move it up. I think it'd be cool to make like one of those, almost like an envelope type thing for that. Let's use trim and maybe line, line will start here and whatever's in white will be cut. I'm thinking something like this. I think that's cute. Let's take the gizmo and just open it up a little bit. Something like that. Now we can take this little part and maybe we'll remesh it around 150. And then I'm going to use round edge again, smooth everything out. Looks nice. And you can bring it in. If you don't want the lip to be that thick, you can bring it in like that. Okay, I want to take per and clone it. Lets just name it per sides. I'm thinking I want to shrink that and then stretch it out. So maybe something like this on the sides. I'm not too sure about it. I might get rid of it. But how does that look? It's kind of an interesting look, actually. I don't dislike it. What if I take the main person smooth, actually? What if we smooth that? And we smooth this one too. It's interesting. We take this and so maybe we shrink it a little bit. It's interesting, we might not need this little outer thing, so I'm just going to delete it, but I think that's interesting. I think that might work for our needs, being that we don't need anything crazy, I'm going to take this little bit and just move it up. Okay, I think it'd be nice if we use split maybe on the actual purse itself. Let's go ahead and up the resolution. Let's go to multis here and subdivide it twice, and then take split with a rectangle. Let's just cut this in the back and make it separate. Now, both sides, Let's do round edge. That should create just a little subtle difference in the design. I'll take this and maybe just stretch it so it's going into the because I really just want something that sort of resembles some sort of like stitching or something, you know. Okay, I kind of messed it up. I think what we should have done, okay, we split. So once you split it, let's just vox remesh both sides in round 150 and then let's do round edge on both of them. Okay, maybe I'll move this in a little bit. Okay, I think that's a cute Pers design. All right. Just something simple. Okay, so we want the clips to be on the side. So let's take another, let's take a cylinder. And let's move it up, we can find it. Let's start you on snap. So let's turn it sideways, shrink it, squash it. We'll move it into this. Let's make it a little bit thinner. Let's see, let's put the subdivision to two and then bring this down so it's nice and round, okay, to 24. Looks good. We'll validate that, then we'll push it into the purse. Let's turn snap off and we'll just tilt it so it's right in the side of the purse. Now let's just adjust the size so that it makes sense. Okay, I think that looks good. I want to see if we can decimate this. Let's go here. Miscellaneous. Decimate. Decimate. That's good. 770 is good. Because we're going to make a few copies of this. Now that we have this cylinder, we'll rename it Button. This is going to be the base of the purse. I don't know, It's just the base. Let's add a mirror to it. Add mirror now. This one on the other side, perfect. So let's take this one and clone it. And for this one, let's move this out a bit and shrink it. Or maybe we should just not even use one of these. Mm, no, we can leave it since I already have it. Okay. Oh, is there anything else we want to do to this little purse? Maybe we want to add some trim to it. Maybe we can use crease and sub. So if you want to add some trims and things to it, you can always do that. That'd be cool. Something like this. See if I can straighten out bottom piece. It was almost perfect case straight across. Thus, it's almost good for some reason. I really want it to be perfect. So let's try it again. If you're having trouble let's, let's use case we need the stroke. Let's go to stroke. And let's go to lazy rope stabilizer and turn it up to about 50. That might help us out here. Okay, I think that did the trick. I think that worked. We can do the same on the back if we want. Okay, nice. This is a way much more time than I wanted to spend on this, but let's do the same thing on here. Let's do it around the side. I think that's actually kind of nice. It might be nice to take another case here. Just go right along the edge. It's nice. It's like funky. I like it. Okay, I feel like we need something here. Let's just make some other little shapes and we'll just have them there. I think we might even, we might be able to use this purse base. Let's clone it and bring it out of the mirror. Let's go to Gizmo. And let's bring it back to move origin. I have to move it back up now move it back. Let's reset and move it up to the middle. Yeah, if it's sometimes if it's off, then I just hit reset and it resets it. But this is fine. So we'll shrink it, snap, we'll snap it forward. Bring it down and forward a bit. I'm going to show. Okay. I want almost like a peacock type thing. Like a peacock feather upside down, tear drop type. There's a few ways that we can achieve it, but I think I know an easy way to do it. Hopefully it'll work. We'll take select mask rectangle. We just want to get to about half of it. Before we do that, let's go ahead and raise the resolution. Let's go here. Multi subdivide. We'll subdivide it again. We can always bring it back down. That might be a little bit better. Let's try the select mask again, hopefully. Okay, it's much straighter. Now, I'm going to drag this part down and then shrink it. Now we'll clear the masks. Go back to select mask, go up here and clear. Going like this I think is a better option. I wanted to maintain the width. I'll do it like this instead because that maintains that width. And then I'll clear it. Now we just have to trim. Let's go to rectangle. We'll trim off that bottom bit. Now we have that, which looks good. I'm going to do round edge, oh, the bottom got messed up instead. Anytime that happens, that means you just need to rearrange the voxal remeshing powers of this. We'll do this around 150, then once you do round edge, it should be fine. Now it's nice and round. Let's decimate it. We'll go to miscellaneous. We'll decimate it twice. We'll do a few more round edges, since it's softer now, then we can decimate again, maybe even one more time. A. Okay, there we go. 520 is good. So we'll move this into the bag. I'm going to shrink it too. Okay, so we'll inlay that in the bag. Per deco, That'll be the per decoration. We'll clone it. I don't know when the last time I saved, now we've cloned it. Let's move it, let's add a mirror to it. Add mirror per deco. Hopefully you guys are okay with me going a little bit faster. I feel like I do a lot of the same things. I think that shouldn't be a problem. You guys can handle the slight speed increase. I'm going to tap a line so that we can just position these with the gizmo. I think that's cool. I like it. Hopefully you guys like it because I like it. I just love little details like that. I love little details like that. Okay, cool. So now we have all of those. What is this part? Let's take the mirror and validate it, and then we'll just join it with Pers Deco. We'll just join them. So this will be the decorations. Now she just needs some little like handle type thing. 24. Purse Strap: Now she just needs some little like handle type thing. Which I think we can just use the tube tool. Or at least we'll try the tube tool first. We want snap, we want path, we'll start here. Drag up, drag up something like that. Boom. I'm sorry, but I love saying, boom, it's so silly. But I can't, I can't help myself sometimes. Okay, so now let's just put this where it should be, can take snap off. He's acting so weird. There we go. Okay, so this is the strap. I don't know why do we want it for now. Let's go ahead and hit profile. Actually, before we twist it, let's do profile and let's just thin it up. I hit this little profile thing here and you have this box. You drag those nodes down to really make it thin, something like this. Then twist would be, if you want to, like if we want to make it absolutely straight, then we can twist it like that. Okay. Still make it a little smaller. Okay, I think that works. So I'm going to do a quick save, and let's bring it to the general area. This tube is the purse. Okay. These mirrors, buttons, whatever. Just so I remember what they are. Here's the main purse. I'm going to put the main purse up here, or is this the main purse? I'm going to connect this to it. This is the purse flap. Okay. So that's the per flap. Oh, the split is the back. Back. Okay. The deco is actually on the flap. So I'm going to put that there. This strap we can just connect. And the buttons, we can just connect to the purse as well. So we'll just connect that regularly. Okay, good. So now we can take this and I think everything should move y now we'll move it into place. Actually, I'm going to do that again. That's going to look nice in the video. I'm going to move it up first. We'll do it this way. Okay, now we'll just bring this into, I do think about the videos and that's one of the fun things. Making the videos is another really fun way to show. If your art, you should always be thinking about interesting and fun ways that you can just show your art and express your art. I'm not going to worry too much about, I feel like it should be tilted a little bit tilted this way. I kind of like that. Let's take a look. Okay, so I think that looks okay. We can go back to this strap. We'll go to tube because we have full editability. Maybe we want to maintain the fact that she's holding it and it's going through those fingers. That's in detail. I like interesting details. Okay, You might want to take the spine off. If you take the spine off, it's a, it's a little trying to make it round and then might be useful. This situation. I'm not exactly sure yet, but it might be. So it's worth trying. I mean, this is feeling a little bit better to me. I'm going to add another one here because maybe I'll make it black so it's a little bit more of a harsher change. Okay. Maybe it doesn't really need to be black. Okay. So this is pretty good. I think I'll have to come back and use drag to push this part over the finger because it looks like it just want to kind of wants to just stay, but everything else looks all right. The main thing is I want it to look like it's naturally being held. So let's check select so I can see everything. It looks okay, but it still looks like it's floating a bit. Oh, that's because the traps aren't actually straight. I think that's making it look like it's floating a little bit. Okay, let's see if we added a little attention. Okay, that's not so bad. It's a little, it's a little, a little wanky. We probably need some more attention here. Let's take a look again. Okay, It's not bad. Okay, I think, I don't mind that at all. I'm pretty happy with it. Let's ox will remish these elements. So I'm going to save. What time are we looking like? Okay, I have to check the time because I don't have that much time on each video. All right, so we have the right lower arm. Very happy with all this. I'm actually going to save as in case I want to come back and change something. So now we have a new version. I want to just vox remish all at once. Let's try it because time is of essence. If we take everything and Vox will remash it at like 250, Let's see what it looks like. All the fingers and everything look good, but that didn't remish together. Okay, Who the right arm? 25250. Okay. Now we can smooth everything together and make everything just one piece. I'm going to use clay and get rid of that and I'm just going to edit it as I go dragging parts of anything that needs to be adjusted, like this sleeve part and smoothing everything and hoping that it will look like a nice soft, well modeled hand. Can never be too sure. But you just rely on all the little things that you did earlier because that's all you have to rely on. I think it looks good. I probably don't. That's the only issue. That's the only issue is I would want to get rid of let's see if I can trim them. If I can put this straight, I might be able to use trim and get in there a little bit. Oh, yeah. I think that's good enough. Okay. I'm happy with that one. Let's do this one real quick as well. Let's take this. Yeah. You know what? I'm happy with the whole thing. Everything looks good. This is a little weird. I'll just flatten it out a little bit, but other than that, I'm ready to go for it. We'll do left arm box will Remish, 250 Remi. Boom. All right, so now I'm going to be careful when I smooth around here because I like the spacing of where the shirt is and all that jazz. But it's just solo it, we can smooth out all of this. And it should smooth, nice and evenly, making it look way more natural, all that hard work. But it's fun though. That's the one thing that I think really makes Nomas scope stand out is for me it's like the modeling process is actually fun. I might come back later and spread out the, these parts of the fingers. I might do that. I'm just going to show you like a sneak preview. Sometimes I like when the fingers are a little bit spread out like that, I might come back and do that. You've been warned on video once the class is done, because I've been holding everybody hostage. Okay, that looks good. Great job. Go to our thing. Looks good. Let's save, let's see what happens if we turn this down to four, then put this on two. That just makes it round. If you want to round, that's a good way to do it. I actually don't mind that at all, so I'm going to validate that instead the land of happy accidents, okay, I still want to increase the size of this because it might make it a little easier for us to move around. Let's take a look. It looks okay, it looks healthy. Sometimes it's a little tricky if the sizes are too small. If the mesh isn't dense enough, sometimes it can start to look a little wonky. I might just want to put this in, It looks like this trap is coming out of there. I think that works for me. I'm going to pull this, just try to match this. I'll probably use because I don't want to drag the whole thing up. There we go, it's a little better now. Hopefully I can just drag, there we go, nice. Now, it's just a matter of making this part work first with move, I want to move this part to be making contact with the fingers. I think I might want to drag the middle down and drag the side up because I feel like that's how it would actually be. Hopefully that makes sense now that you're actually seeing what I'm talking about. This makes sense. And I also want to make sure that I'm maintaining contact here because you don't want it to look like it's floating or you don't want this strap going through the finger that looks painful. Think maybe I'll just use drag and then just try to work this up. I want to try to work up the sides while the middle stays fairly low. It's a little tricky, but should be able to get it. There's just so much stuff in the way that makes it a little difficult sometimes. Let's take the hand and let's go to blending and lower the opacity a little bit. That might help us to see, I'm back to the strap, I'm going to hit lock, so I don't accidentally hit anything else. This might help us a little bit since now we can see where the strap is. Okay, let's see where we can switch it back. I think I do want to increase the size, so let's go here, multis, let's just subdivide it. It's a bit hard to get this part out of the hand. Okay. That's not bad. So give yourself some time. It's not the easiest thing to do, to try to maneuver these things. But yeah, I think that looks all right. Okay. Do a little smoothing so it looks a little cleaner, but I think that looks pretty good. If you want to get crazy, maybe we can add like a little crease in here. Let's turn that lazy rope stabilizer down. I think the default is like ten or so it out a little bit. Okay. Yeah, I like that. Okay. Actually, this also needs to be changed a bit, the dress, so we'll just kind of just adjust this a little bit just to show that that's pressing on the dress a bit. Okay, safe. 25. Hair Bushels: Okay for hair. I'm really going to think about all of these as shapes. So we're going to do shapes as much as possible to fill out the volume of the hair, and then we'll go in with some tubes and fill it out and just see what we need to do as we go along. Okay, first this looks like to me a cylinder. We can put some other cylinders here to make up a lot of these big curls. Nice, so there's lots of volume and lots of curls. Bigger curls. We'll use a lot of cylinders. Okay, So let's go ahead and add a cylinder. We'll move it up back. I'm going to hit snap and then snap it forward, shrink it a bit, then we'll move it up. What I see, I'm going to turn snap off. What I see is something like this initially for the hair. Okay, So maybe a little bit more. So something like this. And we'll take the back. So let's take gizmo radius and we'll make that a little bit smaller there, okay? Something like this. I think gizmo, again, maybe a little bit smaller, maybe something like that. So this is just an example. I see a flat side in the front and you have the head going back. I think that's a good shape for that there. Maybe we can even stretch it so it comes down a bit lower. Okay, I think that's good. Okay, next I see if we go to our view, which I think I'm going to make a new view maybe around here. I'm just going to add a new view. This looks like a cylinder. We'll add another cylinder. Let me make sure I put these together. This is the top hair bushel. I think that's how you feel. Bushel. That's what I tend to call big curls. For some reason, I actually don't even know if it's a word. I think it is, bushels. Okay, let's move this up to me. This looks like it comes down and then it curls over. We'll flip it this way. I flip it this way a little bit and make it smaller. Okay. So maybe something like that. We'll bring it up a little bit. I meant to stretch it actually. There you go. Okay. Something like this. So you see how this shape matches this. So that's really all I'm doing. I'm just trying to match those shapes. I'm going to move it down. This actually let's validate, this is actually going to come down a little bit. We can do round edge on it just to smooth it out a little bit. Let's flatten the back of it. We'll flatten the back. And symmetry wasn't on, interesting. Let's see if we can put it on local, then we'll do the flattening again. I just want to keep things fairly symmetrical for now. We'll turn symmetry on. And then we'll take drag, and we'll just drag this down a little bit. Then we'll go back to our view. It looks like this might be another one down there. Let's go ahead and clone this one. We're going to be doing a lot of cloning. Okay, let's bring the new one down. It looks like it. I'm going to stretch it a little bit this way. How is it we still want it behind the head? We'll put it back a little bit. Stretch it a little bit that way. That looks good. Let's clone that. I'm going to hit a line, so I can just bring it straight down. This looks like a cylinder here, but just turned a little bit differently. Maybe something like this can probably hear that rain outside. Move it. Okay, this bushel is right a little bit alongside the belt. Let's make it a little bit smaller. Okay, there's another one clone again, there's another one behind it. Maybe a little bit like that. Again, I'm literally just taking all these shapes. I'm just trying to like if someone said use cylinders to make this hair, you just try to find the cylinders. Obviously these we have to do separately, but all of this mask can just be cylinders. Okay, so if we look at the front, let's see what it looks like. This is what we have. Now we'll go back to our view. Okay, I think that's pretty good so far. Now the only thing I'm thinking about is actually taking all of these. I just want to see what it looks like. Gizmo, if we mirrored them. So what happens if we mirror all of these? I want to see what that looks like. It's actually kind of cool looking. Okay, it's not bad. All right, so you know what, let's take all this hair and validate it hairball, I shouldn't name it that. I want to do a quick save. Okay, it's looking really good so far. So let's concentrate a little more on this. So let's take and move the back down. Okay, let's push this back. I want to push this back and maybe this forward a little bit. Maybe even open it up a bit. Okay, it's looking pretty good. I'm just going to take all of the hair top and hair ball. Let me just do a quick save. I think I'm just going to vox re, mesh it together. We'll vox remesh it around 250. Let's see how it, let's take round edge. I just want to see what it looks like. We might have to undo it, but that will be fine. Okay, so I want to take flatten, I think I want to flatten. Make it a little smaller. Flatten out some of these cylinders. Okay, let's see if we can smooth some of these. Smooth all this hair. Okay, let's try to pinch this together. I'm gonna take it off because I don't think the top is actually symmetrical, so that's fine. Okay. Let's try to make the crease in our hair as though there's a crease right here. Let's take layer sub. We don't want it to be too big, we want it to be fairly small. I think what the crease about right here in the head, about this far back. I'll just continue with crease. Every stroke, it'll go down a little bit further, something like that. It looks crazy. Then we'll smooth it out, the hair will come to get back together. All right, so then you have a, a nice case. I might be able to use crease and just make sure you don't have sub on. Okay. Now we want to add texture to the hair a little bit. Let's use clay. We want to make sure that it's not that big. I have mine around 45. What we'll do is we're just going to follow the shape of the head. The shape of the hair for example. We'll start here, we'll just follow that shape of the hair. You can be a little swirly with it. You have fun with it. We'll do the same thing over here. Okay, I think it looks pretty good. Okay, I do want the hair to be a little bit more. Let's go back to our view. It looks good over here, but I think it needs a little bit more volume. So I'm going to go ahead and add, I want to add another cylinder. Yeah, we've been using cylinders, so let's stick to that theme. We'll basically just put it in the back here. Maybe we'll put one there. Actually, let's go ahead and validate it. We can do some, we can hit it with round edge. I think I want to maybe we'll use layer with sub. Just give it a little bit of something like that. I think that might make it look really nice. I think these could actually use a little bit of that layer. That layering, we just add those layers in that actually is really nice looking. I think I just want to smooth all of this down here. Let's take this little guy, let's clone stretch. We'll put one in here, essentially, I just want to build some more volume with the hair, so I'm just sort of adding these in. Let's clone. Oh, that might be too big. Let's take a look. It's looking a little bit different than the reference, but I don't really care that much. Let's use some creases on these guys. We'll just do some swirls. I think swirls always look good. You usually can't go wrong with a good swirl. You know, you've been working way too long when you start talking nonsense. Okay? The only thing I don't like about this is it's a little, it's a little too uniform. So maybe we'll just add, actually let's use flatten. Flatten is great, so we'll flatten some, smooth it out. Okay. Okay, that's looking good. And of course, you know, we'll add some more with the tube tool, I mean it's safe. 26. Hair II: I think it might look nice to just widen this a little bit. Widen the base of the hair. So I'm just going to move this and I'll take move, just stretch out the hair a bit in this direction. Maybe I'll make this a little longer. Okay. I think that's not too bad. I might be able to bring the bottom out a little bit more even, and then maybe a little bit more down. The volume is good. The volume I think is looking pretty good, But you can add more or less as you like smooth some of this out. Even though these details might get smoothed out a bit, that's actually okay too, Let me clone this one. Because all of these lines we can use to guide us later on or clone clone. Now I'm just adding a lot of these so that it's not so uniform. I'm just adding some other bits and pieces in here. Okay, that looks good. All right, I think I want to take all this hair and all these cylinders. I'm going to do a quick save and I'm going to Vax will remash them together. I'm going to do it at like 300 and then I'm just going to smooth. Okay, Now that we have the basic thickness of the hair, I think it looks pretty good. I'm very happy with it. There's a few things that we're going to do. We're going to use the tube tool to make extra hair and this will tie everything together. Also, we need to put more texture and have this all come together. Some really good things to use, our regular crease and the inverse crease. Right now we have all these beautiful lines coming off here. We can supplement them with a regular crease. It's a little, I got to smooth that out. I really want to try to keep the lines miss crease. I might turn lazy rope stabilizer a little bit. I want the lines nice and smooth. But even here you can do things like come up and just make curls. Curls look really good in hair. You'll see me just going like this. Just making lots of curls. Lots of curls and lots of details in the hair. Just use all of these things that we made before. You can use all of them and things like this. Doesn't matter. You can just curl it under, bring it into another curl. See, I'm just making curls in it and making it look interesting. Because it's also going to be dark too, so you can see them really well now. It doesn't necessarily mean you'll see them very well later on, so any of these lines are good to just use them to make swirls. Let's see. Then eventually, hopefully you'll start to see patterns. You'll start to see, okay, like you get a little groove as to where to put the lines. You just like feed them into each other. Sorry, sometimes I totally turn the whole thing like upside down when I get really deep into it and I'm just like start twisting this thing like all the way around and it's an absolute nightmare to edit the videos afterwards. Actually, this might look nice. They just swirl back, honestly. So yeah, just make just, you know, continue to do this. Hopefully you're just kind of, you know, really, you can't really follow exactly what I'm doing. But hopefully, I'm doing enough to where you see, you can see the patterns that I'm trying to do, that I'm doing. Because I don't, I love for things to be copied, obviously. This is a tutorial, but I also hope to teach you why I'm making certain decisions, why I'm doing certain things. Because I really want you to feel like if you have a character or something that you want to make, I want to make sure that you guys are at a place where you can figure out all this stuff. A lot of times it's literally just figuring out shortcuts in a sense, because there's always clever ways to do things. That's why I like to leave in sometimes when I make mistakes. Because when I make mistakes, that's when I'm really learning how to do things and really learning how to be more efficient. It's usually when I make mistakes, I should say, from making mistakes have all these nice lines here that we made earlier. It's almost like wood, wood grain. Sometimes I have to remind myself not to go too crazy. It's easy to, you know, it is easy to go overboard, but there's that. And then sometimes I just get lost into it and it's sort of soothing. I mean, I do think the whole thing is quite soothing to be honest with you, but it's, oh, that was looking nice but got out of hand at the end. Of course, as you can see, a lot of it is just following the curves of what we already made. Okay. So this is all looking great. Let's save, and now we'll just do a little bit more. It looks like there's a little bit more up here. We can add some lines. It's just looking a little wonky. So anytime it looks wonky, I just kind of smooth it over and try to go back over it. Okay, that looks good. It's a long process, but good. We'll put some more under here. Okay, that looks good. We have lots of nice curls. Now let's subtract the crease. We're doing the opposite. Now you can actually, this is very similar to the clothes, so you can make some really nice sharp edges. It's a really nice compliment because with hair you want it to be a little bit sharper. You don't want everything to be so round all the time. You know what it is. It's like the shape itself can be round, but it's nice when it has some sharp elements. I'm going to do it a lot here in this little crease I might need to remash it. Let's save. I just want to remash it and see what happens to re, mesh it at like 350. I just want to use crease again and just see what it looks like. Does it look sharper or does it look the same? It looks the same. So I'm going to undo that and just leave it. I might have to do this case and pinch 'cause I don't like that slight wrinkle it gives it. So I might have a utilized pinch, but I gives it like a little bit of a sharper look which I like. I love it. So we'll go with some more crease and this really makes the swirls stand out. What I really love, especially about nomad, is just, you know, you can make really cool things that people are going to be really confused as to how you made it and how you got to that spot. That's one of my favorite things. I'm going to try to go a little bit faster. Like I said before, you're not going to be able to follow exactly what I'm doing. Hopefully this makes sense because you have to flow with the hair that you've made. I have faith that you can do it, and it'll look good if it doesn't smooth it out. Try again. Okay, this looks like it has some already. No, it doesn't. Sometimes the lights, the Mac cap makes it look like it does. Yeah. Eventually, you start moving a little quicker once you kind of get the flow of the hair. It's always, it's sometimes I feel like it always feels weird when I'm, you know, doing a tutorial or making a class and I'm not speaking. But sometimes there's really not much to speak. You know, there's sometimes where you really just the only way to do it is to really get in your own zone and your own flow. The only thing I can hope for is that my voice isn't too annoying to listen to while you get in your flow. Okay, you grew almost there. I think this all looks really good. Okay? All right, cool. It gets really fun doing this. All right, so now we have a nice bushel hair. It's looking great. I do want to pay attention to this part. I'll do some a little lighter too, just for that little bit of texture. All right, let's say. 27. Hair III: Now let's use the tube tool. Now let's use the tube tool and let's add some strands to really make this unique and stick out. I can probably use the curve tool, the police siren outside really do. We just want to go along with the flow of the hair, something like this. We can take snap off. That's the only problem with the tube tool. It's not as bad as it was. Sometimes it adds way too many nodes, which can be very annoying. Okay, spine is on. Let's just remove some of these nodes, okay? All right, so now that we have that, I think for this one we want to make it pretty thin. Let's tap profile and then profile window, let's make it pretty thin actually. Something like that might be cool. You can play around with some of the shapes. Still want it fairly thin, I think. Then let's try to twist it. I think we want it more like that. I think I want to tap radius twice so that we can really play with the proportions of it. Now we can pull this down here. You have like that little break, which I think is really nice. You can take the ones close to the crease and make those smaller. Bring this down and see how it turns a little bit. Sometimes that can be a little hard to control, but just remember that you can always twist it again. But then it also looks nice a little bit. Because sometimes it'll give you a little bit of a little bit of space, which can look really nice. So let's take a look. It does look pretty nice. Let's validate it. Take a look. Yeah, I do think it looks really nice. And you can always take move, and move it around. Now you can take smooth, sort of smooth it out, make it a little smaller maybe. Okay, that's not bad. Okay, so I'm going to vox remash this maybe around 150 and I want to do the same thing, so I want to take case and I want to make sure that this will actually pinch first. Maybe pinch you just want to make sure you give it the same love that you give the rest of the hair something like that. It can be a little tricky 'cause it can just get really thin really quick. So I might just push this back. Yeah. I like that. Okay, So now I do, I do want to push this back a little bit. I'm taking clay and sub and just sort of pushing this back. So there's a little bit of that like wave thing going on. Smooth it a little bit, maybe add a crease. Can had some creases. Okay. And we also want to add some eyebrows, but we'll do it after the fact. Should have really done it earlier. But add some curves over here. Maybe some regular creases too. Okay. All right, that looks okay. So it's mostly just about making sure that you add some depth to these pieces. This tube, there we go. I just want to be able to make sure that I can put some texture in there. Uh, I really like that. It looks better just flat, so we have to make all these little twists and turns. I'm probably going to use path just because I find path is a little bit easier. So when we look at our view, a lot of these are coming backwards. We'll try that out first. It feels like it would be going here. Here. And then it would be curling. Deal. Let's turn snap off. Okay, we'll integrate this into here. All right, so let's hit radius. And just make the front part th the back part not so thin. And then let's use profile. We need to thin this out. You can actually add other dimensions to these as well. You can just add nodes and make them a little bit more interesting should you desire. These are actually, I really like the exaggerated shape of them. I think that looks pretty cool. I think that looks cool. I'm going to go back to the view that looks pretty good. Let's go ahead and clone it, Gizmo, since there's a couple more. I just want to put it in a similar spot to where it looks like it should be. It looks like it should be around there. You can always go back to the tube tool and I'm going to hit radius again, just like with the other one. We can adjust this as we want to. Okay, that looks pretty good. Okay, let's add another one down here. But maybe just something very small. Oops, something very small. Let's take it off of snap case. We'll hit our radius. Oops. Let's do our profile again. This is one of, one of my favorite things that they added to this was this for these profiles. All right, let's take a look at it from our view, it's a bit in the way of the other one. Fortunately, which I don't want. Let's move it a little bit. I want to be able to see it, but ever so slightly. Yeah, there we go. Now you can see it a little bit, which is what I wanted something like there looks pretty good. So let's go back to the tube and then just kind of make this work. And the great thing is you can just kind of bury it in the hair. All right. Let's take a look. It looked better how I had it before. Maybe I can just move it. I'm going to validate it and then just try to move it. There you go. That's good, so we can see a little bit of it. Okay, So we'll just make a bunch more on this side as well. So maybe you want here, it comes out a bit. Take it off of snap, okay? I think that'll look kind of nice. And then kind of bury it in there. I think that might look kind of nice. I'll make the whole thing bigger. Again, radius once. Actually, radius twice. Maybe we'll just bury it in there a little bit. Okay. Now we'll do profile. Profile. Okay. So that's the backside. This is the front side. So maybe we'll add another. There we go. That's what I wanted to do, Something like that. Oh yeah, that looks good there. Make some of these a little bigger and make sure they're nice and buried. Nice, nice and buried. Buried, buried. Okay, that looks good. Okay, so let's go back to the gizmo and let's clone this. So now we have a second one that we can build on. This might not actually work, We do have to make some really small stands, so maybe we should do one of those. These can be tricky, but they look really cool, you kind of get them. I'm just going to do really small hopes that I need to hit twist. I meant to hit radius, so it's always nice to make some that are really tiny. I don't know how far down I want this to go, maybe fairly close like this. It's actually hard to see it, so I'll just have to assume that it's inside the hair. I think I want to make this one a little bigger and this one really small. All right. Let's take a look. Hell, yeah, looks good. The only thing is I would like to make it a little thinner. Okay, let's go back here. Let's do some around these as well. So let's just clone this one and move it over. Go back to tube. And she has one kind of coming out from these hairs and maybe it just gets buried inside. Uh, oh, let me see. Oh, no. Oh, I might have run out of battery of my pencil. I guess that's a good place to pause. I thought I was ready to crash on me. 28. Hair 4: All right, we're back into it. We just need to. These little tiny pieces that come off the front. Come off the front, but they come out like this. Make them around these. I'm going to do a few more of those because they look really good, especially when the light hits them. The only thing I don't really want them to be that big. I don't mind if they're really small. Yeah, that's not too bad. I'll probably clone this one. Make sure I say clone this. There's going to be a bunch of them, but they do be nice to have one up there as well up top. Let's bring this one up. Let's hit the tube tool again. In that way you can a mixture of moving it with the gizmo and then also moving it. Let's use a line in front. This might be nice to be like a little flyaway. I know it's a bit hard to see. So I'll go back to tube and maybe it starts here and maybe it kind of follows this. Here can be a little bit wavy. I really wanted to go along with the, along with the flow of the hair, so that's what I'm trying to do, something like that. Let's see how it looks. It's not bad. It looks like just like a fly away. Okay, I want to do some over on this side. You know what? Maybe it's easier to take the T original tube that we were working on and just clone it. So I think I wanted maybe to go out here. Let's see how that looks. Might need to make it a little smaller. But yeah, I love the way that looks. I think it looks good. Okay. Maybe I'll make it a little smaller. Yeah. Oh, I love that. Sorry. I know I'm getting really excited. Okay. I want to make a few more over here and maybe a couple more thicker ones. I need to fill in this space, so I definitely need to make some there. But I want to make a few more of these little thin ones. So we're going to go back to Gizmo and clone. And I'm going to make sure I save as well. Okay, so something like that. We'll go ahead and hit tube again and bring some of these to life. I move it around a lobby. Let me turn twist off. I don't really need twist. I move it around a lot because it's a bit hard to see where it's going, where the tube tool is going. So that's why I move it around a lot. Is I want it to be more over here, but I think I want to make it a little smaller. Oh, you know what, These things, I actually need to put a little bit more texture on those as well. Okay, so what we need to do, actually, we might be able to, might be easier to just cheat this and bring this part up some might be an easy way to fill that space. I'm okay with that. Looks good. I definitely want to fill this space here. Maybe I'll just use a sphere. Add a sphere. We need to fill in some of that space behind her head. What we can do is validate it and then we can just drag and move and stretch to give it some shape. I'm really just manipulating it. I'm pulling it over her shoulder like this, that'll give the illusion that it's a little thicker. We don't want to really come over the ear. We can clone this and actually bring it over. I'm going to clone it. And I'm going to move one over to this side as well, can even push it back. I know we have that nice design, but we do need hair to be closer to the back of the head and going around the back of the shirt and stuff too, maybe even just covering that. Let's do a quick save. We might be able to do multis and subdivide them. Let's see, it does make the size a little bit big, but okay, I'm just going to do some nice little swirls here. That's weird. Let's Fox remish it like 160, smooth it. That actually should be better. I probably should have just Fox remissed it to begin with. Oops. Okay, that one looks good. So now we'll do some swirls. Forgot I have to Vax remission. What did we do, like 160? We'll smooth it out and then we'll do our crease. Make some nice little lines here. It just looks like hair doing its thing. I'm going to do regular crease as well. We'll do regular crease in between on the other side as well. You can do some really light lines as well, just to kind of give it a little bit of a flavor. Okay, it'd be nice if there was another loop or something here. I feel like there has to be something there. Maybe we'll just try just to make another loop here. Turn, snap off. It's a bit hard to maneuver. I just wanted to kind of come out like that. Okay. So let's do profile. I would like to make it wider. So if I use this kind of works, but let's make it thinner. Oh yeah, that's kind of what I'm going for. I just wanted to be wide. Then maybe we twist it a little bit. Perhaps it's a little bit too ribbony. I do like that better. We don't need twist. Maybe it's radius. I'm looking for making one side smaller and the other side bigger. I do like that. I like how that comes out there. Now, it'd be nice if I could add some more pieces to this. I'd like to. Okay, what's that? Where's that flat end? I would like to break that flat. Oh, there it is. Okay. I'm going to bring this square in a little bit so that I can move one square out. Maybe even put little nodes next to it. That's what I was trying to do. I wanted to make something like this. This is a bit sharp, but I actually really like it. I wonder if I can do the opposite. Just bring it in. Yes, there we go. That looks good now. This top edge. Oh, that's there. Okay, so I need to bring this up a little bit, so then I can bring that out a little bit. I really like it, so I'll radius again and maybe I'll make this a little bit wider here, maybe thinner here and wider up top. I do like that and it's kind of nice if it's sort of sitting on her shoulder. Okay. I'm okay with that. Let's select and see what we have our rocks with that. Okay. So a few more of these little strands and I think I'm just going to call it with the hair, it looks good, but it's the thing that you can go on forever. I think we need to know. I've come to a place where I'm happy with it if I decide to work on it more later, if you want to work on it or less. That's the beauty of all this can work on it as much as you want. So much of it is also just like an exercise in patience because we have to be just so patient with these things. But let's go back to the tube. So I can just, let's select and see what this actually looks like. It looks crazy. It actually looks good from here. But it doesn't go into the hair smoothly enough for me. If it's going to go into the hair, I need it to look natural. Maybe we'll just clone this. Have like kind of two of them sort of near each other, perhaps. Maybe this one's a little smaller. Okay. It looks pretty good. I think I want to move this like we did before. I think I want to move this up to the body. I don't really like having that empty space there. Because if it's hair, it's going to be falling and it's not going to be, it's not really going to have a lot of that empty space. Even here maybe I'll just bring this down a little more, make it a little wider. Okay, we'll clone this one again, because I really want one down here that actually looks good. I never really do anything to it. You know what, This might look nice if it's actually maybe not connected in a little thinner. Let's see. I actually think, I think it looks better if it's actually connected like it was. But maybe the whole thing is just much, much thinner. Yeah, that looks better. It's just nice to have those like random stands. I love it. I can't get enough. Okay, so I'm gonna clone this one. I'll put one by her face. Okay, I'll use these now. I really want to put one. I don't mind a, a nice spiral coming down. I think that looks kind of cool. But again, it's just like a lot of messing with these nodes. Let's see how that looks. Oh, that's nice. That's just like a nice little extra. Let's make it a little bit smaller here. I like to make sure that some of them are very subtle. I don't want them all to be like really kind of crazy looking. I want some to be subtle. Okay, I also notice that this is a little bit going into the shirt, so that needs to like, it needs to like kind of fold back a little bit. It needs to look like it's going, I don't mind it. It's making contact with the shirt, but I don't want it to be kind of eating into the shirt. That's not bad. Okay, let's see. 29. Details: Okay, so let's have Vox will remesh neck and the body areas. So we have the body and then we have the neck. Go neck and body. And I'm going to Vox remish them together probably around 175. Okay, now it's just the body. And then we can smooth this. We can smooth that out if you want to. You can add some details like maybe a crease on the neck, something like this. Then you can then smooth out to give a little bit of it. Smoothed out completely, didn't it? It's usually like the collar bones there, something like that. Just to give a little bit of, you know, like a little bit of life to it, that's not too bad. And of course, I think the chest moved, moved back a little bit. So you want to make sure you move that up so that it's so that the color doesn't have that strange amount of space away from the skin. Okay, that looks pretty good. And you can always smooth it if you need to. Bring it down a very tiny bit can just smooth. Okay, that looks good. Now let's do some eyebrows. There's a few ways to do it, but I want to make a separate eyebrow so we can easily color it something different. And use the tube tool, we do path, make sure you have snap. We'll use this 12 just like we did with the. I should have just did it when I did the eyelashes, but I was a dumb, dumb. Let's see what happens if we mirror it. I wonder if we might have to flip it organically and mirror it. But we'll do that if we need to. Now, let's make it a little thicker. Let's use profile. I'm going to do radius again, I'm going to do radius twice. Now we just have to make this into a eyebrow. Maybe something like this might work. Can have a nice bend in it that maybe I make the whole thing a little smaller if I want with the gizmo. Let's see what happens if I up the Post subdivision. Not worth it. We might box, will remash it, let's move it into the head. Actually we can make it a little thinner if we need to. This is actually a much easier way to make it thin. I love the tube tool now. It's so good, so much easier to do things. Okay, so that's not too bad. I need to bring it back up a little bit. Oh, I need to turn snap off. I think sometimes it just gives me such a hard time moving it around when it's like that. Okay. But I do like this. So now the only thing I wanted to do is maybe twist it a little bit more. Maybe there maybe bring this a little bit more into the head. Here we go. So something like that. Make this a little bit bigger. Okay, I think I like that. I'm going to validate it. It looks good. I'm going to save, let's see what happens if we do round edge on it because we might not have to do any more. It looks pretty good, smooth off this side, even though it's not really smoothing. There we go. Yeah, I think I like that. Okay. So I think that looks pretty good. As with everything else you can use drag and move. If you need to adjust how close it is to the skin. I just want this to go in a little bit more down here. You might need to make drag a little smaller. There we go. Oh, lost it. Lost it. Okay. I like that. I kind of wish it could be it was a little straighter, but I think it's pretty good. Guess I can just straighten it out manually. Right. Okay. That looks good. So now let's see where that, here's the eyebrow. And the good thing about this is it's much smaller than the other one. So I'm going to take this one and delete the eyebrow. I want to clone. I think I want to. I'll use local and then flip. So then we'll have to move it over to this side. Oh, I don't think it flipped, right. Clone it front. Let's use world and then let's see if that works better. There it is. Now we just have to make it work here. And it doesn't have to be completely symmetrical because our faces aren't. Oh, that feels really long. Why does that feel so long? That looks absolutely crazy. Oh, I think I know why. I'm going to do pivot and I'm going to tilt it this way, actually. It's okay. I'm just going to leave it. I'm going to use move and slide this in the actually I'm going to smooth and get rid of some of it. Is it me or does that one look really long or are they both really long? Okay, I think that looks okay. So you can adjust it again. It's one of those things where once you have, once you can make this shape with the tube tool, then you can pretty much just make it however you can make the eyebrow however you like to make it. Okay, that's not bad. Like this, a little shorter. Push that side in as well. All right, cool. So we'll save. Nice. All right, the other thing I wanted to do was take the legs, so what we'll do is save. I wanted to take the legs, right leg and right foot, and vox them together. Okay, and then smooth that because this would be together. Then left leg and left foot will vox remesh that together. They don't have to be very big. These are very simple shapes. I want to insert this clip in here. I actually voxmhed all the parts of the legs. I should have reed, the right thigh, right knee, and the right foot smashed all of that together. Let's just do that. X re mish it together, 180 and then just smooth this part of the leg as well. It looks great. We'll take the same thing on the other side. Left thigh, the left knee and the left foot voxmish around 180 and then just smooth that out. Another thing, there is another, another ankle. There's the other part of our ankle. Let's do layer and to make the other part of our ankle. Okay, so we'll do that one and then we'll do one on this side as well. Okay, that's better. Okay, that's good. We don't really need too much. Just a little bit. Just a smidge. We can probably take the leg and just decimate it. So we go here, miscellaneous, decimate. And we'll do the same thing to the other one. Decimate this is going to bring the size of things down quite a bit with the arm. We can decimate this. We'll decimate. I can probably do the shirt as well, but I think that's good. For now, I might do another video where I decimate some more. I want to try to keep this to under 2 million just for the class sake. But there are a lot of things that you can do to bring the size down. A lot of these hair things might be big, actually, they're not too bad. Hair itself is big. There's a lot of ways to bring down the size, but for now, I think we're okay. I'm not going to go too crazy with it. The sizes aren't terrible. Okay. We smooth those out. That was another thing I wanted to do. I wanted to add like an ankle here, maybe just layer. Just a small layer. There would be an ankle here on the leg. I make it overly big just so I can smooth it out. The same thing over here. I'll do layer, I think it would be around there. And then smooth it out. A little details. Little details, folks. Little details. Okay. I'm pretty sure we've ox remissed this arm. Oh, that elbow looks a bit weird, but I think I'm just going to deal with it. Okay. That helped a lot. That was a little bit, but it helped a lot. We have the eyebrows, we have the hair oh, we can also do some tiny tubes to make this little bit of hair underneath. We can use tube for that as well. Snap. We'll use path, so we'll just make it like right here. I think that's all we need. We'll turn snap off, we'll bring this up, we'll do radius. Maybe we only need two of them. We'll do the profile we want to bring it into the head a bit. Maybe we'll make it a more round. Actually, let's bring the division down and Post subdivision up to two. This should make the bottom a little bit more round. I think that looks good. Let's validate that. All I did was bring the Post subdivision up to two and the division is ten. That makes all of this a little bit more round. I think that makes sense for what we're doing and what that is. This is just the hair that would be like going back on the head, on the sides of the head. Now it will be nice if we can just clone this side burn. We can just clone it and bring it over to the other side. Just kind of use it. We can squeeze it together maybe. Yeah, we just need something there that's perfect. Smooth it down a little bit. Maybe even drag it in. You can take this little bit and maybe drag that in front of it. That looks nice too. I'll drag this in front of that too. Push it up away from the ear. Push this in from the ear, good. Okay, nice. Let's see if 30. Final Sculpting Details: All right, so let's do some final details for her. Once you're happy with all of these shapes and everything, let's just validate all of the hair. All of these tubes are pretty much just hair tubes, not the floor. So I'm just going to grab all of them because I'm pretty sure they're all parts from the hair. And I'm just going to join them together. I'll just check to make sure. Yeah. Okay. What is this tube? So there's more hair tubes, so I'm going to join them. Even these spheres which I think are to fill the, the back behind the neck. What is the cylinder? The cylinder is the hair. So I'm going to join all of this. I'm going to name this hair the cylinder. I'm going to name Hair A. Okay. So we have the floor. The other thing that I wanted to do is take the head, the right arm, the left arm, the body. We have the left foot, which is the whole left leg, and then the right foot which is the whole right leg. I wanted to join them all together. I don't think there's any other skin. We're going to color all this the same color because it's the skin. Once you have everything that's the skin, just join them together, we'll rename that body. We don't really need the hierarchies anymore. The waist, we probably don't need at all. Here's the flat shoe. We just want to put all this stuff together now. Flat shoe, flat sole. Okay, here's flat shoe. Flat shoe will join. Flat sole and flat sole will join. We can take these out. We'll take the body out the waist. I don't even think we're going to see, So let's just delete it. Left sleeve? Right sleeve. We can join them together. Shirt sleeves. Okay. All right, so everything else is looking pretty good. So here's head side burn. Head side burn. Let's join that. And bring that down to where the hair is. Here's the hair, here's all the purse stuff. I guess we'll figure that out later. I don't know if I want to make it a different color, so I'll just leave it for now. But all of this stuff looks pretty good. So we have the dress, the collar, the shirt were the sleeves, shirt sleeves. Then I just have shirt sleeves. Here they are. Let's put that up by the shirt. You have both eyebrows. So we can join. We'll put that above the eyes. We have the lashes. The body I'm going to put all the way up here because that's the main thing. Here's the pupils, okay? Now, everything is pretty much in order. The purse is the only thing that has a bunch of this stuff. The hair is pretty much taken care of. Head, sideburn, and hair. I'm going to join, I meant for it to be hair B. Okay, so now we have our hairs here as well. Good. So I'm going to save. All right. The next thing is let's make this little head band and this little flour. Let's add a cylinder. We'll bring it all the way up over the head. Okay, We'll hit front. Let's do snap. And let's snap it forward like this. Okay, this is going to be the head band. This can also be the four. Take this and clone it, and I'm just going to hide it for now. This cylinder is going to be the head band, which we're pretty much just going to use the sphere. We'll keep it nice and simple. We'll use our gizmo. We just need to bring it down into the head. Okay. We'll make it smaller. We just need to find that. Well, let's take it off snap so we can maneuver it as we need to. That's pretty good, but you know what, the reference. I like it like that part of me almost wants to use a tube, but I think we can use the radius and we can make this part smaller and this part a little bigger. That helps. That's a lot easier. It looks pretty good. Let's bring this up. Okay, so now we just need to position it. It looks like it's leaning, still Leaning forward a little bit more. Let's take a look that looks good. That looks good. So maybe a little bit thinner. Okay. So I think that looks pretty good. I'm the post subdivision, maybe we'll make it linear, Maybe we want to make it a little bit more round. Let's up the subdivision to two and bring this down, see if we can get it to be a little more round. Apparently not. Oh, let's take it off linear, that's what it is. So we'll bring this to 60. I think that might work. Let's validate that. The only thing that I might want to do here is take this little hair. I don't know if I can move it. No, I can. I don't want it going like into the thing. I feel like it either needs to be going over it, underneath it, but not both. Okay. I can live with that. It's going underneath. I like this. The only thing is it needs to be look like it's going seamless into the hair. I want to flatten here, just make it look like it's going into the hair. Let's see if we can smooth this. Something like that. Looks pretty good this side. I'm going to flatten. I'll do the same thing. I just want to flatten it till it lines up with the hair. And then here I just want to push this down a bit. All right? I don't mind that. I'm going to save and I might want to do a little bit more detail. So I might vox remish around 150, have to smooth it a little bit. The only reason is because I might want to use crease and sub and make it a little bit more. I don't know, just add a little bit more to it but I don't mind that. Flattened a little bit better now that we've a remeshed it. Maybe I'll try pinch the main takeaway with the head band actually still looks bad with that straight edge. It looks better like this. It looks better just going into the hair like that. The main takeaway with the head band, you want to have it, so it looks like it's going into the hair. You want to line it up with the hair. That's like the main thing. I'll even take move and try to thin it up a little bit. But the main thing is that just, it has to look like it's going into the hair. I want to drag this down a little bit. Good. I think I want to flatten this too. Oh, flattened to how I missed you. And I also want to take move and just make sure that it's drag, maybe. I just want to make sure that it's not going through the hair like that. You want to make sure it looks like it's Here we go. All right, so now for the little flower piece, we'll use this cylinder. Okay. And so I think we want to mirror it. We'll make something similar to this. Let's mirror it. We'll take gizmo and move it, it away. Let's validate. Okay, let's look at the shape here. It looks like, oh, first we need to put the symmetry on. Let's tap symmetry. Let's change it to local so I can see the symmetry. If it will, let me. Okay, why is the one we want? We'll just take, well, a little bit of an interesting shape. I actually made a similar shape for one of my other little characters, the little mouse. My last skill share class. Okay, so we'll do something like that and then maybe we'll clone this. And we'll move it up. Maybe we'll make it a little smaller but the same thickness. Let's use a line. So we can just put it straight together while we kind of figure out exactly what we want. Actually, I might like it if this is, let's flip it. Kind of like something like this. It's cute. Maybe we'll move this in like that. Take these and in them down a little bit, maybe squeeze them together. Okay, that's interesting. Now let's take fear, We'll move this fear all the way up and we'll make some little things in the middle. Oh, maybe we'll do a little flower thing in the middle. Maybe we'll just do something like this. Okay. Flower center. You know what? I feel as though I'm going to want to make these. If we take both of these shapes, I feel like I'm going to want to put a little bit of a bend in them. So I'm going to make move really big. And just I need to change from Y, I'm going to put it to Z. But I'm going to turn symmetry off altogether and just push it down. I'm going to do the same with this, put it back to Z, take it off Y, but get rid of symmetry. And just push this down. That push down a lot better. There you go. I might tilt this up a little bit. I'll bring this down into the. Okay, I think that's good. I'm going to the flower center out because we need to take the whole mirror and we can validate it. Join children. So this will be the flower. I can't spell flow, Gosh. Okay, so that's the flower flower center. We can go ahead and validate for this flower. Do we want to vox or remish it? I guess we can vox or remish it. Let's save Vox. Remish at 01:50 Then I'll do round edge honey. Let's see if we can get it clear. If I go back, let's see if we can get it clear if we subdivide it first and then Vox will remiss it looks a little better. We'll add some, a little bit of crease action in here. Turn symmetry back on. Make some random shapes in it just to give it some love. We'll take the flower and the flower center and we'll make them really small and place them on the headband. Okay. I almost there. I was actually going to go to sleep, but then I was like, I was like, I got to get to work on this thing no sleep. But I've been doing better because sometimes it's easy to get burned out. Working so hard, I hope that you guys aren't getting too burned out. I know it's a lot, but you just take your time with it. Give yourself time, even if it's a long term thing, you've gotten this far. It's nice. Down a little lower. Yes, I like it lower. Just want to make sure that it's touching and that it feels legit. Okay, I like that there. Great one, it looks good. Two, excellent. Let's save, of course. For now, I'm just going to use one of my little fruit pudgies, which is in all of my three D projects. These cute little things. I always love to have a little signature. I actually have a little frog too that I might use. We'll just place this hand. It looks good. Okay, so now we'll take another. Yeah, that's good. We'll save that. Got the little fruit pudge in there. Okay. Now's a great time to grab whatever you want. Add it into the scene. Add something around it if you want. I think this is pretty good as is. Maybe I'll this clone the floor and bring it down and make it a little bit bigger just to make something a little more interesting. But once you're happy, just make sure you save. Then in the next video, we'll just do some really easy lighting first and then we will color here. Great job. So far, we've come a long, long way and we're almost there. Lighting and coloring will be next. 31. Lighting & Coloring: Okay, now that we have our sculpt pretty much completed, let's go ahead and start with changing her into a neutral tone so we can switch from Metcap to let PBR White isn't the greatest to work with when it comes to light because it's very bright. What we'll do is let's go here. And we want to select everything. I will even select my little fruit, pudge. We select everything. Just change it to a neutral color. That's anything, you don't want it to be superglossy. Make sure you turn up the roughness 0.6 or so. You just want a neutral color, maybe something like this, maybe a sandy color. I usually go with something a little more brown like that. I have mine saved here. I'll just use this color, then just paint, all you'll see this spot is because if we go to the head or the body, then we look here. Just go to the lip and then also apply that paint color. Okay, now it's looking very muted. So let's go ahead and turn on post process. You don't have to have yours all the way up to 500, but I'm going to leave mine up so it just looks the best for you guys now that we have post process. Let's go ahead and turn off the field that way we can still see the image also. Let's go ahead and turn down the ambient inclusion strength. Let's turn up the curvature bias. We can leave the size there, something like this for now. Okay, now that we have this, we need to add a light. Let's go to the lighting panel. Let's turn off the environment. Obviously, this is my environment, the one that I use all the time. So we're going to turn that off, then we add our first light. It's going to start out at like one or so. It's going to start around one. Just bring it up to probably you can do 2.25 maybe around there. I think something like that is pretty good and you get this, this great glow on it. The thing is, I probably should have told you this first. However, you have your model set. For example, if I delete this light, I switch her back to a different view. When I add my first light, it's going to be in that direction. It's always going to be coming from here. Regardless of how your model is, when you move your model, the light is going to actually change as well. I'm just going to make a new center for her. I think I like this. I'm just going to update this. Put my light up to 2.25 or so. This always looks great. One thing that I can say about lighting is you want to make sure if you turn your environment off, only use the environment for like a fill light. Don't use it for your main light. Turn your lights off, and just use one key light. The key light is just the main light that's hitting your subject. We'll go ahead and name this key. Okay, that looks great. Add another light. This can be Rim, this will be the rim light. Let's move it over here. Now, this is the sun light. It doesn't matter where it is. But the reason I move it is because if I have light icons and I can see the, oops, I like to put the lights, it's so hard to move this gizmo where they're shining. This white arrow is pointing that way. That just helps me now these are in two different spots. Instead of having the lights in the same spots, they're easier to identify. We make some nice lights on the back. A nice glow that looks pretty good. Now I'm going to turn this intensity up. It's nice and bright, maybe to like four. Even that I think looks really, really beautiful. Let's have another light. We have the edge light. Let's add another one. This will be TD for top down. Let's change this one to a spot light. And let's try and I can actually see where it's pointing, so let's turn it up. Sometimes it's hard to get to read, actually, where the spotlight is in relationship to her. I'm going to go back to my Okay. Once you know where your light is, let's just bring it up and maybe back a little. We just want to show off her face. I'll make it a little bit brighter even if it's off to one side, that's okay. But the face is always going to be, you always want to make sure that you highlight the face. See how soft it is to make it a little bit, so okay, that looks pretty good. I'm going to take it off of a line, so I still can't move it all the way back. That's no fun. There we go, Something like this. I just want the light hitting that area. So the face is nice. And we can also change from orthographic to perspective. One thing to do is let's go back to the one, and then we change to perspective. And then we can override this. If we wanted to do that with the other ones, we could as well. You can just override them. Okay, So let's go back to one. All right. This looks pretty good. The only other light that I might add is another edge light on the other side. I would add M two. I might add this on the other side and just make some interesting lights. Will be here, something like that. Maybe you can even angle it off, so maybe a little bit more light hitting her on this side. I'm just using the dress to see it easier. Something like that. So let's save now we have our four lights set up. You see all this dynamic lighting on her. Let's go ahead and bring back the environment. You see it's very bright. Now, that actually looks pretty good. You can adjust it as you want. I might do something around there. This light looks a little bright, so I might just turn that down a smidge actually. That might not be the right light. I want the TD light. Oh, yeah, that was a different light. Let's turn this down just a little bit, it's not so bright on her head. I think that looks good. Next, let's change some of these options to subsurface. Subsurface is going to give it a much more natural look. Let's take the body, it will change to subsurface. You see the light shines through it already. So we want to turn this down to maybe something like that. We can do this to the hair as well. We can actually do it to all of the hair hair. I'm going to do the same thing. We'll do subsurface. I'm going to bring the depth down. I don't mind if you can see through more of the hair though. I might not bring it down as much. Okay, great. I want to do all these little details. Just go through all of these and set it to subsurface. But these I'm going to bring down to a little bit less than one the eyebrows. I'm going to leave alone the head band, bring it down. A lot of what this does for me or at least what I see, it doesn't allow for these black shadows. I don't like black shadows. The different lighting will cause different types of shadows. For me, the shadows should be cool or warm. But if I don't do subsurface, the shadows are just like black. They don't have much color. And I think that's why visually I prefer subsurface. This looks like it's already sub surfaced. I'm just going to lower that a little bit. Okay, something is blowing around outside. The dress might actually look nice if it's more see through might move that up. Not too much. I don't want it to be two to see through the back end. That's really nice that the light comes through. I'm going to save this as, because I want to save a different one. Because eventually I'm going to bring this over into blender. I'll bring the other one where I haven't done the subsurface or I might not. But I'd like to have that option subsurface. We'll bring that down. Pocketbook, maybe I'll just leave the pocketbook. Pocket book. Pocketbook? I think I do say pocketbook. The shoes I think the shoes can pass. The subsurface will bring this down. Okay, good. So now we'll save I think that's pretty much all of the extra details. Oh, that's right. The belt can stay. We'll leave that for now. The floor I want to make subsurface both parts of the floor. All right. So now we can start coloring the character. So I'm going to go back to which ones do I like? Okay. We'll stay here for now and we'll just color each thing step by step. We have hair here. I'm going to move her a little bit over here so she's away from the. Okay. So she has very dark hair. Oh, I think that looks nice. That looks so nice. So I think we'll start there. All right. This is kind of like a dark red. And of course you can change these colors, but it's just easier to kind of work in the color and not have to think too too much about it. I think something like that is Okay. So we'll paint that. The flower for now will be like a more light yellow, orangey color. I like that. I think we'll paint that. I'm just going to save this view. Okay. That we'll change this little thing in the middle to maybe a similar color. But we actually, maybe we'll make it a lighter color for now, We'll try that. The shirt is I think I can actually move this over, which means I need to move her over again. Never ends. I'm want to update this. It's a light green to yellow and a little bit like a little bit desaturated. That looks good. The color is similar but darker. Maybe around there. Dressed is a nice beige color. I think that might be the closest that we can get. Maybe a little lighter, something like that. Oop, I forgot her sleeves. So we'll take the little eye dropper and get that color and paint them. The belt, the belt is like a little bit of a different color green with, we'll paint it green for now and then we'll do the red. Paint on top of it? The bag? The bags. The bag is like a color like this. I probably will change it. I don't think I like this color for the bag, but for now, I think it's okay. Her skin, it's actually not bad for her skin. Let's just take this color is actually a decent match, but maybe just a little bit, I don't know that's actually a decent match. Let's see how it looks. When we do the eyes and everything else, the eyes are white. We can either keep them bright white or we can soften them a little bit. I think I want to soften Justice Smidge. We'll make them glossy. The pupils will go with black. And glossy the lashes, we want to do black, the roughness all the way up so there's no light bouncing around them at all. Actually, you know what? I think instead of black, we'll do like a deep brownish for the eyes, I think it's a little softer. The eyebrows are similar to the hair, maybe a little bit darker. For the eyebrows, that looks great. Yeah, I think it looks really good. Okay. Now I think I want to make white or yellow. I don't know why I want to make it that color, but I do this, I want a more brown the shoes. They might be nice if, if they match the head band, maybe we'll match this color. Let's see them on. Oh, that's cute. If anything, maybe a little bit more, a little less saturated. And then the heel, I can get it. There we go. I was thinking black at first, but that looks silly. I think it has to be like an off white heel. Yeah, just something like that of white, light brownish. So let's go ahead and turn post process of, I'm going to turn this down a little bit, maybe add some blush and things to her face. You want to do that in layers again? We'll add a layer and make this, let's do reddish, just like it sounds. We'll go to the red color. Oh, I don't think I might not be able to use symmetry. Let's see if we do local, the symmetry is way off. That's okay. Now we just want to use paint. We'll make it a bit bigger. We don't need symmetry. Let's bring the intensity of the paint down. We'll give her some blush here. It looks like symmetry popped on. We'll give her some blush here, put it a little lower. And then put some blush around her eyes. Make sure you're on the skin. You can also hit a lock. I don't do that again. The nose definitely gets the lips get some to the lip area. Even though we're going to color these lips for sure, the neck gets some as well. Do a little bit on the chest. The tips of the fingers, try not to be too aggressive with it. The elbows, again, we're going to lighten this up. It does look a little dark now, but we'll lighten it up. Okay, The feet, I guess we can do a little bit by the ankles and the knees, even though we don't really see them. Why not add them? And we'll save. 32. Color Details: Okay, now that we have these colors, the reddish there. So first, we want to try smoothie poo, which is just the smooth tool with zero intensity. We want to try that to see if we can just smooth this out a little bit. Sometimes it won't smooth out if the mesh is very high, like this is 318 k. So sometimes it'll be very hard to smooth that out. So if that's the situation, we'll use smudge. Which is the situation. And we just want to try to smudge it. Now, smudge does move it can be pushed around pretty much. So you can push it but it will get soft. It will soften up and it will have a gradient. But you just have to pay attention to how you push the color around because it very easily can you can lose it. So I sort of do a combination of going in a circle, but then also trying to manipulate it to go where I want it to go. For example, I just stay on the cheeks. That's pretty good. Now we should do that on all the other spots too. Just make sure we hit it with some smudge. Just to keep it smooth. I really wish smoothie poo worked. That would be fantastic. Well, it looks like it worked a bit on the elbows. Let's see the other elbow. It's not too bad. A little bit on the fingers. Can smooth that out. And a little bit on the knees and the ankles. Smooth it out a little bit, maybe bring it a little bit down. Okay. I'm going to turn off this show line. We don't really need that anymore. Now, what we'll do is go to the face and we'll go to the layer and you can see how you can bring it back. I don't want that much of it. Maybe around 0.4%, maybe a bit more. Maybe. Okay. Maybe a little bit more than halfway. Something like that I think works. I also forgot you want to put a little bit on the ears too, so you can just make another layer and just add a little bit to the ears as well. And then just make sure you soften it up a little bit. That's one of the great things about layers as you can do this as many times as you need. I think that looks good. I'm going to lower it a little bit. Then you can bring this layer down by tapping that and now you just have the one layer. So that works. Let's color in these little details on the dress. So right now, the dress is going to be a to see because we made it a subsurface. Let's just change it back to opaque. Also, let's check the lights. So it's 2301, 2.31, so I might bring it back there, but I'm just going to put it down a little bit for now or better yet. Instead of put it down, what you can do is hide all of them, and then just turn the environment up. Okay, so for the dress, let's add a layer. Oops, I guess I accidentally added two layers just now. So we'll start with the first letter. We'll call this green. Okay. Let's grab the color of the shirt because it looks about that color and paint. Let's just make sure that we put this all the way back up to where we had it to 100. We'll make this small. Let's see the quality of our paint brush. As you can see, it's not very great quality. Let's try dynamic topology. We tap here, do and enable it there. I hit okay. Now we have dynamic topology on. What that does is it allows the dress to stay the same size. Though, as we use the tool, it's going to change the surface of the dress. It will add onto this, the more we do, see how it moves it up, but it makes this really crisp and clear. There's a trade off. I think the dress is interesting. I don't really see many lines. It just looks like leaves. It looks to me like it would be something like this. So I'm just going to make some shapes like this around the dress. Since there's no lines really. I'm going to take erase. And I'm going to go in close because I really want to I really want to look sharp. Okay. I think that looks pretty good. So let's add a few more like that. I'll add some over here. And I'm just adding some little differences in the leaves. That one looks a little too big. So now the dress has gone up to 343 k. That's a lot. Unfortunately. It's a lot and rising. I think I'll do is make the shapes because we don't want to get this to get we don't want the size to get too crazy. I do have an idea. It might be worth it's this. It might be worth it to Vox this dress around three 50. And let's see what the paint looks like if we're not using dynamic topology. It looks pretty good, honestly. So what that'll do is it'll maintain this red layer. I'm going to turn dynamic topology off up here so it's off completely. Now I'm just going to go ahead and color this in. I think I'm going to just going to be happy with that because I don't want the size to continue to go up and go up and go up. Okay. And I probably could have just done this earlier and maybe made the smaller. I can always decimate, but I'm not too worried about it. I'm going to try to make these a little faster back here. Okay. But it is kind of an interesting pattern. I think. And I really like that shape. It's kind of like a heart. Usually when I make hearts, I make them like that, very loose. So I actually be nice to make one up here as well. Maybe one here as well. I think this looks nice. Okay, I think that looks really nice. So now there's some red ones as well. So let's take the red from the shoes. And let's make sure we go in the new layer. We'll just name it red flowers. And let's just make some red shapes up here. Sometimes going in a little closer actually gives you a little bit more control. Let's see. Yeah, I think that's kind of cool. Okay. Okay. And I'm really just making random saps just a little bit more on top so they look like flowers, and I'm trying to keep some a little bit close together. Really no rhyme or reason. Okay. But these are kind of things that are really sort of therapeutic. I know it sounds really cheesy to say, but it really is because you're just literally drawing. And I think that's kind of like that's kind of where comfortable is always. Okay. But it's nice because there's really no right or wrong. This is when these kind of things like most people that do, if anyone does do this class, you can you can kind of make things a little bit differently. This is how you show a bit of you can do hold different colors. You can finish this and then you can come back and you can change whatever you want about it. Okay. Then after a while, you start getting a little faster with these shapes. I kind of just having fun with it. Oh, these have buttons, too. What color do we want to make these? I feel like they would be let's tap the color here and let's make these I feel like a metallic. Maybe some sort of gray with a metal ness to them. Maybe a little lighter. I think maybe something like that. Maybe we'll make this the same color. Maybe we'll make this. We'll make it a darker green. That looks weird, too. Okay. We'll do a slightly metallic color. I'm okay with that. It sort of blends in a little bit, which I like. Also, she needs some different colors on her lips. So the upper lip will be a slightly darker shade than the skin. Let's add another lip and put up lip. This will be a little bit than the skin. So we'll go ahead and grab the skin color, and then we'll make it a Okay. So maybe something like that. And then we'll paint just underneath the upper lip. Oh, I got to turn this back up to 100. Make this really small. Okay. So we just paint that upper lip. All right. Now the lower lip add another layer. We can bring it down, just long press and bring it underneath, and this will be low lip. This one is going to be a little bit more reddish. Actually, it can be a little bit more pinkish too. Let's actually go down to red and make it a more light and a more pinkish, something like that. Let's see how this looks. I just want to try to follow that lip. I think that looks pretty good. Something like that. Okay, so I'm going to try smudge. Actually, let's try smoothie poop. Really small. I just want to see if I can just smooth out this lip color around the lip. Same thing with the upper lip. Okay. It seems to work well on the lips, actually. So I'm just smoothing out that color. That looks pretty good. That looks nice. Okay, so we have Crease L's turn on the paint. I'm going to bring it back over here just because I'm more used to having it over here. So once we tap the color while we're in the crease tool, stroke painting is going to be on by default. So what we'll do is just make a crease Is that not working? It might be working. I'm going to turn down. Where is it? Stroke. Laser rope stabilizer. I'm turning that down back down to ten or 12. Okay. So let's see if we can get a little bit of a darker detail here. A little bit of a darker crease there too. That will give some depth to the lips. That's why I made that really dark. You can probably even go a little bit darker with it and add that darker color. Sometimes it does get a little bit deformed, so you have to be a bit careful. Well let's do paint and erase and let's erase a little bit of that. But it actually doesn't look too bad. I might just take smoothie, and then you can probably just smooth this out a little bit. Let's go ahead and erase a little bit more of it. There we go. That's a little bit better. Okay. It's not too bad. I like it. Here's another quick tip, something I really like to do. We'll add another layer. Let's take the let's grab the color of this lip. We'll make it a lighter and we'll turn the roughness down to make it a glossy. We'll bring the intensity down a bit on the paint, and we'll add some to this add a bit of this paint. Here, maybe we'll turn it up a little bit. Because we wanted to catch the light. Oh, I'm want to race. That's why. If you had a little bit of a glossiness, it really It really makes the pop something like that. Really makes that lip pop. Pretty happy with her. Makes she looks great. But I'm pretty happy with her. Hopefully, you guys learned a lot. This was probably the most intense sculp that I've done. But I really like it. I also might try to pull the hair down, so it's coming down a little bit more over her eye and covering that eyebrow because somehow I made it really high up. That might be something I'll work on as well. You can also color in this little guy. Maybe we'll match this color. Maybe we'll match this color. Let's save. Turn environment off. We'll double check the lights. That looks great. We'll turn on the actually. Let's turn on post process. So we turn on post process. I'll turn this up. This all looks good. Okay. Okay. We'll turn the environment on. But we'll turn it down. It's not so bright. So, I'm pretty happy with her. I could go on forever. There's so much that I could do. I really like how she looks from multiple different angles. This is a cool angle. So make sure you're saving different angles and saving angles that you like. Once you're happy, let's say we wanted to export this. So make sure you have all the bells and whistles on. Make sure all this is set up the way that you want it. Once that's good, just go over here, make sure you give it a quick save. And then you can export your render. So maybe like screen would be good. I'm going to turn off transparent background. Then you just export your PNG. Export, a bunch of them, have fun. Go back, experiment, change colors. Make sure you do all that because you really earned it. This is a long sculpt, but it just goes to show how you can make really amazing things if you just think of everything step by step, don't worry about the time, just concentrate and keep going, keep working until it looks the way you want it to look. I'm really happy that you stuck with me. Okay. Please remember to rate in review, and I will catch you in the next video. I'll show you some other renders. If I do anything else, I'll show you in that video what she looks like, and I'll bring her over into Blender, and I'll show you that as well. All right. S in the next video. Okay. 33. Thank You!: All right. I did add some little eyelids here because I felt like her eyes were a little too big. But I want to show you how I did it. These eyes, the regular eyes, if I hit Solo, they look like this. All I did was clone these. I clone them. Then I take split, I just split them in two. I use the lasso, I split them in two. Then you have two separate pieces. Let's hide everything else, Let's hide the other eyes. Well, actually, no, it's fine. I split them. So we have two separate pieces here. Now, if I take this piece, I'm going to hit, so lo so everything comes back. I just take the gizmo and move it forward. I move it forward. Then I have a piece like that and I do the same thing with the other eye, the other split. Let's do pivot, center pivot. And I bring this up. Now literally all I do is for this one, I just trim it. We use rectangle. I might do it a little bit differently. I probably have to try to make it straight across. The same thing for this one. Oops, I try to do it fairly straight across like this. Then I just take both of these. I paint them a similar color to the eyes. I make them both subsurface. Try to match it if you can. Then literally I just position each one. I just position each one so it's like right under the eye. That's essentially how I made that. I just wanted to show you because I think it actually looks better with those. Since I thought it looks so much better with those. I wanted to show you that you can do it. If you want to congratulations on getting through that class. That was a really long, intense journey. So those of you who did go all the way and got through it, I applaud you because that was not an easy class. I'm really trying to do a lot of advanced classes here since I also do classes on Youtube. So make sure you follow me on Youtube. I post a ton of content there. And I'm also going to post some bonus content for this class. So I'm going to bring this character into blender. As long as you have a computer that's capable of running blender, you can bring this over into blender. And we're going to do some cycles rendering because I bring all of my scopes over into blender. So why not show you guys how to do that as well. So make sure you go to Youtube and make sure you check out the video where I'm bringing this character over into Blender. Be sure to rat and review those. Really, really help me out. And it really looks good for me when I get lots of ratings and reviews. Hopefully good ones. But please reach out to me on social media. If you make this character Instagram, Youtube, Tiktok, Facebook, all drug free, Dave. So be sure to tag me so I can share your work on my story. Great job. Great sculpting. Thanks so much for spending your time with me. I truly appreciate it. I love teaching and I love when students can be just excited and really want to work towards bigger and better things. Because that what I do, I'm always working towards bigger and better things. And I want to bring you along with me. And don't forget to upload your renders into the projects and resources tab. I can't wait to see what you do with it. Keep drawing, keep sculpting. And I'll see you all in the next video.