Nomad Sculpt Masterclass: 3D Sculpting from Basics to Finished Models

1. Welcome to the Nomad Sculpt Masterclass!: You ever wanted to sculpt your own three D models, characters or creatures, but wasn't sure where to start? Nomad Sculpt makes it possible to create your own detailed models quickly and intuitively. And in this course, I'll guide you step by step from your very first sculpt, all the way to a portfolio ready baby dragon. Hi, I'm Jacob Martin, and I work at the intersection of technology and creativity, and I've spent years cultivating skills and a career around XR, UX, game design, web development, UI, and three D R. I actually started my career in IT, which gave me excellent problem solving skills and instincts, but it always felt like these creative tools were a little out of reach. The moment that finally clicked is when I discovered Nomad Sculpt. Helped me turn my imagination into form and that experience reshape my entire path. That's why I'm here as an instructor at Skillademia so that I can help remove similar barriers that you might have to expressing yourself in a spatial three D canvas. My goal is to help remove those same barriers so that you can explore your own creativity in three D without friction. We'll start with the essentials, the interface, the core brushes, scene navigation, and importing and exporting your work. We'll build stylized props, perfect exercises for practicing planes, silhouettes and admissive materials. Then we'll explore organic sculpting with plants and many gardens. Finally, we'll build all your skills together to sculpt and refine a baby drag, paint it, light it, and produce a clean turnable for your portfolio. This course just doesn't teach you how to just three D sculpt. It teaches you how to think like a three D artist. You'll always understand the purpose behind each step, when to push detail, and how to prepare your models for whatever you want to create if you're ready to follow a clear, encouraging and practical path, then let's get started. 2. Introduction, Primitives, Tools & Scene Management: Hi. In this first module, we're going to treat nomad sculpts like an abstract playground. No characters, no finished props, no pressure to get anything right. You're simply going to push, pull, and paint on simple shapes and observe how they respond. If you ever feel turned around, you have a companion document to check that includes the quick interface guide, the core brushes reference, and a lesson overview document that highlights all the steps that we've taken within this module. Whether this is your first time in three D or you're just curious about Nomad, this module will gently guide you comfortably towards sculpting and navigating the scene. Let's get started with our first module, primitives primer preview Piazza. Before entering the scene, go up to this folder icon, and you're going to want to click it so that we can import the dot num file provided for the module. Open up Nomad like I have here, go to the folder icon. Scroll down, click Import, find the directory that you downloaded the file open, click Keep topology. Then click New Project. All right. Click the folder again to make it retract. Then press the home icon here. All right. So in this module, we're going to be covering all of these core brushes with these primitives. First thing we'll do is we'll turn off symmetry. If this is on any of your tools as we go through them, then just go ahead and turn it off. I will remind you to turn it off as I turn it off. So we're going to be covering these brushes and navigation a little bit. So the clay brush with the sphere, the move brush with the cube, the drag brush with a low polysphere, the brush with the cone, the flatten with the cylinder, the smooth brush with the torus, and the crease with the plane. All right. So a little bit of navigation like we were talking about the home button here. What we're going to do, I'm going to show you how to pivot around the center point of the spatial environment that you're going to be sculpting within. What you're going to just simply do is you're just going to click your left mouse button and just start to turn this round and round and round. As you can see, this will show you what side of the object that you are facing. All right. Go back to home. This not only does that, but if I was to pivot this way, and then I was to click here, it'll take me directly to back. So there's many ways that you can navigate through just depends on what your needs are at the moment, but it's great because it gives you the room to be able to adapt to whatever you're sculpting and whatever your creation needs. So we can even go here and it'll go to the bottom. You get the idea. We'll be using that and it'll become all of this over time will become second nature. For now that we've covered a little bit of navigation, let's go back to the home button. So like that, let's do the clay brush first with the regular sphere. Go ahead and adjust your radius and your intensity. I've already adjusted mine here. We're going to just simply click on the clay brush. To zoom in, we just want to double click on the empty space here and to zoom out, we do the same thing. You can use your scroll wheel to zoom in, but it's not quite as accurate. But it is useful in certain situations. But for the most part, you're just going to select again as follows, and then double click to zoom out and in. All right. See? You got it. We're going to be covering the clay brush. Let's go ahead and just freely. Doesn't have to be perfect, whatever feels right. Make a abstract form. You could even think, oh, I want to make something that looks like a yarn ball. So to create a more dynamic effect, we're going to increase the intensity. And as you notice, when the intensity is lower, the effect is more subtle. But when we increase it, it's incredibly apparent that it's making changes. Do that at your leisure. But for now, we'll just go to home button and move on to the move brush and the cube. What we'll do is again, we'll select the cube and this time, we'll pivot again using the left mouse button. We'll click right outside of the perimeter of the shape, and then once we double click, it'll zoom in. Go to the move brush over here, adjust your radius intensity to your liking, and then just start to move around. Pretty awesome, right? Now, as you can see, there's little triangles and shapes here. One thing that we can do is we can come down here to wireframe and select that. Now we have almost a mesh map overlay. This isn't something permanent on the shape, of course. It just gives us a mapping or grid to see how we're affecting the mesh faces and all of the different surfaces of the object. So these squares here are our mesh faces. So we're just going to continue to pull these. Maybe we'll increase our radius All right. And you can just distort this as much as you like, pull it in, out, whatever feels right. And what you want to do is you want to take your left mouse button, and maybe you'll zoom out a little bit and pivot, turn this down, turn it back up, and now we're at the back using that. So if you don't have anything selected, it'll pivot around the center of the spatial environment. If you have something selected, then that becomes your orbital pivot point. So just keep pulling on that. Awesome. Moving on to the next brush, we'll go home. Next, we'll do the drag brush, go here, select the radius, turn up the intensity, select the drag brush if you already have it, then select the mouse. Remember, we will click right outside of the perimeter, not directly on it, but right outside of it, double click. If the first double click does not work, just do it again and usually it'll work. Little troubleshooting tip, or if it starts to not zoom in, you just want to scroll in and out, especially if you're using the desktop version, just a little troubleshooting tip there. Moving on to explore the drag brush, we're going to start to apply that to the surface of our shape, just pulling. Maybe it will increase our radius some. We had to turn off symmetry. Just keep pulling it, making it into some abstract form, whatever feels right, experimenting with the different intensity and how much radius that we are affecting and this doesn't none of these have to look exactly like mine. They can look like your own individual interpretation. The idea is just getting a feel for the brushes and their capabilities and learning more about their differences and how some of them are similar. And as you probably noticed, this drag brush is very similar to the move brush, but it's almost like it's more liquid or rounded where the other was more square and static. All right. Moving on to the next brush. We go to brush. We're going to use brush with the cone here, select the cone just as before with the other shapes. Then we're going to go over here to brush right here and how we scroll through our brushes is we use scroll wheel as you see me doing here to adjust it, if it looks like this, we just drag it over so it's very customizable. Getting back to our shapes, select, zoom in, and then we'll start to experiment. As you probably have noticed, this one is similar. The brush is similar to the clay except it's a little more rounded, making this more bulbous comparatively. You can see our strokes are almost like a highlighter pen. We go back to home, select. This is more rounded like a ballpoint pen almost. Right and just experiment without that, brushing over it, even pivoting to the bottom, going in circles, whatever feels right, doesn't have to look anything like mine as long as you're using the same tool. Remember if you get turned around, we go home, then we go to our flatten brush, scroll down. Here it is, select our cylinder, zoom in, pivot up to the top. Then we're going to take our flattened brush and we're going to start to bevel out the edge and flatten it out. See how it's affecting? You can even do it over here and it doesn't have to look exactly like mine, but the flattened brush is really meant to flatten out, of course, surfaces. So over here, these might look intimidating, but they're really self explanatory. Something I had to learn early on is that they are what they do. So it's like this drags, this moves, and you'll understand the differences as you use them. If I go to this side over here, as you can see, it doesn't have that much effect. A little bit of an advanced tip with some of these more rounded object rounded faces, it doesn't have that much of an effect on it because it's like it has a flat surface, even though that flat surface isn't really, I guess, even plane. But we'll learn more about that later. It's not that important, but just to show you the difference, one thing we can do is if we go over here because we have manipulated the way that this part of the mesh looks and if we keep going, what'll end up happening and maybe if we increase our intensity and radius, it starts to make it to where we can have more and effect on the mesh. Moving on to our next shape, we go home, then we go to smooth tool, select a torus. Zoom in and then start applying the smooth. Remember to turn your symmetry off if it's turned on, we'll be covering that in a later lesson and then just start to apply that and see how it's affecting the mesh faces. This is why one of the reasons it's so important for us to have the wire frame on, especially when we're using certain tools like smooth because it really gives us a map and analysis to take stock of what is occurring with our mesh object. As you can see, it's smoothing it out, seemingly causing them to be closer but when you smooth it out so much, then it starts to have less of an effect. See how these they're moving closer? But this isn't as much. But we'll be going more into depth than to smoothing. Just wanted to show you how the tool works because it's frequently used. If we sculpt something and we need to polish it out, smoothing is a great tool for that. Going back to home, then we'll go over to our list here, we'll scroll down to the crease. Oh, here it is. All right. Then we'll select the planes, make sure that our symmetry is off if it's not, then select right outside the perimeter of the shape. All right. For this one, I want to draw a smiley face. Just keep using the crease. That's one of the eyes that I'm drawing. Maybe crease that. As you can see, just as the brush indicates what it does, it's making a crease within our object. This is useful for clothing, faces. We use it frequently for a number of things. But today, we're just going to be doing a simple happy face for finishing the first module just to see how the crease works. All right. Great. All right. Going back to home. All right. In this module, we've covered an array of different brushes that are used frequently throughout the sculpting process within Nomad Sculpt. We've covered the clay brush. We've covered the move brush. We've covered the drag brush. We've covered the brush brush. We've covered the flattened brush, the smooth brush, and the crease brush. You're welcome to spend as much time as you like with these shapes and these brushes. And if you ever need to go back and there's something you don't like while you are sculpting, there's this convenient back button here. Thank you for joining me for this first module, and I look forward to teaching you more, and I'm happy that you have decided to use Nomad Sculpt as your entry into three D. Thank you. See you in the next lesson. 3. Exporting Models for External Use: Welcome back. In the last lesson, you imported the primitives primary preview scene as seen here on the screen. Up until now, a lot of what we've been doing is a bit abstract doing panels, icons, and basic brushes. But in this lesson, we're going to turn that abstraction into something more concrete, literally. We'll sculpt rocks and make your foundation rock solid before we move on to the next lesson, of course. We'll set up a clean scene, make two simple rock sculpts, and send them out of Nomad as a test export. Before continuing on to that next scene, what we'll do is we'll save our current scene by just simply going back to the folder icon, going to this icon here, save as, and then you'll save it in this underscore format here, followed by your name. That way we can preserve our original scene and the scene that you experimented with. I've already got that save, all we're simply going to do to create a new scene is come here, create a new scene, click yes, and then we'll be met with this sphere. First thing we want to do is come back. Retract the folder menu, then we're going to go to a new menu here. This is our hierarchy. You're going to select that. As you can see, our sphere is documented here within this scene hierarchy. You're going to go over to this three dot menu, select it, and then delete it. Now, you may be asking yourself, well, I thought we were going to be making rock sculptors. Well, this is where I teach you how to add your own primitives. What you're going to do is select this button here to add, and then you're going to see a list of primitives. First thing we're going to do is we're going to add this quad sphere. Just like the one that we deleted, but just showing you how to bring primitives into the scene yourself. Then we're going to validate it. This basically just validates its existence. I'll go more into that later about some of the initial values that we can set when we are populating a primitive and adding them to our scene. But for now, we'll just click Validate. All right. So make sure that you have grid on. Grid will help us to be able to see the scale of our scene and also get an idea of where the center of our object is. It just gives us more spatial awareness. Moving on, we're going to turn wireframe on. Then we're going to start to select our brushes that we need in order to make our rock. The first thing with this sphere, we want to do is make it more boulder like, go to the bottom. What we need to do is add a few more layers to it. This time, we're going to have symmetry on. Symmetry basically creates almost like a mirror on the other side. That way, we get consistency on both sides of our shape when we need it or want it or when it's useful, and we create these consistent layers, almost like there's another brush that is a twin to ours that is matching our mirrored movement. We're just going to add some layers on. All right. Then we're going to go back over to our brushes, go to flatten. We'll flatten it out a bit. What I suggest is going pivoting this direction. That way you can also see how flat you're getting it. Now, you don't want it too flat and we can easily change that by using the clay brush and maybe we'll smooth it out a bit. All right. Go to home. Then what we're going to do is get the clay brush again and just give it a little bit of texture. We'll turn down the intensity some so it's more subtle and just start going into random places, but still sculpting around the brush around the sphere, I mean, but then we'll go to our brush tool, zoom in. All right. Once you've got enough around, you want to go back and turn off symmetry and just give it some randomness. Now, we don't want to put too much, we still want it to look like the semblance of a rounded ball and I'm just barely pulling on it. Barely adding brushes. All right. Looks pretty good. We'll smooth it out just a bit. We don't want to get rid of too much of our texture by smoothing it out. And then we'll go to the move brush. We'll turn down the radius, go to front or home, and then you'll start moving it inwards, outwards. Very similar to the way that you use the brush. And once we're done with that, we'll go back to home like when we saved before, we're going to save again. This time, we're just going to click Save, name our project X All right. So you can name it Ex or Export Rock test, and then click Okay. All right. And then what we'll do is we'll click the folder icon once more, go back to this hierarchy button here and we'll add our sphere, which is the box, of course. All right. Now, this is a little new, but don't get scared. All we're going to do is just validate and you may think, well, it's occluding what we just made. They're in the same spot. All we have to do is go back home, and then we're going to go over to our brush panel and I'm going to show you small introduction into a new tool that we haven't learned quite yet, but we're going to be using frequently. This is the Gizmo tool. You'll see that once you select it, it gets these radio directional points. What you're going to do is grab one of those points, see as I have this arrow highlighted, and we're just going to simply drag it over, maybe zoom out a little bit using the scroll wheel and there you go. This, of course, we'll move it up and down side to side, if we pivot this way, Gizmo tool can also scale our device on certain axis. It's very useful and we'll be going over that in more depth as we go along. Come to center with the cube. We're going to go back up and use the tools that we've been using. I recommend first, since the cube has these hard edges is that you actually go to the flattened tool and just think about the way a brick or cobblestone might look and that's what we'll create here, something that would go well with our boulder over here. Okay. We're going to turn symmetry off for now and then just take your flattened tool and adjust the intensity to your liking, go closer. I'll show you what I'm doing here is getting the edges and flattening them out. Maybe I want to increase the radius more. I really want it to have a cube shape, but resemble more of a brick or a rock or cobblestone like I mentioned. Turn up the intensity. I just like to randomly go around these edges because we're going to use more tools to distort the mesh. As you also probably noticed, I keep going back and forth. It can be really useful to have a top view and not that far though and have a close up view. If you do go too far, it's as easy as just zooming back in and if you go off center, remember, all you got to do is just click and you'll go right back. All right. Going to our next tool, click the clay brush. And just try to go in the flow of which you already have set with the flat brush, but also filling in some of the spots that it did not touch. Maybe we'll increase our intensity. We're back to home. Then let's once again use our move brush. Don't move it too much just enough to where it looks rock shape. Then if you like, just make some of these areas be more pronounced. What we can do is we can go to the crease brush, and I'll show you a way to use that. You see this indention here, what we're going to do is make that more pronounced and then you'll start to see the mesh starts to fold in within itself. You can just make little creases where you've already made shapes. Just try to find what's poking out, what's dipping in. All right. And your rocks may not look like mine, but I'm sure that they look great. And I'm really hoping that this sets the stage for a rock solid foundation. Before we end this lesson, as I showed you how to import, I'll now show you how to export now that we have our rocks completed. We'll save. That way we keep the status of our progress. Then in that same folder panel, we'll go down to Export and you'll see all these different formats. They all have different programs in which they are typically used for. We'll go deeper into those as the course progresses. But for now, we're just going to keep using our dotnom file since it's familiar to us. What we're going to do is make sure that all this is here. So that way, all of our elements are exporting. And then we're just going to select Export Nomad. As you can see, I've got a directory for my dot nome files. And then I'm just going to go over and select Save as easy as that. Then, if say, I wanted to import it, as you can see, it's right there. All right. Thanks once again for following along with the course, and I'll see you in the next lesson. 4. Beginner Hard Surface Modeling: Blocking a Stylized Lantern & Boolean Cuts: Welcome back. In this module, we're going to turn simple primitives into a small stylized lantern scene. We'll start with a cube, build a step lantern body with cloneed cubes, carve out the windows using invisible booling cutters, keep everything clean with good hierarchy and naming, then hide the lantern and build a candle, wick, and flame. At the end, we'll add the optional tourist loop so that the lantern can be carried. Let's start with the base lantern cube. First thing you want to do let's go here, open up a new scene. Yes, then we'll go to our hierarchy here. Then our three button menu, delete, our hierarchy holds all of the objects in our scene so it keeps them organized. We'll be using that very frequently throughout the course. But for now, I'm going to teach you how to create the primitives that we were experimenting with in the last course. First, we'll go to add, we'll select this box or cube here. Don't worry about all these settings for now. We'll go into that in more detail later. For now, we're just going to click validate. Then what we're going to do clone the box. Then over here where you see the eye, we can make our first box invisible without even really selecting it. Right now we have box one selected. So if we make both of them invisible, as you can see, they're not visible any longer. Not visible. But if we go back, there we go. What we want to do is first make our first box invisible and then we're going to take our second box and we're going to learn to use a new tool, the Gizmo tool here. When we go to select something, as you can see, we have these arrows. It's like a spatial positioning. What we do is we can actually click these arrows and move our object around straight right in the direction in which they're pointing on their different axes. Get it back to center, so it's center with our other cube. Once you have it center and you're done experimenting with the Gizmo tool, and remember, you can press over here and go back what we're going to do. Is then go to box one and just in the same way that we can move around our objects, we can also scale them on different axes. You're going to take this green dot here, select it, and then drag down, and then make your cube into this thick planes like mesh. Go back to front. Then what we're going to do over here, as you can see, even though this is invisible, we have an approximation of the invisible mesh. Go back to box one, and then we're just going to try to estimate where the bottom of our first box is. That looks about right. All right. Now that we have that, go back to box one and then we'll use another new tool. Go to paint. Of course, this is exactly what it states. It's our paint tool, and we have the liberty with the paint tool to paint directly on the mesh, or we can do something even easier by painting the entire mesh. First thing we'll do is go here. This transparency ball is with these squares on top of it, go here. Then we're going to select what we want our texture to be. I'm going to select this subdued plastic material. Select X, and then what you do is select the color that you'd like from the color spectrum here and all you do is while you have it selected, click here and then Walla color that you choose is the color that the mesh is. Go back to front. As you probably have noticed, I have these pins here. Quick tip, when you have them selected, you can move around the environment and they will stay pinned. You can also retract them still, but as long as you move around and they're expanded, they'll stay open and what you can do, and then it disappears. For now, we're going to just keep the hierarchy pinned because we're going to be looking at that throughout the course of this lesson. Getting back into making our lantern. We're to go here, then we're going to select Clone. Then we're going to go back to our Gizmo tool. Back just a little more. If you get lost, remember, you can always double click and then we'll try to match that up with the bottom of that and then we'll pivot up, turn on and off your grid as you see fit. It is helpful when you're trying to find a level plane. I'm going to turn off my grid in order to demonstrate what we're doing here with more clarity. What I'm going to do is you just go where this yellow ring is, and then you just pull ever so slightly. You're just going to keep repeating that, matching and lining them up. Pulling just a bit, clown again. Remember, you can always go back if you make mistakes or get a little ahead of yourself. One, two, and then we're going to make one more step. For the purpose of this course, I'm only making five steps. If you'd like on your model, you can make as many steps as you like and even make these more thin. Now that we've got box one, box two, box three, and box four, and box five, what we're going to do is we're going to click all of those, and then we're going to join them with this join button here on our hierarchy menu, and there we go. Now instead of multiple boxes to manage, we only have one. What we want to do next is clone that, then bring it up, go back some, and again, try to approximate where the cube is. All right. Then we'll take box two that we clone from box one. We'll make it a little smaller and then what we'll do is make our other box visible. Next, we're going to click this three dot menu here and you're going to see some options. We, of course, have the clone option here, but we also have it easily accessible here. For this, we're going to click name and then we're going to rename that into lamp To. You want to keep your naming conventions, which is what this is called, very simple and self explanatory. I like to use a camelcase style. The reason it's called camelcase is because it's like a camel, with humps and have these brackets, so it makes it easier to read. We're going to come over here and do similar, but instead, bottom, rename this. I'm going to work on our center. First thing we're going to do is hide these two, our top and bottom, rearrange that. What you're going to do is hard press like I'm doing on the mouse right now and put it at the bottom just to keep things really tidy. If they start to become one like that, just go ahead and hard press again. Now what we're going to do is clonee the lamp center, then go to the right, here, move it out ever so slightly, scale it down back to front, make our other original cube center invisible, scale this down about right there. Go back to lamp center, make it visible. Then we're going to move this out and up back to front. Let's go ahead and color it because I find that having coloring really helps. What you want to do is think about what you want the metal part of the lantern to be, what color you want it to be. For this, I'm going to select here underneath the metal materials, the kx. Then I'm going to pick the color I want. I'm going to choose a grayish color, something that'll really show up nice with metallics. And we can also manipulate the roughness. I recommend just keeping it like it is then while we have that selected, paint. And you'll understand why I did that in just a few moments. If your cube is centered, you want to move it over here, move it just a little down so that we can get better arrangement, go to wireframe. As you can see, the wireframe, it not only helps us understand what's going on with the mesh when we're using things like the flatten tool and the move tool and all those other tools that we used before, but it also helps with our placement. Take this cube, align it here right on the corner. Then what we're going to do is start to stretch that until it's longer or wider than the cube itself. Go back to front. Maybe we can make it somewhat smaller and move it over here, go back to front, then clone, move over and put this one in a parallel with the other. We're going to select both of those, go back to front, make sure everything's lined up. Clone. When you clone something, it's automatically going to select what you just cloneed. We clone two things. Let's select those. Then we're going to line those up. So that they're even between each other. As you can see the other side is reflective of that. Then what we're going to do is we're going to take all of these, and then we're going to go here and select this join button here. Now we only have one object to manage instead of the four. What we'll do for clarity is we'll name this and rename it and just add tool to it. Something else if it makes more sense, for stencil. Something else that we do is smart to do is to make abbreviations or make shorted versions. I'll just call it stencil or tool for now. Then what we'll do is clone that, make this one that we just cloned invisible, we'll select this one, we'll make it invisible, but make sure that the original one is selected, not the clone, then we'll also select our lamp center. Then we're going to do something really awesome. We're going to use the stencil that we just created. And basically cut into these making these shapes into our lamp center with the click of a button. We just go up to this booling operation and being that we have both of those selected, click booing because that other one was invisible and we use the booling button, now we have these symmetric holes in our object. Next thing we're going to do is make the other side because we clone this and we're going to be reusing it, we're going to make another clone of it, then we're going to go back, make that visible, and we're exploring the Gizmo tool a little in depth as we learn how to do all of these complex task and cloning. Another thing the Gizmo tool can do is it can rotate. This yellow line here allows us to rotate our object. I want you to try and rotate this to a 90 degree angle. In the bottom corner, you'll see the percentage but you don't have to get exactly right by that. It just helps you gauge a little bit. Let's see. Are we aligned? Another way to do it, go back is you can actually open the Gizmo tool up here and what we want to do is you can see you've got scale rotation. That way we can automatically change the values. Go to that green button, the Yaxis. Looks like I need to move it over a bit. We'll move that over, move it back, so it's going all the way through. And then line our cubes to our wireframe. Then we'll do the same thing that we just did on the other sides. Make this invisible, have both of them selected, go to Boolin, select the booling button again. As you can see, now we have all our opening windows and you might be thinking, Oh, but there's filler in here. We'll take care of that in just a moment. By doing the same operation, except this time, we'll add another cube, validate, make that cube just a little smaller. Then just like we did before, we'll make the cube invisible, keeping this visible, but both of them selected. Bolein, then click the Bolein button, and there you go. Going back to front, we've got our lamp center selected. Let's give it a paint upgrade. Change the color. To what you like. This is what I'll be using. If you want these cubes on your own model to be bigger, as long as they're symmetric and you're creating this cross or T shape here, then that's what you want to create with the boolings then clearing it out with the final cube that we create. Now that we have that, let's take a look at our other parts. Let's move our tool we've been using down here, keeping it invisible. Go to our bottom, moving it down, it isn't, and there we go. Now what we need to do next is go back to our lamp top because we need to create an apex here. But as you can see, we joined all these, correct? What we need to do is we need to go to separate. Separate, of course, we'll separate our joined parts. And another advantage of joining and separating is when you join and separate the objects, it also puts it in these collapsible organization here, so it's easier to manage as well. We're going to go here to the fifth, which is the top clone and to create that apex point, we'll continue with what we were doing earlier by moving up, scaling down, clone, scaling down, moving up, clone, moving up, scaling down, just continuing to do that. To save a little bit of time, what I'm going to do is now add another cube. Then I'll briefly show you how you can change dimensions of your cube without having to use the Gizmo tool as soon as you populate it. You're going to click here, scale it down here, and then click the other green, and then the other points here, and here, then we're going to go over to validate we're back to our familiar Gizmo tool, Zoom back, place this on top and then scale it down the center. It's close to as even a symmetric as possible. One thing you can do is if you go here to your drop tool, we can use that to go here and then paint the top the same color. Now that we've got that, we're going to add another cube. We're going to take this cube outside. We're going to validate it, make it a little smaller, then make it invisible. Just so I can show you that we're going to make those into window panels. What we want to do is go here to where this materials button is. Then we're going to make a glass effect. First thing we're going to do is go to refraction and go to additive, customize the opacity. All right. Now that we've got that, we can create our candle. Rename this first into center glass. Then we're going to make all these invisible. Then we'll go to add, click the cylinder, validate. If this keeps popping up, remember, you can just always drag it out of the hierarchy. Then what we're going to do is name this, go to the top, scale it down, go to our center so that we can have an understanding of the scale of our candle. Great. Then we're going to make our candle taller, drag here on our Y axis. Then we're going to zoom in. Now we're going to learn a new tool called the planar tool. It's the opposite of the flatten tool in a lot of ways. What we're going to do with symmetry on, we're going to turn down our radius. Okay. Let's go to our move tool, turn off the symmetry and just pull down making it deep but not too deep. Then we're going to go back to our planar. By using that, it makes it deeper. Take our drag tool, turn down the radius, and turn down the intensity, pivot to the top give it the shape as though it's been melted some. What we also want to do go to the flatten brush and flatten out that edge just randomly. Go back to home. Well, that's all for lamp part one. We've got our candle ready. Now in part two, we'll be moving on to make our wick and fire. See you there? 5. Sculpting the Candle, Wick & Final Refinement: All right. Now that we've built the candle shape and hollowed out the top, we're going to use the grab and plan our tools and move forward to finish the rest of the candle. We're going to add a candle wick next. Then we'll sculpt a simple stylized flame on top using a sphere. The first thing we'll do to help as a leveling measuring tool, we'll go up to add, and then we'll select plane, pivot up top, and as you can see, plane has been populated. Click validate, then so that we can have a better visual. Something I like to do is we're just going to paint it red, go down to paint like we did before. Painted the red of your choice. Whatever is going to be the most noticeable. This won't go into our final model, but it'll help us for leveling, using the tube tool and just help us measure where we're going to be working spatially. Next out of the paint tool. Go to the front, then go over to your brush panel, select this new tool to tool called the tube tool. As we go there, we'll see all of these different options for curve and path, for this, we're going to select the curve. Then what we're going to do is go back to Gizmo. Try to get a close approximation of where it is where you want our wick to be, go back to front, pivot upwards. Then we'll go back to the tube tool I mentioned earlier. Click on the candle. Then we're just going to start to draw up. If if this menu ever gets in your way, for instance, here, just click this arrow and it will move. Now what we want to do is we can click this green button here and that is the same as validate it's pre authorization rather. Let's go ahead and validate it. Then we'll go back to our Gizmo tool, pivot to the right. One thing you can do also with the Gizmo tool is you can move it from the center just to move it around freely. Normally, you want to use the arrows because it's more accurate. But if you're just moving something over like that, it can be quick, then we can just adjust it by rotating. Zoom in, place it down, back to the tube tool. Put another tube, click the green button, go back up to the hierarchy, make the previous tube invisible. Then this radius button here, we're going to click that. Then if we go up to the orange, we can start to narrow out. All you have to do is just click this orange dot here and then drag it over and then we'll narrow this one out, keeping the bottom brunt but the top pointed upwards. We're going to validate. Make sure it's going in the right direction. Then come back to the tube that is currently selected, clone it, then we're just going to rotate it to where it looks like a wick. First thing we're going to do take these two here, and then we'll just delete these. If you made any mistakes or one that didn't come out right, it's okay. You just go back just like I did, and I had a better idea of where the tube was supposed to be within the spatial environment on the candle. Let's delete these. Then what we'll do is we will use our join button here, join them, and then we'll separate them. That way, it's very organized. To keep things organized, we'll rename them now that we have them created. Select all of your WIC objects. Then we'll come back over to our brushes. Select charcoal almost black. Now that we've got that, take the drag tool. If you want them a little higher, for instance, one lower like this. All right. Now that we've got our WIC, let's go back to home. Then what we can do make our planes tool into its actual name, make it invisible. Go back to our candle, you select all of our wick sections. Then what we want to do is add a quad sphere, scroll back, go over to your tools panel, scale your sphere down, temporarily take the wick out of the candle, turn off the candle or make it invisible. Then go to your quad sphere, find where your wick is, make your sphere much smaller, zoom in, make sure it's small enough. You want it to be probably about here because we're going to be forming it and it's going to deform and be a little taller. You want to keep it here, validate. Then we're going to turn on our wireframe just so that I can show you. As you can see, it's the same as in our first lesson, the same amount of meshfaces, the same complexity. Sometimes to do more complex shapes, we have to increase the amount of polygons. Polygons are mesh faces pretty interchangeable, but we have to increase that amount and how we do that, so we can go over here to this voxel button press Okay and now it's got way more. We can customize this in the settings, but I won't be going into that until a later lesson. This is mainly just a preview to show you the voxel capability, just in case you need a higher detail polygon count. Higher count usually means a higher detailed model. So that's where the terminology comes from. When you think of low poly, it has less of these. All right. Going back to the lesson, go to front. We're going to turn wireframe off, and then we're going to go to the drag brush. We're going to turn up the radius, keeping symmetry on. Then we're going to try to give this a pear shape that's dented or like an egg sculpting a single flame. But really just giving overall shape to our flame. Whatever it doesn't have to look exactly like mine, as long as it looks similar, and similar composition. Now, go back to wireframe and you see our shape is vastly different and it's displaced, which is what we want. Turn off wireframe, back to front, collapse your hierarchy menu. Then what you want to do is go to the move brush, turn off symmetry, and then just start to make unique adjustments return to the drag brush, turn down the symmetry, turn up the intensity, go back to front, then we're going to start pulling out. You want to make sure that when you're at this phase, that the symmetry is off and just making dips, pulling, just thinking about the way that you want your flame to look, we pull these out to the side so that that way we can take this surface top, pull it up, bring this in just a little. Make some flames over here. As you can see, Nomad Sculpt has a great way of figuring out what surface you're intending on touching. All right. Then we're going to go over to this smooth brush and start to just smooth it out. Turn down the intensity to about 40% and then sprays over it. But not too much because we don't want to shade it, smooth it out so much that it ruins our form. But if you do happen to do that, you can just go back and fix that. Maybe even give us another flame. And see if you notice any of these lines, it doesn't have to be perfect, but it helps to smooth them out, at least for this fire. Back to home now that we've got our fire. Now, what we're going to do, make sure that we have it selected. I'm going to name it, red, underscore, fire. Then as you probably assume, we're going to go over to paint, go to red, painted red. Then to give it transparency, we'll go over to this tab, the material tab. You can go ahead and close paint by just clicking in the space, go to additive. As you can see, now it's clear. We can control the opacity. Want to keep it about right here so it's lit up so experiment with those as you like, but I'm just going to keep mine here right now. All right. Then we're going to go back to the hierarchy, clone our red fire. Then we're going to go over here, go to the orange paint. Rename it, then go over to our Gizmo tool, scale it down ever so slightly, clone again. Go ahead and rename this while we're here. Then once again, we go back to our paint. Back to yellow Fire. Make the yellow one and red one or orange one, much smaller. Select all of the fire layers that you just made. Then what we'll do is go to add and we'll select this group icon here. Because when we do that, it sets things up in a very organized way in where we can collapse and expand our group. We're going to rename it and we'll just rename it Fire Group. Another thing you can do is go to the red fire, of paint. You can turn symmetry on if you want, maybe give it some of those other colors right on the bottom, and have the radius. But if you liked it the way it was, that's fine too. Is just a little extra detail. You can always use the De tool to get a color. Like I mentioned, it doesn't have to look exactly like mine. Just sewing the techniques to bring your own interpretation to life. All right. Now that we've got the painting done, we're going to go and save. Want to save our progress as we go along. Just click Save, then go home. Go back here and if we select just the fire group, then we go down to Gizmo tool, select here, go back and just try to scale it down. You select that. Actually keep it selected, then select all these. Then we'll add them right to our candle, make our candle visible. Then we can adjust all of these all at the same time. Go home, go to our lamp top, make it visible, go down to our lamp center, make it visible, lamp bottom, central glass. And if you want to keep the center glass off, that's fine. You think this looks better for your setup. But from now, you've just gotten your first model completed. Should be very proud of yourself and enthusiastic and ready to move on to the next lesson. I look forward to creating it for you. 6. Complete Axe Workflow: Planning to Polish: In this next module, we're going to be creating this X you see here. Seems intimidating, but I'm going to walk you step by step through it and you're going to have something close to similar to mine. As you can see, it's quite flashy and metallic. First thing we're going to do is go up to our folder, pure, create a new project. Yes. And instead of deleting the sphere like we did last time, we're going to use this. Let's go ahead and name our project just for good practice. I've named mine X module. Now collapse that and we're going to be using a few new tools, but a lot of them we're already familiar with. The first thing we're going to do is go over to our move tool. Then we're going to increase the radius and intensity as high as they'll go, have symmetry on. Then we want to try to make a straight vertical line pocision ourself you can even be a little bit outside of it. Then we just squeeze those together. It should almost look like at this point, a doughnut without a hole in it. But then we'll go over to flatten. Smooth. Turn on the wireframe. Turn off the wireframe. Keep it on if it's helpful. Sometimes in the way of seeing these blemishes, it just depends. Go to crease, then try to draw that inner circle. Smooth it out, lower the intensity, lower the radius, making circles again. Then we're going to head over to the Gizmo tool, click back, thin it out till it's almost razor blade thin. Go to home, we're going to take our Gizmo tool. We're going to rotate to 90 degrees. One thing you can do is look around and if it's not exactly 90 degrees, a little trick you can do is go up to the Gizmo tool, and as you can see, it's at 86. Just click on that 90 and there we go. Then if we go to front, it's now front facing. Then we go up to the move tool once again, and then we're going to create an oval just by dragging and moving it around. Looks close. Right. Now, what we'll do is turn down our radius so it's not so distracting. Make sure you're at home. Then we're going to use a new tool called the Trim tool. We're going to turn symmetry off. Then we're going to try to come right to the center and what it's going to do is when we create these holes, it'll trim it off and delete it for us. Come to about the center of the object. If you need the wire frame to help gauge where that is, then that is fine too. Front here. And then go to the bottom, try to get the same or close to the same curvature as you did before. All right. Turn off the wireframe, make sure you're at home. Then we'll use instead of using this ellipsis or the circle, use this square or the rectol here, turn back on wireframe, find your center again. Then as you drag this, try to get it evenly between the two blades. Right. If you've got a little bit of trim where it's not exactly even, do the same thing. There we go. Remember to save as you progress. So that way, you can always go back in case you made a mistake, but you can always use this back button here to do the same. Go back to view. And remember, just with these menus, all we have to do is just scroll up and down. Now the next thing we're going to do is look at our hierarchy. We're going to name this axe blade, then we're going to come up and we're going to add another primitive. We're going to add a cylinder. We're going to go back and as you can see, these nodes, they load, we want our cylinder to be a radius that conform to the space that we just cut in, go a little closer. If the ends of the blades here are intersecting with this, that's totally fine. We're going to lower this. Go back again, lengthen our cylinder before we validate it. If you validate it by accident, you can always press the back key for that as well. Let's see how tall it is in proportion to our axe blade. Two, validate label and name. Let's go ahead and give this some color. Click on the X, go back to this paint panel over here, click on your materials, select this material. Then just click the paint icon or the paintbrush icon. Experiment with the roughness. There we go. And as you can see, all the work that we did when it looked more like a doughnut is showing giving our axe a little bit of depth. What we'll do is we'll go back over to crease. Now that we've got everything painted, we'll turn on symmetry, go over here, and then just retrace our line once more. All right. Now that we got that, smooth it out a bit. Turn down the radius, try not to affect the top edges. All right. Onto the next part, we'll go back to the hierarchy, go back to our handle, we'll clone it, then we'll do a boolean cuts like we did last time, but we'll use our handle in order to make that cut so that here around the axe, the surface is more rounded. Have this selected, then go up to axe blade, then go up to booling. Click Boling. As you can see, it's just a little more rounded here. Go back to home, go back to the cylinder or the handle. We're going to clone that. Then we're going to go over to our Gizmo tool, make it slightly larger. Just go ahead and paint it. I'm going to make mine into a leather color. Then we're going to take this, scale it down, put it at the end. Scale it down just a little more. Go back up, rename it. You can keep AX handle and just add what material it is or some indicator. We're going to clone it, then bring it up, zoom in, scale it down, bring it up. Maybe we want to make it wider. We'll come here, use the drop tool. Maybe it will make that little darker. Copy it again, make the size a little bigger, scale it down, drop tool, go back to our cylinder paint all. You just now created an axe, using clones, little bit of pooling cutting, and using creases to make it more stylized. See you in the next lesson. 7. Complete Crate Workflow: Frames, Planks & Alphas: Hello again. Welcome back to Nomad. In this lesson, we're going to make this stylish texture crate using a few new techniques and new tools, and we're going to streamline a lot of it using our Gizmo tool here. So, let's get started. Let me first make my showcase version invisible. Then we go up. And if you need to go ahead and create a new scene, Go ahead and do so once you've done that, join me back here. All right. Remember to create a new scene, all we do is come over here and just click New, back to the lesson. Next, what we'll do is add a cube, validate. First thing we're going to do is we're going to make the RIM here. All right. So let's go ahead and paint it the color that we want. Go to materials, then select this bronze. Then you find the color that you want. I'm going to go with a darker copper color. Maybe you'll turn up the roughness just a little bit, paint all. Now we have a reflective cube. Now, go to the front, what we're going to do is add the word crate with underscore just so that we can have easy naming conventions. It can be create this, create that. We can even go here and just go ahead and copy it. We Control C or here. That way we can be even more efficient with our naming conventions. Next thing to do is clone. Then what we're going to do is collapse our hierarchy. We're going to span that one that we just created out. Then we're going to go to our right over here. While our Gizmo tool is selected, we can move it manually, but we also have this panel over here, of course. This will allow us to be able to manipulate it with precision in real time. See how it rotates it with the Y axis, this, allows us to do the same with scaling. What we'll do is go to the Y axis. Then for the scaling, then we'll put 0.9. Go back up 0.9. 0.9 on the Z axis. It's important to know our axes, but if we get them confused at any point, it's easy fix with the back button. So what we want to do is make it to where that there is a border that is around this. Then we're going to go back here, clone, go back to our gizmo. Now that we've got our scaling, correct, what we should do is then start to rotate so that it is going through each of these sides. We have one of these create ones going through each of these sides. Instead of us having to manually rotate each one, we can go here and there we go. Clone take the Y back to zero, then go to the Z axis. And there you go. I did all this just in this one menu. Then just like before, we're going to use our Boolean operation. We're going to take all of the crate duplicates that we just manipulated their scale and rotation, and then we're going to select all these. Then we're going to go to Boolean, quick Boolean, and there you go. Got our first part of our crate. We'll rename it crate cage then we'll add another cube, validate, scale it down just some. Again, scale that down just a little bit. Paint both of those. Do another boolean. Paint this one lighter color and go up to skin. The reason we did that twice is because it gives it a nice bevel on the inside. All right. Turn on the wireframe. Let's narrow out. You're probably thinking, what are we doing next? We're creating the wood paneling that is going to go on each of these sides, we're going to do it efficiently, and I'll show you exactly how. The first thing we're going to do is clone, go here to the front, scale down just a little, go to the side, and similar to exactly what we did with the first cube, we're going to do the same thing here. Do another boolean. Maybe we'll make that a little taller, so it fits in our little grooves there. Then what we'll do is clone it again, instead of moving it like this, what we'll do is come over here and we'll grab that, go to the number and keep going going going. There you go. This will doing it manually, you'll know and you'll grow an instinct for when you need to do that and when you need to use our matrix menu right here. Now that we've got that, what we want to do is take one of these out go up. Because when we copy these, what we're doing next is we are trimming off the top and bottom so that on the top and bottom of the crate, we don't have overlap. So it's consistent looking on each face. Let's go ahead and do that. Let's go down to our trim tool. Go here left. Another thing I wanted to show you was this camera. If your camera is in perspective, it is more first person, like the perspective of, say, if you were looking at it in real three D space. Not to say that orthographic isn't, but it gives you more of a two D perspective and that perspective, it dictates what has been cut. So if I was to go here and cut this go to view, seems a little off. So it's just a good idea to stay in that. If you're not in it, just a little tip, just go to orthographic. Go back to left, go to the trim tool, go down to our rec tool, and what you want to do is this first row of horizontal squares. You want to try to get to close to that line as you can. You have a little bit left, just go ahead and just trim it right off. All right. Now that you've got that, what we can do is go down to the Gizmo tool, take back. Make them a little taller. Then what we want to do is bring them over here, over here, grab our other panel sets, take them over here. Remember to save your progress as you go along, save Okay. Now, turn off the wireframe. Now what we want to do is go here. Then we want to click Add. And the same as we were using radio school in previous lessons or as we will be using in future lessons, we're going to be using this array, which is very similar. So what you want to do is just click array and you're going to see this array object be parenting your box, close the hierarchy menu, so that way we can assess this array menu here. X axis has two counts. With this tool, if I was to increase it, see it almost builds a ladder. So what it does is it creates an array or list, so it creates duplicates that we don't have to clone and position every time that we can position the same or very similar to the way that we do this menu. So if you did well with this, this is very similar controls. All right. So what we want to do is we're on the X axis here. We want to increase So come to the Z axis or it'll either be the Z or the X depending on what side you have each of these sets, whether it be the broken square or the unibody square. So in this instance, have them here, drag it back if it's projecting that way. Then we're going to deselect this. And we're going to go over to size. What this offset will do is help us to decide the gap in between each. I want to have just small creases, then we can, of course, come over here and fill in. Maybe we'll take this over some and don't validate it yet. What we're going to do is come over here and do the same exact thing. Add array, over to the Y axis or the Z axis and do the same thing. How many did we have over here? Seven. That typically means we need about seven here, then space them together. Add a eighth one to that. All right. So then when you're happy with them and you've got them validated, come over here. We'll validate, yes. Do the same here, validate yes. And then we'll name this. One thing I wanted to show you quickly was to select everything say in this list here. You just select the top parent here, double click it, not over here, but over here and it should select or deselect the entire category. Name NI panels. I'm going to go ahead and join those together. But first thing, join name. That way, when we look at it, we know exactly which set it is and then what we're going to do just so that we can easily fill in the space in between, I going to add another cube. We're going to go up here, go here, paint it a dark almost black color. Then what we're going to do is just come over, validate it. All right. Let's rename that. Crap core. All right. Awesome. Now, what we're going to do is get these arranged. Let's go ahead and make the crepe cage and be parenting the crap core. The next thing we're going to do is we're going to texture these. You should find within your materials, you should find a provided texture file. I'll teach you how to make your own textures in a later lesson. But for now, I've just provided one just so that we can get familiar with texturing. There's different ways to texture. But with this example, we're going to be using what's known as an Alpha image, and we're going to paint on the textures. The first thing we need to do is come over to our paint tool. We're going to use our drop tool to make sure that we have the same color. As are wood panels. Then on your desktop or another designated location, I've got mine on my desktop here. All you're going to do is just drag and drop it into the scene. Then once you do that, you're given a bunch of options that might seem confusing. But don't worry, we're just going to select textures here and it automatically knows use it as a texture. We got two options here. You can do this, make it look more animated like and how you select them is you simply just go beside the option. For this, this is going to use the white in the image and turn that into color. Almost like giving our brush a filter that we can project onto the mesh. What we'll do with this one is we'll go back here to make it blank and go to roughness, select the same having symmetry on so we don't have to do so much. As you see it affects the other side. I think that's a little too intense. Let's turn down the intensity and just go slowly and be intentional. There we go. Se it's starting to look more like actual wood. You just slowly paint it in B when you paint these textures, it's going to be sensitive to how long you're going, how hard, but we're just painting the texture on. Go over to your open panels and we'll do the same thing. See, I've got a little bit of difference because some of them are a little harder than the others. Then we're going to take our panels and line them up here. Another thing to mention before we end the lesson about the hierarchy is when you have it folded in like this, makes it more organized and makes it easier to select collective objects. Well, I hope you really enjoyed making this crate as much as I enjoyed making this lesson, and I hope that you find your own creative variation that has a similar proportion and look to mine. But with your own individual touch. I look forward to seeing you in next lessons where we'll utilize a lot of the tools that we've learned within this module and previous modules to catapult your skill and creativity even further. In the following lessons, we'll be covering more of these interface settings here. That's coming up. So I've tried to get you familiar with some of those settings so that we can build on that skill and expand our tool set of capabilities. Thank you. Se you in the next lesson. 8. Organic Sculpting with Reusable Parts: Lathe Tool Vase & First Flower: Welcome to the next scene. We're going to create some flowers today. First thing we're going to do is delete this sphere, then we'll add a tube, scroll back tube longer. Click this radius button and it'll give you different options for you to be able to change the radius. We'll just make this top a little more narrow and you can even add points just by clicking on this yellow line. Try to keep it consistent. There's our first stem. Then we'll validate it, name it. Then we'll make it invisible for now. Zoom in, then add cylinder, add one of those. Then we'll make adjustments to it, creating our petal or the foundations of our petal. Go back to the top, validate, then go over to the move tool, turn off symmetry, turn down the radius, and start to form our first petal. Give it a little bit of a slope pulling in, not just out into the mesh, increase the intensity just a little more, smooth it out. See how that keeps happening. What we need to do is first undo. Then look at our wireframe and see the wireframe mesh is pretty simple. What we need to do is we need to make this have more density. Go to Vauxel, zoom in, turn off wireframe. Now when we go in, you can see that we're not having that issue so much. I just keep smoothing out. Rotating around the object. You can see now that it's giving it cleaner edges without us having the previous aforementioned problem. Another thing, see, I had the smooth edge brush on. Just keep smoothing it out. Another thing you can do is to come over to the flatten brush and turn down the intensity on that, zoom in. If you go to the edges after you're done smoothing it out, that'll also help with some of our edge problems. As well as give it a little more dimension. Go to smooth. Continue smoothing or you just flattened and any other areas that you might have missed? All right. Great. Now, what color are we going to make our flour? I'm going to make mine this teal color, I think. A all dry brush, if you want them a little bit, you want your petals to be a little more long, a little more narrow. Then what we're going to do is add a new kind of object called radio. You see, once we add radio, it gives us almost a mirrored reflection or a radial reflection of our single object we just made. If we change the access point, it changes where it duplicates. Since we're making the flour, we want to do radial Y. To increase that number, what we do is just increase the number here, just by going back and forth. Then once you've completed, you just validate it like before. Let's go ahead and join all of these. Great. We've got a great surface here at the bottom so that we can start to move it down. Axle, smooth out some of these mistakes. Turn up the intensity, turn down the symmetry, turn down the radius. Then we start to make our little first flower. Smooth that out. Make sure when you're smoothing, not to smooth those edges, though. Then we come back to home. Let's go to our gizmo tool, get the shape a little more narrow. All right. So we've got our tulips. We can come here. Oh, can't separate them. After you voxel them together, you won't be able to separate them. Instead, what you'll have to do is you'll have to go over here and just go back in case you want to change something or make mistakes. But as you can see, doing the radio form was fairly easy. So what we'll do is we'll go back. Just so I can demonstrate what we just did and remind you of that handy tool. I'm going to go here and then we'll go to our tube tool and we'll start creating more of our flour. Make sure you get this to your liking. Making a little Hawaiian flour, give it some randomness and its curves. You can add some pivot points then validate. What we'll do too close. Then we'll add a sphere, scale that sphere down. Come back. You can easily click here to get the Gizmo tool to come up at any point whenever you are sizing up your object before validating, making it small. Move it right over here. Zoom in. Then we'll take our tube and our quad sphere. We'll join those oxyl clone, then we'll rotate another one or the one that we just made. Let's make sure that we name these and name it to a convention that makes sense to you. Then just clone that and do the same thing. Pivot it, do the same to this one. We can just clone those so that way we can make more. I'm trying to make sure that these make sense in their placement. How if you notice they were overlapping, we can even change the scale of them just to give them even more of a difference and also to help with the not overlapping so much, making it aesthetically pleasing. All right. Make sure we've got that centered. Go to the top. We're going to add a cone down. As you can see, we can change the scale if we want, get it to be about the size of the flower itself, maybe a little bit less. We're going to invert it rotating it, go over and up. See, not in the center. What I can do though is I can go up here. And use my move tool before we proceed with using the cone we just created, do the next part. Then we just gently move everything back. One of the great things about plants and organic forms is they don't have to be exactly perfect. In fact, that adds more character to them. I want to go over here and just start getting it inside of there. If your rotations got off, select the next one. Now that we fix that, we'll go back to the cone, go to the Gizmo tool. Try to get it as close as you can. All right. Then if you have any of its mesh exuding from the flour, what we want to do is go to the move tool, make sure that symmetry is off, then we'll just move it in just like we did the SIMS. Go to the side, and then we'll start to fill it in. Make sure that it's still staying within the flour. Go to smooth. Go to this new tool called stamp. I'm just give this a little bit of texture for later and just keep spreading on top of that surface we just created. Then we'll go back to paint. Painted the color of your choice, and you can paint multiple objects at the same time. Let's go back to our stem, make sure that all of this is deselected. Gizmo tool, then this will bring up all the objects we just made. Match it up with our stem, and there you go. We've made a great first step with our flowers. See you in the next flower lesson, we're going to move quickly to assemble a few more flowers and get the stem to match our flower so that it's more congruent with its shape. See you there. 9. Sculpting Additional Flowers: Continuing from where we left off in our last lesson with the flowers, we're going to place our placeholder stem with an actual stem. First thing we'll do, go over to the tube tool like we did before. But this time we'll have a bit more precision. Take the tube tool, go over to curve, then just draw straight down. He's given us a tube. What we want to do then is take this orange dot here, narrow it out. Go up here. Then what we can do is just move all these and as you noticed, I made this a little longer than it should have been. All we got to do is just overlap these and then it'll combine them. Boom, overlap. Take this up just a little, move this over, go over to our hierarchy, go back to the stem, rename the stem. I'm going to rename mine, proxy stem. Rename the tube. Blue stem, it's not blue necessarily. That way we can keep things organized. Collapse, validate, go back. Let's go closer. Remember if you made the same mistake I did, you can always go back. Then we're going to go up to this orange, narrow it out to it's about a little bit bigger. Go over a view. Just line it up. Then we're going to validate. Then we'll go over to our tools panel, go over to move. Make sure that your radius is about here and your intensity is about 41, 40, move a little closer. Then we're just going to start to pull that up. Give me a radius a little smaller. Go up top and just pull that in up top again. We don't want any of the edges of our stem to be protruding out. Now, trying to make the leaves for our stem, go back to home, go over to our hierarchy menu, then go up to quadspere just like we did with the sphere in an earlier lesson where it started off as a sphere, but then it ended up being something did not look like a sphere within our X lesson. We're going to do something a little different, go ahead and validate. Then use this trim tool here, go to line, turn off symmetry. Then I'm just going to start to draw a line. It doesn't matter where you draw it, but it helps to just have an angle that you want the line to go in. What'll happen is you can rotate it around. What we want to do is we want to cut this sphere and make it into an inverted dome. All I do is just release, and it's gone. Go up, go to our Gizmo tool, zoom in. Get this right outside of the stem. Then we're going to go up, go to our move tool, turn up the radius, go to the bottom, we're just going to start to push up and push down, lower radius. A little more here closer to the stem inside of the inverted dome. There we go to the bottom, increase our intensity and increase our radius, we're just going to try to almost flatten it out just to give it a little bit of shape. Then we'll go down to our Gizmo tool, go to front, make it more narrow, go back to our move tool, take the top here and just drag it out, so it looks like a petal or a leaf. Maybe we'll lift the sides. Increase your radius accordingly. We bring it in. Take your drag brush, increase the radius. We want a little more point curve in it. Smooth it out just a little bit. Then what we'll do we'll go down to the crease brush here and we'll make our ins. Let's make our first one. Let's give it some color. Find a natural green, go here, change it to that skin material, go the green paint all and we'll just start applying that. Now, as you can probably see, it looks a little messy here in the mesh. Turn on the wireframe. What we'll do, we'll click Voxel and that'll make it a bit thicker. Then we'll turn off wireframe, go back to our crease. Looking much better now. Go to smooth, turn down the radius, just so that we can get that cleaned up. The intensity, clean up our edges. After you revoxl, it gives you more polygons, more faces to work with. Get this cleaned up down here. See how that's looking better, smoothing out the edges. Even smooth underneath while you're there. Don't smooth out the bottom too much. We want to there'd still be a subtle indication there that there's veins there. Now we continue, go back to the crease brush. Let me just draw those in. All right. Go to smooth. Then if I want this a little straighter, just move it around. There we go. If I want this to have a little bit of a drop off like that, go over to smooth, just raise right over the there's still an imprint that they're there, but it's not as now to draw our next two, we're going to zoom in, go here, go to the curve and then just draw from the stem to the flower. Leave. We'll do just go up here, click this top one, and this allows us to have more options for what radius we're going to affect. As you can see, the only one was selected. This one was the only one we were limited to changing, but we can expand it by just clicking and see now you have even more. For this, we're just going to use these two, narrow it out, arrow the bottom, and just match it up. Making it narrow but not too narrow. You may even notice on your leaf, there's some more smoothing that you want to do. For now, what we're going to do is validate. Go here, paint all over here, go to the smooth tool, select our leaf, turn down the radius, Sometimes when it's just too close, just like to go far back because once you use the smooth tool enough, you'll get the feel for it. Let's go ahead and make our stem green as well while we're at it. Paint all, go over here, rename clone then what we're going to do is go over to our Gizmo tool, turn it 90 degrees. Forgot to do one thing. Just rename it STEM for now. Deselect, Blue Leaf one and STEM Join join now. Then we're going to do the same deselect to these, join try to line it up. If you have trouble using the arrows, sometimes it's just more useful to grab the center here. Just manually move it. Make sure that's connecting. One thing you can do too is that if you notice the Gizmo tool is down here, we really want it to be center here, correct? The center is called our pivot point. Our pivot point, how we can fix that we come over here to pivot in our menu panel over here, select that, select center, then select pivot again. There you go. Simple as just a few clicks. Go closer. Pivot it up, move over. There we go. We've got our first flower completed, we don't have so much to manage. We're going to take all of our stem parts and join them. Then we'll do the same with our inner flower. Then we'll take clone our stem, drag, click and drag outside of the blue flower hierarchy. Go home. Then we'll make our next flower. What we'll do take this one over here, go to our blue flower, make it invisible, all of its parts. Then we're going to go up to add. We're going to add a sphere, validate go up to our MOV tool, increase the intensity and the radius, make sure symmetry is on. Now we're just going to move similar to what we did with the leaves. But we don't do quite as much. Pull down. There you go. We made our first petal. The drag tool. Go to the Gizmo tool, bring it up. Tilted. Then just like in our last flower, we're going to use a repeater, so we go up to radio. As you can see, when you use radio, it goes on different axes. Put this right here. Scale it down. Let me get a small as that top stem. Okay. Now what you're going to want to do when you have that moved up here the stem so you can see what I mean. Going to go to that. Stem, click all of these. We just made Join, then add another sphere, validate, go back to home, take it up here off to the center a little bit. Zoom in. This doesn't have to be exactly on there. We're going to fix that in just a moment if yours is not exact. Then what we're going to do is come over here to the move tool. We're going to start to make our first pedal. Go to the gizmo, in and out, mount too thin, go back to the move tool, lower intensity, go to front. Start to make it look like a flower petal. Moving these out. Turn symmetry off. Just make it. Fold in just some stick this in. Go to you smooth.'s go all around it. You want to have smooth about right here a lot of the time. Out's a little bit softer now. You need something a little more aggressive. Okay. Got our petal done. Let's pick what color we want. I'm going to pick a pink, I think. Then we go to paint all. Get a lighter pink than that. A Gizmo. Pivot it open just ever so slightly. Go back to your hierarchy menu, put a ad. Then we're going to click Radial again. Turning that around. Centering the pivot just to make sure. All right. Great job. Now that we've completed flower part one and part two, let's go on to part three, where we'll take the stem that we just created and make an additional flower. Looking forward to creating these flowers with you. 10. Petal Variations, Detailing & Final Balance: Continuing from where we left off, we are going to make our second flower. We made this first one here, very animated, ready for you after you're done with the course to go back and modify however you see fit, but already looks very expressive. So what you're going to do is you've got your copy and clone stem that we made. I went ahead and taken the liberty of renaming mine purple stem, and I'll show you what we'll be making by the end of this module. Something else I did is as I went along, each of these stems is a little bit different color of green, so it's easier for me to arrange them. But we'll get to that. Got something that looks like a hibiscus or something and a sunflower. Well let's get started. First thing we're going to do is add a sphere, validate. Let's move it over so it's already close to where we want it to be destination. Zoom in, go to the front. Rather, it just stay in the back. Zoom out just slightly. Then we're going to come over here to the Trim tool, go down to our rec tool, make sure that square here is deselected, because if it's selected, you can't customize the square and its dimensions. But once we unclick that, you go any shape of right angles that we want. About this much, only leaving a quarter of the sphere left. Go back up to view so that we can pivot around, go up to the move brush, turn on our wireframe, turn off symmetry. The reason I turn off symmetry is because if I were to pull it it's a little off center, right? It's because the axes that we just cut, I go back to the Gizmo tool, the axes that we just cut that on made it to where that our pivot and our shape are a little different. Sometimes turning symmetry off and just taking your time and trying to achieve symmetric results is a good practice anyways. In this instance, it's really necessary, just wanted to explain that. We're going to go back again. Going to go to the left, go back up to our move tool. Pivot upwards. Let's go ahead and give it a little bit of a dimple, I guess, give it some character. But just subtly touching it. Turn off symmetry. Pushing each side up, secure the back, increase the radius, increase the intensity. And see because we pulled in first a little bit, we already have some curvature on the inside. Side maybe pulling out just slightly. I will make the bottom little bigger, but still keeping the top narrow. Trying to get it close to symmetric, but not exactly there. The way flowers in real life are. All right. Then we're going to go and paint it. Want to go and select skin or something organic, paint all, turn off wireframe, go with a smooth brush, I'm going to start to smooth it out. You can keep on wireframe if that helps. But I find that having it off sometimes really helps me to see some of the things that I might miss while it's on. We're going to go to Vauxel Keep smoothing. The vaxl will make our mesh thicker, turn on wire frame as you can see the difference from before. One thing while we're smoothing this out that I'd like to mention is that a higher polygon count makes for greater detail, but the higher the polygon count is when it comes to three D modeling or gaming, making games, it's more taxing on the system. We don't really have to worry about that. If you go up top, you'll see how many vertices we have. These vertices are the lines here. The lines connecting is what makes up our mesh faces. Keep on smoothing out. If you want to keep it a little rough around the edges, turn this down. Another thing is you can use edge smoothing that's more specialized raise over the edges. This is going too fast, you can press shift. While you're pressing shift and going up, should go a little slower. Another thing you can do to get some of these edges out is turn down your intensity on your flatten brush and turn down the radius of it. And and because I have it so intensity is so low, I almost acts as a little bit of a stronger smooth brush. So some of these brushes at different intensities can be modular and do outside of what you think they would do. Just a little advanced tip. G over to smooth, and then as we smooth it out, it should be a little easier. All right. Looking great. Turning up the intensity of that smooth. And with things like flowers that don't have to look exactly perfect, once I get to the stage, and I need to do some final smoothing. I just keep smoothing all the areas until it looks exactly like I want. Now let's go down to our Gizmo tool, thin out the brush. The petal, thin out the petal. There we go. Take this back, give it a more of a in case you want your pedal a little thicker. Then we'll take our move brush, trim down the intensity, turn down the radius to about here. Then we'll give our pedal more shape. Turn down the radius here just so that the radius is about the radius within the petal. Our petals bottom. You can have this any color that you want. Since I already have a purple one, I'll do a different color and make sure that I go here, and then I name it Sian go ahead and take the stem that we're going to use and rename that. Another way you can rename, of course, is Control R. Right now that we have that, let's go to our paint brush. You can do this if you like. I'm going to select the next color here. I'm going to increase my radius just ever so slightly to decrease my intensity. Try to create almost like ombre effect. A Okay. Now that we got our flower petal painted, go to the drag brush, get the shape we want. We'll make this tip over some Then you might think, well, I have to make all those different petals and clone them. But you can do that. But I find that just using the radio is a radio option is best, like we did last time, we're going to go here, go to radio, then go to the Gizmo tool, go to the flower. Start to adjust it to your liking. What you want to do too is if you need to just click something quickly, you can see it selected both. Double click that one object. This way, it moves our entire radio setup. And it will also zoom in if you trip aplica. What you'll see is that if I move the flower then all of them mirror that same motion. Yours doesn't have to look exactly like mine as long as it's resembling this function of Nomad Sculpt. Grab and rotate. Take sure there's a point. Scale our flour down and you can even increase how many. The more you have though, you'll have to rotate it. All right. Go back to radio. We want to refrain from validating now because we might want some variance, just a small variance in between our different layers of petals. What we'll do is clone, as you can see, it only cloneed the radio. I do. You need to have both selected. Clone. Go over to the Gizmo tool here, find it. Okay. We might want this smaller. Describe here where this yellow ring is and scale it just a little. See how much we've scaled it. Let's rotate it. Maybe we'll make it a little more slender too. Here, zoom in. Clone just keep going to each one and cloning it, going up, deselecting the radio curving inward. And maybe once we've got them stacked up, we want to show off some of that purple. If we have any overlap, we can automatically fix that by either scaling or folding these in and out, just being imaginative as we learn. Clone, move it up, scale it up, rotate. Then what we'll do? Take all these, clean up our scene, all the radials flower petals that we just created, we'll join them. Then we'll take our tube tool, draw up skinny, take an aerial view. Or view. I just combine those. If you have this issue happening, just combine them or the mesh looks like it's almost tearing, validate to Gizmo. Try to put it right in the center, scale down. Turn off our stem, making invisible. Go up to our tube, go to smooth Boxle smoothing it out. Use the flatten brush just to make it easier to smooth. Clone. Actually, rename first. Clone. I put about three of those on each side of that. Now, I'm going to paint those orange. Go over to our Gizmo. Let's find it. Let's go ahead and join these. Go over to pivot. If your pivot point, sometimes it has this offset that you don't want, this can be a great way to fix that. We're going to press Center, and there we go. Zoom in Mount center. Raise it up. Awesome. Now what we want to do is go here just so that you can get a general idea. Go here, Awesome. Then take this here, see where our stem is, pivot it up. Go to our stem, and you can move your flower back some so it doesn't have to be so far away from it. Go over to the drag tool, turn up your radius some, go here. Then we're going to drag that here. Then what we want to do is add another sphere, find that. Go to our Gizmo tool. Come up about here. You want it to be right underneath the flower. Now that we've got it there, we're going to go over to our trim tool after we validate turn off symmetry, go to the line here. It's another way you can cut and just look at the overall general direction of our sphere that we have selected. We're going to take it and cut it so that the top plane of our half sphere is pointing generally up, boom. Then we're going to go over to our gizmo, move it up, scale it down about right here. It our liking. Then we're going to go to our drag tool, turn the radius down about right here. I'm just going to start dragging it up some, making sure that we in these little crevices, we don't see any of the top face. Then we're going to go to our drop tool, paint that, go back here, paint all Awesome. Now that we've got that, I'm going to name that C base for cyan. That way we don't have to keep putting cyan in. Then what we want to do is take that, let the stem parent it. This is the parent and these are the children, then we take flour and do the same, making sure they're on the same hierarchy here. Then we're going to clone this. Then we're going to go to our Gizmo tool, move it over, prop it up, give it a brighter green. Going to change this to yellow. L add, add another sphere, let's add a cylinder. Cylinder home, then out the cylinder, bringing it out here. Validate. Go ahead and just bring it up like that, about 90 degrees, bring it up here, scale it down. This one is just an extra one just to get that sunflower that we want here, zoom this out or scale this in on the Xaxis, go to our move tool tensity, keep the sentry on. It's going to be a low poly sunflower in a mag. Just in this, go here, yellow, paint all, paint. Go back to your dismoTol, lay it flat, then get a here, add, go to radio, take this out. You see what happened there because of the fact that yellow stem was parenting the radio that we created with the flour that was being parented by it at the moment. It was using this as the radio center. But when we took it out, it used a slight offset in order to do that. This is actually correct here. What we want to do is increase that just a little validate, yes. Rotate. Let's go to pivot here. Nothing happens because that's our group parent. Join, but then once it becomes one object, we can use the pivot tool to correct that. Add another cylinder, scale it down, validate, get to about 90 degrees. Remember, one thing you can do is come over here and change just to show you an example. Throw it out, zoom in to see if it's back here. Clone, make that one thinner. Very thin. Paint all, here. Let's go ahead and take care of this one. There we go. Then what we want to do is join all these. Go over to pivot again, fix the pivot. Let's get our sunflower range. Scale it down if it's too large. Just like I'm doing here in reusing parts that I've already made, you can do the same. Go back to the stem, go back to the base, go to our move tool, to mold it to it, the radius. Pulling it in the direction of those edges. Lower the radius, lower the intensity. Your connector has become disconnected. God or stem. The great thing about three D modeling is that you can see all the different directions and sides and or drawing, which is great. You can only see one, gives you different way of thinking about it. Space and Take these two, Join. Let's go ahead and fox these smooth. Like I did here, reuse a mesh and then modified it so that I have some variance in between my flowers, even though I use the same mesh that I had already created. If you'd like, you can go back here, maybe smooth these out a bit. You know voxelize mine just so they look a little higher detail. But after you voxelize, often, you have to go back and smooth. All right. Now that we've got our three flowers remember to save now the last thing we're going to do is go over to this new tool called the lathe tool. What we're going to do is create a vase for these. Go over to curve. Starting from this line here, we're going to draw half of the shape that we want our vase to be. I'm giving mine a very hourglass style shape Walla. We have our base. Let's go ahead and scale it down some how tall we want it to be. Back here. You can always switch back and forth here when you're using some of these tools to get back to your Gismo tool easily. First thing I'll do is go here. Then I'll create the opening by going about center here. Take this. I'll show you what it looks like on top. Take this, and then how big we want our opening. A here. Let's make. Maybe a little rivet here. Then we'll narrow it out here. All right. Then what we want to do is validate. We'll go up so that we can create glass. We'll go up here to our material panel, go to additive. You can change the reflectance and the opacity is what you really notice. Well, let's just say that you don't like your opening like this one. You can go back. Go back to additive. And there we go. Turn the opacity all the way down. Move this. Let's say I want an actual hourglass in it. Shape. Do that too. Go here, decide the opacity that you want, then validate. Zoom in, rename, find our stem. And the reason we're making the stems the parents because it's going to be your natural inclination to go for the stem. And so it's just easier because it's at the center of our overall collective objects. So often we make the parent either a empty object, which I'll show you later or we'll make it the stem. So move all of our stuff This is one of the reasons I made the greens different colors because if they were all the same, would be a little confusing all these same stems. But this makes it less confusing and gives us little pops of variance in color. All right. Go up and click Save. Go to home, and let's see how they look. Awesome. Alright. Hope you've enjoyed this lesson. You've been doing incredible if you've gotten this far. We've learned how to make a vase, using the lathe tool. We've also learned how to make this different kinds of flowers, using the radio, using proper naming conventions, and I hope I've passed on a great deal of information, and I look forward to teaching you in the next lesson. 11. Stylized Creature Sculpting with Blueprints: Blueprint Setup, Body & Shell: Hello. Welcome to what might be the most challenging but fun lesson we've done yet. Today, we're going to be building this baby dragon piece by piece, texturing it, creating a shell, as well as learning a few new tools and how to use some of the tools that we're familiar with in new ways. We're also going to be labeling these as we create them so we can try to keep them organized. So we're going to be going over MATCAP and IT to help us to see different lighting and utilize it so that we can create a better detailed sculpt. With that said, the first thing I want you to do if you haven't already is upload this file. When you upload the scene, it won't come with the dragon, of course, or the wing example here, but it will come with this blueprint here. If you need further reference, I have one here, you should have one up top. And if you need even further reference, you can just go to the side conveniently. I'm going to keep these off, but just know that you can pause the video and just come back here just to look at the diagram without the model. Because what we're going to be doing is creating this. This is our framework. The first thing I'm going to do is delete all my files. Make sure to save as you go. I'm going to be saving as I go as well. You can save whenever you feel like you've gotten to a great stopping point. This is also a great way to just back up your files. If you like the way something looks and you want to go back to that, just a little reminder. Without further ado, go to the front view and we'll get started. First thing we want to do is get started on the body. What you're going to do is come over here, deselect, then you're going to add a UV sphere. Turn on wireframe. Then what we can do is if we go here instead of voxilizing and all that that we did before, we will still do that, but we can decide our division from here. For this lesson, we're going to try to keep our subdivision to 100. Know that every time that we make a object, we're going to subdivide it to 100 because that way we can maximize what we get out of our model without having so many polygons. All validate it, name it. And name it body for now. Turn off wire frame. Then we're going to go over to the Gizmo tool, come here, make it smaller after centering it, get it about here where it's touching these vector lines on the dragon's chest area. Then go over to the drag brush, make sure you've got symmetry enabled. You want to get your radius to about imagine the circumference area of this side or the length of this edge. Bring it in some, pull up. You see, it's like filling in the lines if you're coloring or filling in the dots even. But in this case, we're using mesh in order to do so. I since we're trying to really compose our body form here, I want to make sure that we've got the radius that we need to be able to adapt the radius to pulling in our needs. Make the radius bigger and you see it just pulls. When the two symmetric drag brushes are pulling and they overlap, you see it's very centralized here. But if I was to pull here, then it pulls in the opposite direction. Keep going down until you fill in that line. Turn it on wire frame, go to the side. And now we're going to do something very similar at the side. Now that we've got our side shaped. Go here, adjust your brush as needed. I'm going to keep mine here for now. With this, you're going to want to make sure because as you can see, they're a little bit ones bigger, the side is bigger than the back panel here. That's on purpose because we're going to do smoothing and it's going to change, especially on the side a great deal. We want to use this as our projected area. Plus, we're going to put a shell right on top of it, just get it to about that shape where it's not too big, not too small. Right now we're just doing the stomach bring that up, bring the back up so that by the time we get to the head, this area can cradle that head. We're going to be using the back panel here a great deal. Go there. One thing I want to show you briefly is I have this selected body say that I want to zoom into it quickly. There I go. Wanted you to get used to the environment first before showing you too much, but it can really help you. All right. What we want to do too here is we're going to create the buttotera. I want to turn up your radius a great deal. Go down to the brain area. If you have any pulling here, we can just use the drag tool to pull that down. It doesn't have to be perfect quite yet. I You may have to go back some to fix that mistake. Nothing's wrong with making mistakes. You need to use the back button to correct them. Turn off symmetry if you're flat right here. All right. That's the kind of shape that you want where it's heavier here, but lower, higher here, the slopes down. It may look large, but we're going to be reducing it a great deal. Go over to the Gizmo tool, shrink it down some. Then we're going to go over here. As in the original that I showed you, I'm going to be using metallic. If you remember, we can change our material by just selecting here. Of course, for metallic, I'm going to choose metal Just so that it's easier for me to show you some of the grooves and some of the things that we are doing. You don't have to use that. You can use something else, but it does have a cool effect. So go back to home, zoom in, go back to paint or go to paint. Let's select the color we want. With the drop tool, it doesn't just have to be a color on a mess. It can be any of these. So let's do a red dragon this time. Like I said, you choose any color that you want, any color that's offered here, then you're just going to proceed to go to paint A. The front, the side, get it smooth, turn up our intensity, turn up our radius. Turn off wire frame, see up things happening. What we need to do is now that we have our shape fulfilled, and colored, we're going to proceed to unify it in a way, or to make the mesh richer with polygons. We don't want to exceed them, but it is necessary to get richer details and refine them. What we're going to do is we're going to go over to our mesh menu. You're going to find subdivide. I've added it here. You can do that by going over to your settings, going to shortcuts, and then you just activate it, if that's easier. I'm going to be going here so that way you're familiar with it, but just a little hack that you can use. Because we have these other menus, our voxel remesh is the same as what is here. Dynamic topology, that helps us to unify. Normally, you're going to use one or all three of these. It just depends on part of the process that you're in. But if you try them out and doesn't work, just remember you can press your back button here. But for this lesson, a lot of times we're going to be using subdivide. I like using this first for using oxo remshing and dynamic topology. Just a personal preference. It's just less polygons. So I suggest that. What we're going to do is you see this bar here, that's indicating that it has a low amount of polygons. So body has this many faces. We're polygons. What we'll do, we'll come over here, we'll go to subdivide, and now it's indicating that that has increased. Go over here, and as you can see, more polygons. It's now 39.8. All right. But enough math. Let's get sculpting. Now that we've got that, turn on our wire frame, and now it's starting to be a bit more effective. Turn it on symmetry and just smooth out everything you just push and pull. Smoothing out is also good for things like this where you have something that you want to be a little more flat. You don't want to use it as a way to flatten things, but if you have meshes that are overlapping, or in this case, we're setting things up in an oriented way so this drooping can be dealt with by smoothing it out, much better, see? This is one of the reasons that when we're setting up our shape, it doesn't have to be exactly perfect. It's all about the progression of making our creation, not being the perfect shape the first time we make it. Almost looks like a dragon egg, honestly. Then what we'll do is now that we've got that smoothed out, We can do a little more shaping to it, bring this down. Try to. Then go to the flattened tool, turn it down. So if you got any trooping there and the smoothing didn't take care of at all, you can just use a flatten tool with symmetry on and it'll get you a flat plateau on the bottom of your stomach and abdomen area. Then we just graze over the shape, getting out some of these blemishes. And just do it as though almost like you're petting it so that it gets some better structured flat surfaces on the side. Go over to smooth. Now that we've got all this smoothing done, go over to the move brush. And see now that we expanded it and then reduced it by sculpting into it, pushing and pulling, it's much easier to get that shape that we want. The front, as you can see, has followed suit with what we did in the back. All right. Go back to front, go to home, zoom in, turn off your wire frame. Then we're going to make the tail. It might seem like we should make the head next, but the tail is integral part of the body. We see the way that the shell goes all the way back. That way we can already have that completed and painted. What I want you to do is go to the Tube tool, go about here, and then I want you to find the path right here and then start about here. Then we're going to go here and just creating a line, maybe a little bit outside of the front of our stomach and abdomen area. Then we'll just keep pulling that line, adding points, take it to the end of the tail, create that curvature. Now, what you can do is you can validate here or you can validate with a screen button here. Let's just do this for now. Okay, we're going to go back to the front, make sure that it's center, we anticipate. Sometimes when you're in a spatial environment, it'll look center from one perspective, but it'll actually be a little bit offset. So you want to make sure that before you proceed with manipulating your mesh that your object is where it's supposed to be. Then what we're going to do is start creating our shell. The first thing we need to do this create a tail part of our shell. You're going to click here so that you have more radius options besides the one it just gave us. Then you want to make this at any point, if these panels get in the way, all you have to do is go to them. This time it's the middle panel. Remember, if you click away from it, as long as you haven't validated it, it's going to keep our path points in our line here. If you're in the middle of doing something else with the mesh and you come back to it, it's a great option. That concludes this lesson for dragon part one, and the next one we'll be continuing to do our shell for our dragon. 12. Shaping Appendages: Now that we've got our shapes, trajectory, and form, we can start to make our tail shell. First thing we want to do is go here so that we have access to all the different radiuses, lower this, maybe combine it with that one. That way, it's not so high. Then we'll go and move that back, move this back so that it's hugging, our body mash and almost matching its curvature. Let's go ahead and give it some color so it's easier to see so that we can have that done. I'm going to choose the yellow, but I'm going to change my material to plastic, down the metalness, the roughness, paint all. Side here. That way, our radius in the back of our tail shell aren't in the way and they're not overlapping, try to widen it out. Getting the shape that you want it or the starting shape. You want it to conform to the shape in which the body is. Here it starts to slope, so we make it to where the shell also starts to slope. But we also give it a little bit of an hourglass shape or a vase, either going to work. Move that in making sure that it looks somewhat symmetrical and just be steady with it so you can get those straight trajectories when you move your mouse. All right. Now that we've got that, let's raise up our division to 100. That way, it'll be nice and smooth. Bring this in creating a slope here. You want it to be flat or flattish, and just slowly go in. And when you go in, it's going to change the way that the yellow is appearing through the red. So we just go back and change it to what we want. Making sure this is like this so that he's not too big but not too small. Go down here. I want to make this somewhat larger Then we go back here to our body, go to our drag tool. Don't worry about this fragment here. That's just reflectance from the diagram panel, ignore that. Then what we're going to do is go to this back area here where we see there's space, and we're going to try to go right underneath and just pull it down, making sure that you have symmetry on, go a little closer. Don't be afraid to change views, going closer and backing up because both perspectives have their advantages. What you want to do is just make it wrap around where the tail starts. Moving the buttocks backwards. Move this down more so it overlaps. Move here. And then flatten this out because since this isn't a human and it's cartoonish or maybe somewhat semi realistic depending on what you're modeling, we want to create anamorphic features in this one, but we want it to not look exactly like it should if a dragon was real. We're not going for realism, gives us a little more room for creativity, creating the back, but not giving it too much structure. I want to look like the tail is coming right out, but not too far. About here, going to make this very small. Zoom in, so you can see what that looks like. As small as it gets. All right. Now we're going to validate it. Then let's get this menu more visible for you. We're going to go to the Crease tool, zoom in, adjust our shell, make sure that it's ametric you should be guided by these two points here that we created. If you need to make those a little more pronounced, you can go here. Just so that you know where the top is. And this has to cradle the head that we're going to build later. There we go. Just so you know where the top is. Go back here. Make sure you got symmetry on, drag it up to those points. Maybe we'll move this in some. Go to the smooth brush. I want to smooth it out some, but not too much. I still want those subtle indicators of the shell. Go back to the body, increase the intensity, increase the radius, and we can just start to paint over. Go back to drag. Making sure it matches those lines or at least close to it. All right. Now that we've got everything we've made so far smoothed out. We can move back into working on our shell. Go to the crease and see everywhere we're going to create creases within the shell. That's why I mentioned a moment ago, these lines here that are somewhat visible. We keep those because we're going to draw right over those. Basically, anywhere that you see a sharp angle or a sharp dip that is spaced, for instance, here, here, here, maybe we'll put one here. You want them somewhat evenly spaced, just where they look good with the object. As you notice, it also brings it in. An trick I want to show you to get better lines is something we're going to be using later in another form. If you see all of these different menus here, they may look intimidating. And we're not going to get to cover absolutely everything, but we are going to use some of the most useful and accessible tools. So for this, what these do is they make modifications to either the mesh or the brush that you're using at the time. For this instance, we're just going to go to this brush icon here. Stroke is already automatically selected. There's other settings, but we're just going to worry about this for now. We're going to go down here to this, it's called the label lazy rope stabilizer. As you can see from the message that prompts up, it makes strokes lag behind the pointer position according to a certain distance. This can be used to draw smooth lines. Basically, it makes it to where when we draw the line, there's a line that follows and at the end of that line is what is actually drawing. You'll see. What we'll do is we'll turn it right up to about 80 ish. We'll come here. There we go. We'll start from the center and span out where we can get our sides and see it helps a lot with those side angles and see it's about as long or as the shell is wide. Go lower, see a dip here, just go slow. It's all about being mindful in your own creativity, being intentional about every single stroke that you make. Even if that stroke is a mistake, that's the intention of experimenting and learning manifesting itself. Keep drawing those segments. And once you start to as you just saw, once I was able to get a proper line established, then I can start to go on the outside and make these deeper if I want, go to my move brush, make this a little wider. Let's go to our side panel just to check on our tail or our middle plane here. If your tail isn't quite long enough, don't worry. Make sure your tail is selected. Move, turn up the intensity, Make sure you have symmetry on, make your radius about half the size of the tail, maybe a little over and then just start moving. That way, it doesn't get too long and then just start putting it on that line. All right. Now, if you're already at that line already, you didn't have to do that. But if it isn't long enough, don't fret. We just make the intensity high, but by just carefully pressing it and nudging it over. All right. Now that we've got our shell and our body, let's start to finish those final details on our shell up. We're going to go down to the inflate tool, which will, of course, inflate. Go to front, check to see how much. It's already a bit bulbous already, but we're going to go right below the center of each segment. That way, it creates this shadow a little bit. With these, you can go and then come back. But I recommend starting inward. Go to the right and go to segment, making it a little bigger. You notice too, that every time we do this, move that. Every time we do this, it has a tendency to blow just it up between where the creases are because what it does is it isolates parts of the mesh. I'll show you through wireframe example, let's go closer. These are much smaller. See how small these are. You have to look very closely. But the bigger the mesh gets, these faces are just a little bit larger. Try to fix my tail. Go to flatten Brush if you're having this issue. See how that came out. All right. Yours may not look exactly like that. I'm going to go ahead and trim this off using the trim tool. This lasso is amazing for trimming off excess mesh either intentionally or when you have to do a quick fix. Smooth after you're done cutting it and smooth it out. It starts the mesh starts looking disoriented in any way, doesn't have to look perfectly polished. Smooth edge is great for edges, but it's also awesome for things that the smooth brush may have trouble with. There are adjustments you can make. But for this lesson, I'm just going to be giving that quick tip because if you're anxious to get a model out quickly, sometimes just using the smooth edge in combination and just toggling back and forth can save you a lot of time. Come over here and you see all those lines that we don't want seem to be less visible. All right. Back to home. All right. Now that we've got our body and our tail shell, we can move on to the actual tail. First, now that we have this established, let's call this that we just created, the tail shell. Assess our shell, make sure that it's in the shape that you want. Just by pushing and pulling. If you need this top smoothed out. So you have round like I did, that's a really easy way to achieve it. Before we move on to the tale, I want to show you the different almost filters that you can use in order to help your model render for modeling and sculpting. I'll give you some options. The options that we're going to be using through this lesson are as follows. If you click here on your shading or what I like to call the environment, your scene environment tab, you'll see that this is It. Just ignore these. All you need to pay attention to is this It here. And MCCAP. The difference is, imagine that It is just that we have a spotlight. We're in our workshop, I guess, our virtual workshop. Being able to spot how it's going to render within the real world or within simulations that we might want to develop or game development or animation. We McCAp it gives us more of a clay filter. This can be very helpful for details or depth that we might miss while in LIT, for example, if you go here, I don't think that these creases are deep enough. So go back make them a little deeper. And you see the light, it looked nice, but it made it to where it out shadowed and outshine the shadow that we needed to make sure that these creases were correct. Okay. But you can start off and lid and you just switch back and forth. A lot of it is just toggling back and forth in between one filter and the next. Remember, just go here and here. There you go. We're going to switch back to MCCAP just so that we can get familiar with that as we do these next forms, go back to front, go to your shell. To move if that's lower too much. Zoom in, close this. Next, we're going to be making the arms and the hands. Might seem intimidating, but I have created a lesson that is going to guide us through it with ease and it might even be fun. We're going to do some painting, and I'm going to teach you a really awesome painting technique that's going to make the fingers and toes Airbrushed. They have this airbrush effect so that you can easily distinguish the fingers and the hands and the toes and the rest of the feet and the legs. First thing we'll do is go to a tool that we use quite frequently already. We'll go to the tube tool, go to Path, start about here in the center, go to this other line here, put some curvature in our arm, make sure that closed and be spline those aren't selected, we won't be needing those. Close, what it would do is make a loop, so it would close it. I think it was thicker. Go to the Gizmo tool. That's another thing about the tube tool that you got to be careful with. Sometimes it'll just draw right there right where you are, but sometimes it will be at a distance. That's one thing that's good about using these panels, especially while you're starting to learn is you can recognize that. Remember the shortcut here to get back to the tube tool, make that a little bit. Then we're going to start connecting that here, creating a little bit of overlap with the hand. Putting it right where the elbow would be. Then we're going to go here. Here. If you've noticed probably every time that we increase the impact of our radius, that one of the orange dots connected with the line pops up everywhere that we have influence in the radius, just so you can expect that when you turn them on where they'll appear, I've just been trying to get used to you seeing them before really explaining just in case you didn't understand that exactly as we've been going along. Then what we'll do is we'll start to adjust the radius, making it bigger here, you want to move this down. You may even want to put one here, so that way you can pivot in and make a little shoulder. This doesn't have to be exactly this size. I can have some varying shapes in it. Just determine what you want. I think that's pretty good as long as it's centered here, we're going to go back here and then make that 100, just like we've been doing before, validate. We get accurate color over there, use the dropper tool like I just did. We want that to be metallic. Remember, you can always go over here. You don't have to go to paint every time. It's always available. It just won't give you the paint strokes, of course. We'll go back and change it. For now, just to remind us, just select this one. And when we go back to IT, we'll be able to do a comparison, paint all Okay. G here. And now we're getting into right and left body parts. For now, what we're going to do is just put arm, underscore. Okay. Go back to your environment, scene settings, you shading right here, go to lit. Then we're going to smooth this out. It's fine. If you're doing larger areas, just having your smooth brush larger is fine. Just doing our initial shaping. Getting it smoothed out. Maybe we want it a little bigger in the shoulder here, go to the inflate tool, you can just hold down your mouse button and just pivot or just go a little bit and it already makes a big effect. Turn down the intensity. Go to the flatten brush. Make it a little flatter on top and through the middle of the bottom, smooth edge. Now that we've got that, subdivide it, go here, subdivide, smooth, collapse your menu, and then just start to smooth it out, go a little closer, see how it's looking. That's another thing. If you're a little off center like I was just a minute ago, that button is so useful. All you have to do is just click it and we'll get you right on center. If you notice you want to smooth out of top here, just go ahead on the body. Let's look at our wire frames. Okay. So usually, what we want to do is these don't have to have the exact same topology or you see how they seem smaller. We want them to be relatively close. Ideally, we wanted them to be the same, but the closer, the better. The less issues that you may have with mesh tearing and just a lot of other issues. But you won't really face those you don't if you the mesh or mesh is consistent in their topology. So just keeping track in your mind, how many times that I subdivide voxiize, like what is my average going back and checking your wireframe occasionally. But you get used to it and it just becomes second nature. And so so for instance, if this was if these were so small that while the wire frame was on and this was black, like it was so covered in vertexes, right? That that and this was like it looks here, then that would be bad topology. Just a little topology tip. The higher the topology count is in games or even in Nomad scold. The more performance that it's going to demand from the device. So to optimize performance, we keep our topology as clean as we can. All right. Getting back into the arm and the hand. We're going to turn off wireframe and then go up here, click add. Okay. We're going to click this UV sphere here. Going to go ahead and just make it 100. Then we'll go back to the Gizmo tool. Something to show you or remind you of is we can go here too. Change the scale. It doesn't have to all be done through the Gizmo tool. We have a lot of versatility in how we not only use our tools, but how we access them and then it makes it to where the sculpting process can be more adaptive. You want to take that and you want to get it about that size, then make it smaller, maybe about here where it's proportionate, bigger than these example hands here in the blueprint. We're going to go ahead and color it, validate. Name it. And just like we did with arm, we'll just name it hand. Zoom in. Then we'll take it. Now that we've got the Gizmo tool, we'll just start to flatten it out. Not too much. Where it looks almost like a non beveled hockey puck. At any point, you need to turn off these planes because they're getting in the way. They're just a cist so that you can have an idea of what that looks like. Going back here. Go to turn back on the middle plane, and the vacuum plane depending on which one I need. Go over to move or the drag tool. Start to just flatten that out some so that this is the bottom of the hand or the palm area is right above or right below where this drop off is at the arm. Making sure this is higher, about the same distance. S, don't forget to turn down your intensity because when you do that, it allows you to make more subtle pulls, creating upward movement here, backup so you can see, I will turn my symmetry off, but sometimes it helps me even if there's not another shape over here. I don't know if it helps you. If it is confusing while we're doing this, we can turn it off, I'll turn it off. I don't need it when it's not actually active. It also seemingly, if you have it off, it also makes a Nomad scope a little more performant, but maybe that's just me. Now you've got your slope. You're going to turn on symmetry or But if it's not manipulating the other side, don't worry about it. It's because I turned my sphere and made it so small and then just take and go over to the Gizmo tool. Your sizing, just in case first time didn't get it exactly right. Just take a second to make sure that it's fitting with your object. Okay. Now that we've got the shape of our hand, what we'll do or the basic shape, at least, go to the flatten brush, and we'll start to flatten out the sides. Turn up your intensity, turn up your radius, see you have to constantly pay attention to that. Just change it. Until you get perfect flatness that you want. Do the same here. Smooth, smooth out what we just did. Notice, too, that always makes our objects seem a little smaller. That's why sometimes, especially with larger objects like the body that we did, we exaggerated some so that we have room to make changes and adapt Now that we've got that, go here. Smooth that out. Maybe we want to make it a little more narrow now that we know what the shape of our hand is going to be like. Give this arm a little dip. Pushing, pulling. All right. Smooth, her straighter edge. Now that we've got that, we can create our claws. Go to the drag brush, turn down the radius. Let's keep the intensity about 40. First thing we need to do is our thumb pull up a little bit, establish where it's going to go. And then go over to the inflate, go to that same spot and start to move around in circles. For this, let's actually revert back to our MATCAP filter. Much more visible without that sheen. As you probably have noticed, it seems as though some details are easier to make in MATCAp and some details are easier to make in LIT. That is intentional. So Just keep reverting back and forth to your own discretion and come back to the video when you're ready. For now, we're going to take this nub that we made and to make sure that it goes in the right direction, what we've done is we've tried to create a starting point for that thumb. Because as you saw, when I when you're pulling the drag, it's either if you pull it, it probably pulled it too much. Maybe not enough, maybe in the wrong direction. This establishing the starting point for our thumb gives us a lot more control because it has to go in this offshoot almost direction compared to the natural shape of our sphere that we created to make this palm. Okay. So going back here, with your inflate, inflate it just a little more moving in circles. Go to the drag tool, increase your radius to about the size of the nub we just created, maybe a little more after you pull it out some. Now remember to pull it out some and then increase it because it created a little apex point for me to make it the pulling even easier. We don't want to pull it up top or from the bottom because that makes it to where we have more mistakes that we have to fix. It's feasible, but you're also at risk at pulling it upwards or pulling it downwards, thinking it's in the right direction. But as soon as you change your camera, it isn't in the right direction. Go to the side here. We're going to pull it out just ever so much, maybe make it a little bigger here, making it look like it's webbed, but also keeping it in line with our hand. Raising up the back some so it has a little formation. Trying to keep our area flat and lower the radius. Okay. Then we'll do our fingers. I should look almost like a really big mitten, at this point. This will also give us a chance to adjust our thumb if it needs it. This needs it a bit, pull it back. You want it pointed straight up. There we go. That way it's coming off the side, diagonal, but from the front perspective, it looks like it's straight up, right? All right. Then what we're going to do is start doing the same here, go to inflate again and turn down the radius to about what you want the finger to be. We're going to make three fingers spanning one, two, and three here across the top. Start to go in circles, maybe come to the side, turn up your intensity. Turn down the radius because the inflate tool can do a lot with a little. Creating our little nubs. This way we can map them out before we make them so they're not too far apart from one another nor too close, and make sure they're going in the natural direction that they're supposed to. And I got mine too far away, so I have to go back, put another one and play on words. The rule of thumb, for me, when I'm creating hands is just making sure there's enough space. So here between where my dot is and the line. That way I have some type of reference and say that I still want a little more room there. All I got to do is before I start to span out my fingers is go to the flatten tool. Go back to the inflate, then you can just make small circles. Go back to the flattened tool, flatten that out, make it a little smaller because they start off small. But as soon as we stretch these, just like demonstrated here, this little nub that we started off with that we created with the inflate tool, I started off small, but now it's much more substantial. What we're going to do now is go here, it at the correct angle, take our drag tool. And just start to pull out. Nomad has a great way of determining because you see my radius is still pretty large and it's still over this, but it has a great way of determining what we intend on picking up. Now we've got them in the general direction that we want. We can pull them out, zoom in. All right. Maybe give us some knuckles. And we're just going to pull those out, so they're just subtly there. If you make a mistake like that, smooth tool, it's great for that. Turn down the radius or intensity of our smooth tool because we're about to use it again and then we'll smooth out everything we created. We'll have to drag it again, but at least we've got a good head start. All right. Now that we've got that, check out looks in the wireframe, see if there's anything that we didn't notice that we need to smooth out back here. Maybe make that a little flatter and you can push right into that flattening that out so that our slope, now that we've got the start to our thumb and our fingers while we're here, let's go ahead and adjust our dips here because it's a lot easier to adjust them while our fingers are short than when they are tall and we've stretched out the mesh. Yeah. Moving that back just imagine you're pushing right into it. Narrow our fingers out from the bottom. That'll also help our dips. All right. Now that we've got our shape, just like before, when we got our shape, basic shape formed, we're going to go up here, we're going to subdivide once more, okay? That way, we can pull these and see much smoother, much more high resolution, smooth these out before we stretch them, just in case they get shorter, see how that's happening. That's fine. That's actually going to help us have a cleaner mesh when we do pull it out, the fingers. Okay. Now go over to your crease tool. We're going to put some creases between these having increase your intensity, put two creases in between these. They're not going to stay there, but they're going to help us to have better pulling. Now, go to the move tool. Turn up your radius. Let's try to get them all three, just a little bit. Straighten them out to your liking. You want to take that hand, lower the radius, just enough, go to the top of each of these fingers and try to move them in the same direction. You want to make them to where this one is longer, a little bit than the next. Then we'll take our smooth tool. And go over these, go to smooth edge, turn down the radius, zoom in. Now that we've used those creases, we get rid of them. Start to use smooth edge on the area. Go back to your mop tool. We make this little more pointed like our others. Let's turn off our panel. Just so that we can see what it looked like and fix anything that needs to be fixed like that. Turn down the radius, turn down the intensity, just to fix little mistakes. You see this, go the drag tool, pull these in top, see any little dimples like that. Sometimes you can just push them down and then smooth them out. Go to your move tool, put up the radius, and then try to get that on a slope. That way they just naturally, the curvature just goes right into it. Go to smooth, smooth out the top of it. Make sure that your dips right here within your fingers, the crevices are somewhat similar. Go to the flattened tool. Turn up your radius, turn up your intensity. And then just start to flatten out what we just lowered. It'll help with that flow I was talking about. This way, you want to go a little bit linear. Closer that you get, you want to narrow your radius down closer you get to the fingers, go back up to the fingers. Then we'll just subtly graze the sides of those. That way they look more pointed without us having to pull excessively. You start to see your mesh tear, turn down your radius in that because we don't want that back affected either putting a mask in front of it or just being careful about that radius help a lot with that. Go here. Smooth. All right. Move tool up, drag those back just a little more. Want to make sure that we can't see any of the top of the wrist. Or try not to dip there maybe, maybe a dip here, smooth, making it look like a claw. Smooth it out. All right. All right. Done a lot of work here. Now for the fun part, what we're going to do after we get all our smoothing done is going to do some painting. The first thing we're going to do is you might think to yourself, well, how am I going to get those tips to blend well with this red? We're going to use the mask tool in a very unique way. This way, we can have not just being able to paint, paint on things, but painting them instantly like we did with all these components. Here, we have a way that we can paint that gives us almost like layers. The first thing we're going to do is go to mask, collapse our menu, make our radius very small or just small enough, increase the intensity. Okay. And before I proceed, I'll show you we can paint on objects directly, as you've seen before. So I'm going to be using this, the drop tool, if you remember, we can paint like that as well, not just paint all, but with this, what we're going to do is we're going to use the mask tool in order to paint different segments, but make them look more flowy, I guess, flowy airbrushed and distinguishable between what is the palm area and what are the actual claws or talons here. We can do that by using color. The first thing we'll do to use the mask tool to paint is we'll start painting on the surface, painting on the inside. Then we'll paint around those. Increase your radius a little more so we can get more coverage area where we have a bigger space. Now we're down to our fingers, decrease the radius, decrease it even more so we can get on the insides. Go down to this blur button and you'll see that it blurs it. That's what we're going to do here and here. That way, it's not so dark. Now, this isn't our paint. This is just something to protect our object that we don't want painted. The parts of it that we don't want painted. Continue to fill in the rest except for the fingers. We're going to paint around those. Inspection. You go to unmask, decrease the intensity and decrease the radius, and this will start to unmask a little bit. Then anywhere that has a mask on it that's a little too close, this will also help with our painting and what the effect we're trying to create because we want it to be darker here and a little bit lighter around our fingers and thumb. Go closer or farther away from the area when needed. Turn up your intensity when needed. As you get closer, you'll notice things you need to do or like to do. Okay. Just the top areas or the top of the mask that we've drawn around. If it's already dark. You might be thinking, well, we just painted that black. No, we just gave it some protection. So what we're going to do is come back over here. We already have yellow selected. If you don't, go ahead and select it, paint all invert and see. We've got a little gradient here that's forming almost. We're going to then clear. Then we're going to here, and then what we're going to do is keep it mask. Don't clear it yet, and then we'll start to go to smooth or smooth edge while the mask is on, so mask it s. The darker it is, the more that's going to be unaffected. See how that's almost coming straighter. The jagged line here. We're going to go back to mask, invert again, smooth edge, smooth edge, Mask, clear all. Smooth edge. Let's subdivide it. Smooth it out, turn up your intensity. Got a mask, blur, sharpen. Then anything that looks a little messy, we're going to just cover it up with red, but we're going to make sure that it blends Go over to your paint tool, select the color. Turn down the radius, turn down the intensity. Make sure that your mask blurry enough, test it out like a swatch almost. Blending, blending, blending. Making it look a lot like our thumb. The thumb needs some work too, but we want it to look like it's naturally emerging from the hand. Go back over the mask tool. And just mask over this area, then you go back to paint. Start to get that cleaned up. As you rotate, you might start to notice subtle touches you want to make, getting rid of some of the yellow you want. Clear, see how it looks. Cleaning up any patchy areas that we have. Maybe making some subtle paint movements here. See how I'm just taking that and I'm just moving it like a centimeter. That way, if the mask didn't exactly do the trick, It at least introduces the ability to make little tiny strokes. In the middle, you can make a little bit brisker I guess, maybe is the word or broader. On the outside, we want to a little small. Not too big. Smooth it out. Almost making it look like fire. Go back to the paint. Do the same here. Go in the shape of the cone itself. Straight up. I went too far. That's usually an indication when you're making a big your pull or that you went too far with your paint line, it so to be a little closer. You also might have noticed that as I move closer, it changes my brush. So sometimes you have to adapt that brush. I had to change mine up And some of this painting, after the lesson has completed, you can go back over and do yourself. I'll show you how to clean that up. He's more subtle going in closer. So if you want to do this to the thumbs too, That way, the blending isn't so fragmented. In the same way that we pull up to create that ombre effect, we pull down a little bit below it, maybe lower our radius to balance it out. All right. Turn down the radius again while it's red, go back over. All right. Now that we finish that, in our next lesson, we'll be doing the legs. I'll see you in the next lesson. 13. Head & Facial Structure: Welcome back to Nomad Sculpt. So far, we've covered this it and unlit or the unlets like this. We won't be using that, but so far we've covered the MATCAp and the It. We've been using MATCAp so that we can use that filter to have a more clay like appearance. We've been using it to have a more lit environment. So it and unlit to expand, it will be what it will probably look like in game or within a three D animation software. We've also covered the mask tool, learn how to paint with the mask tool by using that and our paint brush and paint tools. We've used the smooth tool and we've used the tube tool extensively. We also covered the crease tool and we learned how to use the lazy rope stabilizer so that we could get cleaner, more accurate and easier to make lines. And strokes. Now what we'll be covering is we'll be making the legs, and we'll also be making the wings and the head and the horns. Sounds like a lot, but honestly, it may not seem like it, but we've done the hardest part already. This hand that we made together in this body area are probably the hardest thing and most difficult in this entire lesson. And now that we've grown more expertise, the following things we will learn will be even easier. First thing we'll do is make sure that our back panel is activated, go down. That way we have our blueprint active. We're going to find the smooth tool or the tube tool, just like we did with the arms here. In the last lesson, we're going to do the same here. Use path. The difference if you do recall between path and curve is curve, you can just go any direction. I use that sometimes. Usually though I will use path because it is more accurate. G here. All tools and their different variations have different use cases. I just highly suggest using path in a lot of circumstances. Once you have that drawn, you overdraw like that or just click somewhere else, remember, you can always combine points. You can validate here or here. When I say validate here, it's validating the shape that we want, and then we validate a second time with the tube because we have to make other adjustments, of course. Go to the side, move this while we make those set adjustments. What we're going to do is go a little closer, put your tube tool about there, the bottom face of it. Bottom face, side face, top face. Just like we covered in our primitives lesson, we're going to see this, put it about right here. Then we're going to increase the distance of this and put it right about here. And I want you to do that from the back. That way, it has this pivoted angle here because the thigh in the back, it's going to want to be bigger, so we're going to pull from here in just a few minutes. That's why we place it so awkwardly. But here, then we're going to make it so that we have several radius, put a middle one, make it bigger. You see that front is already creating that knee like shape for us and the back here is also bulging out. That's exactly what we want. Create another point here, move it down right above that last point. This way we can get the curvature that we still want and established and the bulbous effect of expanding our thigh. About there. You want to make it pretty large and it's created curvature up here for where our knee would go and still straight back here. Go here, do the same. That way we can take this top edge just gradually move it in. All right. Let's go ahead and give it some color. Now that we've got a shape that we're established with, you need to take a second just to finalize your shape, go ahead. Go ahead and paint all. That way you can see what I mean. We're going to move this forward. Wanted to have a knee. And see even just giving it color or the wire frame, it looked somewhat right before, but as soon as we added color, we were able to see all the dimensions of the shape we had made, we saw that we need to do a little more work on it. That happens frequently. Let's see. Making check your side view, making sure that everything seems right. I know it doesn't have feet yet, but we're going to get to that. First thing to do, drag this down all the way down to the feet, here, making that go up, balancing it out. All right. Already got a little bit of our heel there, as you can see. Now that we've got a shape, we can now go here, sometimes it can be easier to make these shapes at a lower division. And sometimes it can be higher. So as you see, I have the lower division, the default division that came with, which is 30, which is how many cuts that it has and how divided it is, how many faces it has because of those cuts, or edges in the mesh. So what we're going to do is now that we've got our shape, we're going to increase the radius, making it much smoother, just by design. Validate. Take the drag brush, move that out some. Make sure you're on the right side, checking the back. You can keep it like that if that's just enough for you or you can go down to inflate. Remember, you can always move this like I'm doing here just so it's easier. So we can find brushes easily like the inflate. Once we have it, we'll just go here and start to move it around in circles. And then don't want to do too much, smooth it out. The way it's got a little bit more of a ball shape almost at the end. All right. So while we got our smooth brush, let's go ahead and just smooth everything a little bit. Move. And see even that when we moved it in before and we didn't have it colored, it looked like it was this edge was all the way over, but it was not. What we'll do to correct that and then just move it over. Go back to the smooth brush. Any creases that you have like that, they just disappear. Go in the back. Don't forget about the sides. Right underneath them. All right. Go back to the bottom. Then what we're going to do is we're going to go to the flatten brush, turn it down, go to the side, make your radius about the size of this edge here. See how this edge, the reflectance here gives us a lot of clues about the curvature, the way that this light reflects. It's not exactly right, but it gives us an idea. Turn up the intensity. Then what we're going to do is start to flatten out these sides. Maybe I'll move this over just a little bit, so That way, it looks like a foot should spanning out from the outwards, spanning in from the inwards. All right. Go to the flatten brush, raise over that, the bottom part, smooth it out, turn down your intensity. You don't want to smooth on all the time. It's on high intensity. At first, it might be necessary. But as you start to get your shape, just to try to buff out things like the stroke that you made with the flattened brush, you'll see that it doesn't have to be at full intensity and it's still impact. That seems good. Then what we're going to do is go back to the bottom. We're going to go to our drag tool. We're going to increase intensity all the way up. Then we're going to decrease our radius, and then we're going to make these web like feet here and the same way that we made web like fingers and the thumb over here, but it's not going to take quite as long because we've already done it once and the feet just need to span out straight. They don't have a lot like the fingers and the thumb, they have to have a directional requirement, that is not just so linear and forward. So, go to the drag tool. Let's go ahead and rename this while we're at it. Leg foot underscore. And you see that with our naming, we've got all the ones that will have right and left sides to them or companions to them have an underscore. That way we can keep up with things easier. There's also another reason after we finish this foot and leg, I will reveal that to you and it'll all make even more sense. So go back to front, have your drag tool selected, collapse. Here, pivot to the bottom, but pivot about here. Then go here and start to just pull that out then turn on your symmetry. Pivot center. If you have problems with symmetry or the Gizmo tool being off, remember that you can go over here and all you got to do is pivot and line or line again, and then it should align properly. Go back to symmetry, go back to the drag tool. In this case, that didn't work, but just a little hack and tip in case you have problems. You shouldn't run into those issues, but if you ever have it Gizmo tool or the pivot point is off center, that's an easy way to fix it. Getting back to our feet, what we'll do to compensate for that lack of symmetry is we'll just make this as big as our symmetry would be and we'll just be careful. Want to make that look in the shape of a boot like that. Now you see that I spread that out, and now it looks like a boot, right? Want to adjust the incline on it. Taper this back, use the move tool. You'll find that when you're using, that's why they're right beside each other because when you are using one, you're essentially using the other in combination frequently, have it not too intense, pull it up, keep pulling. Instead of just pushing in, you can also pull up and then we can push in. It makes it more feasible. Pull these in. Make this a little flatter. All right. Then we'll go to the smooth tool, smooth it out. That way, if we have any of these dimples here or folds, go a little closer. A right. Let's switch and check in our McCAP using that filter, go to this sun button here to our shading panel. Go back to MATCAP just to check. We'll stay in MATCAP while we're pulling these fingers or these toes. Now that we've got our shape, let's assess it, pull Make sure that it's the specifications that we want, pulling this down, giving us more of a flat surface as best we can. G the right to make sure that we have a flat surface, what we'll do is we'll go to our trim tool. You'll scroll down to the wreck tool, then find your area. Then we'll go here, not too much, but not too little. There you go. We've still got the curvature that we want on both sides and we have a completely flat surface on the bottom. Go up, turn around. Go to drag and let's drag this over while we're at it. Remember to pull up sometimes, pull up a little bit, go in the back. Whatever the edge in which our mesh is going with this dinosaur, we want to pull and push towards that. You see me just pushing that a little bit and pushing this in subtly. I almost creates the impression of there's a bone there, even though there's not. You just want to create those impressions. Make sure to not touch the bottom like that because it'll mess up your mesh shape that we just established. One thing you might notice is that it's hollow now, and that's going to be a real problem. And you might be thinking to yourself, I don't know how we'd ever fix that. Well, there's an easy way. If you have any mesh tears or any holes like this in any of your meshes. Usually this happens with complicated projects like this where you're using a lot of tools, and trying to get something established quickly so you can put on the details. And after you get your leg finished, we'll go and fix this. Just flattening mine out. Making sure the angles are like I want, that's not too big, not too small. It's important that this foot area here has a lot of room topically because we're going to be pulling the toes out to create the toes just like we did here. Getting back to what I was talking about just a moment ago about fixing the mesh, we're going to go into our materials tab or our mesh tab where we've been subdividing, we're simply just going to go over to Miscellaneous here. Scroll up. If you're not already there. Don't worry about any of these settings right now. We're just going to skip right over those. Don't let them intimidate you. And this is just one of those things that, like I said, when it says that it does something, that's what it actually does. That's not the case. In all but most cases. And some of them we don't know. We know what they do. Quadrmsh. You probably don't know what that is. If you do, great. But for now, just focus on just this. Okay. We have this selected. All we do is just press close holes, and bam, our mesh is repaired. We didn't have to pull anything or fill it ourselves, nothing like that. All right. Smooth. Now that we've got our shape established, Making adjustments, giving it more dynamic shape, pulling things up. All right. Now that we've got that, let's go ahead and get those toes started. G to go here, pull down our radius, make sure that your intensity is up to full. Then we're just going to start pulling just a little bit. Go over to our inflate, inflate each of these, go over just a few times, making little small circles in its area at the tip of it, go to the bottom, our toes a little more depth. Then go back to the drag tool, and then we just start dragging them over. Making adjustments. Making sure it's at an angle that we like. Go to the smooth tool, lower the intensity. See, you want to pull it out longer than you actually want it to be because it's going to shorten some whenever you go back to smooth. Because the mess is starting to compress and become cleaner. Okay. Now that we've got that established, you see that was much easier than the hands. Probably because you've done some of that before. And the hands in a game or a animation, they're going to need the fingers to move. So they're just more complicated than the feet are, right? Because they have to have certain slopes. All right. Getting back to this, continue to smooth, go to smooth edge, smooth out our edge. All right. I should look like web feet. Then we'll go up here to our mesh menu, subdivide, much smoother. Turn down on our smooth tool, take care of any blemishes. The more you do this, the more you get far away and you'll notice something, right? But I still have to go in close. You just adapt to the situation. All right. Got to voxel. Try to get it. That way we can get it even smoother. See? It's starting to look like actual clay. That's a great thing about McCAp is that we know that it looking like clay, it tells us that it's very smooth. Got a wire frame just so that we can see the difference. You see this has been decimated and manipulated almost just as much. But the denser it is, usually, the more polished it is. But we don't want it too dense. This is probably as dense as we're going to get this, if you notice the contrast. Go back here. Then we're going to start doing our painting. As you might have guessed, we're going to go to mask. But this time, what we'll do so we don't have to do so much coverage area is we will just paint it. How you can do the mask by making it the entire object mask is just click here and it will just invert it and cover it all day long. All right. Then what we'll do is we'll go over here to unmask. And we will start to unmask our talents here, our feet. All right. Go back to our grab tool or drag tool. Then we can start to move those out without the rest being affected, of course, because the mask is on there. We can start to get those in the right direction, maybe making them a little wider or that one at least. All right. Now what we'll do is go over to our paint tool. Get the color we need. Go back. Start to color those in just like the tops of them. I'm going to show you another technique to get that effect and it'll be much quicker. I won't be as detailed, but it'll do the trick for the feet. What we want to do next is go over to our mast tool, reduce the intensity, reduce the radius. If you press too hard, it'll go right into cell mass. You can just get out of that by just depressing or not pressing as hard. Go back to our paint tool, select a little bit of a darker yellow. Select the red to make any corrections. A Go back to your mask tool, clear. Find your color. Make your radius smaller. If your mask, make sure to clear it. Make any corrections. Feel any spots you got. Turn down your intensity. Go back to your red once you've got all of it filled out. When you got your intensity down, just go around the spots. Maybe don't have a separation or too clear of a separation. Make that spot right there or this that has that flaring off. If you want some more red in the tips. But you want your blending to make sense. Okay. One final check. All right. We got that. We got the heel. We're not going to be putting a spike back there. We'll just leave it as is so that that way we don't have too much overwhelming color. We want balanced color in our model, go to the front. All right. So we just did our leg. It doesn't have to look exactly like the image. I can look a little more narrow like mine, or it can be a little bigger, say I want to come over here. I'll make mine more narrow this time. But freedom for your own creativity, right? Just as long as it anatomically looks very similar to mine, that's what really counts in that you put your best foot forward and creativity out there. And the next lesson we'll finally go onto the head. Before I conclude, I did promise that I would indicate why we did all of these and why we don't have our right and left side over here. You may be thinking, Well, I guess I have to do that next. No. What you need to do is go over here. Then what we're going to do is take our leg and our hand and our arm, and we're going to clone them. First, we'll take our hand, both our hand and arm, we'll join them. Then what we'll do is coming over here, we'll see this mirror like menu that looks a lot like our icon. Here, it does something very similar but different. Make sure that you've got your arm selected, this will be the last thing before this lesson concludes and then we'll move on. Then what you'll do with the clone selected clone it, and then with the clone selected, what you'll do is select flipped object here on the x axis, it will take our clone object and it'll flip it. That way, you don't have to create two of the same limbs twice. Now, we'll rename these in the next lesson as we assess everything that we did. But next, we'll just do the same operation. Clone this, then go over to our mirror panel, and as you can see, our mirror panel, it has addressed the symmetry for this object. Go down here, then we'll just click Flip Object and BBAM. Now, you have all your limbs done. You've almost got the tail done, and then all that's left is our head and our wings. We'll be doing those in the next lesson. Stay curious, stay creative, and I look forward to taking the next lesson. 14. Wings, Tail & Final Polish: Welcome again back to Nomad. In the last lesson, we did the legs. We went over our mirror tab a little bit here showing that we can clone the right leg to make the left leg. This lesson, we're going to be doing this tail here, along with our wings, our head, our horns, and our tail spikes. First, let me go and delete mine. Go to body. Then you want to go to the tube tool, go to path. Collapse your menu. Then you're going to start to draw right at the top of the hip here, trying to meet closely to the end of our tail, about right there, right below the tip of the tail. Just go ahead and move that, get some accuracy. Now, you can't move around too much because as you see, it's not in the same place. Go back to path. Remember here. Then validate. Let's get our tail much smaller. The end of our tail much smaller. Now we're going to align it, go to Gizmo. Let's get it right in the center. What you're trying to do is that tip needs to be as close to the tip of our shell like I've done here. Let's get rid of our panels for a moment so we can have some room, at least one of them. Move this over. Then we're going to raise our divisions to 100, giving us that smooth shape. Then we're going to go back to our panel, turn it back on. Come here, go back to our tube tool, make all of our radiuses available so that we can thicken our tail. W hugging the lines here, and you want it touching the top surface of shell, the tail part of our shell. Add another one here, this way, we can pivot this up instead of moving our mesh upwards that way. Try to do the same thing here, giving us more flat surface. We got a wrinkle in there. We'll just move it down some so we don't cause that wrinkle. You want the tail to be wide but not too wide, go up top here. And make sure that it is the width that you want. Then we're going to validate it. Let's go ahead and give it some paint. Then we'll go up to our drag tool, turn down the intensity, turn down the radius, go to symmetry, then start to pull that towards the rest of our tail. Next thing we'll do is make it wider up top so that matches our incline here or our slope here. Let's go ahead and align that from the side. All right. So now that we've got that, just keep pulling, getting it where we want it. Then we'll go back here. Make sure our tail is like we want. Try to get it as center as we can. Might be a little bit off center. Go to smooth. Smooth that a little bit. Go to inflate, decrease the intensity. Make it bulge out. If you lock something like this, you won't move. Just a little tip in case you need to stay in one area. I don't use it that much because I'm moving around so much, but if you're doing some detail work, sometimes it's really helpful. Just wanted to show that. Then we're going to go over to the flatten tool, go up to the top. You just start to make little circles. Maybe we'll make a little point there, so it's still pointy. Smooth, smooth all that out on your tail. You'll notice that as you go around, you'll see, I want to smooth this out a little bit on natural. If you got any rings on your tail, should be able to smooth them out. I see that's gone. All right. Now, the last thing we do to finish our tail, we come on the sides here and we go to our drag tool, lower the radius, and then we just start dragging these down. Remember to have it symmetric so you don't have to do the other side, but remember to check it just in case. See? This is down a little farther than I want, but just there. Okay. Just a little bit. All right. Now we got the tail. I notice you're probably noticing that with all the parts we have, it looks like a toy. We can combine all of these later after you finish the course and make them into one mesh like we've done with other meshes. But generally, you want to keep them it depends on what you're doing after the fact. But generally, if you're taking them in the game development or if you're taking them into a three D animation environment, you're going to want to keep them separated and keep their hierarchy aligned. We'll worry about hierarchy in the end. I usually would worry about it as I go, but I want to focus in more on the sculpting aspects, and I'll show you the hierarchy once we finish so that everything makes sense. All right. Speaking of the rest of our project, let's go into our head section now. Or should we doing? Let's do the wing next. All right. Go up here to the wing, how I did that, go home, go back, scroll up a bit, then just go forward a little. Another thing. Once I get there, I usually will go to the backing plane. And there you go. Now we're really close to it. I took a little bit, all right. Now that we're honed in on that, we're going to find the tube tool once again, take the path, and then we're just going to start to draw that in, go from here to here, start to make our line The more you have of these, of course, the more control you have, but you don't want unnecessary pivot points here or path points here. If you move around the scene, just like I showed before, that it will just come off center. So it's whatever your camera is looking at at the moment. All right. Now that we got that, we're going to go to validate. Radius. We're going to make this small. Make this small and then adjust and just fit it within the side these vector lines here, just like we've been doing before. The only difference is this time we're going to take this top part and we're going to extend it out right beyond. This one, put it out right there, throw it a radius. Then you want to make this sharp. But not too sharp because we're going to round it out. That's why I didn't take this all the way down. Plus it does that, you go here almost where it's going to close. Then just radius for these, validate, make sure this is in the right place. Get your move brush. Then we're going to go back to the To tool path and then here, validate and just do the same thing we just did just in a shorter format. What you want to do with this is shoulder it like we did before, a little bit, so it comes in and intersects with the other that we're going to draw right here. This one, I'm not going to worry about the division so much because it's such a small area. As you notice, it already looks so smooth. Draw another one here validate activate all of your radiuses, actually activate that first one so we can get its neutral size. And All right. Now that we got that, let's go ahead and get everything coordinated. Make sure that our layouts right. Everything is thin enough Validate. Then we go over here, find where our new tubes are. Let's name our tail while we're at it. Go ahead and take the tailsell and just put it in. Here's our you tubes. Just take all three of those and join them. This is demonstrating that it doesn't have to be perfect because we're going to go back and smooth it out and change it. The more variation that our dragon has while still being anatomically the output that we want, the more creativity that it has embedded in it. Now that we've got those combined, name it. Let's name it wing frame. Okay. Then we're going to subdivide it, tilize it, and then smooth it out. Let's look. And see those are becoming sharper just by the smoothing. It's just like coloring in the lines or connecting the dots, like I said earlier. Go to inflate. Let's go ahead and make this a little bigger. That way when we plug it in, it flows nicely. All right. Remember to save as you go along. Save. Smooth. Go to FoxtllRmsh here where we just were, and then go over here and then go all the way to the bottom, then we're going to unify it with this uniformation right here. Show you the wire frame. It's more dense than we're used to. Well, not really. That's looking good. Now all of our issues seem to be mostly buffed out. Don't worry about how skinny those get. They're supposed to be. You may want to move them and drag them a little bit more. Remember to go to the front before you do so. Get them in the right place that you want them. All right. So now we're done with that. Let's go ahead and give it some color. And see if you want those it thicker. Just go through and inflate them. Then what we'll do, go to home, then we'll go over here to add. We'll add a quad sphere instead of a UV sphere. Then we will go to the side, go our kismoTol, then it out, almost like it's a disc. Move it over, scale it down, go up, go up here. Turn off wireframe. See how thin it is. Make sure that it needs to be more thin than the wing frame that we created. We're going to thin it out even more. Went to scale zero. When it goes to scale zero, what you want to do is just pop it right back and then it should looks like a disc. Now, we're going to take this, put it over here at this point. Then we're going to go over to our drag brush. We turn off symmetry, increase our intensity. And start dragging our edges to meet the wing. Remember to adjust your radius as you go along. Even when you scroll back and forth, you have to adjust your radius because the camera has changed. Go down here and do the same If you start to notice that happened, it's probably because you pivoted right below it. It may look like you're in the front, but go ahead and select that if that happens and then just shape it up. Move it over just a little bit. We want a little bit of the mess showing over here. The full thing is going to show, but this just ensures that it's close to center. It's really hard to tell because it's paper thin and we've got this in the way, but at least gives us a better vantage point. Okay. Drag brush, moving this here, fixing this. You may want to that's one of the reasons because we want this to be center and so we're dragging it in the right place. Then take this And if your circle was too big, then you can cut this. So if you made your circle smaller and you're able to drag these to meet the vector lines, great. But what I like to do is what you can do is go to additive and there we go. It's clear. This is going to give me a lot of accuracy. It lets me see where everything is and it's temporary, right? Okay. Go to the gizmo tool, push this over just a little more ever so slightly trying to line it up. You can look at the top of the gizmo tool line up there and it'll give you a small indication. See, it's very tedious. That part, at least. Okay? If you can't get it lined up, no big deal. Okay, then we'll go over to our trim tool. Or let's do our split tool. Because one thing of note is our trim tool is great and I know our split tool it splits them in half, so we'll have two different pieces. But the split tool, one little secret about it is that it generally does a better job at cutting to keep topology looking great and that's especially important in all projects, but our edges are going to come out looking potentially a lot cleaner because this is so thin. That's the issue. This is so thin. All right. We've done this before. We're going to go down to polygon. Then we're going to start to draw the rest in using these stencils that we're going to create to cut off what we don't need. Then we'll go here to the split, delete. Okay. Then we'll just do the same thing here. With the split tool this time. Go over here and do the same. Making sure that we have clear separation between our parts that we're getting rid of. Again, this doesn't have to be the perfect shape quite yet. We're going to go back and buff everything and move everything around a little so that it fits with the ideal shape that we want. Go here, validate. Delete, go here the bottom, go to the move brush, turn up the radius, turn up the intensity a little bit. Scoot that down some. Moving to center. Et's go to our wing tip and go ahead and fix that before we proceed with getting the rest of our shape. I'm going to go to inflate, inflate this just some, so we got something to work with. So it doesn't look so weak. Inflate here. That'll also help the wing frame came through as well when you do that. All right. Let's turn this plane off just so that we can see what is going on here. Get it straightened out. All right. So let your wing make any adjustments that we didn't see before? Then go over to the Trim tool. I'm going to lasso these out. Straighten out where our meshes so that we don't see our points. Then we're going to go over here and we're going to give it some color. Let's use the draper tool to get our color. Then we'll go back to our material tab and go too. And something else, we've got a hole in this. It may not seem like it, but you see it. If you remember from before, what we do is go back over to our mesh tab right here. We'll go to Miscellaneous, and then again, close holes. Awesome. We got our wing done. Go back to the front. Awesome accomplishment. With that accomplishment entailed? In towed, we will then name our object wing underscore. Then go back to our middle panel, backing panel, activate those, make them visible. So far, we've got the tail done. We've got our wing finish. And don't worry. It's still together even though it doesn't look like it. What we'll do now is we'll take the wing frame and put it inside of the wing so the wing is parenting the wing frame. Then we'll take this forward. Zoom in, just so you can see what you've accomplished and there's no confusion, thinking that, oh, I messed up my model, no, no, it's just hidden in there. For now, what we'll do is we'll just make that invisible because we don't need it any longer, or for now, go back to our body, zoom in on it, back up. Then we'll start with our head. We're going to go up to, add a UV sphere, take up our division. Validate, go up right over the head. You want to make it small, trying to get it to fit within these four corners of the head. That way we have at least some starting shaping as we're populating our sphere. Let's go ahead and name it while we're at it. Now that we've got that, let's continue with our shaping. It's already there, already at that line. Go to the front. Then we'll go to our drag tool and we'll start shaping just as we've done with obtixs we have created before. Remember, this can be a little lower than this. That egg like appearance. Move down your radius, move your head a little inward, and pull down Put your flattened tool, decrease the intensity, increase the radius. Put your smooth tool. That way, it's looking like a head and less just a sphere that we just moved around a little. Just go and smooth it all out. Drag brush, that's looking more like a head because it has the curvature that we need, the flat lines, the shaping. So just continue to shape that using the flatten tool then smoothing it out. If you drag that out, that's okay. We'll just move it right back. We're going to have some horns there anyway. Smooth it out. Go to the back of the head, do similar or we're going to drag it in just a little, smooth it out. Looking pretty good. Then we're going to go ahead and give this one some color. It's very easy to click like that, but luckily, remember, if you make any mistakes, we just go and use the back button here. Now that we've got that, we can do the mouth here. We're going to make another sphere. Then we're going to scale it down. Remember too, we have two ways that we can scale. We don't have to just be reliant on the direct contact with the Gizmo tool itself. We can use its settings to be able to scale it. See what size the head is another reminder we can also do the same with where it goes, here, then here, then we met it up with the mouth just about then just like the head and some of the other parts we've done, we start to get a little bit of our shape here. Making it either bigger or smaller. This case, we want it smaller, we're going to be stretching this out. Validate. Go drag and just start to drag your mesh. That shape is we've done before. Making sure your symmetry is on. In this lesson, we're keeping symmetry on for most of the lesson. Because we're making a symmetric object, it just makes sense. Getting your mouth the way that you want it. That looks good to me. Maybe pushing it back, creating a little flat plateau is on the front. Then we're actually going to go to the flatten brush. Turn down the radius. Let's start to create our everywhere that you could see a flat surface or flat ish surface residing, we're just going to graze over that. The front, you want to do more making these very apparent lines. Those won't be there. The permanently, we're just sculpting things to where they have the dimensions that we want. Now that we've got that, of course, we can go to smooth. We've got the shape that we want with all the dimensions we want, so we can get rid of all that and buff it out. Okay. I'll take that and make it a little higher and move this backs. There we go. Remember to save every time you get to a certain point, what we'll do next is take our quad sphere that we just made into a mouth, and then we will rename it. Then just like we did with the body, where we put parts that were directly connected, they're all connected, but when you think about them what their innermost connected to, we just put them together. The head and the mouth. Let's make our planes invisible or one of them, give this some color. And zoom in, determine get this here. We want to create a little nose. We take that one shape and we're still sculpting it. Okay. Now that we've got that, go over to inflate, turn out the intensity, then we're just going to start creating our nose holes, our nose for nose holes. Okay. Put a little crease around there. Just a little one. Go back to inflate. That way our crease stops it from going get too big, where our mouth area is going to be here. Then we're going to go to this. Here, do that a little bit, where we do the opposite of inflate, which is subtract. Then we go to PlanR so that we can make our fake holes. Click that so it doesn't continue to fill it. All right. Well, it looks like we're having some trouble filling those holes are creating those nose holes because our mesh is so it's not dense enough, right? It's coming out pixelated. So you come over here, go to subdivide, and there we go. Then we're going to go back to our planar tool, make sure that it is selected, the radius down, turn the intensity up, get rid of these men, and then just start making small circles. I know they seem a little big, but we'll fix that. We're just trying to get an opening here. Another thing that I like to do sometimes that helps with the planRTol when we're creating these pits or you can go over the drag tool, lower the intensity as much as you can, about the size of the area that you're trying to affect, and then just pull it back. Just some adjust it, then go to planR then that makes it a little smoother. What we're going to do now is go to the paint tool. Then we're going to go all the way down, go to skin. We're going to start to paint in. You don't want it all the way filled in. This middle area. That's what you really want to be the darkest here. Now that we got that, we go up to our smooth tool, smooth it out some. Okay. Then remash it, see what it looks like. Let's keep it like that. Seems good. Let's see. Turn the wire frame off, then go to drag tool, increase our radius, decrease our intensity some, decrease the radius even more. Try to pull these out so they're slanted. And then we pull the back. There we go. Maybe we'll narrow them out just a little more. Sometimes you have to pull things in the opposite direction that you intend to coordinate them there. Using Nomad Sculpt, it's all about knowing how to adapt to your situation and just getting enough experience to be able to do so. But as you probably noticed, in time, the more that you try, the more everything becomes second nature. Okay. We will go to the flatten tool, flatten out front. Smooth. That way, any unwanted extra dimension that we added to it through that stretching, we can start to correct. All right. Now, we go over to the Crease tool, make sure symmetry is on, then it's quite intense 56 or so. We've got this unlike before or like before, what we're going to do is start in the center and go up. A Let me sure. This is something else that I meant to mention. One thing you can do that's really cool is we can make these creases, but we can also simultaneously paint. If this is not already turned on, go up to this paint brush here, not the small one, but this larger paint brush, and then we can start to make some small modifications to our painting, including having it on whenever we're using a standard brush. Now that I have that activated, we can go here, Let's start to give it a smile. It's going almost all the way, but not exactly there. That way we create a little bit of fake shadow, and there's a little too much here, we're going to go smooth, of course, smooth it out. Maybe we'll take some yellow, make this really small right here, increase the intensity. All right. That seems better. It doesn't seem like much, and it doesn't look like anything's changed from this angle. But then when I go up, it's less apparent. One thing I like to do too is go back to the crease tool, turn off stroke painting, just so you know where it's at, and then we'll go right back over that again. With the mouth, you can almost keep going just until that black that we had looks less like lipstick, more like a fake shadow, and it brings our mouth in a little bit without us having to sculp Cress can become very intuitive. All right. We got our mouth done, check in with our head. Let's subdivide that so it's a little softer because we're about to make our Is zoom in, go to the planar tool. Then find your eyeline here as you see, you want to be about right above it, and then you want to draw right here. I think you want to draw circles, but you actually want to draw almost like the shape of a case idea, something like that. No. We will get our circles, but like that. This way, we can be able to manipulate it into a circle. Make our radius a little bigger, and then we'll just keep going. Go back to our drag tool. Bring that back some, give me a little pit. You want to try to make the radius about as big as that opening that we made a little bigger and then just start to go and shape it, move it up. See by giving us that extra space, causes us to make it so that we start to form our front of our face. Just move those back. Creating the sockets for our eyes. Going back to our planar tool, lower the radius. Smooth. Start smooth out all that work you just did. There we go. Let's take the grab tool or drag tool and move our eyes up. There we go. We got nice little pits. For our eyes, want to make sure they're far enough apart. Then we're going to go over to our inflate tool, go to front, then not all the way around. You're intensity, radius just, all the way around, but on most of these points right here. Adjusting to what size it is already. That way, whatever size we're inflating matches, a little bit on the inside to give a little more shape, and you go over to smooth, smooth it out, just some just so that we can see what we're working with. Go to the crease tool, we got that. Then on the outline of that, start to draw a crease or two creases really one underneath. Smooth edge, crease again. Smooth edge, giving our face a little more shape, looking like the eyes naturally belong there. All right. We got most of our head. We'll come back and finish that in a moment. We got to create the eyes back up, add a sphere to it. Add a UV sphere. All right. For the Is, we're not going to worry so much about the divisions per se. We're just make them a little higher. Maybe about 80. Go over here, make it small. Small enough to get an I, line it up. Go ahead and validate it. Okay. So get a little smaller, see where it's at. You go to make it a little flatter we can always just move it forward a little. What we'll do? Paint it even though it won't show up here. Go over to our materials, go to skin, paint, clone forward. Then we'll go to additive shrink it down just some so that we can see through it. I'll try to get it about that size. Maybe a little smaller. Then we'll determine what color we want. I think since I've got all this red and yellow, I'm just going to get my dragon orange eyes. Then I'll go here, back to the materials, go to this. There we go. We get our first eye. Here, name it. Simply I underscore, then name this Iris, make the I parent it. Then just like last time, we're going to join these. Then we're going to go over to mirror. We're going to clone the eye while we have it selected. Once we have mirror open over here, we're going to flip the object. Then we're going to separate it. Take those out of the I group it created, so we're not too confused. Delete. Let's go ahead and start naming these. We're going to call this one Iris again. Separate. Separate, just so that you can see where everything is. That parent that, of course, what we'll do is take the two parent objects, which are the eyes, and then we'll put them right into the head hierarchy. All right. Arm, let's go ahead and rename that. Which arm is it? The right one. Simply just put R there. Do this, and the same here. We're about to finish up, do the wings and the texturing and put our wing in place and you'll have yourself dragon that you made with my guidance and your creativity and determination. All right. You see how that makes a lot of sense, clean up our hierarchy while we're over here before we finish up, go ahead and move your arm and the body and your leg in there. Then when we fold everything out, everything is nice and neat and tidy and organized. We do that, go back to head. And then we'll get started on the final pieces, which is our horns. First, we'll check out to see if our head is absolutely complete. Do any smoothing we need to do here. I've got some before we move on, back here. Let's get our head more like a shape. In case it's not. Let's actually take the liberty of moving our head down and cradling it on the body. Trying to make sure we have everything done before we move on to the horns. Go to our body, go to the move tool, and then just start to move everything upwards so that it anatomically makes sense for our cartoon like dragon. Making sure the head and the neck area and the back all connect pulling up. That way, everything looks bright and we can finish nicely. Even if the edges look complete, just keep pulling them up until it looks just right. All right. Go back to our head, smooth out underneath. I just noticed that. See, we made all those edges. One thing I wanted to demonstrate, go to the move tool, bring down our radius a lot. We're going to go up We're going to move this over a little more. Making sure that we can see that inflate that we did make it more apparent up top. Turn down the intensity, you go to the bottom. Subdivide. And so I want to show you that now that we've done that, go to the drag brush, and we can start to give it almost like facial expression. See, Mad, sad, hopeful, feeling dangerous, whatever your feel is. You don't want to move around too much, but it makes it easier if you want to give your dragging a specific face facial expression, or if later, you want to take it to animate it. Being that our structure is established. Pick this, move it forward just a little, and then I think we're done with the head, finally. I know you're ready to see what all what looks like when it all comes together. Then what we're going to do is we're going to go over to our tube tool. Go to the side, go to where the horns are, get the angle that you want. I think I'm going to do longer horns, maybe I'll just do shorter ones. But you can do longer ones if you want. There's going to be the same structure. Whatever fits your vision, validate I'm going to make all of our radius or some of our radiuses available. Then we're going to make this small shoulder this, create a little shoulder. That way, it just goes in easily. Now that we got that we'll increase our division up to 100 validate let's go ahead and subdivide, paint, grab our color. Another thing you can do on your own future projects is if you have a color palette, you can import it on a mesh or import it into an image and then put that image onto a panel like this, right? Just something worth researching. If you're looking for specific colors. I personally like to just get in here and explore what colors Nomad has and just see what comes to me. Here, go back here and as before, paint all If you like that horn, you can keep it just as it is. I'm going to try to put some creases in mine. Just like before, we're going to go to Alpha or we're going to go to the shirk brush and then we're going to go to the paint over here. We're going to change this to black. Then I'm going to start to color in. Maybe you'll turn down the roughness. I'm just going to put some random carvings in mine just to give some randomness to it since it's so symmetric. Okay. Oop. One thing that I almost forgot to do with you is we got to make these. Don't worry. They won't take that long. Okay. Let's finish up the horns while we're at it, though. Just like before, we're going to clone it, go over the mirror, go all the way down, and ban, we got two horns. Put those in head to normally label them. We're just going to join them. Collapse the head, go to the body, add cone we can change this just like any shape. Change that close to what it was, maybe a little higher. Do some shaping. We're going to make little rounded triangles out of these. Here, scale down, go down, match up with where you want it placed, validate, zoom in. Make it a little wider. Let's get rid of our middle plane so that we can actually see it. At this point, you probably won't be using the middle plane too much all these planes. All right. Now what we want to do Is go to the trim tool, go to this line and the line you're going to have to be careful with. But all you do is where the white half is, it is going to cut that. You want to try to get it as straight as you can and bam. Then what we're going to do is we're going to go to the smooth tool, smooth it out just a little, inflate, move it around in circles, maybe move up our intensity, Looks like we got to fix the holes again. Close the holes. There we go. Now we can get back to inflating. Just a little bit. So you starting to make that round tip that we want. Ironically, we go right back to the flatten tool, even though we just made it flat of sorts. Let's see. Flat end. Then you're just going to start to ride around that. I want to give mine a dip. Yours doesn't have to have one, but I like that for this one. As long as it looks close to mine or anatomically closed, go to smooth. Oh, dips gone. That's okay. Still looks good. Got our shape, go up here, subdivide, smooth again. Urge to finalize it out. I came out flat like this and not smooth. Mold it a little bit. Smooth. Flatten. It takes a little work sometimes. All right. Go ahead and paint it. A Go to the side, just find out where you want it to start just dip it in there. Then what we're going to do is clone and just keep cloning this after you keep moving it up, stay to the right or the left, keeping these going and pointing in a similar direction. We'll go back and adjust it. The main thing is right now you're just making sure that they're center and high enough and that they're somewhat evenly spaced. See how many we've got so far. If you want to give yourself, yours some unique horns after you finish the lesson, like I've given mine back here, just to give a little extra character. Feel free to do so. Go here. The scale hasn't went down. It's just farther down than it should be, but it's center. Lone Goshen, if you want it a little wider, just go here. Clone same as we did last time. All right. Let's. See what I did? I didn't stay center, so it came out looking rather odd. Here we go. Rotate. Let's get this clean out the way so we can see all our work. Awesome. All right. Now that we've got all of that done and all this hard work done, we can do, which is our final step, is we will come and we will lastly learn a new tool or a new way to use a similar tool to the brush and the clay that we've used a little bit in the past. What we're going to do is you're going to come here to the layer tool, and then what you're going to do is come over here to where we change the lazy stabilizer, lower that sum. We're going to create a brush, we're going to go over here to Alpha. Then where it says none, we're going to click that and on your desktop, you're going to find the included scale scallop style tile. So when I click that, it's going to come up with this scales looking object and you see it here. I'm going to X out and I will show you what that does. It adds layers. If I go here, and then I drag this, it's giving scales because I have the lazy rope stabilizer. Not only did that help us with things like our creases, but if we have this pattern that we're painting on, this texture that we're painting on that repeats, we don't want them to be too close together. So if you've already uploaded this and you have your settings that way, it feels very much like you're painting on the texture. That's essentially what we're going to be doing. This texture looks rough, but don't worry. We're going to smooth it out with our smooth tool. Continuing with the body, going to keep going, covering, going to our different parts. Or head doesn't have to be everywhere. Just want to make it prominent. Around the face, this is especially important around the eyes. I want to make it not as much but everywhere else. So like I just did, just make your radius a little smaller. Especially around the eyes. We decrease our intensity. It looks intense, but you'll see soon as we clean it up, it's going to be nice and smooth. Go to your leg. We're going to what I like to do sometimes is texture and then copy again so that we don't have to texture this over again. The same thing we just did a few lessons ago with the legs or a lesson ago with the legs, but we're just going to texture one so we don't have to texture two. One thing we need to do is we need to protect the painting that we did. So we'll go over to mask, and then we'll just paint over those, mask them up. I don't have to be perfect. If it covers the red a little bit, that's what we want anyways so that we can give protection to our paint, to our claw areas. That happens, remember, you can always invert. Now, what we're going to do is the same thing we did as before, if we go back to the layer tool, make sure your layer tool that your radius and especially your intensity is lowered. Because if it's heightened, watch, it'll do say if I heighten this all the way up, go to my leg. Yeah. The scales are just coming off of him. We don't want that. Keep your intensity down and we turn back up the radius for the larger parts. Then we can just keep going. One thing, we need to mask this down here. I almost forgot to do that. Just mask underneath the foot entirely. That way we can just make strokes up and down the sides of the legs without having to worry about ruining our flat foot. Going through and taperi 15. Class Project: Now it's your turn to sculpt. For the class project, you'll create your own three D sculpt and nomad sculpt. You can choose to sculpt a creature, a stylized object, or any form that interests you. When you're finished, take a screenshot or render of your sculpt and upload it to the project gallery. I'll be checking the projects and sharing feedback. I'm looking forward to seeing what you create. 16. Congratulations! What’s next?: Congratulations on finishing the Nomad sculpt course. You've gone from learning the interface and core brushes to creating stylized, props, plants, and a portfolio ready baby dragon. Remember to revisit the cheat sheets, reference packs, and practice files, and keep iterating on your designs. Thank you so much for sculpting with me and Nomad.